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+    <title>
+      The Project Gutenberg eBook of How To Make Rugs, by Candace Wheeler
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+<pre>
+
+The Project Gutenberg EBook of How to make rugs, by Candace Wheeler
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: How to make rugs
+
+Author: Candace Wheeler
+
+Release Date: February 18, 2009 [EBook #28109]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK HOW TO MAKE RUGS ***
+
+
+
+
+Produced by Irma Spehar and the Online Distributed
+Proofreading Team at https://www.pgdp.net
+
+
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+
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+
+</pre>
+
+
+
+<h1>HOW TO MAKE RUGS</h1>
+
+<p class="figcenter"><a href="images/cover.jpg"><img src="images/cover_th.jpg"
+alt="Cover" title="Cover" /></a></p>
+
+<p>&nbsp;<a name="loom" id="loom"></a></p>
+<p class="figcenter"><a href="images/illo001.jpg"><img src="images/illo001_th.jpg"
+alt="LOOM WARPED FOR WEAVING" title="LOOM WARPED FOR WEAVING" /></a></p>
+
+<p class="caption" style="padding-bottom: 2em">LOOM WARPED FOR WEAVING</p>
+
+
+<h1>How to Make Rugs</h1>
+
+<p class="center" style="padding-top: 2em"><i>By</i></p>
+
+<p class="center"><big>CANDACE WHEELER</big></p>
+
+<p class="center">Author of &#8220;Principles of Home Decoration,&#8221; etc.</p>
+
+
+<p class="center" style="font-size: 80%; padding-top: 2em">ILLUSTRATED</p>
+
+
+<div class="figcenter" style="width: 50px; padding-top: 4em">
+<img src="images/titlepage.jpg" width="50" height="93" alt="Decoration" title="Titlepage decoraton" />
+</div>
+
+
+<p class="publisher">NEW YORK<br />
+<big>DOUBLEDAY, PAGE &amp; COMPANY</big><br />
+1908</p>
+
+<p class="copyright">Copyright, 1900<br />
+By <span class="smcap">Candace Wheeler</span></p>
+
+<p class="copyright">Copyright, 1902<br />
+By <span class="smcap">Doubleday, Page &amp; Co.</span></p>
+
+<hr />
+<p class="copyright">Published October, 1902</p>
+
+
+
+<h2 style="padding-bottom: 1em"><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2>
+
+
+
+
+<table summary="table of contents">
+<tr><td colspan="3"><a href="#FOREWORD">FOREWORD: HOME INDUSTRIES AND DOMESTIC
+MANUFACTURES</a>.</td></tr>
+
+<tr><td colspan="3"><span style="font-size: 70%">CHAPTER</span></td></tr>
+
+<tr><td class="rightalign">I.</td><td class="leftalign"><a href="#CHAPTER_I">RUG WEAVING.</a></td><td class="rightalign"><a href="#Page_19">19</a></td></tr>
+
+<tr><td class="rightalign">II.</td><td class="leftalign"><a href="#CHAPTER_II">THE PATTERN.</a></td><td class="rightalign"><a href="#Page_33">33</a></td></tr>
+
+<tr><td class="rightalign">III.</td><td class="leftalign"><a href="#CHAPTER_III">DYEING.</a></td><td class="rightalign"><a href="#Page_45">45</a></td></tr>
+
+<tr><td class="rightalign">IV.</td><td class="leftalign"><a href="#CHAPTER_IV">INGRAIN CARPET RUGS.</a></td><td class="rightalign"><a href="#Page_57">57</a></td></tr>
+
+<tr><td class="rightalign">V.</td><td class="leftalign"><a href="#CHAPTER_V">WOVEN RAG PORTIERES.</a></td><td class="rightalign"><a href="#Page_67">67</a></td></tr>
+
+<tr><td class="rightalign">VI.</td><td class="leftalign"><a href="#CHAPTER_VI">WOOLEN RUGS.</a></td><td class="rightalign"><a href="#Page_79">79</a></td></tr>
+
+<tr><td class="rightalign">VII.</td><td class="leftalign"><a href="#CHAPTER_VII">COTTON RUGS.</a></td><td class="rightalign"><a href="#Page_99">99</a></td></tr>
+
+<tr><td class="rightalign">VIII.</td><td class="leftalign"><a href="#CHAPTER_VIII">LINSEY WOOLSEY.</a></td><td class="rightalign"><a href="#Page_113">113</a></td></tr>
+
+<tr><td colspan="2"><a href="#NEIGHBOURHOOD_INDUSTRIES">NEIGHBOURHOOD INDUSTRIES: AFTER-WORD.</a></td><td class="rightalign"><a href="#Page_125">125</a></td></tr>
+</table>
+
+
+
+<h2 style="padding-bottom: 1em"><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS"></a>LIST OF ILLUSTRATIONS</h2>
+
+
+<table summary="list of illustrations">
+<tr><td class="alignleft"><a href="#loom">Loom Warped for Weaving</a></td><td class="rightalign"><i>Frontispiece</i></td></tr>
+
+<tr><td>&nbsp;</td><td class="rightalign"><span style="font-size: 60%">FACING PAGE</span></td></tr>
+
+<tr><td class="leftalign"><a href="#weaving">Weaving</a></td><td class="rightalign">20</td></tr>
+
+<tr><td class="leftalign"><a href="#onteora">The Onteora Rug</a></td><td class="rightalign">36</td></tr>
+
+<tr><td class="leftalign"><a href="#lois">The Lois Rug</a></td><td class="rightalign">52</td></tr>
+
+<tr><td class="leftalign"><a href="#sewed">Sewed Fringe for Woven Portiere</a></td><td class="rightalign">72</td></tr>
+
+<tr><td class="leftalign"><a href="#knotted">Knotted Warp Fringe for Woven Table-cover</a></td><td class="rightalign">72</td></tr>
+
+<tr><td class="leftalign"><a href="#isle">Isle La Motte Rug</a></td><td class="rightalign">90</td></tr>
+
+<tr><td class="leftalign"><a href="#greek">Greek Border in Red and Black</a></td><td class="rightalign">108</td></tr>
+
+<tr><td class="leftalign"><a href="#braided">Braided and Knotted Fringe</a></td><td class="rightalign">108</td></tr>
+
+<tr><td class="leftalign"><a href="#diamond">Diamond Border in Red and Black</a></td><td class="rightalign">108</td></tr>
+
+<tr><td class="leftalign"><a href="#lucy">The Lucy Rug</a></td><td class="rightalign">128</td></tr>
+</table>
+
+
+<h2><a name="FOREWORD" id="FOREWORD"></a>FOREWORD.<span class='pagenum'><a name="Page_3" id="Page_3">[3]</a></span></h2>
+
+<h3>HOME INDUSTRIES AND DOMESTIC
+MANUFACTURES.</h3>
+
+
+<p><span class="smcap"><big>T</big>he</span> subject of Home Industries is beginning
+to attract the attention of those
+who are interested in political economy
+and the general welfare of the country,
+and thoughtful people are asking themselves
+why, in all the length and breadth
+of America, there are no well-established
+and prosperous domestic manufactures.</p>
+
+<p>We have no articles of use or luxury
+made in <i>homes</i> which are objects of commercial
+interchange or sources of family
+profit. To this general statement there
+are but few exceptions, and curiously
+enough these are, for the most part, in
+the work of our native Indians.</p>
+
+<p>A stranger in America, wishing&mdash;after
+the manner of travelers&mdash;to carry back
+something characteristic of the country,
+generally buys what we call &#8220;Indian
+curiosities&#8221;&mdash;moccasins, baskets, feather-work,<span class='pagenum'><a name="Page_4" id="Page_4">[4]</a></span>
+and the one admirable and well-established
+product of Indian manufacture,
+the Navajo blanket. But these hardly
+represent the mass of our people.</p>
+
+<p>We may add to the list of Indian industries,
+lace making, which is being successfully
+taught at some of the reservations,
+but as it is not as yet even a self-supporting
+industry, the above-named
+&#8220;curiosities&#8221; and the Navajo blanket
+stand alone as characteristic hand-work
+produced by native races; while from our
+own, or that of the co-existent Afro-American,
+we have nothing to show in
+the way of true domestic manufactures.</p>
+
+<p>When we contrast this want of production
+with the immense home product of
+Europe, Asia, parts of Africa, and South
+America&mdash;and even certain islands of the
+Southern Seas&mdash;we cannot help feeling a
+sort of dismay at the contrast; and it is
+only by a careful study of the conditions
+which have made the difference that we
+become reassured. It is, in fact, our very
+prosperity, the exceptionally favourable
+circumstances which are a part of farming
+life in this country, which has hitherto
+diverted efforts into other channels.<span class='pagenum'><a name="Page_5" id="Page_5">[5]</a></span></p>
+
+<p>These conditions did not exist during
+the early days of America, and we know
+that while there was little commercial exchange
+of home commodities, many of the
+arts which are used to such profitable purpose
+abroad existed in this country and
+served greatly to modify home expenses
+and increase home comforts. To account
+for the cessation of these household
+industries, it is only necessary to notice
+the drift of certain periods in the short
+history of America&#8217;s settlement and development.</p>
+
+<p>We shall see that the decline of domestic
+manufactures in New England and the
+Middle States was coincident with two
+rapidly increasing movements, one of
+which was the opening and settlement
+of the great West, and the other the establishment
+of cotton and woolen mills
+throughout the country.</p>
+
+<p>In short, the abundant acreage of Western
+lands, fertile beyond the dreams of
+New England or Old World tillers, threw
+the entire business of production or family
+support upon the man. The profit of his
+easily acquired farm land was so great
+and certain that it became almost a reproach<span class='pagenum'><a name="Page_6" id="Page_6">[6]</a></span>
+to him to have his womenkind
+busy themselves with other than necessary
+household duties.</p>
+
+<p>The cotton and woolen mills stood
+ready to supply the needed material for
+clothing, and it was positive economy to
+push the spinning-wheel out of sight under
+the garret eaves and chop up the bulky
+loom for firewood. The wife and daughters
+might reputably cook and clean for the
+men whose business it was to cover the
+black acres with golden wheat, but spinning
+and weaving were decidedly unfashionable
+occupations. Even the emigrants from
+countries where the spinning and weaving
+habit was an inheritance as well as a necessity,
+were governed by the custom of the
+country, and devoted the entire energy
+of the family to the raising of crops.</p>
+
+<p>It is, in fact, owing to fortunate circumstances
+that, if we except the mountain
+regions of the South, there are no
+longer farmhouse or domestic manufactures
+in America.</p>
+
+<p>This, as I have said, only goes to prove
+the hitherto unexampled prosperity of the
+country. In fact, the absence of these
+very industries means that there are<span class='pagenum'><a name="Page_7" id="Page_7">[7]</a></span>
+greater sources of profit within the reach
+of farming households.</p>
+
+<p>This being so, it is natural to ask, why
+the re-establishment of farmhouse manufactures,
+or the encouragement and development
+of them, is a desirable movement.</p>
+
+<p>There are exceedingly good individual
+and personal reasons; and there are also
+commercial and national ones, which
+should not be ignored.</p>
+
+<p>All farmers are not successful. There
+are many poor as well as rich ones; and
+the wife of a poor farmer has less pecuniary
+independence, less money to spend, and
+fewer ways of gaining it, than any other
+woman of equal education and character
+in America.</p>
+
+<p>A poor farmer is often obliged to pay
+out for labour, fencing, stock, insurance
+and taxes every dollar gained by the
+sale of his crops, and if by good luck or
+good management there should be a small
+excess, he is apt to hoard it against unlooked-for
+emergencies. This, at first enforced
+economy, grows to be the habit of
+his life, so that even if he becomes well-to-do,
+or even rich, he distrusts exceedingly
+the wisdom of any expenditure save his own.<span class='pagenum'><a name="Page_8" id="Page_8">[8]</a></span></p>
+
+<p>A mechanic, or a man in any small line
+of business, must trust his wife with the
+disbursement of a certain part of the
+family income. It passes through her
+hands in the way of housekeeping, and
+the management of it exercises and develops
+her faculties; but the wife of the
+farmer has no such interest. The farm is
+expected to supply the family living, and
+this blessed fact becomes almost a curse
+when it deprives the wife of the mental
+stimulus incident to the management of
+resources.</p>
+
+<p>Added to this there is often, at least
+through the winter, partial or complete
+isolation from neighbourly or public interests.
+The great crops of the country
+are produced under circumstances which
+necessitate distance from even the most
+limited social centres, and that the farmer&#8217;s
+wife suffers from this we know, not only
+from observation, but from the statistics of
+insane asylums. And here I am tempted
+to quote from a letter of a close student of
+farmhouse life in the West. She writes:</p>
+
+<p>&#8220;That the farmer himself, as isolated
+and hard worked, makes no such record, I
+believe due to the mental tonic, the broadening<span class='pagenum'><a name="Page_9" id="Page_9">[9]</a></span>
+influence that comes from a sense of
+responsibility in life&#8217;s larger affairs. The
+woman works like a machine, irresponsible
+as to final results; the man like a thinking,
+planning, responsible, independent human
+being.&#8221;</p>
+
+<p>This seems to me a very fair statement
+of the case. The woman, who misses
+social companionship, and who has not the
+saving influence of administration and
+responsibility even in her own household,
+is narrowed to a very small point in life&#8217;s
+affairs, and it is inevitable that she should
+suffer from it. The variety of her work
+also has dwindled. Cooking and house-cleaning
+follow each other in monotonous
+routine, with too much of it at planting
+and harvest seasons and too little at others.
+She has not even the pleasure of comparison
+and emulation in her daily work; it
+neither exercises her faculties nor stimulates
+her thought.</p>
+
+<p>During the winter months she has abundant
+leisure for a harvest of her own, in
+some interesting manufacture adapted to
+her education and circumstances, and in
+the prosecution of these she would be
+brought into a bond of common interest<span class='pagenum'><a name="Page_10" id="Page_10">[10]</a></span>
+with other women. So far I have spoken
+only of the individual and personal reasons
+for which certain domestic and artistic
+industries well might be encouraged; but
+the public and economic reasons are easy
+to find.</p>
+
+<p>In looking at the variety and bulk of
+our national imports, we may be surprised
+to see how large a proportion of them are
+of domestic origin. In fact, nearly everything
+which comes under the head of artistic
+products is the result of domestic
+industry. The beauty and simplicity of
+many of these things is surprising, and
+yet they have required neither unusual
+talent or careful training. They are simply
+the result of the <i>habit</i> of production,
+and their value is in the personal expression
+we find in them. They have always
+this advantage over mechanical manufacture,
+and can be safely relied upon to find
+a market in the face of close mechanical
+imitation.</p>
+
+<p>Among these domestic products we
+shall find the laces of all countries, Ireland,
+Belgium, France, Italy, Sweden and
+Russia contributing this beautiful manufacture,
+from finest to coarsest quality. It<span class='pagenum'><a name="Page_11" id="Page_11">[11]</a></span>
+is as common a process as knitting in the
+homes of many countries, and the fact of
+it being successfully taught in the Indian
+cabins of the far West proves that it is
+not a difficult accomplishment. Embroideries,
+in all countries but our own, are
+common and profitable home productions;
+and when we come to hand-weavings the
+variety is infinite. In practical England,
+the value of hand-weavings in linens has
+led to the introduction of small &#8220;parlour
+looms&#8221; from Sweden; and damasks of special
+designs are woven for special customers
+who appreciate their charm and worth.</p>
+
+<p>Of all hand processes, weaving is the
+most generally or widely applicable, and
+the range of beautiful production possible
+to the simplest weaving is almost beyond
+calculation.</p>
+
+<p>Many of the costly Eastern rugs are as
+simply woven as a Navajo blanket, or even
+a rag carpet. The process is in many
+cases almost identical, the variation being
+only in closeness or fineness of warp and
+arrangement of colour.</p>
+
+<p>I have been much interested of late in
+an application of art to a local industry
+in New Hampshire. It is one which seems<span class='pagenum'><a name="Page_12" id="Page_12">[12]</a></span>
+to prevail to a greater or less degree all
+through New England, and the product is
+called &#8220;pulled rugs.&#8221; The process consists
+of drawing finely cut rags through
+some loose, strong cloth, mainly bagging
+or burlap. I have seen these rugs at Bar
+Harbor and along the Massachusetts coast
+for many years, and while they possessed
+the merit of durability, they were, for the
+most part, so ugly and unattractive that
+only the most sympathetic personal interest
+in the maker would induce one to
+purchase them. The change that has
+been wrought in this manufacture by an
+intelligent application of art is really marvelous.
+The product came under the
+attention of a woman trained in that valuable
+school, &#8220;The Institute of Artist Artisans.&#8221;
+She tried the experiment of using
+new material carefully dyed to follow certain
+Oriental designs, and the result is a
+smooth, velvety, thick-piled rug, which
+cannot be distinguished from a fine Oriental
+rug of the same pattern. The cost of this
+manufacture is necessarily considerable,
+since the process is slow and the material
+costly. But in spite of these disadvantages,
+the drawn rugs have met with deserved<span class='pagenum'><a name="Page_13" id="Page_13">[13]</a></span>
+favour, and are a source of profitable
+labour to the community. It is undoubtedly
+the beginning of an important
+industry, which owes its success entirely
+to the art education of one woman.</p>
+
+<p>There is an improvement somewhat
+akin to this in the weaving of rag-carpet
+rugs, and this is not confined to one locality.
+It consists in the use of <i>new</i> rags, carefully
+selected as to colour both of rags and warp,
+and the result is surprisingly good.</p>
+
+<p>One might say that we have in this
+country peculiar advantages for positive
+artistic excellence as well as volume of production.
+We grow our own wool and cotton.
+We have a great and growing population,
+with such application of mechanical
+invention to routine and necessary work
+as greatly to reduce household labour.
+Added to this, there has been during the
+last ten years so much and such general
+art study as to have created a sort of diffused
+love of art manufactures, so that
+many of the people who would naturally
+adopt the work would have an instructive
+judgment regarding it. I should not
+be afraid to predict great and even peculiar
+excellence in any domestic manufacture<span class='pagenum'><a name="Page_14" id="Page_14">[14]</a></span>
+which became the habit of any given
+locality.</p>
+
+<p><i>The subject of our domestic industries
+is one which should fall naturally within
+the objects of women&#8217;s clubs.</i> If every
+woman&#8217;s club in the country chose from
+its members those who by artistic instinct
+or education, and the possession of practical
+ability, were fitted to lead in the work,
+and made of them a committee on home
+industries, the reports from it would soon
+become a matter of absorbing interest
+to the club, and the productions made
+under the protection, so to speak, of the
+club, would have an advantage that any
+commercial business would consider invaluable.
+Neither would the advantage
+be limited by the interest of a single club.
+That great social engine, &#8220;The Federation
+of Women&#8217;s Clubs,&#8221; can wield an almost
+magical power in the creation of interests
+or encouragement of effort, and the federation
+of organizations, each one exchanging
+experiences as well as products, would be
+an ideal means of growth and extension.</p>
+
+<p>The machinery for the work exists in
+almost every county of every State of the
+Union, and with the threefold interest of<span class='pagenum'><a name="Page_15" id="Page_15">[15]</a></span>
+the promotion of practical art, that of increased
+manufacture, and the extension of
+that sisterhood which is one of the most
+Christian-like and desirable aims of women&#8217;s
+clubs, it would seem a natural and
+congenial effort.</p>
+
+<p>The best results of this general awakening
+will probably be in the South. Certainly
+no conditions could be more favourable
+than those existing in the Cumberland
+Mountains, where wool and cotton grown
+upon the rough farms are habitually spun
+and woven and dyed in the home cabin.
+The dyes are often made from walnut bark,
+pokeberry, and certain nuts and roots
+which have been found capable of &#8220;fast&#8221;
+stain and are easily procured. Unfortunately,
+the facility with which aniline dyes
+can be used is not unknown. The &#8220;linsey
+woolsey,&#8221; which is not only a common
+manufacture in the farmhouses, but the
+common wear of both men and women, is
+an interesting and good manufacture,
+capable of much wider use than it enjoys
+at present.</p>
+
+<p>And linsey woolsey is not the only home
+weaving done in the Cumberland Mountains.
+The showing of cotton homespun<span class='pagenum'><a name="Page_16" id="Page_16">[16]</a></span>
+towel weaving at the Atlanta Exposition
+was a feature of the Exposition, and the
+homespun blankets of the various kinds
+which one finds in common use are only a
+step removed from the process of the
+admirable Navajo blanket.</p>
+
+<p>We see from these different possibilities
+and indications, that although we are still
+a people without true home productions,
+there is every reason to believe that this
+condition will not be a lasting one, and that<span class='pagenum'><a name="Page_17" id="Page_17">[17]</a></span>
+before many years we shall find the special
+advantages and general cultivation of the
+country have not only produced but given
+character to a large domestic manufacture.<span class='pagenum'><a name="Page_18" id="Page_18">[18]</a></span></p>
+
+
+
+<h2><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I.<span class='pagenum'><a name="Page_19" id="Page_19">[19]</a></span></h2>
+
+<h3>RUG WEAVING.</h3>
+
+
+<p><span class="smcap"><big>R</big>ag</span> carpets have been made and used
+in farmhouses for many generations, but
+it is only of late that there has been a general
+demand in all country houses for
+home-made piazza rugs, bedroom rugs,
+and rugs for general use.</p>
+
+<p>It has been found that the best and
+most durable rugs for these purposes, and
+for bath-rooms for town and city houses,
+can be made of cotton or woolen rags sewed
+and woven in the regular old-fashioned
+rag-carpet way, the difference being&mdash;and
+it is rather a large difference&mdash;that the
+rags must be new instead of old, and that
+the colors must be good and carefully
+chosen instead of being used indiscriminately,
+and in addition to this it must be
+woven in two-yard lengths, with a border
+and fringe at either end. This being done,
+good, attractive and salable rugs can be
+made of almost any color, and suitable for<span class='pagenum'><a name="Page_20" id="Page_20">[20]</a></span>
+many purposes. It is an industry perfectly
+adapted to farmhouse conditions,
+and if well followed out would make a
+regular income for the women of the
+family.</p>
+
+<p>The cumbrous old wooden loom is still
+doing a certain amount of work in nearly
+every country neighbourhood, and it is
+capable of a greatly enlarged and much
+more profitable practice. I find very
+little if any difference in the rugs woven
+upon these and the modern steel loom. It
+is true that the work is lighter and weaving
+goes faster upon the latter, and where
+a person or family makes an occupation
+of weaving it is probably better to have
+the latest improvements; but it is possible
+to begin and to make a success of rag rug
+weaving upon an old-fashioned loom, and
+as a rule old-fashioned weavers have little
+to learn in new methods.</p>
+
+<p>This small book is intended as a help in
+adapting their work to modern demands,
+as well as to open a new field to the
+farmer&#8217;s family during the winter months,
+when their time is not necessarily occupied
+with growing and securing crops.</p>
+
+<p>&nbsp;<a name="weaving" id="weaving"></a></p>
+<p class="figcenter"><a href="images/illo002.jpg"><img src="images/illo002_th.jpg"
+alt="Weaving" title="Weaving" /></a></p>
+
+<p class="caption">WEAVING</p>
+
+<p>It does not undertake to teach any one<span class='pagenum'><a name="Page_21" id="Page_21">[21]</a></span>
+who buys or has inherited a loom to begin
+weaving without any further preparation.
+The warping or threading of it must be
+<i>seen</i> to be understood, but when that is
+once learned, all of the rest is a matter of
+practice and experiment, and is really no
+more difficult than any other domestic art.
+One would not expect to spin without
+being shown how to pull the wool and
+turn the wheel at the same time, or even to
+sew or knit without some sort of instruction,
+and the same is true of weaving.</p>
+
+<p>There are many old looms still to be
+found in the garrets of farmhouses, and
+where one has been inherited it is best to
+begin learning to weave upon it instead
+of substituting a new one, since the same
+knowledge answers for both. Probably
+some older member of the family, or at
+least some old neighbour, will be able to
+teach the new beginner how to set up the
+loom and to proceed from that to actual
+weaving. After this is learned it rests with
+one&#8217;s self to become a good weaver, a
+practical dyer, and to put colors together
+which are both harmonious and effective.</p>
+
+<p>What I have chiefly tried to show is how
+to get proper materials and how to use<span class='pagenum'><a name="Page_22" id="Page_22">[22]</a></span>
+them to the best advantage. I think it is
+safe to say that no domestic art is capable
+of such important results from a pecuniary
+point of view, or so important an extension
+in the direction of practical art. Where
+it is used as an art-process and an interesting
+occupation, by women of leisure,
+it is capable of the finest results, and there
+is no reason why these results should not
+become a matter of business profit.</p>
+
+<p>Rag carpets have generally been woven
+of rags cut from any old garments cast
+aside by the household&mdash;coats and trousers
+too old for patching, sheets and pillow-cases
+too tender to use, calico, serge, bits
+of woolen stuffs old and new, went into
+the carpet basket, to be cut or torn into
+strips, sewed indiscriminately together,
+and rolled into balls until there should be
+enough of them for the work of the loom.
+When this time came the loom would be
+warped with white cotton or purple yarn,
+dyed with &#8220;sugar paper&#8221; or logwood, and
+the carpet woven. Even with this entire
+carelessness as to any other result than
+that of a useful floor covering, the rag
+carpet, with its &#8220;hit or miss&#8221; mixture,
+was not a bad thing; and a very small<span class='pagenum'><a name="Page_23" id="Page_23">[23]</a></span>
+degree of attention has served to give it
+a respectable place in domestic manufactures.
+But it is capable of being
+carried much farther; in fact, I know of
+no process which can so easily be made
+to produce really good and beautiful
+results as rag carpet weaving.</p>
+
+<p>The first material needed is what are
+called carpet warps, and these can be purchased
+in different weights and sizes and
+more or less reliable colours in every
+country store, this fact alone showing
+the prevalence of home weaving, since
+the yarns are not&mdash;at least to my knowledge&mdash;used
+for any other purpose.</p>
+
+<p>The cost of warp, dyed or undyed,
+depends upon the quantity required,
+or, in other words, upon its being purchased
+at wholesale or retail. At retail
+it costs twenty cents per pound, and at
+wholesale sixteen. To buy of a wholesale
+dealer one must be able to order at
+least a hundred pounds, and as this would
+weave but a hundred and fifty rugs it
+would not be too large a quantity to have
+on hand for even a moderate amount of
+weaving. These prices refer only to ordinary
+cotton warps, and not to fine &#8220;silk<span class='pagenum'><a name="Page_24" id="Page_24">[24]</a></span>
+finish,&#8221; to linen, or even to silk ones, each
+of which has its special use and price.</p>
+
+<p>In all of them fast colour is a most
+desirable quality, and, indeed, for truly
+good work a necessity. I have found but
+two of the colours which are upon ordinary
+sale to be reasonably fast, and those are a
+very deep red and the ordinary orange.
+The latter will run when dipped in water;
+in fact, it will give out dye to such good
+purpose that I have sometimes used the
+water in which it has been steeped to dye
+cotton rags, as it gives a very good and
+quite fast lemon yellow.</p>
+
+<p>It follows, then, that in weaving rugs
+(which must be washable) with orange
+warp, the warp must be steeped in warm
+water before using. It can be used in that
+state, or it can be <i>set</i> with alum, or it can
+be dipped in a thin indigo dye and made
+into a good and fast green.</p>
+
+<p>The only recourse of the domestic weaver
+who wishes to establish her rugs as of the
+very best make is to dye her own warps;
+and this is not only an easy but a most interesting
+process; so much so, in fact, that
+I am tempted to enlarge upon it as a practical
+study for the young people of the<span class='pagenum'><a name="Page_25" id="Page_25">[25]</a></span>
+family. It is necessary at the very beginning
+to put much stress upon the value
+of fast colour in the warping yarn, since a
+faded warp will entirely neutralize the
+colour of the rags, and spoil the beauty of
+the most successful rug.</p>
+
+<p>The most necessary and widely applicable
+colour needed in warps, or, indeed,
+in rags, is a perfectly fast blue in different
+depths, and this can only be secured by
+indigo. Aniline blue in cotton is never
+sun-fast and rarely will stand washing,
+but a good indigo blue will neither run or
+fade, and is therefore precisely what is
+needed for domestic manufacture. Fortunately,
+the dye-tub has been, in the past
+at least, a close companion of the loom,
+and most old-fashioned farmers&#8217; wives
+know how to use it. With this one can
+command reliable blue warps of all shades;
+and when we come to directions for making
+washable rugs its importance will be seen.</p>
+
+<p>As I have said, by dipping orange warp
+in medium indigo blue a fast and vivid
+green can be secured, and these two tints,
+together with orange and red, give as many
+colours as one needs for rug weaving; they
+give, in fact, a choice of five colours&mdash;orange,<span class='pagenum'><a name="Page_26" id="Page_26">[26]</a></span>
+red, blue, green and white.
+Orange and red are both colours which
+can be relied upon when prepared from
+the ordinary &#8220;Magic&#8221; dyes of commerce.
+Turkey red especially is safe to last, even
+when applied to cotton. In the general
+disapproval of mineral dyes, this one may
+certainly be excepted, as well as the crimson
+red known as &#8220;cardinal,&#8221; which is
+both durable and beautiful, in silk or
+woolen fibre or texture.</p>
+
+<p>After good warps are secured, the second
+material needed is <i>filling</i>; and here the
+subject of old and new rags is to be considered.
+Of course, cloth which has served
+other purposes, as in sheets, pillow-cases,
+curtains, dress skirts, etc., is still capable
+of prolonged wear when the thin parts are
+removed and those which are fairly strong
+are folded and bunched into carpet filling;
+and for family use, or limited sale, such
+rags&mdash;dyed in some colour&mdash;are really
+desirable. Good varieties of washable
+rugs can be made of half-worn cotton
+without dyeing (although they will not
+be as durable as if made from unworn
+muslin) by using blue warps to white fillings.
+The colour effects and methods of<span class='pagenum'><a name="Page_27" id="Page_27">[27]</a></span>
+weaving will be the same whether old or
+new rags are used; but in making a study
+of rag rug weaving from the point of view
+of building up an important industry, it is
+necessary to consider only the use of new
+rags and how to procure the best of them
+at the cheapest rates.</p>
+
+<p>There is a certain amount of what is
+called waste in all cloth mills, either cotton,
+wool or silk, and also in the manufacture
+of every kind of clothing. The waste from
+cotton mills, consisting for the most part
+of &#8220;piece ends,&#8221; imperfect beginnings or
+endings, which must be torn off when the
+piece is made up, are exactly suitable for
+carpet weaving; and, in fact, if made for
+the purpose could hardly be better. These
+can be bought for from ten to twelve cents
+per pound. The same price holds for
+ginghams and for coloured cottons of
+various sorts.</p>
+
+<p>Cutting from shirt-making and clothing
+establishments are not as good. In shirt
+cuttings the cloth varies a good deal in
+thickness, and, in addition to this disadvantage,
+cannot be torn into strips, many
+of the pieces being bias, and therefore having
+to be cut. It is true that while this<span class='pagenum'><a name="Page_28" id="Page_28">[28]</a></span>
+entails additional use of time in preparation,
+bias rags are a more elastic filling
+than straight ones, and if uniformly and
+carefully cut and sewed a rug made from
+them is worth more and will probably sell
+for more than one made of straight rags.</p>
+
+<p>Shirt cuttings sell for about three cents
+per pound, and while a proportion of them
+are too small for use and would have to be
+re-sold for paper rags, the cost of material
+for cotton rugs would still be very trifling.
+Suitable woolen rags from the mills sell for
+twenty-five cents per pound. Tailors&#8217; and
+dressmakers&#8217; cuttings are much cheaper,
+and very advantageous arrangements can
+be made with large establishments if one
+is prepared to take all they have to offer.</p>
+
+<p>One difficulty with woolen rags from
+tailoring establishments is in the sombreness
+of the colours; but much can be done
+by judicious sorting and sewing of the rags,
+for it is astonishing how bits of every conceivable
+colour will melt together when
+brought into a mixed mass; also if they
+are woven upon a red warp the effect is
+brightened.</p>
+
+<p>Having secured materials of different
+kinds, the next step is in the cutting and<span class='pagenum'><a name="Page_29" id="Page_29">[29]</a></span>
+sewing, and here also new methods must
+step in.</p>
+
+<p>The old-fashioned way of sewing carpet
+rags&mdash;that is, simply <i>tacking</i> them together
+with a large needle and coarse thread&mdash;will
+not answer at all in this new development
+of rug making. The filling must be
+smooth, without lumps or rag ends, and
+the joinings absolutely fast and fairly inconspicuous.
+Some of the new rags from
+cotton or woolen mills come in pieces from
+a quarter to a half-yard in length and the
+usual width of the cloth. These can be
+sewed together on the sewing machine,
+lapping and basting them before sewing.
+They should lap from a quarter to a half
+inch and have two sewings, one at either
+edge of the lap. If sewed in this way they
+can afterward be torn into strips, using the
+scissors to cut across seams. It can be
+performed very speedily when one is
+accustomed to it, and is absolutely secure,
+so that no rag ends can ever be seen in
+the finished weaving.</p>
+
+<p>If the cloth pieces which are to be used
+for rags are not wide enough to sew on the
+sewing machine, they should be lapped and
+sewed by hand in the same way, unless<span class='pagenum'><a name="Page_30" id="Page_30">[30]</a></span>
+they happen to have selvedge ends, in
+which case they should by all means be
+strongly overhanded. This makes the
+best possible joining, as it is no thicker
+than the rest of the rag filling, and consequently
+gives an even surface. Good sewing
+is the first step toward making good
+and workmanlike rugs.</p>
+
+<p>Whenever the rags can be torn instead
+of cut, it is preferable, as it secures uniform
+width. The width, of course, must vary according
+to the quality of cloth and weight
+desired in the rug. A certain weight is
+necessary to make it lie smoothly, as a
+light rug will not stay in place on the floor.
+In ordinary cotton cloth an inch wide<span class='pagenum'><a name="Page_31" id="Page_31">[31]</a></span>
+strip is not too heavy and will pinch into
+the required space. If, however, a door-hanging
+or lounge-cover is being woven,
+the rags may be made half that width.<span class='pagenum'><a name="Page_32" id="Page_32">[32]</a></span></p>
+
+
+
+<h2><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II.<span class='pagenum'><a name="Page_33" id="Page_33">[33]</a></span></h2>
+
+<h3>THE PATTERN.</h3>
+
+
+<p><span class="smcap"><big>W</big>hen</span> proper warp and filling are secured,
+experimental weaving may begin.
+If the loom is an old-fashioned wooden one,
+it will weave only in yard widths, and this
+yard width takes four hundred and fifty
+threads of warp. Warping the loom is
+really the only difficult or troublesome
+part of plain weaving, and therefore it is
+best to put in as long a warp as one is
+likely to use in one colour. One and a
+half pounds of cotton rags will make one
+yard of weaving.</p>
+
+<p>The simplest trial will be the weaving
+of white filling, either old or new, with a
+warp of medium indigo blue. Of course
+each warp must be long enough to weave
+several rugs; and the first one, to make
+the experiment as simple as possible,
+should be of white rags alone upon a blue
+warp. There must be an allowance of five
+inches of warp for fringe before the weaving<span class='pagenum'><a name="Page_34" id="Page_34">[34]</a></span>
+is begun, and ten inches at the end
+of the rug to make a fringe for both first
+and second rugs. Sometimes the warp is
+set in groups of three, with a corresponding
+interval between, and this&mdash;if the
+tension is firm and the rags soft&mdash;gives
+a sort of honeycomb effect which is very
+good.</p>
+
+<p>The grouping of the warp is especially
+desirable in one-coloured rugs, as it gives
+a variation of surface which is really
+attractive.</p>
+
+<p>When woven, the rug should measure
+three feet by six, without the fringe. This
+is to be knotted, allowing six threads to a
+knot. This kind of bath-rug&mdash;which is
+the simplest thing possible in weaving&mdash;will
+be found to be truly valuable, both
+for use and effect. If the filling is sufficiently
+heavy, and especially if it is made
+of half-worn rags, it will be soft to the feet,
+and can be as easily washed as a white
+counterpane; in fact, it can be thrown on
+the grass in a heavy shower and allowed
+to wash and bleach itself.</p>
+
+<p>Several variations can be made upon
+this blue warp in the way of borders and
+color-splashes by using any indigo-dyed<span class='pagenum'><a name="Page_35" id="Page_35">[35]</a></span>
+material mixed with the white rags. Cheap
+blue ginghams, &#8220;domestics&#8221; or half-worn
+and somewhat faded blue denims will be
+of the right depth of color, but as a rule
+new denim is of too dark a blue to introduce
+with pure white filling.</p>
+
+<p>The illustration called &#8220;The Onteora
+Rug&#8221; is made by using a proportion of a
+half-pound of blue rags to the two and a
+half of white required to make up the three
+pounds of cotton filling required in a six-foot
+rug. This half-pound of blue should
+be distributed through the rug in three
+portions, and the two and a half pounds
+of white also into three, so as to insure an
+equal share of blue to every third of the
+rug. After this division is made it is quite
+immaterial how it goes together. The
+blue rags may be long, short or medium,
+and the effect is almost certain to be
+equally good.</p>
+
+<p>The side border in &#8220;The Lois Rug,&#8221;
+which is made upon the same blue warp, is
+separately woven, and afterward added to
+the plain white rug with blue ends, but an
+irregular side border can easily be made
+by sewing the rags in lengths of a half-yard,
+alternating the blue and white, and<span class='pagenum'><a name="Page_36" id="Page_36">[36]</a></span>
+keeping the white rags in the centre of the
+rug while weaving.</p>
+
+<p>These three or four variations of style
+in what we may call washable rugs are
+almost equally good where red warp is
+used, substituting Turkey red rags with
+the white filling instead of blue. An orange
+warp can be used for an orange and white
+rug, mixing the white filling with ordinary
+orange cotton cloth.</p>
+
+<p>The effect may be reversed by using a
+white warp with a red, blue or yellow
+filling, making the borders and splashes
+with white. One of the best experiments
+in plain weaving I have seen is a red rug
+of the &#8220;Lois&#8221; style, using white warp and
+mixed white and green gingham rags for
+the borders, while the body of the rug is
+in shaded red rags.</p>
+
+<p>This, however, brings us to the question
+of color in fillings, which must be treated
+separately.</p>
+
+<p>&nbsp;<a name="onteora" id="onteora"></a></p>
+<p class="figcenter"><a href="images/illo003.jpg"><img src="images/illo003_th.jpg"
+alt="The Onteora Rug" title="The Onteora Rug" /></a></p>
+
+<p class="caption">THE ONTEORA RUG</p>
+
+<p>Of course, variations of all kinds can be
+made in washable rugs. Light and dark
+blue rags can be used in large proportion
+with white ones to make a &#8220;hit or miss,&#8221;
+and where a darker rug is considered better
+for household use it can be made entirely<span class='pagenum'><a name="Page_37" id="Page_37">[37]</a></span>
+of dark and light blue on a white warp;
+the same thing can be done in reds, yellows
+and greens. Brown can be used with
+good effect mixed with orange, using
+orange warp; or orange, green and brown
+will make a good combination on a white
+warp. In almost every variety of rug
+except where blue warp is used a red stripe
+in the border will be found an improvement.</p>
+
+<p>A very close, evenly distributed red
+warp, with white filling, will make a pink
+rug good enough and pretty enough for
+the daintiest bedroom. If it is begun and
+finished with a half-inch of the same warp
+used as filling, it makes a sort of border;
+and this, with the red fringe, completes
+what every one will acknowledge is an exceptionally
+good piece of floor furnishing.</p>
+
+<p>In using woolen rags, which are apt to
+be much darker in colour than cotton, a
+white, red or yellow warp is more apt to
+be effective than either a green or a blue;
+in fact, it is quite safe to say that light
+filling should go with dark warp and dark
+filling with light or white.</p>
+
+<p>There is an extremely good style of rag
+rug made at Isle Lamotte, in Vermont,<span class='pagenum'><a name="Page_38" id="Page_38">[38]</a></span>
+where very dark blue or green woolen rags
+are woven upon a white warp, with a design
+of arrows in white at regular intervals
+at the sides. This design is made by
+turning back the filling at a given point
+and introducing a piece of white filling,
+which in turn is turned back when the
+length needed for the design is woven and
+another dark one introduced, each one to
+be turned back at the necessary place
+and taken up in the next row. Of course,
+while the design is in progress one must
+use several pieces of filling in each row of
+weaving.</p>
+
+<p>The black border can only be made by
+introducing a large number of short pieces
+of the contrasting colour which is to be used
+in the design and tacking them in place as
+the weaving proceeds. Of course, in this
+case thin cloth should be used for the
+colour-blocks, as otherwise the doubling of
+texture would make an uneven surface.
+If the rug is a woolen one, not liable to be
+washed, this variation of color in pattern
+can be cleverly made by brushing the applied
+color pieces lightly with <i>glue</i>. Of
+course, in this case the design will show
+only on the upper side of the rug. In fact,<span class='pagenum'><a name="Page_39" id="Page_39">[39]</a></span>
+the only way to make the design show
+equally on both sides is by turning back
+the warp, as in the arrow design, or by
+actually cutting out and sewing in pieces
+of colour.</p>
+
+<p>By following out the device of using
+glue for fastening the bits of colour which
+make border designs many new and very
+interesting effects can be obtained, as most
+block and angle forms can be produced
+by lines made in weaving. It is only where
+the rug must be constantly subject to
+washing that they are not desirable. It
+must be remembered that the warp threads
+bind them into place, after they are glue-fastened.</p>
+
+<p>Large rugs for centres of rooms can be
+made of woolen rags by weaving a separate
+narrow border for the two sides. If the
+first piece is three feet wide by eight in
+length, and a foot-wide border is added at
+the sides, it will make a rug five feet wide
+by eight feet long; or if two eight-foot
+lengths are sewn together, with a foot-wide
+border, it will make an eight-by-eight
+centre rug. The border should be of black
+or very dark coloured filling. In making
+a bordered rug, two dark ends must be<span class='pagenum'><a name="Page_40" id="Page_40">[40]</a></span>
+woven on the central length of the rug&mdash;that
+is, one foot of black or dark rags can
+be woven on each end and six feet of the
+&#8220;hit or miss&#8221; effect in the middle. This
+gives a strip of eight feet long, including
+two dark ends. The separate narrow
+width, one foot wide and sixteen feet in
+length, must be added to this, eight feet
+on either side. The border must be very
+strongly sewn in order to give the same
+strength as in the rest of the rug.</p>
+
+<p>The same plan can be carried out in
+larger rugs, by sewing breadths together
+and adding a border, but they are not
+easily lifted, and are apt to pull apart by
+their own weight. Still, the fact remains
+that very excellent and handsome rugs can
+be made from rags, in any size required to
+cover the floor of a room, by sewing the
+breadths and adding borders, and if care
+and taste are used in the combinations as
+good an effect can be secured as in a much
+more costly flooring.</p>
+
+<p>The ultimate success of all these different
+methods of weaving rag rugs depends
+upon the amount of beauty that can be
+put into them. They possess all the necessary
+qualities of durability, usefulness and<span class='pagenum'><a name="Page_41" id="Page_41">[41]</a></span>
+inexpensiveness, but if they cannot be
+made beautiful other estimable qualities
+will not secure the wide popularity they
+deserve. Durable and beautiful colour
+will always make them salable, and good
+colour is easily attainable if the value of
+it is understood.</p>
+
+<p>There are two ways of compassing this
+necessity. One is to buy, if possible, in
+piece ends and mill waste, such materials
+as Turkey red, blue and green ginghams,
+and blue domestics and denims, as well as
+all the dark colours which come in tailors&#8217;
+cuttings. The other and better alternative
+is to buy the waste of white cotton
+mills and dye it. For the best class of
+rugs&mdash;those which include beauty as well
+as usefulness, and which will consequently
+bring a much larger price if sold&mdash;it is quite
+worth while to buy cheap muslins and
+calicoes; and as quality&mdash;that is, coarseness
+or fineness&mdash;is perfectly immaterial, it
+is possible to buy them at from four to five
+cents per yard. These goods can be torn
+lengthwise, which saves nearly the whole
+labor of sewing them, and from eight to
+ten yards, according to their fineness, will
+make a yard of weaving. The best textile<span class='pagenum'><a name="Page_42" id="Page_42">[42]</a></span>
+for this is undoubtedly unbleached muslin,
+even approaching the quality called
+&#8220;cheesecloth.&#8221; This can easily be dyed
+if one wishes dark instead of light colours,
+and it makes a light, strong, elastic rug
+which is very satisfactory.</p>
+
+<p>In rag carpet weaving in homesteads
+and farmhouses&mdash;and it is so truly a domestic
+art that it is to be hoped this kind
+of weaving will be confined principally to
+them&mdash;some one of the household should
+be skilled in simple dyeing. This is very important,
+as better and cheaper rugs can be<span class='pagenum'><a name="Page_43" id="Page_43">[43]</a></span>
+made if the weaver can get what she wants
+in colour by having it dyed in the house,
+rather than by the chance of finding it
+among the rags she buys.<span class='pagenum'><a name="Page_44" id="Page_44">[44]</a></span></p>
+
+
+
+<h2><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III.<span class='pagenum'><a name="Page_45" id="Page_45">[45]</a></span></h2>
+
+<h3>DYEING.</h3>
+
+
+<p><span class="smcap"><big>I</big>n</span> the early years of the past century a
+dye-tub was as much a necessity in every
+house as a spinning wheel, and the re-establishment
+of it in houses where weaving
+is practised is almost a necessity; in
+fact, it would be of far greater use at present
+than in the days when it was only used
+to dye the wool needed for the family knitting
+and weaving. All shades of blue,
+from sky-blue to blue-black, can be dyed
+in the indigo-tub; and it has the merit of
+being a cheap as well as an almost perfectly
+fast dye. It could be used for dyeing
+warps as well as fillings, and I have
+before spoken of the difficulty, indeed almost
+impossibility, of procuring indigo-dyed
+carpet yarn.</p>
+
+<p>Blue is perhaps more universally useful
+than any other colour in rag rug making,
+since it is safe for both cotton and wool,
+and covers a range from the white rug with<span class='pagenum'><a name="Page_46" id="Page_46">[46]</a></span>
+blue warp, the blue rug with white warp,
+through all varieties of shade to the dark
+blue, or clouded blue, or green rug,
+upon white warp. It can also be used in
+connection with yellow or orange, or with
+copperas or walnut dye, in different shades
+of green; and, in short, unless one has exceptional
+advantages in buying rags from
+woolen mills, I can hardly imagine a profitable
+industry of rag-weaving established
+in any farmhouse without the existence of
+an indigo dyeing-tub.</p>
+
+
+<h4>RED.</h4>
+
+<p>The next important color is red. Red
+warps can be bought, but the lighter shades
+are not even reasonably fast; and indeed,
+the only sure way of securing absolutely
+fast colour in cotton warp is to dye it.
+Prepared dyes are somewhat expensive
+on account of the quantity required, but
+there are two colours, Turkey red and
+cardinal red, which are extremely good for
+the purpose. These can be brought at
+wholesale from dealers in chemicals and
+dye-stuffs at much cheaper rates than by
+the small paper from the druggist.<span class='pagenum'><a name="Page_47" id="Page_47">[47]</a></span></p>
+
+
+<h4>COPPERAS.</h4>
+
+<p>The ordinary copperas, which can be
+bought at any country store, gives a fast
+nankeen-coloured dye, and this is very
+useful in making a dull green by an after-dip
+in the indigo-tub.</p>
+
+
+<h4>WALNUT.</h4>
+
+<p>There are some valuable domestic dyes
+which are within the reach of every
+country dweller, the best and cheapest of
+which is walnut or butternut stain. This
+is made by steeping the bark of the tree or
+the shell of the nut until the water is dark
+with colour. It will give various shades
+of yellow, brown, dark brown and green
+brown, according to the strength of the
+decoction or the state of the bark or nut
+when used. If the bark of the nut is used
+when green, the result will be a yellow
+brown; and this stain is also valuable in
+making a green tint when an after-dip of
+blue is added. Leaves and tree-bark will
+give a brown with a very green tint, and
+these different shades used in different rags
+woven together give a very agreeably
+clouded effect. Walnut stain will itself set
+or fasten some others; for instance, pokeberry<span class='pagenum'><a name="Page_48" id="Page_48">[48]</a></span>
+stain, which is a lovely crimson, can
+be made reasonably fast by setting it with
+walnut juice.</p>
+
+
+<h4>RUST-COLOUR.</h4>
+
+<p>Iron rust is the most indelible of all
+stains besides being a most agreeable
+yellow, and it is not hard to obtain, as bits
+of old iron left standing in water will soon
+manufacture it. It would be a good use
+for old tin saucepans and various other
+house utensils which have come to a state
+of mischievousness instead of usefulness.</p>
+
+
+<h4>GRAY.</h4>
+
+<p>Ink gives various shades of gray according
+to its strength, but it would be cheaper
+to purchase it in the form of logwood than
+as ink.</p>
+
+
+<h4>LOGWOOD CHIPS.</h4>
+
+<p>Logwood chips boiled in water give a
+good yellow brown&mdash;deep in proportion to
+the strength of the decoction.</p>
+
+
+<h4>YELLOW FROM FUSTIC.</h4>
+
+<p>Yellow from fustic requires to be set
+with alum, and this is more effectively
+done if the material to be dyed is soaked in
+alum water and dried previous to dyeing.<span class='pagenum'><a name="Page_49" id="Page_49">[49]</a></span>
+Seven ounces of alum to two quarts of
+water is the proper proportion. The
+fustic chips should be well soaked, and
+afterward boiled for a half-hour to extract
+the dye, which will be a strong and fast
+yellow.</p>
+
+
+<h4>ORANGE.</h4>
+
+<p>Orange is generally the product of
+annato, which must be dissolved with
+water to which a lump of washing soda has
+been added. The material must be soaked
+in a solution of tin crystals before dipping,
+if a pure orange is desired, as without this
+the color will be a pink buff&mdash;or &#8220;nankeen&#8221;
+color.</p>
+
+<p>What I have written on the subject of
+home dyeing is intended more in the way
+of suggestion than direction, as it is simply
+giving some results of my own experiments,
+based upon early familiarity with
+natural growths rather than scientific
+knowledge. I have found the experiments
+most interesting, and more than
+fairly successful, and I can imagine nothing
+more fascinating than a persistent search
+for natural and permanent dyes.</p>
+
+<p>The Irish homespun friezes, which are
+so dependable in colour for out-of-door<span class='pagenum'><a name="Page_50" id="Page_50">[50]</a></span>
+wear, are invariably dyed with natural
+stains, procured from heather roots,
+mosses, and bog plants of like nature. It
+must be remembered that any permanent
+or indelible stain is a dye, and if boys
+and girls who live in the country were set
+to look for plants possessing the colour-quality,
+many new ones might be discovered.
+I am told by a Kentucky mountain
+woman, used to the production of
+reliable colour in her excellent weaving,
+that the ordinary roadside smartweed
+gives one of the best of yellows. Indeed,
+she showed me a blanket with a yellow
+border which had been in use for twenty
+years, and still held a beautiful lemon
+yellow. In preparing this, the plant is
+steeped in water, and the tint set with
+alum. Combining this with indigo, or by
+an after-dip in indigo-water, one could
+procure various shades of fast blue-green,
+a colour which is hard to get, because most
+yellows, which should be one of its preparatory
+tints, are buff instead of lemon
+yellow.</p>
+
+<p>An unlimited supply and large variety
+of cheap and reliable colour in rag filling,
+and a few strong and brilliant colours in<span class='pagenum'><a name="Page_51" id="Page_51">[51]</a></span>
+warps, are conditions for success in rag
+rug weaving, but these colours must be
+studiously and carefully combined to produce
+the best results.</p>
+
+<p>I have said that, as a rule, light warps
+must go with dark filling and dark warps
+with light, and I will add a few general
+rules which I have found advantageous in
+my weaving.</p>
+
+<p>In the first place, in rugs which are
+largely of one colour, as blue, or green, or
+red, or yellow, no effort should be made to
+secure <i>even</i> dyeing; in fact, the more uneven
+the colour is the better will be the rug.
+Dark and light and spotted colour work
+into a shaded effect which is very attractive.
+The most successful of the simple
+rugs I possess is of a cardinal red woven
+upon a white warp. It was chiefly made
+of white rags treated with cardinal red
+Diamond dye, and was purposely made as
+uneven as possible. The border consists
+of two four-inch strips of &#8220;hit or miss&#8221;
+green, white and red mixed rags, placed
+four inches from either end, with an inch
+stripe of red between, and the whole finished
+with a white knotted fringe.</p>
+
+<p>A safe and general rule is that the<span class='pagenum'><a name="Page_52" id="Page_52">[52]</a></span>
+border stripes should be of the same
+colour as the warp&mdash;as, for instance, with
+a red warp a red striped border&mdash;while the
+centre and ends of the rug might be mixed
+rags of all descriptions.</p>
+
+<p>It is also safe to say that in using pure
+white or pure black in mixed rags, these
+two colours, and particularly the white,
+should appear in short pieces, as otherwise
+they give a striped instead of a mottled
+effect, and this is objectionable. White is
+valuable for strong effects or lines in
+design; indeed, it is hard to make design
+prominent or effective except in white or
+red.</p>
+
+<p>&nbsp;<a name="lois" id="lois"></a></p>
+<p class="figcenter"><a href="images/illo004.jpg"><img src="images/illo004_th.jpg"
+alt="The Lois Rug" title="The Lois Rug" /></a></p>
+
+<p class="caption">THE LOIS RUG</p>
+
+<p>These few general rules as to colour,
+together with the particular ones given in
+other chapters, produce agreeable combinations
+in very simple and easy fashion.
+I have not, perhaps, laid as much stress
+upon warp grouping and treatment as is
+desirable, since quite distinct effects are
+produced by these things. Throwing the
+warp into groups of three or four threads,
+leaving small spaces between, produces a
+sort of basket-work style; while simply
+doubling the warp and holding it with
+firm tension gives the honeycomb effect of<span class='pagenum'><a name="Page_53" id="Page_53">[53]</a></span>
+which I have previously spoken. If the
+filling is wide and soft, and well pushed
+back between each throw of the shuttle,
+it will bunch up between the warp threads
+like a string of beads, and in a dark warp
+and light filling a rim of coloured shadow
+seems to show around each little prominence.<span class='pagenum'><a name="Page_54" id="Page_54">[54]</a></span>
+Such rugs are more elastic to the
+tread than an even-threaded one, and on
+the whole may be considered a very desirable
+variation.</p>
+
+<p>It is well for the weaver to remember<span class='pagenum'><a name="Page_55" id="Page_55">[55]</a></span>
+that every successful experiment puts the
+manufacture on a higher plane of development
+and makes it more valuable as a
+family industry.<span class='pagenum'><a name="Page_56" id="Page_56">[56]</a></span></p>
+
+
+
+<h2><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV.<span class='pagenum'><a name="Page_57" id="Page_57">[57]</a></span></h2>
+
+<h3>INGRAIN CARPET RUGS.</h3>
+
+
+<p><span class="smcap"><big>U</big>ndoubtedly</span> the most useful&mdash;and
+from a utilitarian point of view the most
+perfect&mdash;rag rug is made from worn ingrain
+carpet, especially if it is of the honest
+all-wool kind, and not the modern mixture
+of cotton and wool. There are places in
+the textile world where a mixture of cotton
+and wool is highly advantageous, but in
+ingrain carpeting, where the sympathetic
+fibre of the wool holds fast to its adopted
+colour, and the less tenacious cotton allows
+it to drift easily away, the result is a rusty
+grayness of colour which shames the whole
+fabric. This grayness of aspect cannot be
+overcome in the carpet except by re-dyeing,
+and even then the improvement may
+be transitory, so an experienced maker of
+rugs lets the half-cotton ingrain drift to
+its end without hope of resurrection.</p>
+
+<p>The cutting of old ingrain into strips for
+weaving is not so serious a task as it would<span class='pagenum'><a name="Page_58" id="Page_58">[58]</a></span>
+seem. Where there is an out-of-doors to
+work in, the breadths can easily be torn
+apart without inconvenience from dust.
+After this they should be placed, one at
+a time, in an old-fashioned &#8220;pounding-barrel&#8221;
+and invited to part with every
+particle of dust which they have accumulated
+from the foot of man.</p>
+
+<p>For those who do not know the virtues
+and functions of the &#8220;pounding-barrel,&#8221;
+I must explain that it is an ordinary, tight,
+hard-wood barrel; the virtue lying in the
+pounder, which may be a broom-handle,
+or, what is still better, the smooth old oak
+or ash handle of a discarded rake or hoe.
+At the end of it is a firmly fixed block of
+wood, which can be brought down with
+vigour upon rough and soiled textiles. It
+is an effective separator of dust and fibre,
+and is, in fact, a New England improvement
+upon the stone-pounding process
+which one sees along the shores of streams
+and lakes in nearly all countries but England
+and America.</p>
+
+<p>If the pounding-barrel is lacking, the
+next best thing is&mdash;after a vigorous shaking&mdash;to
+leave the breadths spread upon
+the grass, subject to the visitations of wind<span class='pagenum'><a name="Page_59" id="Page_59">[59]</a></span>
+and rain. After a few days of such exposure
+they will be quite ready to handle
+without offense. Then comes the process
+of cutting. The selvages must be sheared
+as narrowly as possible, since every inch
+of the carpet is valuable. When the selvages
+are removed, the breadths are to be
+cut into long strips of nearly an inch in
+width and rolled into balls for the loom.
+If the pieces are four or five yards in
+length, only two or three need to be sewn
+together until the weaving is actually
+begun, as the balls would otherwise become
+too heavy to handle. As the work proceeds,
+however, the joinings must be well
+lapped and strongly sewn, the rising of
+one of the ends in the woven piece being
+a very apparent blemish.</p>
+
+<p>Rugs made of carpeting require a much
+stronger warp than do ordinary cotton or
+woolen rugs, and therefore a twine made
+of flax or hemp, if it be of fast colour, will
+be found very serviceable. Some weavers
+fringe the rags by pulling out side threads,
+and this gives an effect of <i>nap</i> to the
+woven rug which is very effective, for as
+the rag is doubled in weaving the raveled
+ends of threads stand up on the surface,<span class='pagenum'><a name="Page_60" id="Page_60">[60]</a></span>
+making quite a furry appearance. I have
+a rug treated in this way made from old
+green carpeting, woven with a red warp,
+which presents so rich an appearance that
+it might easily be mistaken for a far more
+costly one. It has, however, the weak
+point of having been woven with the ordinary
+light-red warp of commerce, and is
+therefore sure to lose colour. If the warp
+had been re-dyed by the weaver, with
+&#8220;Turkey red,&#8221; it would probably have
+held colour as long as it held together.</p>
+
+<p>This cutting of ingrain rags would seem
+to be a serious task, but where weaving is
+a business instead of an amusement it is
+quite worth while to buy a &#8220;cutting table&#8221;
+upon which the carpet is stretched and
+cut with a knife. This table, with its machinery,
+can be bought wherever looms
+and loom supplies are kept, at a cost of
+from seven to eight dollars. If the strips
+are raveled at all, it should be at least for
+a third of an inch, as otherwise the rug
+would possess simply a rough and not a
+napped surface. If the strips are cut
+an inch in width and raveled rather more
+than a third on each side, it still leaves
+enough cloth to hold firmly in the weaving,<span class='pagenum'><a name="Page_61" id="Page_61">[61]</a></span>
+but I have known one industrious soul who
+raveled the strips until only a narrow
+third was left down the middle of the strip,
+and this she found it necessary to stitch
+with the sewing machine to prevent further
+raveling. I have also known of the
+experiment of cutting the strips on the
+bias, stitching along the centre and pulling
+the two edges until they were completely
+ruffled. Although this is a painstaking
+process, it has very tangible merits, as,
+in the first place, absolutely nothing of
+the carpet is wasted&mdash;no threads are pulled
+out and thrown away as in the other
+method&mdash;and in the next the sewings
+together are overhand instead of lapped.
+The raveled waste can often be used as
+filling for the ends of rugs if it is wound as
+it is pulled from the carpet rags. Indeed,
+one can hardly afford to waste such good
+material.</p>
+
+<p>It will be seen that there are great possibilities
+in the carpet rug. Even the unravelled
+ones are desirable floor covering
+on account of their weight and firmness.
+They lie where they are placed, with no
+turned-up ends, and this is a great virtue
+in rugs.<span class='pagenum'><a name="Page_62" id="Page_62">[62]</a></span></p>
+
+<p>Of course much of the beauty of the ingrain
+carpet rug depends upon the original
+colour of the carpet. Most of those which
+are without design will work well into rugs
+if a strongly contrasting colour is used in
+the warp. If, for instance, the carpet
+colour is plain blue, the warp should be
+white; if yellow, either an orange warp,
+which will make a very bright rug, or a
+green warp, which will give a soft yellowish
+green, or a blue, which will give a general
+effect of green changing to yellow.</p>
+
+<p>If the carpet should be a figured one,
+a red warp will be found more effective
+than any other in bringing all the colours
+together. If it should happen to be faded
+or colourless, the breadths can be dipped
+in a tub of strong dye of some colour which
+will act well upon the previous tint. If,
+for instance, it should be a faded blue,
+it may be dipped in an indigo dye for
+renewal of colour, or into yellow, which will
+change it into green. A poor yellow will
+take a brilliant red dye, and a faded brown
+or fawn will be changed into a good claret
+colour by treating it with red dye. Faded
+brown or fawn colours will take a good
+dark green, as will also a weak blue. Blue<span class='pagenum'><a name="Page_63" id="Page_63">[63]</a></span>
+can also be treated with yellow or a fresher
+blue.</p>
+
+<p>Of course, in speaking of this kind of<span class='pagenum'><a name="Page_64" id="Page_64">[64]</a></span>
+dyeing, the renewal of old tints, it is with
+reference to the common prepared dyes
+which are for sale&mdash;with directions&mdash;by
+every druggist, and with a little knowledge
+of how these colours act upon each other
+one can produce very good effects. It is<span class='pagenum'><a name="Page_65" id="Page_65">[65]</a></span>
+quite a different thing from the dyeing of
+fibre which is to be woven into cloth. In
+the latter case it is far wiser to use vegetable
+dyes, but in the freshening of old
+material the prepared mineral dyes are
+more convenient and sufficiently effective.<span class='pagenum'><a name="Page_66" id="Page_66">[66]</a></span></p>
+
+
+
+<h2><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V.<span class='pagenum'><a name="Page_67" id="Page_67">[67]</a></span></h2>
+
+<h3>WOVEN RAG PORTIERES.</h3>
+
+
+<p><span class="smcap"><big>R</big>ag</span> weaving is not necessarily confined
+to rugs, for very beautiful portieres and
+table and lounge covers may be woven
+from carefully chosen and prepared rags.
+The process is practically the same, the
+difference being like that between coarse
+and fine needlework, where finer material
+and closer and more painstaking handiwork
+is bestowed. The result is like a
+homespun cloth. Both warp and woof
+must be finer than in ordinary carpet
+weaving. Instead of coarse cotton yarn,
+warp must be fine &#8220;mercerized&#8221; cotton, or
+of linen or silk thread, and the warp
+threads are set much closer in the loom.
+In place of ten or twelve threads to the
+inch, there should be from fifteen to
+twenty. The woof or filling may be old
+or new, and either of fine cotton, merino,
+serge, or other wool material, or of silk.
+The ordinary &#8220;silk-rag portiere&#8221; is not a<span class='pagenum'><a name="Page_68" id="Page_68">[68]</a></span>
+very attractive hanging, being somewhat
+akin to the crazy quilt, and made, as is that
+bewildering production, from a collection
+of ribbons and silk pieces of all colours and
+qualities, cut and sewed together in a haphazard
+way, without any arrangement of
+colour or thought of effect, and sent to the
+weaver with a vague idea of getting something
+of worth from valueless material.
+This is quite a different thing from a silk
+portiere made from some beautiful old
+silk garment, which is too much worn for
+further use, where warp and woof colour
+are selected for fitness and harmony, and
+the weaver uses her rags, as the painter
+does his colours, with a purpose of artistic
+effect. If the work is done from that point
+of view, the last state of the once beautiful
+old garment may truly be said to be better
+than the first. If a light cloth is used for
+this kind of manufacture, it may be torn
+into strips so narrow as to simulate yarn&mdash;and
+make what appears to be yarn weaving.
+This cannot well be done with old
+or worn cloth, because there is not strength
+in the very narrow strip to bear the strain
+of tearing; but new muslin, almost as light
+as that which is known as &#8220;cheesecloth,<span class='pagenum'><a name="Page_69" id="Page_69">[69]</a></span>&#8221;
+treated in this way makes a beautiful
+canvas-like weaving which, if well coloured,
+is very attractive for portieres or table
+covers.</p>
+
+<p>If one has breadths of silk of a quality
+which can be torn without raveling, and
+is sufficiently strong to bear the process, it
+is delightful material to work with. If it
+is of ordinary thickness, a half-inch in
+width is quite wide enough, and this will
+roll or double into the size of ordinary
+yarn. If the silk is not strong enough to
+tear, it is better to cut the strips upon the
+bias than straight, and the same is true of
+fine woolens, like merinos, cashmeres, or
+any worsted goods. There is much more
+elasticity in them when cut in this way,
+and they are more readily crushed together
+by the warp.</p>
+
+<p>I know a beautiful hanging of crimson
+silk, or rather of crimson and garnet&mdash;the
+crimson having been originally a light silk
+dress dyed to shade into the garnet. The
+two coloured rags were sewn together
+&#8220;hit or miss&#8221; fashion and woven upon a
+bright cardinal-coloured warp. There
+was no attempt at border: it was simply a
+length of vari-coloured coarse silk weaving,<span class='pagenum'><a name="Page_70" id="Page_70">[70]</a></span>
+absolutely precious for colour and
+quality.</p>
+
+<p>Treated in this way, an old silk gown
+takes on quite a new value and becomes
+invested with absorbing interest. Spots
+and tarnish disappear in the metempsychosis,
+or serve for scattered variation,
+and if the weaver chooses to still further
+embellish it with a monogram or design in
+cross stitch embroidery, she has acquired
+a piece of drapery which might be a valuable
+inheritance to her children.</p>
+
+<p>Merino or cashmere which has been
+worn and washed, and is coupled with
+other material of harmonizing colour, like
+pieces of silk or velvet, is almost as valuable
+for the making of portieres and table
+covers as if it were silk. Indeed, for the
+latter purpose it is preferable, being generally
+washable.</p>
+
+<p>Cotton hangings made in this way are
+often very desirable. &#8220;Summer muslins&#8221;
+which have served their time as dresses,
+and are of beautiful colour and quite strong
+enough to go into the loom, can be woven
+with a warp of gray linen thread into really
+beautiful hangings, especially the strong,
+plain tints&mdash;the blues and greens and reds<span class='pagenum'><a name="Page_71" id="Page_71">[71]</a></span>
+which have been so much worn of late
+years. They have the advantage of being
+easily washable, and are particularly suitable
+for country-house hangings. Even
+worn sheets and pillow-cases can be dyed
+to suit the furnishing of different rooms,
+and woven with a silk warp of stronger
+colour. They should be torn into strips
+not more than a third of an inch wide, so
+that it may crush into a roll not larger
+than an ordinary yarn. This will weave
+into a light, strong cloth, always interesting
+because it differs from anything which
+can be purchased through ordinary channels.
+To reappear in the shape of a beautiful
+and valuable rag-weaving is the final
+resurrection of good textiles, when they
+have performed their duty in the world
+and been worn out in its service.</p>
+
+<p>These home-woven portieres are better
+without borders, the whole surface being
+plain or simply clouded by mixing two
+tints of the same colour together. They
+can be elaborated by adding a hand-made
+fringe of folds of cloth sewn into a lattice
+and finished with tassels. This is quite a
+decorative feature, and particularly suitable
+to the weaving.<span class='pagenum'><a name="Page_72" id="Page_72">[72]</a></span></p>
+
+<p>It can easily be understood that a large
+share of the beauty of making these household
+furnishings lies in the colour. If that
+is good the rug or portiere or table-cover
+is beautiful. If it is either dull or glaring,
+the pleasure one might have in it is lacking,
+and it is quite within one&#8217;s power to have
+the article always beautiful.</p>
+
+<p>It must also be remembered, if weaving
+is taken up as a source of profit, that <i>few
+things which do not please the eye will sell</i>.
+Therefore, if for no other reason, it is
+well worth while for the weaver to first
+study the choice, production and combination
+of beautiful colours rather than the
+fabric of the rug.</p>
+
+<p>I have said, and will reiterate, that for
+this particular kind of manufacture&mdash;the
+restoration and adaptation of old goods,
+and the strengthening of tints in carpet
+warps&mdash;the yellows and reds of the
+Magic or Diamond dyes of commerce are
+effective and reliable. Indeed, for new
+goods cardinal dye is all that could be
+asked, but when it comes to the use
+of dyes for the weaving of textiles and
+artistic fabrics, one must resort to dye
+woods and plants.</p>
+
+<p>&nbsp;<a name="knotted" id="knotted"></a></p>
+<p class="figcenter"><a href="images/illo005.jpg"><img src="images/illo005_th.jpg"
+alt="KNOTTED WARP FRINGE FOR WOVEN TABLE-COVER" title="KNOTTED WARP FRINGE FOR WOVEN TABLE-COVER" /></a></p>
+
+<p class="caption">KNOTTED WARP FRINGE FOR WOVEN TABLE-COVER</p>
+
+<p>&nbsp;<a name="sewed" id="sewed"></a></p>
+<p class="figcenter"><a href="images/illo006.jpg"><img src="images/illo006_th.jpg"
+alt="SEWED RAG FRINGE FOR WOVEN PORTIERE" title="SEWED RAG FRINGE FOR WOVEN PORTIERE" /></a></p>
+
+<p class="caption">SEWED RAG FRINGE FOR WOVEN PORTIERE<span class='pagenum'><a name="Page_73" id="Page_73">[73]</a></span></p>
+
+
+<h4>FRINGES.</h4>
+
+<p>Nothing is more important than the
+proper <i>finish</i> of the rug, and this generally
+consists in a careful going over of the work
+after it has come from the loom&mdash;the cutting
+of stray ravelings and sewing of loose
+ends, and the knotting of the long warp
+ends.</p>
+
+<p>It is only a very careless or inexperienced
+weaver who leaves the warp ends in the
+state in which they come from the loom;
+and indeed they can be made one of the
+most effective features of the rug. Simple
+knotting of every six threads will make
+them safe from raveling, and sometimes
+the shortness of the warp ends allows no
+more than this. It is well worth while,
+however, to leave six or eight inches to
+work into decorative fringes, and these
+can be made in various ways, of which illustrations
+are given.</p>
+
+<p>In the case of decorative fringes there
+can be double or triple knotting&mdash;straight,
+or worked into points; braided fringes
+which have the merit of both strength and
+beauty, and are free from the tangle-trouble
+of long fringes, and the very effective
+rag-lattice finish for portieres and<span class='pagenum'><a name="Page_74" id="Page_74">[74]</a></span>
+table-covers. Indeed, half the beauty of
+the rug may lie in the fringing and finish.</p>
+
+
+<h4>PROFITS.</h4>
+
+<p>The pecuniary gain from rag rug weaving
+may easily be calculated. First of all
+comes the cost of the loom, which will be
+about seventy dollars. The interest upon
+this, with necessary repairs, may be reckoned
+at about five dollars per year.</p>
+
+<p>To every six-foot rug goes two-thirds of
+a pound of warp, and this would amount
+to from ten-and-a-half to fourteen cents,
+according to the rate of purchase. To
+every such rug must go three pounds of
+cotton or two pounds of woolen rags, costing
+for cotton thirty and for woolen
+fifty cents. To the cotton rugs must be
+added the possible cost of dye-stuffs,
+which, again, might cost twenty cents,
+making cost of material in either cotton
+or woolen rugs from sixty to sixty-four
+cents.</p>
+
+<p>As far as profit is concerned, if rag
+rugs are well made they will sell for two
+dollars each, if successful in colour, from
+two dollars and a half to three and a half,
+and if beautiful and exceptional in colour
+and finish from four to six dollars. But it<span class='pagenum'><a name="Page_75" id="Page_75">[75]</a></span>
+must be remembered that this latter price
+will be for rugs which have artistic value.
+Probably the average weaver can safely
+reckon upon one dollar and eighty-five
+cents to two dollars regular profit for the
+labor of sewing and filling and weaving
+and knotting the rugs. It is fair to accept
+this as a basis for regular profit, the amount
+of which must depend upon facility of
+production and the ability to produce unexceptionable
+things.</p>
+
+<p>But it is not alone pecuniary gain which
+should be considered. Ability to produce
+or create a good thing is in itself a happiness,
+and the value of happiness cannot
+easily be reckoned. The knowledge necessary
+to such production is a personal gain.
+Everything we can do which people generally
+cannot or do not do, or which we
+can do better than others, helps us to a
+certain value of ourselves which makes
+life valuable. For this reason, then, as
+well as for the gain of it, a loom in the
+house and a knowledge of weaving is an
+advantage, not only for the elders, but to
+the children. If the boys and girls in
+every farmhouse were taught to create
+more things, they would not only be abler<span class='pagenum'><a name="Page_76" id="Page_76">[76]</a></span>
+as human beings, but they would not be so
+ready to run out into the world in search
+of interesting occupations. A loom, a
+turning-lathe, a work-bench, and a chest
+of tools, a house-organ or melodeon, and
+a neighbourhood library, would keep boys
+and girls at home, and make them more
+valuable citizens when independent living
+became a necessity. Everything which<span class='pagenum'><a name="Page_77" id="Page_77">[77]</a></span>
+broadens the life, which must by reason
+of narrow means and fixed occupation
+be stationary, gives something of the advantage
+of travel and contact with the
+world, and the adding of profitable outside
+industries to farmhouse life is an important
+step in this direction.<span class='pagenum'><a name="Page_78" id="Page_78">[78]</a></span></p>
+
+
+
+<h2><a name="CHAPTER_VI" id="CHAPTER_VI"></a>CHAPTER VI.<span class='pagenum'><a name="Page_79" id="Page_79">[79]</a></span></h2>
+
+<h3>WOOLEN RUGS.</h3>
+
+
+<p><span class="smcap"><big>T</big>here</span> are two conditions which will
+make home weaving valuable. The first
+is that the material, whether it be of
+cotton or wool, should be grown upon the
+farm, and that it could not be sold in the
+raw state at a price which would make the
+growing of it profitable. In wool crops
+there are certain odds and ends of ragged,
+stained and torn locks, which would injure
+the appearance of the fleece, and are therefore
+thrown aside, and this waste is perfectly
+suitable for rug weaving.</p>
+
+<p>In cotton there is not the amount of
+waste, but the fibre itself is not as valuable,
+and a portion of it could be reserved
+for home weaving, even though it should
+not be turned to more profitable account.</p>
+
+<p>The next condition is that the time used
+in weaving is also waste or left-over time.
+If housekeeping requires only a quarter or
+half of a woman&#8217;s time, weaving is more<span class='pagenum'><a name="Page_80" id="Page_80">[80]</a></span>
+restful and interesting, as well as more
+profitable, than idleness; and in almost
+every family there are members to whom
+partial employment would be a boon.</p>
+
+<p>There is no marketable value for spare
+time or for individual taste, so that the
+women of the family possessing these can
+start a weaving enterprise, counting only
+the cost of material at growers&#8217; prices. If
+they can card, spin, dye and weave as well
+as the women of two generations did before
+them, they have a most profitable industry
+in their own hands in the shape of weaving.</p>
+
+<p>If materials must be purchased the
+profit is smaller, and the question arises
+whether spare time and personal taste and
+skill can be made profitable. This depends
+entirely upon circumstances and
+character. When circumstances are or
+can be made favourable, and there is industry
+and ambition behind them, domestic
+weaving is a beautiful and profitable
+occupation.</p>
+
+<p>There are many neighbourhoods where
+the conditions are exactly suitable to the
+prosecution of important domestic industries&mdash;localities
+where sheep are raised<span class='pagenum'><a name="Page_81" id="Page_81">[81]</a></span>
+and wool is a regular product, or where
+cotton is grown and the weaving habit is
+not extinct. This is true of many New
+England neighbourhoods and of the whole
+Cumberland Mountain region, and it is in
+response to a demand for direction of
+unapplied advantages that this book is
+written.</p>
+
+<p>I am convinced that the weaving of
+domestic wool or cotton rugs might be
+so developed in the mountain regions of
+the South as to greatly decrease the
+importation of Eastern ones of the same
+grade.</p>
+
+<p>An endless variety might be made in
+these localities, the difference of climate,
+material and habits of thought adding interest
+as well as variety, and it is safe to
+say that the home market is waiting for
+them. Housekeepers have learned by
+experience that a rug which can be easily
+lifted and frequently shaken is not only far
+more cleanly, and consequently safer, from
+a sanitary point of view, than a carpet, but
+that it has other merits which are of
+economic as well as esthetic importance.</p>
+
+<p>A rug is more durable than a carpet of
+equal weight and texture because it can<span class='pagenum'><a name="Page_82" id="Page_82">[82]</a></span>
+be constantly shifted from points of wear
+to those which are less exposed. It can be
+moved from room to room, or even from
+house to house, without the trouble of
+shaping or fitting; and last but not least,
+it brings a concentration of colour exactly
+where it is needed for effect, and this is
+possible to no other piece of house furnishing.
+In short, there seems to be no bar to
+its general acceptance, excepting the bad
+floors of our immediate predecessors in
+building.</p>
+
+<p>It only needs that cost, quality and general
+effect of the home-woven rugs should
+be shaped into perfect adaptation to our
+wants, to make them as necessary a part
+of ordinary house-furnishing as chairs
+and tables.</p>
+
+<p>These three requirements are within the
+reach of any home-weaving farmer&#8217;s wife
+who will give to the work the same thought
+for economical conditions, the same ambition
+for thorough work and the same
+intelligent study which her husband bestows
+upon his successful farming.</p>
+
+<p>As there is already one American rug
+which fulfills most of these conditions, it
+is well to consider it as a starting point for<span class='pagenum'><a name="Page_83" id="Page_83">[83]</a></span>
+progress. This is the heavy Indian rug
+known as the Navajo blanket. Originally
+fashioned to withstand the cold and exposure
+of outdoor life, it has combined
+thickness, durability and softness with
+excellent colour and weaving and perfectly
+characteristic design.</p>
+
+<p>In the best examples, where the wool is
+not bought from traders, but carded, spun
+and dyed by the weaver, the Navajo
+blanket is a perfect production of its kind,
+and I cannot help wondering that the manufacture
+of these rug-like blankets&mdash;some
+of which are of great intrinsic value&mdash;should
+have been so long confined to a
+primitive race, living at our very doors.
+The whole process of spinning, dyeing and
+weaving could be carried on in any farmhouse,
+using the coarsest and least valuable
+wool, and by reliable and well-chosen
+colour, good weight and careful weaving
+bringing the manufacture into a prominent
+place among the home productions of our
+people.</p>
+
+<p>One can hardly imagine simpler machinery
+than is used by the Indians. It
+is scarcely more than a parallelogram of
+sticks, supported by a back brace, and yet<span class='pagenum'><a name="Page_84" id="Page_84">[84]</a></span>
+upon these simple looms an Indian woman
+will weave a fabric that will actually hold
+water.</p>
+
+<p>The clumsy, old-fashioned loom which
+is still in use in many farmhouses is fully
+equal to all demands of this variety of
+weaving, but there are already in the
+market steel-frame looms with fly shuttles
+which take up much less room and are
+more easily worked. I was about to say
+they were capable of better work, but
+nothing could be better in method than
+the Indian rug, woven on its three upright
+sticks; and after all it is well to remember
+that <i>quality is in the weaver</i>, and not in the
+loom. The results obtained from the
+simplest machinery can be made to cover
+ground which is truly artistic.</p>
+
+<p>As an example of what may be done to
+make this kind of weaving available, we
+will suppose that some one having an ordinary
+loom, and in the habit of weaving rag
+carpet, wishes to experiment toward the
+production of a good yarn rug. The first
+thing required would, of course, be material
+for both warp and woof.</p>
+
+<p>The warp can be made of strong cotton
+yarn which is manufactured for this very<span class='pagenum'><a name="Page_85" id="Page_85">[85]</a></span>
+purpose and can be bought for about
+seventeen cents a pound. This is probably
+cheaper than it could be carded and spun
+at home even on a cotton-growing farm.</p>
+
+<p>The wool filling should be coarse and
+slack-twisted, and on wool-growing farms
+or in wool-growing districts is easily produced.
+If it is of home manufacture, it
+may be spun as loosely or slackly as possible,
+dyed and woven without doubling,
+which will be seen to be an economy of
+labor. The single thread, slackly twisted,
+gives a very desirable elasticity to the
+fabric, because the wool fibre is not too
+closely bound or packed. On the other
+hand, if the wool as well as the warp must
+be bought, it is best to get it from the spinning
+machine in its first state of the single
+thread, and do the doubling and twisting
+at home. In this case it can be doubled
+as many or as few times as it is thought
+best, and twisted as little as possible.</p>
+
+<p>The next and most important thing is
+colour, and it is a great advantage if the
+dyeing can be done at home. There is a
+strong and well-founded preference among
+art producers in favor of vegetable dyes,
+and yet it is possible to use certain of the<span class='pagenum'><a name="Page_86" id="Page_86">[86]</a></span>
+aniline colours, especially in combination,
+in safe and satisfactory ways.</p>
+
+<p>Every one who undertakes domestic
+weaving must know how to dye one or two
+good colours&mdash;black, of course, and the
+half-black or gray which a good colourist
+of my acquaintance calls <i>light black</i>; indigo
+blue equally, of course, in three shades of
+very dark, medium and light; and red in
+two shades of dark and light. Here are
+seven shades from the three dyes, and when
+we add white we see that the weaver is
+already very well equipped with a variety
+of colour. The eight shades can be still
+further enlarged by clouding and mixing.
+The mixing can be done in two ways, either
+by carding two tints together before spinning,
+or by twisting them together when
+spun.</p>
+
+<p>Carding together gives a very much
+better effect in wool, while twisting together
+is preferable in cotton.</p>
+
+<p>Dark blue and white or medium blue
+and white wool carded together will give
+two blue-grays, which cannot be obtained
+by dyeing, and are most valuable. White
+and red carded together give a lovely pink,
+and any shade of gray can be made by<span class='pagenum'><a name="Page_87" id="Page_87">[87]</a></span>
+carding different proportions of black and
+white or half-black and white. A valuable
+gray is made by carding black and
+white wool together (and by black wool I
+mean the natural black or brownish wool
+of black sheep). Mixing of deeply dyed
+and white wool together in carding is,
+artistically considered, a very valuable
+process, as it gives a softness of colour
+which it is impossible to get in any other
+way. Clouding&mdash;which is almost an indispensable
+process for rug centres&mdash;can be
+done by winding certain portions of the
+skeins or hanks of yarn very tightly and
+closely with twine before they are thrown
+into the dye-pot. The winding must be
+close enough to prevent the dye penetrating
+to the yarn. This means, of course,
+when the clouding is to be of white and
+another colour. If it is to be of two shades
+of one colour, as a light and medium blue,
+the skein is first dyed a light blue, and
+after drying is wound as I have described,
+and thrown again into the dye-pot, until
+the unwound portions become the darker
+blue which we call medium.</p>
+
+<p>In a neighbourhood where weaving is a
+general industry, it is an advantage if some<span class='pagenum'><a name="Page_88" id="Page_88">[88]</a></span>
+one person who has a general aptitude for
+dyeing and experiments in colours undertakes
+it as a business. This is on the principle
+that a person who does only one
+thing does it with more facility and better
+than one who works in various lines. Yet
+even when there is a neighbourhood dyer,
+it is, as I have said, almost indispensable
+that the weaver should know how to dye
+one or two colours and to do it well.</p>
+
+<p>Supposing that the material, in the shape
+of coarse cotton warp, black, red or white,
+has been secured, or that a wool filling in
+the colours and shades I have described
+has been prepared for weaving; the loom is
+then to be warped, at the rate of fifteen or
+less threads to the inch, according to the
+coarseness or fineness of the filling.</p>
+
+<p>It is well to weave a half-inch of the
+cotton warp for filling, as this binds the
+ends more firmly than wool. Next to this,
+a border of black and gray in alternate
+half-inch stripes can be woven, and following
+that, the body of the rug in dark
+red, clouded with white. After five feet
+of the red is woven, a border end of the
+black and gray is added, and the rug may
+be cut from the loom, leaving about four<span class='pagenum'><a name="Page_89" id="Page_89">[89]</a></span>
+inches of the warp at either end as a fringe.
+If the filling yarn is of good colour, and has
+been well packed in the weaving, <i>so as to
+entirely cover the warp</i>, the result will be a
+good, attractive and durable woolen rug,
+woven after the Navajo method.</p>
+
+<p>In this one example I have given the
+bare and simple outline by following
+which a weaver whose previous work has
+been only rag carpet weaving can manufacture
+a good and valuable wool rug. The
+difference will be simply that of close warping
+and a substitution of wool for rags.
+Its value will be considerably increased
+or lessened by the choice of material both
+in quality and colour and the closeness
+and perfection of weaving.</p>
+
+<p>The example given calls for a rug six
+feet long by three feet in width. To make
+this very rug a much more important one,
+it needs only to vary the size of the border.
+For a larger rug the length must be increased
+two feet, and the border, which in
+this case must be of plain or mixed black&mdash;that
+is, it must not be alternated with
+stripes of gray&mdash;must measure one foot at
+either end. When this is complete, two
+narrow strips one foot in width, woven<span class='pagenum'><a name="Page_90" id="Page_90">[90]</a></span>
+with mixed black filling, must be sewed
+on either side, making a rug eight feet long
+and five in width. It is not a disadvantage
+to have this border strip sewn, instead of
+being woven as a part of the centre. Many
+of the cheaper Oriental weavings are put
+together in this way, and as many of the
+older house-looms will only weave a three-foot
+width, it is well to know that that
+need not prevent the production of rugs of
+considerable size.</p>
+
+<p>Endless variations of this very simple
+yarn rug can be made with variation in
+size as well as in colour. Two breadths and
+two borders, the breadths three feet in
+width and the borders one foot and six
+inches, will give a breadth of nine feet,
+which with a corresponding length will
+give a rug which will sufficiently cover the
+floor of an ordinary room. If the centre is
+skilfully mottled and shaded, it will make
+a floor spread of beautiful colour, and one
+which could hardly be found in shops.</p>
+
+<p>&nbsp;<a name="isle" id="isle"></a></p>
+<p class="figcenter"><a href="images/illo007.jpg"><img src="images/illo007_th.jpg"
+alt="ISLE LA MOTTE RUG" title="ISLE LA MOTTE RUG" /></a></p>
+
+<p class="caption">ISLE LA MOTTE RUG</p>
+
+<p>The border can be made brighter, as well
+as firmer and stiffer, by using two filling
+threads together&mdash;a red and a black; or
+an alternate use of red and black, using
+two shuttles, will give a lighter and better<span class='pagenum'><a name="Page_91" id="Page_91">[91]</a></span>
+effect than when black is used exclusively.</p>
+
+<p>After size and weight&mdash;or, to speak
+comprehensively, <i>quality</i>&mdash;is secured in
+this kind of simple weaving, the next
+most important thing is colour. Of
+course the colour must be absolutely
+fast, but I have shown how much
+variety can be made by shading and
+mixing of three fast colours, and much
+more subtle and artistic effects can be produced
+by weaving alternate threads of different
+colours. Indeed, the effects obtained
+by using alternate threads can be
+varied to almost any extent; as, for instance,
+a blue and yellow thread&mdash;provided
+the blue is no deeper than the
+yellow&mdash;will give the effect of green to the
+eye. If the blue is stronger or deeper, as
+it will almost necessarily be, it will be
+modified and softened into a greenish blue.</p>
+
+<p>Red and white woven in alternate
+threads upon a white warp will give an
+effect of pink, and with this colour for a
+centre the border should be a good gray.</p>
+
+<p>Of course, alternate throwing of different
+coloured yarns makes the weaving
+go more slowly than when one alone is<span class='pagenum'><a name="Page_92" id="Page_92">[92]</a></span>
+used, and something of the same colour
+effect can be produced by doubling, instead
+of alternating. It is, of course, not quite
+the same, as one colour may show either
+under or over the other, and the effect is
+apt to be mottled instead of one of uniform
+stripes.</p>
+
+<p>The end in view in all these mixtures is
+<i>variation</i> and liveliness of colour, not an
+effect of stripes or spots; indeed, these are
+very objectionable, especially when in contrasted
+or different colors. A deepening
+or lightening of the same colour in irregular
+patches, as will occur in clouded yarns,
+gives interest, whereas if these cloudings
+were in strongly contrasted colours they
+would be crude and unrestful. For this
+reason, if for no other, it is well to work in
+few tints, and use contrasting colours only
+for borders.</p>
+
+<p>To show how much variety is possible in
+weaving with the few dyes I have named,
+I will give a number of combinations which
+will produce good results and be apt to
+harmonize with ordinary furnishing. By
+adding orange yellow, which is also one of
+the simplest and safest of dyes, we secure
+by mixture with blue a mottled green, and<span class='pagenum'><a name="Page_93" id="Page_93">[93]</a></span>
+this completes a range of colour which
+really leaves nothing to be desired.</p>
+
+<p>No. 1. <i>Colours black and red.</i> Border,
+alternate stripes of black and dark red, as
+follows: First stripe of black, one and a
+half inches; second stripe of red, one inch;
+third stripe of black, one inch; fourth
+stripe of red, one-half inch; fifth stripe of
+black, three-quarters inch; sixth stripe of
+red, one-half inch; seventh stripe of black,
+half-inch; centre of light red clouded with
+dark red; reversed border.</p>
+
+<p>No. 2. <i>Colours black and red.</i> Border
+one foot in depth, of black and red threads
+woven alternately. Centre dark red,
+clouded with light red. Woven six feet,
+with one-foot border at sides as well as
+ends.</p>
+
+<p>No. 3. <i>Colours red and white.</i> Border
+seven inches of plain red. Centre of red
+and white woven alternately.</p>
+
+<p>No. 4. <i>Colours red and black.</i> Border
+black and red, threads woven alternately,
+one foot in depth; centre of alternate
+stripes, two inches in width, of dark red
+and light red; eight feet in length, with
+foot-wide side borders, woven with alternate
+threads of red and black.<span class='pagenum'><a name="Page_94" id="Page_94">[94]</a></span></p>
+
+<p>No. 5. <i>Colours red and black.</i> Border
+eighteen inches in depth, of alternate red
+and black, half-inch stripes. Centre of
+dark red, clouded with light.</p>
+
+<p>No. 6. <i>Colours gray, red and white</i>, to
+be woven of doubled, slightly twisted
+threads. Border one foot in depth at
+ends and sides, woven of red and gray yarn
+twisted together. Centre of red and white
+yarn in twisted threads.</p>
+
+<p>No. 7. <i>Colours red and white.</i> Border of
+plain red, twenty inches in depth. Centre
+in alternate half-inch stripes of red and
+white.</p>
+
+<p>No. 8. <i>Colours blue, red and black.</i> Border
+four inches deep of black, two inches of
+plain red, one inch of black. Centre of
+clouded blue.</p>
+
+<p>No. 9. <i>Colour blue.</i> Border eight
+inches of darkest blue. Centre of clouded
+medium and light blue.</p>
+
+<p>No. 10. <i>Colours blue and white.</i> Border
+of very dark and medium blue woven
+together. Centre of blue and white yarn
+woven together.</p>
+
+<p>No. 11. <i>Colours blue and white.</i> Border
+of medium plain blue. Centre of blue,
+clouded with white.<span class='pagenum'><a name="Page_95" id="Page_95">[95]</a></span></p>
+
+<p>No. 12. <i>Colours blue and white.</i> Border
+of medium blue. Centre of alternate
+stripes of one inch width blue, and half-inch
+white stripes.</p>
+
+<p>No. 13. <i>Colours blue and white.</i> Border
+twelve inches deep of dark blue,
+clouded with medium. Centre of alternate
+threads of medium blue and white.</p>
+
+<p>No. 14. <i>Colours blue, black and orange
+yellow.</i> Border eight inches deep of black,
+one inch of orange, two of black. Centre,
+alternate threads of blue and orange.</p>
+
+<p>No. 15. Border of doubled threads of
+dark blue and orange. Centre of alternate
+stripes of inch wide light blue and orange
+woven together, one-half inch stripes of
+clear orange and white woven together.</p>
+
+<p>In the examples I have given, wherever
+doubled threads of different colours woven
+together are used, it must be understood
+that they are to be slightly twisted, and
+that the warping for double-filling rugs
+need not be as close as for single filling.
+Twelve threads to the inch would be better
+than fifteen, and perhaps ten or eleven
+would be still better. Doubled yarn of
+different colours produces a mottled or
+broken effect, and this can often be done<span class='pagenum'><a name="Page_96" id="Page_96">[96]</a></span>
+where the colours of the yarns do not quite
+satisfy the weaver. If they are too dull,
+twisting them slackly with a very brilliant
+tint will give a better shade than if the
+original tint was satisfactory, but in the
+same way yarns which are too brilliant
+can often be made soft and effective by
+twisting them together with a paler tint.
+Minute particles of colour brought together
+in this way are brilliant without
+crudeness. It is, in fact, the very principle
+upon which impressionist painters
+work, giving pure colour instead of mixed,
+but in such minute and broken bits that the
+eye confounds them with surrounding
+colour, getting at the same time the double
+impression of softness and vivacity.</p>
+
+<p>These examples of fifteen different rugs
+which can be woven from the three tints
+of blue, red and orange, together with
+black and white, do not by any means<span class='pagenum'><a name="Page_97" id="Page_97">[97]</a></span>
+exhaust the possibilities of variety which
+can be obtained from three tints. Each
+rug will give a suggestion for the next, and
+each may be an improvement upon its
+predecessor.<span class='pagenum'><a name="Page_98" id="Page_98">[98]</a></span></p>
+
+
+
+<h2><a name="CHAPTER_VII" id="CHAPTER_VII"></a>CHAPTER VII.<span class='pagenum'><a name="Page_99" id="Page_99">[99]</a></span></h2>
+
+<h3>COTTON RUGS.</h3>
+
+
+<p><span class="smcap"><big>T</big>he</span> warp-covered weaving which I
+have described in a previous chapter as
+being the simplest and best method for
+woolen rugs, is equally applicable to cotton
+weaving. It is, in fact, the one used in
+making the cotton rugs woven in prisons
+in India, and which in consequence are
+known as &#8220;prison rugs.&#8221; They are generally
+woven in stripes of dark and light
+shades of indigo blue and measure about
+four by eight feet. They are greatly used
+by English residents in India, being much
+better adapted to life in a hot climate than
+the more costly Indian and Persian rugs,
+which supply the world-demand for floor
+coverings.</p>
+
+<p>In our own summer climate and chintz-furnished
+summer cottages they would be
+an extremely appropriate and economical
+covering for floors. The warp is like that
+of the Navajo blanket, a heavy cotton<span class='pagenum'><a name="Page_100" id="Page_100">[100]</a></span>
+cord, the filling or woof of many doubled
+fine cotton threads, which quite cover the
+heavy warp, and give the ridged effect of
+a coarse <i>rep</i>.</p>
+
+<p>As I have said, they are woven almost
+invariably in horizontal stripes of two
+blues, or blue and white, with darker ends
+and a warp fringe. Simple as they are
+and indeed must be, as they are the result
+of unskilled labour, they are pleasant to
+look at, and have many virtues not dependent
+upon looks. They are warm and
+pleasant to unshod feet, and therefore suitable
+for bedroom use. They are soft to
+shoe tread, and give colour and comfort to
+a summer piazza. They can be hung as
+portieres in draughty places with a certainty
+of shelter, and can be lifted and
+thrown upon the grass to be washed by the
+downpour of a thunder shower, and left to
+dry in the sun without detriment to colour
+or quality.</p>
+
+<p>Surely this is a goodly list of virtues,
+and the sum of them is by no means exhausted.
+Their durability is surprising;
+and they can be sewn together and
+stretched upon large floors with excellent
+colour effect. They can be turned or<span class='pagenum'><a name="Page_101" id="Page_101">[101]</a></span>
+moved from room to room and place to
+place with a facility which makes them
+more than useful. The manufacture is so
+simple that a child might weave them,
+while at the same time, by a skilful use of
+colour and good arrangement of border,
+they can be made to fit the needs of the
+most luxurious as well as the simplest
+summer cottage. In short, they are capable
+of infinite variation and improvement,
+without departure from the simple method
+of the &#8220;prison rug.&#8221;</p>
+
+<p>Of course the variation must be in
+colour and the arrangement of colour;
+and in studying this possible improvement
+it must be remembered that cotton
+will neither take nor hold dyes as readily as
+wool or silk, and that certain dyes which
+are very tenacious in their hold upon
+animal fibre cannot be depended upon
+when applied to vegetable fibre. There
+are, however, certain dyes upon which we
+can safely rely. Indigo blue, and the red
+used in dyeing what is called Turkey red,
+are reliable in application to both wool
+and cotton, and are water and sun proof
+as well. Walnut and butternut stains
+will give fast shades of brown and yellow,<span class='pagenum'><a name="Page_102" id="Page_102">[102]</a></span>
+and in addition there is also the buff or
+nankeen-coloured cotton, the natural tint
+of which combines well with brown and
+blue.</p>
+
+<p>In giving directions for rug colourings
+in cottons, I shall confine myself to the
+use of black, white, blue and red, because
+these colours are easily procurable, and
+also because rugs manufactured from
+them will fit the style of furnishing which
+demands cotton rugs.</p>
+
+<p>The examples I shall give call for graduated
+dyeing, especially in the two tints of
+red and blue.</p>
+
+<p>Any one expecting to succeed in rug
+weaving must be able to procure or produce
+from two to three planes of colour,
+as well as two mixtures in each. These
+would be as follows:</p>
+
+<p>In blue:&mdash;1st, dark blue; 2d, medium
+blue; 3d, light blue.</p>
+
+<p>After these three tints are secure, three
+variations of blue can be made by knotting
+the skeins more or less closely and throwing
+medium, light blue and white together
+into the dye-tub. Here they must remain
+until the white skeins show an outside
+of light blue; the light blue skeins are<span class='pagenum'><a name="Page_103" id="Page_103">[103]</a></span>
+apparently changed to medium, and the
+medium to dark. When they are untied
+and dried they will show three clouded
+mixtures:</p>
+
+<p>1st, the medium blue clouded with dark;
+2d, light blue clouded with medium blue;
+3d, white, clouded with light blue.</p>
+
+<p>Here we have six variations of the one
+tint. Red can be treated in the same way,
+except that a rather light and a very dark
+red are all that can be counted upon safely
+as plain tints. A very light red will not
+hold. Therefore we have in reds:&mdash;1st,
+dark red; 2d, light red; 3d, light red,
+clouded with dark; 4th, white, clouded
+with light red.</p>
+
+<p>This gives ten shades in these two tints,
+and when we add the variations which
+seem to come of themselves in dyeing,
+variations which are by no means subject
+to rule, we shall see that with these two,
+and black and white, we are very well
+equipped.</p>
+
+<p>The more irregular the clouding, the
+better the results. The yarn may be
+made into large double knots, or small
+single ones, or into more or less tightly
+wound balls or bundles, and each will have<span class='pagenum'><a name="Page_104" id="Page_104">[104]</a></span>
+its own special and peculiar effect. Perhaps
+it is well to say that in clouding upon
+white the colours should be kept as light
+as is consistent with the tenacity of tint.</p>
+
+<p>After clouding, still another process in
+cotton mixtures is possible, and this is in
+&#8220;doubling and twisting,&#8221; which has the
+effect of darkening or lightening any tint
+at will, as well as of giving a mottled
+instead of a plain surface.</p>
+
+<p>Having secured variety by these various
+expedients, the next step is to make
+harmonious and well-balanced combinations,
+and this is quite as important, or
+even more so, as mere variety.</p>
+
+<p>There is one very simple and useful rule
+in colour arrangements, and this is to
+make one tint largely predominant. If it
+is to be a blue rug, or a pink, or a white
+one, use other colours only to <i>emphasize</i>
+the predominant one, as, for instance, a
+blue rug may be emphasized by a border
+of red and black; or a red rug by a border of
+black and white, or black and yellow.</p>
+
+<p>The border should always be stronger&mdash;that
+is darker or deeper in colour&mdash;than the
+centre, even when the same colour is used
+throughout, as in a light red rug, with<span class='pagenum'><a name="Page_105" id="Page_105">[105]</a></span>
+dark, almost claret-red ends, or a medium
+blue rug with very dark blue ends.</p>
+
+<p>White, however, can often be used in
+borders of rather dark rugs in alternation
+with black or any dark colour, because its
+total absence of tint makes it strong and
+distinct, and gives it <i>force</i> in marking a
+limit.</p>
+
+<p>One successful combination of colours
+will suggest others, and the weaver who
+has taken pains to provide herself with
+a variety of shades, and will follow the
+rules of proportion, will be at no loss in
+laying out the plan of her weavings.</p>
+
+<p>The examples for fifteen weavings given
+in the paper on wool rugs are equally
+available in cotton. I will, however, add
+a few variations especially adapted for
+cotton rugs:</p>
+
+<p>No. 1. <i>Colours blue and white.</i> Border
+six inches of plain dark blue. Six inches
+of alternate half-inch stripes of dark blue
+and white. Four to five feet of clouded
+blue, border repeated, with four inches of
+warp fringe as a finish.</p>
+
+<p>No. 2. <i>Colours blue and white.</i> Border
+eight inches wide of plain medium blue.
+Centre, six feet of light blue, clouded with<span class='pagenum'><a name="Page_106" id="Page_106">[106]</a></span>
+medium. Two side borders eight inches
+wide; finish of white warp fringe.</p>
+
+<p>No. 3. <i>Colours black, white and red.</i>
+Border twelve inches of alternate half-inch
+stripes of black and white. Centre, four
+feet of light red, clouded with dark. Repeat
+border, and finish with warp fringe.</p>
+
+<p>No. 4. <i>Colours red and white.</i> Border,
+twelve inches of dark and light red, in
+twisted double thread. Centre, light red
+and white twisted double thread. Repeat
+border and finish with four-inch fringe.</p>
+
+<p>No. 5. <i>Colours butternut-brown, walnut-yellow,
+red, and white.</i> Border of six inches
+of brown and yellow, twisted together.
+Centre, five feet of light red and white,
+twisted together. Repeat border, and
+finish with fringe.</p>
+
+<p>No. 6. <i>Colours brown, blue, and clouded-white.</i>
+Border, half-inch stripes of medium
+blue and brown alternated for six
+inches. Centre, five feet of light blue,
+clouded with medium. Repeat border
+and finish with warp fringe.</p>
+
+<p>These six examples may be varied to any
+extent by the use of clouded, plain or
+mixed centres. Borders, as a rule, should
+be woven of unclouded colours.<span class='pagenum'><a name="Page_107" id="Page_107">[107]</a></span></p>
+
+<p>A natural development of the cotton
+rug would be the weaving of coarse cotton
+yarns into piece lengths which could be cut
+and sewn like ingrain carpet, or like the
+fine cotton-warped mattings which have
+been so popular of late years. They would
+have the advantage over grass-weavings
+in durability, ease of handling and liveliness
+of effect. Indeed, the latter consideration
+is of great importance, as cotton carpets
+can be woven to harmonize with the
+chintzes and cottons which are so much
+used in summer furnishings. This is especially
+true of indigo-blue floor covering,
+since so few things are absolutely perfect
+as an adjunct to the blue chambrays,
+striped awning-cloths, denims, and India
+prints so constantly and effectively used
+in draperies. Indeed, such excellent art
+in design has been devoted to blue prints,
+both foreign and domestic, that one can
+safely reckon upon their prolonged use,
+and this being taken for granted, it is well
+to extend the weaving of mixtures of white
+and blue indefinitely.</p>
+
+<p>Although the warp-covered method described
+for woolen and cotton rug weaving
+can very well be used for carpets, the still<span class='pagenum'><a name="Page_108" id="Page_108">[108]</a></span>
+simpler one of the alternate thread, or
+basket-weaving, when warp and filling are
+of equal weight and size, can be made to
+answer the purpose quite as well. In fact,
+there is a certain advantage in the latter
+method, since it makes the warp a factor
+in the arrangement of colour.</p>
+
+<p>It is necessary in this style of weaving
+that the filling should be a hand-twisted
+thread of the same weight and size as the
+warp, and of a lighter or darker shade of
+the same colour. If the warp is dark,
+the filling may be light, or the reverse.
+It should be warped at the rate of about
+twenty-four threads to the inch.</p>
+
+<p>In this kind of weaving the colours must
+be plain&mdash;that is, unclouded&mdash;as the variation
+is obtained by the different shades of
+warp and filling. Still another variation
+is made by using a closer warp of thirty
+threads to the inch and a large soft vari-colour
+filling which will show between the
+warp threads with a peculiar watered or
+vibratory effect. A light red warp, with
+a very loosely twisted filling of black and
+white, or a medium blue warp with a black
+and orange filling, will give extremely
+good results.</p>
+
+<p>&nbsp;<a name="greek" id="greek"></a></p>
+<p class="figcenter"><a href="images/illo008.jpg"><img src="images/illo008_th.jpg"
+alt="GREEK BORDER IN RED OR BLACK" title="GREEK BORDER IN RED OR BLACK" /></a></p>
+
+<p class="caption">GREEK BORDER IN RED OR BLACK</p>
+
+<p>&nbsp;<a name="braided" id="braided"></a></p>
+<p class="figcenter"><a href="images/illo009.jpg"><img src="images/illo009_th.jpg"
+alt="BRAIDED FRINGE" title="BRAIDED FRINGE" /></a></p>
+
+<p class="caption">BRAIDED FRINGE</p>
+
+<p>&nbsp;<a name="diamond" id="diamond"></a></p>
+<p class="figcenter"><a href="images/illo010.jpg"><img src="images/illo010_th.jpg"
+alt="DIAMOND BORDER IN RED OR BLACK" title="DIAMOND BORDER IN RED OR BLACK" /></a></p>
+
+<p class="caption">DIAMOND BORDER IN RED OR BLACK<span class='pagenum'><a name="Page_109" id="Page_109">[109]</a></span></p>
+
+<p>What I have said thus far as to the
+weaving of woolen and cotton rugs, and
+of cotton carpets, gives practical directions
+for artistic results to women who understand
+the use of the loom in very simple
+weaving. Of course, more difficult things
+can be done even with ordinary looms, as
+any one who has examined the elaborate
+blue-and-white spreads our grandmothers
+wove upon the cumbrous house-loom of
+that period can testify. In fact, the degree
+of skill required in the weaving of these
+precious heirlooms would be quite sufficient
+for the production of rugs adapted
+to very exacting purchasers.</p>
+
+<p>Perhaps it is as well to add that the
+directions given in this and the preceding
+chapter for rug weaving are designed not
+only or exclusively for weavers, but also for
+club women who are so situated as to have
+access to and influence in farming or weaving
+neighbourhoods.</p>
+
+<p>Home manufactures, guided by women
+of culture and means, would have the advantage
+not only of refinement of taste,
+but of a certainty of aim. Women know
+what women like, and as they are the final
+purchasers of all household furnishings,<span class='pagenum'><a name="Page_110" id="Page_110">[110]</a></span>
+they are not apt to encourage the making
+of things for which there is no demand.</p>
+
+<p>I am often asked the question, How are
+all of these homespun and home-woven
+things to be disposed of? To this I answer
+that the first effort of the promoters
+or originators must be&mdash;<i>to fit them for an
+existing demand</i>.</p>
+
+<p>There is no doubt of the genuineness of
+a demand for special domestic weavings.
+Any neighbourhood or combination of
+women known to be able to furnish such
+articles to the public would find the want
+far in excess of the supply, simply because
+undirected or commercial manufactures
+cannot fit personal wants as perfectly as
+special things can do. It must be remembered,
+also, that the interchange of news<span class='pagenum'><a name="Page_111" id="Page_111">[111]</a></span>
+between bodies of women interested in industrial
+art will be a very potent factor
+in the creation of a market for any
+domestic specialty. In fact, it is in
+response to a demand that these articles
+upon home-weavings have been prepared,
+and a demand for technical instruction
+presupposes an interest in the result.<span class='pagenum'><a name="Page_112" id="Page_112">[112]</a></span></p>
+
+
+
+<h2><a name="CHAPTER_VIII" id="CHAPTER_VIII"></a>CHAPTER VIII.<span class='pagenum'><a name="Page_113" id="Page_113">[113]</a></span></h2>
+
+<h3>LINSEY WOOLSEY.</h3>
+
+
+<p><span class="smcap"><big>I</big>t</span> has often been given as a reason for
+the discontinuance of home weaving, that
+no product of the hand loom can be as
+exact or as cheap as that of the power
+loom. The statement as to cost and
+quality is true, but so far from being
+a discouraging one, it gives actual reasons
+for the continuance of domestic weavings.
+The very fact that homespun textiles are
+not exact&mdash;in the sense of absolute sameness&mdash;and
+not cheap, in the sense of first
+cost, is apt to be a reason for buying them.
+Hand-weaving, like handwriting, is individual,
+and this is a virtue instead of a
+defect, since it gives the variety which
+satisfies some mystery of human liking, a
+preference for inequality rather than
+monotonous excellence.</p>
+
+<p>Every hand-woven web differs from
+every other one in certain characteristics
+which are stamped upon it by the weaver,<span class='pagenum'><a name="Page_114" id="Page_114">[114]</a></span>
+and we value these differences. In fact,
+this very trace of human individuality
+is the initial charm belonging to all art
+industries, and even if we discount this
+advantage, and reckon only money cost
+and money value, durability must certainly
+count for something. A thing
+which costs more and lasts longer is as
+cheap as one which costs less and goes
+to pieces before its proper time.</p>
+
+<p>In a long and intimate acquaintance
+with what are called &#8220;art textiles&#8221;&mdash;that
+is, textiles which satisfy the eye and the
+imagination and fulfill more or less competently
+the function of use, I have learned
+that certain very desirable qualities are
+more often found in home-woven than
+in machine-woven goods. Something is
+wanting in each of the excellent and wonderful
+variety of commercial manufactures
+which would fit it for the various decorative
+and art processes which modern life
+demands. To perfectly satisfy this demand,
+we should have a weaving which is
+not only in itself an artistic manufacture,
+but which easily absorbs any additional
+application of art.</p>
+
+<p>In my own mind I call the thing which<span class='pagenum'><a name="Page_115" id="Page_115">[115]</a></span>
+might and does not exist, The Missing
+Textile. To make it entirely appropriate
+to our esthetic and practical needs, the
+missing textile must be strong enough for
+every-day wear and use; it must be capable
+of soft, round folds in hanging; and have
+the quality of elasticity which will prevent
+creasing; and above all, it must have beautiful
+and lasting colour. If it can add to
+these qualities an adaptability to various
+household uses, it will achieve success and
+deserve it. These different qualities, and
+especially the one of a natural affinity for
+such art-processes as colour and embroidery,
+exist in none of our domestic weavings,
+excepting only linsey woolsey. After
+much study of this virtuous product of the
+mountain regions of our Southern States
+I find it capable of great development.
+It has two qualities which are not often
+co-existent, and these are strength and
+flexibility; and this is owing not only to
+its being hand-woven, but also to its being
+a wool-filled textile&mdash;that is, it is woven
+upon a cotton warp, with a single twisted
+wool-filling. This peculiarity of texture
+makes it very suitable for embroidery,
+since it offers little resistance to the needle,<span class='pagenum'><a name="Page_116" id="Page_116">[116]</a></span>
+and yet is firm enough to prevent stitches
+sinking into its substance&mdash;a frequent
+fault with soft or loosely woven textiles.
+The warp is generally made of what the
+weavers call mill yarns, cotton yarns spun
+and often dyed in cotton mills; and when
+the cloth is woven for women&#8217;s wear
+it is apt to carry a striped warp of red and
+blue, with a mixed filling made from spinning
+the wool of black sheep with a small
+proportion of white.</p>
+
+<p>In searching for art textiles, one would
+not find much encouragement in this particular
+variety of linsey woolsey, but the
+unbleached, uncoloured material which is
+woven for all kinds of household use, or
+piece-dyed for men&#8217;s wear, is quite a different
+thing. In its undyed state it is of a
+warm ivory tint, which makes a beautiful
+ground for printing, and in my first
+acquaintance with it, which was made
+through the women commissioners from
+Kentucky, Tennessee and Georgia during
+the Columbian Exposition, I made some
+most interesting experiments in block
+printing upon this natural background.</p>
+
+<p>One can hardly expect that linsey woolsey
+will come into frequent or common use<span class='pagenum'><a name="Page_117" id="Page_117">[117]</a></span>
+as a printed textile, since the two processes
+of hand-weaving and block-printing
+are not natural neighbours, but this
+capacity for taking and holding stains is of
+great value in embroidery, since it enables
+an artistic embroiderer to produce excellent
+effects with comparatively little
+labour. A clever needlewoman, working
+upon a fabric which takes kindly to stains,
+can apply colour in many large spaces and
+inter-spaces in her design which would
+otherwise have to be covered with stitchery,
+and in this way&mdash;which is a perfectly
+accepted and legitimate one&mdash;she gains an
+effect which would otherwise be costly and
+laborious.</p>
+
+<p>From the composite nature of this domestic
+fabric, its cross-weaving of animal
+and vegetable fibre, it takes colour irregularly.
+Every cross-thread of wool is
+deeper in tone than the cotton thread it
+crosses, and this gives the quality which
+artists call vivacity or vibration. Linsey
+woolsey even when &#8220;piece-dyed&#8221; has
+something of this effect, and judicious and
+artistic colour treatment would complete
+its claims to be considered an art textile.</p>
+
+<p>It is not to be supposed that the weavers<span class='pagenum'><a name="Page_118" id="Page_118">[118]</a></span>
+themselves can work out this problem. It
+will need the direction and encouragement
+of educated and artistic women. Taking
+the fabric just as it exists, it is ready for the
+finer domestic processes learned by the
+women of the South during the hard years
+of the Civil War. The clever expedients
+of stitchery, the ways in which they varied
+their simple home-manufactures, and
+above all the knowledge gained of domestic
+&#8220;colouring,&#8221; will be of inestimable value
+in the direction of artistic industries. In
+truth, Southern women have ways of
+staining and dyeing and producing beautiful
+colour quite unknown to other American
+women. They know how to get different
+grays and purples and black from
+logwood, and golden and dark brown from
+walnut bark, and all the shades of blue
+possible to indigo; and yellow-reds from
+madder, and rose-red and crimson from
+pokeberry, and one yellow from pumpkin
+and another from goldenrod; and they are
+clever enough to find mordants for all these
+dyes and stains, and make them indelible.
+It needs exactly the conjunction which we
+find in the South, of facile home-weaving,
+knowledge and practice of experimental<span class='pagenum'><a name="Page_119" id="Page_119">[119]</a></span>
+dyeing, and love of practical art, to develop
+true art fabrics.</p>
+
+<p>To show what linsey woolsey is capable
+of, I will instance a material woven in
+India in thin woolen strips of about twelve
+inches in width. It is what we should call
+a <i>sleazy</i> material to begin with. The strips
+of different colours are sewn, and very badly
+sewn, together, and they are also badly
+woven. Too flimsy for actual wear, they
+are simply admirable vehicles for colour,
+and to this quality alone they owe their
+popularity and importance. After being
+sewn together, the strips are generally
+embroidered in a rough way, with a constantly
+repeating figure on each breadth.
+The colour is certainly beautiful, a contrast
+of soft blues, and a selection of unapproachable
+browns&mdash;yellow-browns, red-browns,
+green-browns and gold-browns,
+with yellows of all shades, and whites
+of all tints, and this colour-beauty gives
+them a place as portieres and curtains
+where they do not belong by intrinsic or
+constitutional worth.</p>
+
+<p>If one was intent only upon producing
+an imitation of the Bagdad curtains in
+linsey woolsey, it would be easy to weave<span class='pagenum'><a name="Page_120" id="Page_120">[120]</a></span>
+narrow lengths of various colours, and by
+choosing those which were good contrasts
+or harmonies, and embroidering them
+together with buttonhole-stitch, or cat-stitch,
+or any ornamental stitch, to get
+something very like them in effect and
+far better in quality. But it should be the
+aim of domestic manufacture to do something
+which is <i>distinctive</i>, and therefore it
+would be better to start with the intention
+of producing the effect in one&#8217;s own way.
+This could be done by weaving the cloth
+in full width (which should, if possible, be
+four feet), depending entirely upon the
+warp threads for colour. This, it may be
+remembered, is already one of the means of
+variation applied to linsey woolsey in
+weaving homespun dress goods; but in this
+case it must be carefully chosen art-effort,
+using colours which are in themselves beautiful.
+In depending upon the warp alone
+for colour the fact must be kept in mind
+that it will be much obscured by the over-weaving
+of the wool filling. It will be
+necessary, therefore, to use far stronger
+colours than if they were to stand unmixed
+or unobscured. Vivid blue, strong orange,
+flaming red and gold-brown could be used<span class='pagenum'><a name="Page_121" id="Page_121">[121]</a></span>
+in the warp in stripes of about ten inches
+in width, with two inches of dead black
+on the sides and between each colour.
+The filling must be of one pale tint, either
+an ivory white or lemon yellow, or a very
+pale spring green woven over all. This
+would modify the violence of colour, giving
+an effect like hoar frost over autumn
+leaves. As a simple weaving this would
+have a beautiful effect, but when a coarse
+orange-coloured silk embroidery, consisting
+of a waved stem and alternate leaves,
+is carried down the centre of each black
+stripe, the simple length of linsey woolsey
+is transformed into what would be called
+a very Eastern-looking and valuable embroidery.</p>
+
+<p>This is just one of its possible and easily
+possible adaptations for portieres and
+hangings. Quite another and perhaps
+equally popular one would be cross-colour
+upon a tinted warp. In this case the warp
+might be ivory white, yellow, light green,
+or even for darker effects, claret red, dark
+blue, dark green, or black. If an ivory
+white or light warp colour should be
+chosen, the cross-colours must be selected
+with special reference to the warp tint.<span class='pagenum'><a name="Page_122" id="Page_122">[122]</a></span>
+A beautiful effect for a light room would
+be made on an ivory-coloured warp by
+weaving at the top and also below the
+middle a series of narrow stripes like a
+Roman scarf. There should be a finger&#8217;s
+depth of rose colour at the top, and this
+would be obtained by a filling of light red,
+woven upon the ivory white warp. Then
+should come an inch stripe of pale blue,
+an inch of gold, another inch of blue; three
+inches of orange, then the inch of blue,
+the gold, and the blue again, and after
+that the rose-red for two-thirds the length
+of the portiere, when the ribbon stripes
+should again occur, after which the remaining
+third should be woven with a
+deeper red or a pale green.</p>
+
+<p>Such a portiere would not require embroidery
+to complete its effect, for if the
+tints were pure as well as delicate, it would
+be a lovely piece of colour in itself.</p>
+
+<p>This variety or style of hanging would
+have the advantage of throwing the burden
+of colour upon the wool, and as the
+animal fibre is apt to be more tenacious in
+its hold upon colour than vegetable, the
+question of fading would not have to be
+considered.<span class='pagenum'><a name="Page_123" id="Page_123">[123]</a></span></p>
+
+<p>These two varieties of artistic homespun
+can by experiment be made to cover a
+great deal that is beautiful and artistic in
+manufacture, and yet it leaves untouched
+the extensive field of plain piece-dyed or
+yarn-dyed weavings. Yarn-dyed material
+always has the advantage of the possible
+use of two colours, one in the warp and one
+in the filling, but in certain places, as in
+upholstery, a solid colour produced by
+piece-dyeing would be preferable. Linsey
+woolsey dyed in fast and attractive
+colour would undoubtedly be a good material
+for upholstery of simple furniture,
+because of its strength and durability, but
+it seems to me its chief mission and probable
+future is to supply an exceptional
+art textile; one which has the firmness and
+flexibility belonging to hand-woven stuffs,
+and can be at the same time beautiful in
+colour, capable of hard wear and reasonably
+inexpensive. I am tempted to modify
+the last qualification, because no hand-woven
+goods ought to be or can be inexpensive,
+in comparison with those manufactured
+under every condition of competitive
+economy. And in truth, domestic
+weavings are sure of their market at paying<span class='pagenum'><a name="Page_124" id="Page_124">[124]</a></span>
+prices, simply because they are what they
+are, <i>hand products</i>.</p>
+
+<p>I have shown in a limited way some of
+the possibilities of artistic hand-weaving
+without touching upon cotton or flax
+diapers and damasks, since these cannot
+readily compete with power-weavings,
+but I have not spoken of the difference it
+would make in the lives of the mountain
+weavers of the South if their horizon could
+be widened by the introduction of art industries.
+Only those who know the joy
+and compensation of producing things of
+beauty can realize the change it might
+work in lives which have been for generations
+narrowed to merely physical wants;
+but there are many gifted Southern women
+who do fully realize it, and we may safely
+leave to them the introduction and encouragement
+of art in domestic manufactures.</p>
+
+
+
+<h2><a name="NEIGHBOURHOOD_INDUSTRIES" id="NEIGHBOURHOOD_INDUSTRIES"></a>NEIGHBOURHOOD INDUSTRIES<span class='pagenum'><a name="Page_125" id="Page_125">[125]</a></span></h2>
+
+<h3>AFTER-WORD</h3>
+
+
+<p><span class="smcap"><big>I</big> am</span> often asked by women who are interested
+in domestic manufactures, how
+one should go to work to build up a profitable<span class='pagenum'><a name="Page_126" id="Page_126">[126]</a></span>
+neighbourhood industry. To do this
+one must know the place and people,
+for anxious as most country women are
+to earn something outside of farm profits,<span class='pagenum'><a name="Page_127" id="Page_127">[127]</a></span>
+they are both timid and cautious, and
+will not follow advice from unpractical
+people or from strangers.</p>
+
+<p>In every farming community there will
+be one or two ingenious or ambitious
+women who do something which is not
+general, and which they would gladly turn
+to account. One woman may be a skilled
+knitter of tidies, or laces, or rag mats;
+another may pull rags through burlap, and
+so construct a thick and rather luxurious-looking
+door-mat; another may have an
+old-fashioned loom and weave carpets for
+all the neighbourhood; and each one of<span class='pagenum'><a name="Page_128" id="Page_128">[128]</a></span>
+these simple arts is a foundation upon
+which an industry may be built, important
+to the neighbourhood, and in the aggregate
+to the country.</p>
+
+<p>The city woman or club woman who
+wishes to become a link between these
+things and a purchaser must begin by improving
+or adapting them. She must
+show the knitter of tidies an imported golf
+stocking with all of the latest stitches and
+stripes and fads, and if the yarn can be had,
+undoubtedly the tidy-knitter can make
+exactly such another. When a good pair
+has been produced, the city friend will not
+have to look far among her town acquaintances
+for a &#8220;golf fiend,&#8221; even if she herself
+is not one, and to him or her she must
+show the stocking and expatiate upon its
+merits: That it is not machine-made, but
+hand-knit; that it is thicker, softer, made
+of better material than woven ones, and
+above all, not to be found in any shop,
+but must be ordered from a particular
+woman who is a phenomenal knitter. All
+of which will be true, and equally so when
+the demand has increased and it has become
+a neighbourhood industry.</p>
+
+<p>&nbsp;<a name="lucy" id="lucy"></a></p>
+<p class="figcenter"><a href="images/illo011.jpg"><img src="images/illo011_th.jpg"
+alt="THE LUCY RUG" title="THE LUCY RUG" /></a></p>
+
+<p class="caption">THE LUCY RUG</p>
+
+<p>A golf player hardly need be told how<span class='pagenum'><a name="Page_129" id="Page_129">[129]</a></span>
+to create a demand for hand-knit stockings,
+or how to assist the knitter by advice,
+both in the improvement and disposal of
+her wares; but it should be a veritable golf
+player and not a philanthropic amateur.</p>
+
+<p>It is the same with other industries.
+The adviser must study them, improve
+them, adapt them, and find the first
+market, after which they will sell upon
+their own merits.</p>
+
+<p>As far as I know, nothing has been done
+in the way of improvement of knitted
+mats or rugs, although a very beautiful
+manufacture has been founded upon the
+method of pulling rags through burlap.
+Knitted rugs have much to recommend
+them. They can be made of all sorts of
+pieces, even the smallest; they wear well,
+and can easily be made beautiful.</p>
+
+<p>The building up of a rag carpet or rag
+rug industry is a much simpler matter, because
+the demand exists everywhere for
+cheap, durable and well-coloured floor
+covering. In my own experience I have
+found that the thing chiefly necessary is
+to teach the weavers that the colour must
+be pleasing and permanent, and to put
+them in communication with sources of<span class='pagenum'><a name="Page_130" id="Page_130">[130]</a></span>
+supply of rags and warp. The rugs sell
+themselves, and probably will continue to
+do so.</p>
+
+<p>The thing to remember when one wishes
+to be of use to their own and other communities,
+is that they must be sure of a
+commercial basis for the products before
+they encourage more than one person to
+begin a manufacture, and that the demand
+must be in advance of a full supply.
+Kindly and cultivated women who wish
+to be of real use to their summer neighbours
+will find this a true mission. Their
+lives lie within the current of demand,
+while the country woman lives within
+that of supply, and it is much easier for
+the city woman to bridge the space between
+than for her working neighbour.
+All good and well-founded industries take
+care of themselves in time, but until the
+merchant finds them out, and interposes
+the wedge of personal profit between things
+and their market&mdash;inciting and encouraging
+both&mdash;it seems to be the business of
+women in every lot of life to help each
+other.</p>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of How to make rugs, by Candace Wheeler
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+</body>
+</html>
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@@ -0,0 +1,2600 @@
+The Project Gutenberg EBook of How to make rugs, by Candace Wheeler
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: How to make rugs
+
+Author: Candace Wheeler
+
+Release Date: February 18, 2009 [EBook #28109]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK HOW TO MAKE RUGS ***
+
+
+
+
+Produced by Irma Spehar and the Online Distributed
+Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+HOW TO MAKE RUGS
+
+    [Illustration: LOOM WARPED FOR WEAVING]
+
+How to Make Rugs
+
+_By_
+
+CANDACE WHEELER
+
+Author of "Principles of Home Decoration," etc.
+
+
+ILLUSTRATED
+
+
+    [Illustration]
+
+
+NEW YORK
+DOUBLEDAY, PAGE & COMPANY
+1908
+
+
+Copyright, 1900
+By CANDACE WHEELER
+
+Copyright, 1902
+By DOUBLEDAY, PAGE & CO.
+
+Published October, 1902
+
+
+
+
+CONTENTS
+
+
+FOREWORD: HOME INDUSTRIES AND DOMESTIC MANUFACTURES.
+
+CHAPTER
+
+   I.   RUG WEAVING.                       19
+
+  II.   THE PATTERN.                       33
+
+ III.   DYEING.                            45
+
+  IV.   INGRAIN CARPET RUGS.               57
+
+   V.   WOVEN RAG PORTIERES.               67
+
+  VI.   WOOLEN RUGS.                       79
+
+ VII.   COTTON RUGS.                       99
+
+VIII.   LINSEY WOOLSEY.                   113
+
+NEIGHBOURHOOD INDUSTRIES: AFTER WORD.     125
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+Loom Warped for Weaving             _Frontispiece_
+
+                                       FACING PAGE
+
+Weaving                                         20
+
+The Onteora Rug                                 36
+
+The Lois Rug                                    52
+
+Sewed Fringe for Woven Portiere                 72
+
+Knotted Warp Fringe for Woven Table-cover       72
+
+Isle La Motte Rug                               90
+
+Greek Border in Red and Black                  108
+
+Braided and Knotted Fringe                     108
+
+Diamond Border in Red and Black                108
+
+The Lucy Rug                                   128
+
+
+
+
+FOREWORD.
+
+HOME INDUSTRIES AND DOMESTIC MANUFACTURES.
+
+
+The subject of Home Industries is beginning to attract the attention
+of those who are interested in political economy and the general
+welfare of the country, and thoughtful people are asking themselves
+why, in all the length and breadth of America, there are no
+well-established and prosperous domestic manufactures.
+
+We have no articles of use or luxury made in _homes_ which are objects
+of commercial interchange or sources of family profit. To this general
+statement there are but few exceptions, and curiously enough these
+are, for the most part, in the work of our native Indians.
+
+A stranger in America, wishing--after the manner of travelers--to
+carry back something characteristic of the country, generally buys
+what we call "Indian curiosities"--moccasins, baskets, feather-work,
+and the one admirable and well-established product of Indian
+manufacture, the Navajo blanket. But these hardly represent the mass
+of our people.
+
+We may add to the list of Indian industries, lace making, which is
+being successfully taught at some of the reservations, but as it is
+not as yet even a self-supporting industry, the above-named
+"curiosities" and the Navajo blanket stand alone as characteristic
+hand-work produced by native races; while from our own, or that of the
+co-existent Afro-American, we have nothing to show in the way of true
+domestic manufactures.
+
+When we contrast this want of production with the immense home product
+of Europe, Asia, parts of Africa, and South America--and even certain
+islands of the Southern Seas--we cannot help feeling a sort of dismay
+at the contrast; and it is only by a careful study of the conditions
+which have made the difference that we become reassured. It is, in
+fact, our very prosperity, the exceptionally favourable circumstances
+which are a part of farming life in this country, which has hitherto
+diverted efforts into other channels.
+
+These conditions did not exist during the early days of America, and
+we know that while there was little commercial exchange of home
+commodities, many of the arts which are used to such profitable
+purpose abroad existed in this country and served greatly to modify
+home expenses and increase home comforts. To account for the cessation
+of these household industries, it is only necessary to notice the
+drift of certain periods in the short history of America's settlement
+and development.
+
+We shall see that the decline of domestic manufactures in New England
+and the Middle States was coincident with two rapidly increasing
+movements, one of which was the opening and settlement of the great
+West, and the other the establishment of cotton and woolen mills
+throughout the country.
+
+In short, the abundant acreage of Western lands, fertile beyond the
+dreams of New England or Old World tillers, threw the entire business
+of production or family support upon the man. The profit of his easily
+acquired farm land was so great and certain that it became almost a
+reproach to him to have his womenkind busy themselves with other than
+necessary household duties.
+
+The cotton and woolen mills stood ready to supply the needed material
+for clothing, and it was positive economy to push the spinning-wheel
+out of sight under the garret eaves and chop up the bulky loom for
+firewood. The wife and daughters might reputably cook and clean for
+the men whose business it was to cover the black acres with golden
+wheat, but spinning and weaving were decidedly unfashionable
+occupations. Even the emigrants from countries where the spinning and
+weaving habit was an inheritance as well as a necessity, were governed
+by the custom of the country, and devoted the entire energy of the
+family to the raising of crops.
+
+It is, in fact, owing to fortunate circumstances that, if we except
+the mountain regions of the South, there are no longer farmhouse or
+domestic manufactures in America.
+
+This, as I have said, only goes to prove the hitherto unexampled
+prosperity of the country. In fact, the absence of these very
+industries means that there are greater sources of profit within the
+reach of farming households.
+
+This being so, it is natural to ask, why the re-establishment of
+farmhouse manufactures, or the encouragement and development of them,
+is a desirable movement.
+
+There are exceedingly good individual and personal reasons; and there
+are also commercial and national ones, which should not be ignored.
+
+All farmers are not successful. There are many poor as well as rich
+ones; and the wife of a poor farmer has less pecuniary independence,
+less money to spend, and fewer ways of gaining it, than any other
+woman of equal education and character in America.
+
+A poor farmer is often obliged to pay out for labour, fencing, stock,
+insurance and taxes every dollar gained by the sale of his crops, and
+if by good luck or good management there should be a small excess, he
+is apt to hoard it against unlooked-for emergencies. This, at first
+enforced economy, grows to be the habit of his life, so that even if
+he becomes well-to-do, or even rich, he distrusts exceedingly the
+wisdom of any expenditure save his own.
+
+A mechanic, or a man in any small line of business, must trust his
+wife with the disbursement of a certain part of the family income. It
+passes through her hands in the way of housekeeping, and the
+management of it exercises and develops her faculties; but the wife of
+the farmer has no such interest. The farm is expected to supply the
+family living, and this blessed fact becomes almost a curse when it
+deprives the wife of the mental stimulus incident to the management of
+resources.
+
+Added to this there is often, at least through the winter, partial or
+complete isolation from neighbourly or public interests. The great
+crops of the country are produced under circumstances which
+necessitate distance from even the most limited social centres, and
+that the farmer's wife suffers from this we know, not only from
+observation, but from the statistics of insane asylums. And here I am
+tempted to quote from a letter of a close student of farmhouse life in
+the West. She writes:
+
+"That the farmer himself, as isolated and hard worked, makes no such
+record, I believe due to the mental tonic, the broadening influence
+that comes from a sense of responsibility in life's larger affairs.
+The woman works like a machine, irresponsible as to final results; the
+man like a thinking, planning, responsible, independent human being."
+
+This seems to me a very fair statement of the case. The woman, who
+misses social companionship, and who has not the saving influence of
+administration and responsibility even in her own household, is
+narrowed to a very small point in life's affairs, and it is inevitable
+that she should suffer from it. The variety of her work also has
+dwindled. Cooking and house-cleaning follow each other in monotonous
+routine, with too much of it at planting and harvest seasons and too
+little at others. She has not even the pleasure of comparison and
+emulation in her daily work; it neither exercises her faculties nor
+stimulates her thought.
+
+During the winter months she has abundant leisure for a harvest of her
+own, in some interesting manufacture adapted to her education and
+circumstances, and in the prosecution of these she would be brought
+into a bond of common interest with other women. So far I have spoken
+only of the individual and personal reasons for which certain domestic
+and artistic industries well might be encouraged; but the public and
+economic reasons are easy to find.
+
+In looking at the variety and bulk of our national imports, we may be
+surprised to see how large a proportion of them are of domestic
+origin. In fact, nearly everything which comes under the head of
+artistic products is the result of domestic industry. The beauty and
+simplicity of many of these things is surprising, and yet they have
+required neither unusual talent or careful training. They are simply
+the result of the _habit_ of production, and their value is in the
+personal expression we find in them. They have always this advantage
+over mechanical manufacture, and can be safely relied upon to find a
+market in the face of close mechanical imitation.
+
+Among these domestic products we shall find the laces of all
+countries, Ireland, Belgium, France, Italy, Sweden and Russia
+contributing this beautiful manufacture, from finest to coarsest
+quality. It is as common a process as knitting in the homes of many
+countries, and the fact of it being successfully taught in the Indian
+cabins of the far West proves that it is not a difficult
+accomplishment. Embroideries, in all countries but our own, are common
+and profitable home productions; and when we come to hand-weavings the
+variety is infinite. In practical England, the value of hand-weavings
+in linens has led to the introduction of small "parlour looms" from
+Sweden; and damasks of special designs are woven for special customers
+who appreciate their charm and worth.
+
+Of all hand processes, weaving is the most generally or widely
+applicable, and the range of beautiful production possible to the
+simplest weaving is almost beyond calculation.
+
+Many of the costly Eastern rugs are as simply woven as a Navajo
+blanket, or even a rag carpet. The process is in many cases almost
+identical, the variation being only in closeness or fineness of warp
+and arrangement of colour.
+
+I have been much interested of late in an application of art to a
+local industry in New Hampshire. It is one which seems to prevail to
+a greater or less degree all through New England, and the product is
+called "pulled rugs." The process consists of drawing finely cut rags
+through some loose, strong cloth, mainly bagging or burlap. I have
+seen these rugs at Bar Harbor and along the Massachusetts coast for
+many years, and while they possessed the merit of durability, they
+were, for the most part, so ugly and unattractive that only the most
+sympathetic personal interest in the maker would induce one to
+purchase them. The change that has been wrought in this manufacture by
+an intelligent application of art is really marvelous. The product
+came under the attention of a woman trained in that valuable school,
+"The Institute of Artist Artisans." She tried the experiment of using
+new material carefully dyed to follow certain Oriental designs, and
+the result is a smooth, velvety, thick-piled rug, which cannot be
+distinguished from a fine Oriental rug of the same pattern. The cost
+of this manufacture is necessarily considerable, since the process is
+slow and the material costly. But in spite of these disadvantages, the
+drawn rugs have met with deserved favour, and are a source of
+profitable labour to the community. It is undoubtedly the beginning of
+an important industry, which owes its success entirely to the art
+education of one woman.
+
+There is an improvement somewhat akin to this in the weaving of
+rag-carpet rugs, and this is not confined to one locality. It consists
+in the use of _new_ rags, carefully selected as to colour both of rags
+and warp, and the result is surprisingly good.
+
+One might say that we have in this country peculiar advantages for
+positive artistic excellence as well as volume of production. We grow
+our own wool and cotton. We have a great and growing population, with
+such application of mechanical invention to routine and necessary work
+as greatly to reduce household labour. Added to this, there has been
+during the last ten years so much and such general art study as to
+have created a sort of diffused love of art manufactures, so that many
+of the people who would naturally adopt the work would have an
+instructive judgment regarding it. I should not be afraid to predict
+great and even peculiar excellence in any domestic manufacture which
+became the habit of any given locality.
+
+_The subject of our domestic industries is one which should fall
+naturally within the objects of women's clubs._ If every woman's club
+in the country chose from its members those who by artistic instinct
+or education, and the possession of practical ability, were fitted to
+lead in the work, and made of them a committee on home industries, the
+reports from it would soon become a matter of absorbing interest to
+the club, and the productions made under the protection, so to speak,
+of the club, would have an advantage that any commercial business
+would consider invaluable. Neither would the advantage be limited by
+the interest of a single club. That great social engine, "The
+Federation of Women's Clubs," can wield an almost magical power in the
+creation of interests or encouragement of effort, and the federation
+of organizations, each one exchanging experiences as well as products,
+would be an ideal means of growth and extension.
+
+The machinery for the work exists in almost every county of every
+State of the Union, and with the threefold interest of the promotion
+of practical art, that of increased manufacture, and the extension of
+that sisterhood which is one of the most Christian-like and desirable
+aims of women's clubs, it would seem a natural and congenial effort.
+
+The best results of this general awakening will probably be in the
+South. Certainly no conditions could be more favourable than those
+existing in the Cumberland Mountains, where wool and cotton grown upon
+the rough farms are habitually spun and woven and dyed in the home
+cabin. The dyes are often made from walnut bark, pokeberry, and
+certain nuts and roots which have been found capable of "fast" stain
+and are easily procured. Unfortunately, the facility with which
+aniline dyes can be used is not unknown. The "linsey woolsey," which
+is not only a common manufacture in the farmhouses, but the common
+wear of both men and women, is an interesting and good manufacture,
+capable of much wider use than it enjoys at present.
+
+And linsey woolsey is not the only home weaving done in the Cumberland
+Mountains. The showing of cotton homespun towel weaving at the
+Atlanta Exposition was a feature of the Exposition, and the homespun
+blankets of the various kinds which one finds in common use are only a
+step removed from the process of the admirable Navajo blanket.
+
+We see from these different possibilities and indications, that
+although we are still a people without true home productions, there is
+every reason to believe that this condition will not be a lasting one,
+and that before many years we shall find the special advantages and
+general cultivation of the country have not only produced but given
+character to a large domestic manufacture.
+
+
+
+
+CHAPTER I.
+
+RUG WEAVING.
+
+
+Rag carpets have been made and used in farmhouses for many
+generations, but it is only of late that there has been a general
+demand in all country houses for home-made piazza rugs, bedroom rugs,
+and rugs for general use.
+
+It has been found that the best and most durable rugs for these
+purposes, and for bath-rooms for town and city houses, can be made of
+cotton or woolen rags sewed and woven in the regular old-fashioned
+rag-carpet way, the difference being--and it is rather a large
+difference--that the rags must be new instead of old, and that the
+colors must be good and carefully chosen instead of being used
+indiscriminately, and in addition to this it must be woven in two-yard
+lengths, with a border and fringe at either end. This being done,
+good, attractive and salable rugs can be made of almost any color, and
+suitable for many purposes. It is an industry perfectly adapted to
+farmhouse conditions, and if well followed out would make a regular
+income for the women of the family.
+
+The cumbrous old wooden loom is still doing a certain amount of work
+in nearly every country neighbourhood, and it is capable of a greatly
+enlarged and much more profitable practice. I find very little if any
+difference in the rugs woven upon these and the modern steel loom. It
+is true that the work is lighter and weaving goes faster upon the
+latter, and where a person or family makes an occupation of weaving it
+is probably better to have the latest improvements; but it is possible
+to begin and to make a success of rag rug weaving upon an
+old-fashioned loom, and as a rule old-fashioned weavers have little to
+learn in new methods.
+
+This small book is intended as a help in adapting their work to modern
+demands, as well as to open a new field to the farmer's family during
+the winter months, when their time is not necessarily occupied with
+growing and securing crops.
+
+    [Illustration: WEAVING]
+
+It does not undertake to teach any one who buys or has inherited a
+loom to begin weaving without any further preparation. The warping or
+threading of it must be _seen_ to be understood, but when that is once
+learned, all of the rest is a matter of practice and experiment, and
+is really no more difficult than any other domestic art. One would not
+expect to spin without being shown how to pull the wool and turn the
+wheel at the same time, or even to sew or knit without some sort of
+instruction, and the same is true of weaving.
+
+There are many old looms still to be found in the garrets of
+farmhouses, and where one has been inherited it is best to begin
+learning to weave upon it instead of substituting a new one, since the
+same knowledge answers for both. Probably some older member of the
+family, or at least some old neighbour, will be able to teach the new
+beginner how to set up the loom and to proceed from that to actual
+weaving. After this is learned it rests with one's self to become a
+good weaver, a practical dyer, and to put colors together which are
+both harmonious and effective.
+
+What I have chiefly tried to show is how to get proper materials and
+how to use them to the best advantage. I think it is safe to say that
+no domestic art is capable of such important results from a pecuniary
+point of view, or so important an extension in the direction of
+practical art. Where it is used as an art-process and an interesting
+occupation, by women of leisure, it is capable of the finest results,
+and there is no reason why these results should not become a matter of
+business profit.
+
+Rag carpets have generally been woven of rags cut from any old
+garments cast aside by the household--coats and trousers too old for
+patching, sheets and pillow-cases too tender to use, calico, serge,
+bits of woolen stuffs old and new, went into the carpet basket, to be
+cut or torn into strips, sewed indiscriminately together, and rolled
+into balls until there should be enough of them for the work of the
+loom. When this time came the loom would be warped with white cotton
+or purple yarn, dyed with "sugar paper" or logwood, and the carpet
+woven. Even with this entire carelessness as to any other result than
+that of a useful floor covering, the rag carpet, with its "hit or
+miss" mixture, was not a bad thing; and a very small degree of
+attention has served to give it a respectable place in domestic
+manufactures. But it is capable of being carried much farther; in
+fact, I know of no process which can so easily be made to produce
+really good and beautiful results as rag carpet weaving.
+
+The first material needed is what are called carpet warps, and these
+can be purchased in different weights and sizes and more or less
+reliable colours in every country store, this fact alone showing the
+prevalence of home weaving, since the yarns are not--at least to my
+knowledge--used for any other purpose.
+
+The cost of warp, dyed or undyed, depends upon the quantity required,
+or, in other words, upon its being purchased at wholesale or retail.
+At retail it costs twenty cents per pound, and at wholesale sixteen.
+To buy of a wholesale dealer one must be able to order at least a
+hundred pounds, and as this would weave but a hundred and fifty rugs
+it would not be too large a quantity to have on hand for even a
+moderate amount of weaving. These prices refer only to ordinary cotton
+warps, and not to fine "silk finish," to linen, or even to silk ones,
+each of which has its special use and price.
+
+In all of them fast colour is a most desirable quality, and, indeed,
+for truly good work a necessity. I have found but two of the colours
+which are upon ordinary sale to be reasonably fast, and those are a
+very deep red and the ordinary orange. The latter will run when dipped
+in water; in fact, it will give out dye to such good purpose that I
+have sometimes used the water in which it has been steeped to dye
+cotton rags, as it gives a very good and quite fast lemon yellow.
+
+It follows, then, that in weaving rugs (which must be washable) with
+orange warp, the warp must be steeped in warm water before using. It
+can be used in that state, or it can be _set_ with alum, or it can be
+dipped in a thin indigo dye and made into a good and fast green.
+
+The only recourse of the domestic weaver who wishes to establish her
+rugs as of the very best make is to dye her own warps; and this is not
+only an easy but a most interesting process; so much so, in fact, that
+I am tempted to enlarge upon it as a practical study for the young
+people of the family. It is necessary at the very beginning to put
+much stress upon the value of fast colour in the warping yarn, since a
+faded warp will entirely neutralize the colour of the rags, and spoil
+the beauty of the most successful rug.
+
+The most necessary and widely applicable colour needed in warps, or,
+indeed, in rags, is a perfectly fast blue in different depths, and
+this can only be secured by indigo. Aniline blue in cotton is never
+sun-fast and rarely will stand washing, but a good indigo blue will
+neither run or fade, and is therefore precisely what is needed for
+domestic manufacture. Fortunately, the dye-tub has been, in the past
+at least, a close companion of the loom, and most old-fashioned
+farmers' wives know how to use it. With this one can command reliable
+blue warps of all shades; and when we come to directions for making
+washable rugs its importance will be seen.
+
+As I have said, by dipping orange warp in medium indigo blue a fast
+and vivid green can be secured, and these two tints, together with
+orange and red, give as many colours as one needs for rug weaving;
+they give, in fact, a choice of five colours--orange, red, blue,
+green and white. Orange and red are both colours which can be relied
+upon when prepared from the ordinary "Magic" dyes of commerce. Turkey
+red especially is safe to last, even when applied to cotton. In the
+general disapproval of mineral dyes, this one may certainly be
+excepted, as well as the crimson red known as "cardinal," which is
+both durable and beautiful, in silk or woolen fibre or texture.
+
+After good warps are secured, the second material needed is _filling_;
+and here the subject of old and new rags is to be considered. Of
+course, cloth which has served other purposes, as in sheets,
+pillow-cases, curtains, dress skirts, etc., is still capable of
+prolonged wear when the thin parts are removed and those which are
+fairly strong are folded and bunched into carpet filling; and for
+family use, or limited sale, such rags--dyed in some colour--are
+really desirable. Good varieties of washable rugs can be made of
+half-worn cotton without dyeing (although they will not be as durable
+as if made from unworn muslin) by using blue warps to white fillings.
+The colour effects and methods of weaving will be the same whether
+old or new rags are used; but in making a study of rag rug weaving
+from the point of view of building up an important industry, it is
+necessary to consider only the use of new rags and how to procure the
+best of them at the cheapest rates.
+
+There is a certain amount of what is called waste in all cloth mills,
+either cotton, wool or silk, and also in the manufacture of every kind
+of clothing. The waste from cotton mills, consisting for the most part
+of "piece ends," imperfect beginnings or endings, which must be torn
+off when the piece is made up, are exactly suitable for carpet
+weaving; and, in fact, if made for the purpose could hardly be better.
+These can be bought for from ten to twelve cents per pound. The same
+price holds for ginghams and for coloured cottons of various sorts.
+
+Cutting from shirt-making and clothing establishments are not as good.
+In shirt cuttings the cloth varies a good deal in thickness, and, in
+addition to this disadvantage, cannot be torn into strips, many of the
+pieces being bias, and therefore having to be cut. It is true that
+while this entails additional use of time in preparation, bias rags
+are a more elastic filling than straight ones, and if uniformly and
+carefully cut and sewed a rug made from them is worth more and will
+probably sell for more than one made of straight rags.
+
+Shirt cuttings sell for about three cents per pound, and while a
+proportion of them are too small for use and would have to be re-sold
+for paper rags, the cost of material for cotton rugs would still be
+very trifling. Suitable woolen rags from the mills sell for
+twenty-five cents per pound. Tailors' and dressmakers' cuttings are
+much cheaper, and very advantageous arrangements can be made with
+large establishments if one is prepared to take all they have to
+offer.
+
+One difficulty with woolen rags from tailoring establishments is in
+the sombreness of the colours; but much can be done by judicious
+sorting and sewing of the rags, for it is astonishing how bits of
+every conceivable colour will melt together when brought into a mixed
+mass; also if they are woven upon a red warp the effect is brightened.
+
+Having secured materials of different kinds, the next step is in the
+cutting and sewing, and here also new methods must step in.
+
+The old-fashioned way of sewing carpet rags--that is, simply _tacking_
+them together with a large needle and coarse thread--will not answer
+at all in this new development of rug making. The filling must be
+smooth, without lumps or rag ends, and the joinings absolutely fast
+and fairly inconspicuous. Some of the new rags from cotton or woolen
+mills come in pieces from a quarter to a half-yard in length and the
+usual width of the cloth. These can be sewed together on the sewing
+machine, lapping and basting them before sewing. They should lap from
+a quarter to a half inch and have two sewings, one at either edge of
+the lap. If sewed in this way they can afterward be torn into strips,
+using the scissors to cut across seams. It can be performed very
+speedily when one is accustomed to it, and is absolutely secure, so
+that no rag ends can ever be seen in the finished weaving.
+
+If the cloth pieces which are to be used for rags are not wide enough
+to sew on the sewing machine, they should be lapped and sewed by hand
+in the same way, unless they happen to have selvedge ends, in which
+case they should by all means be strongly overhanded. This makes the
+best possible joining, as it is no thicker than the rest of the rag
+filling, and consequently gives an even surface. Good sewing is the
+first step toward making good and workmanlike rugs.
+
+Whenever the rags can be torn instead of cut, it is preferable, as it
+secures uniform width. The width, of course, must vary according to
+the quality of cloth and weight desired in the rug. A certain weight
+is necessary to make it lie smoothly, as a light rug will not stay in
+place on the floor. In ordinary cotton cloth an inch wide strip is not
+too heavy and will pinch into the required space. If, however, a
+door-hanging or lounge-cover is being woven, the rags may be made half
+that width.
+
+
+
+
+CHAPTER II.
+
+THE PATTERN.
+
+
+When proper warp and filling are secured, experimental weaving may
+begin. If the loom is an old-fashioned wooden one, it will weave only
+in yard widths, and this yard width takes four hundred and fifty
+threads of warp. Warping the loom is really the only difficult or
+troublesome part of plain weaving, and therefore it is best to put in
+as long a warp as one is likely to use in one colour. One and a half
+pounds of cotton rags will make one yard of weaving.
+
+The simplest trial will be the weaving of white filling, either old or
+new, with a warp of medium indigo blue. Of course each warp must be
+long enough to weave several rugs; and the first one, to make the
+experiment as simple as possible, should be of white rags alone upon a
+blue warp. There must be an allowance of five inches of warp for
+fringe before the weaving is begun, and ten inches at the end of the
+rug to make a fringe for both first and second rugs. Sometimes the
+warp is set in groups of three, with a corresponding interval between,
+and this--if the tension is firm and the rags soft--gives a sort of
+honeycomb effect which is very good.
+
+The grouping of the warp is especially desirable in one-coloured rugs,
+as it gives a variation of surface which is really attractive.
+
+When woven, the rug should measure three feet by six, without the
+fringe. This is to be knotted, allowing six threads to a knot. This
+kind of bath-rug--which is the simplest thing possible in
+weaving--will be found to be truly valuable, both for use and effect.
+If the filling is sufficiently heavy, and especially if it is made of
+half-worn rags, it will be soft to the feet, and can be as easily
+washed as a white counterpane; in fact, it can be thrown on the grass
+in a heavy shower and allowed to wash and bleach itself.
+
+Several variations can be made upon this blue warp in the way of
+borders and color-splashes by using any indigo-dyed material mixed
+with the white rags. Cheap blue ginghams, "domestics" or half-worn and
+somewhat faded blue denims will be of the right depth of color, but as
+a rule new denim is of too dark a blue to introduce with pure white
+filling.
+
+The illustration called "The Onteora Rug" is made by using a
+proportion of a half-pound of blue rags to the two and a half of white
+required to make up the three pounds of cotton filling required in a
+six-foot rug. This half-pound of blue should be distributed through
+the rug in three portions, and the two and a half pounds of white also
+into three, so as to insure an equal share of blue to every third of
+the rug. After this division is made it is quite immaterial how it
+goes together. The blue rags may be long, short or medium, and the
+effect is almost certain to be equally good.
+
+The side border in "The Lois Rug," which is made upon the same blue
+warp, is separately woven, and afterward added to the plain white rug
+with blue ends, but an irregular side border can easily be made by
+sewing the rags in lengths of a half-yard, alternating the blue and
+white, and keeping the white rags in the centre of the rug while
+weaving.
+
+These three or four variations of style in what we may call washable
+rugs are almost equally good where red warp is used, substituting
+Turkey red rags with the white filling instead of blue. An orange warp
+can be used for an orange and white rug, mixing the white filling with
+ordinary orange cotton cloth.
+
+The effect may be reversed by using a white warp with a red, blue or
+yellow filling, making the borders and splashes with white. One of the
+best experiments in plain weaving I have seen is a red rug of the
+"Lois" style, using white warp and mixed white and green gingham rags
+for the borders, while the body of the rug is in shaded red rags.
+
+This, however, brings us to the question of color in fillings, which
+must be treated separately.
+
+    [Illustration: THE ONTEORA RUG]
+
+Of course, variations of all kinds can be made in washable rugs. Light
+and dark blue rags can be used in large proportion with white ones to
+make a "hit or miss," and where a darker rug is considered better for
+household use it can be made entirely of dark and light blue on a
+white warp; the same thing can be done in reds, yellows and greens.
+Brown can be used with good effect mixed with orange, using orange
+warp; or orange, green and brown will make a good combination on a
+white warp. In almost every variety of rug except where blue warp is
+used a red stripe in the border will be found an improvement.
+
+A very close, evenly distributed red warp, with white filling, will
+make a pink rug good enough and pretty enough for the daintiest
+bedroom. If it is begun and finished with a half-inch of the same warp
+used as filling, it makes a sort of border; and this, with the red
+fringe, completes what every one will acknowledge is an exceptionally
+good piece of floor furnishing.
+
+In using woolen rags, which are apt to be much darker in colour than
+cotton, a white, red or yellow warp is more apt to be effective than
+either a green or a blue; in fact, it is quite safe to say that light
+filling should go with dark warp and dark filling with light or white.
+
+There is an extremely good style of rag rug made at Isle Lamotte, in
+Vermont, where very dark blue or green woolen rags are woven upon a
+white warp, with a design of arrows in white at regular intervals at
+the sides. This design is made by turning back the filling at a given
+point and introducing a piece of white filling, which in turn is
+turned back when the length needed for the design is woven and another
+dark one introduced, each one to be turned back at the necessary place
+and taken up in the next row. Of course, while the design is in
+progress one must use several pieces of filling in each row of
+weaving.
+
+The black border can only be made by introducing a large number of
+short pieces of the contrasting colour which is to be used in the
+design and tacking them in place as the weaving proceeds. Of course,
+in this case thin cloth should be used for the colour-blocks, as
+otherwise the doubling of texture would make an uneven surface. If the
+rug is a woolen one, not liable to be washed, this variation of color
+in pattern can be cleverly made by brushing the applied color pieces
+lightly with _glue_. Of course, in this case the design will show only
+on the upper side of the rug. In fact, the only way to make the
+design show equally on both sides is by turning back the warp, as in
+the arrow design, or by actually cutting out and sewing in pieces of
+colour.
+
+By following out the device of using glue for fastening the bits of
+colour which make border designs many new and very interesting effects
+can be obtained, as most block and angle forms can be produced by
+lines made in weaving. It is only where the rug must be constantly
+subject to washing that they are not desirable. It must be remembered
+that the warp threads bind them into place, after they are
+glue-fastened.
+
+Large rugs for centres of rooms can be made of woolen rags by weaving
+a separate narrow border for the two sides. If the first piece is
+three feet wide by eight in length, and a foot-wide border is added at
+the sides, it will make a rug five feet wide by eight feet long; or if
+two eight-foot lengths are sewn together, with a foot-wide border, it
+will make an eight-by-eight centre rug. The border should be of black
+or very dark coloured filling. In making a bordered rug, two dark ends
+must be woven on the central length of the rug--that is, one foot of
+black or dark rags can be woven on each end and six feet of the "hit
+or miss" effect in the middle. This gives a strip of eight feet long,
+including two dark ends. The separate narrow width, one foot wide and
+sixteen feet in length, must be added to this, eight feet on either
+side. The border must be very strongly sewn in order to give the same
+strength as in the rest of the rug.
+
+The same plan can be carried out in larger rugs, by sewing breadths
+together and adding a border, but they are not easily lifted, and are
+apt to pull apart by their own weight. Still, the fact remains that
+very excellent and handsome rugs can be made from rags, in any size
+required to cover the floor of a room, by sewing the breadths and
+adding borders, and if care and taste are used in the combinations as
+good an effect can be secured as in a much more costly flooring.
+
+The ultimate success of all these different methods of weaving rag
+rugs depends upon the amount of beauty that can be put into them. They
+possess all the necessary qualities of durability, usefulness and
+inexpensiveness, but if they cannot be made beautiful other estimable
+qualities will not secure the wide popularity they deserve. Durable
+and beautiful colour will always make them salable, and good colour is
+easily attainable if the value of it is understood.
+
+There are two ways of compassing this necessity. One is to buy, if
+possible, in piece ends and mill waste, such materials as Turkey red,
+blue and green ginghams, and blue domestics and denims, as well as all
+the dark colours which come in tailors' cuttings. The other and better
+alternative is to buy the waste of white cotton mills and dye it. For
+the best class of rugs--those which include beauty as well as
+usefulness, and which will consequently bring a much larger price if
+sold--it is quite worth while to buy cheap muslins and calicoes; and
+as quality--that is, coarseness or fineness--is perfectly immaterial,
+it is possible to buy them at from four to five cents per yard. These
+goods can be torn lengthwise, which saves nearly the whole labor of
+sewing them, and from eight to ten yards, according to their fineness,
+will make a yard of weaving. The best textile for this is undoubtedly
+unbleached muslin, even approaching the quality called "cheesecloth."
+This can easily be dyed if one wishes dark instead of light colours,
+and it makes a light, strong, elastic rug which is very satisfactory.
+
+In rag carpet weaving in homesteads and farmhouses--and it is so truly
+a domestic art that it is to be hoped this kind of weaving will be
+confined principally to them--some one of the household should be
+skilled in simple dyeing. This is very important, as better and
+cheaper rugs can be made if the weaver can get what she wants in
+colour by having it dyed in the house, rather than by the chance of
+finding it among the rags she buys.
+
+
+
+
+CHAPTER III.
+
+DYEING.
+
+
+In the early years of the past century a dye-tub was as much a
+necessity in every house as a spinning wheel, and the re-establishment
+of it in houses where weaving is practised is almost a necessity; in
+fact, it would be of far greater use at present than in the days when
+it was only used to dye the wool needed for the family knitting and
+weaving. All shades of blue, from sky-blue to blue-black, can be dyed
+in the indigo-tub; and it has the merit of being a cheap as well as an
+almost perfectly fast dye. It could be used for dyeing warps as well
+as fillings, and I have before spoken of the difficulty, indeed almost
+impossibility, of procuring indigo-dyed carpet yarn.
+
+Blue is perhaps more universally useful than any other colour in rag
+rug making, since it is safe for both cotton and wool, and covers a
+range from the white rug with blue warp, the blue rug with white
+warp, through all varieties of shade to the dark blue, or clouded
+blue, or green rug, upon white warp. It can also be used in connection
+with yellow or orange, or with copperas or walnut dye, in different
+shades of green; and, in short, unless one has exceptional advantages
+in buying rags from woolen mills, I can hardly imagine a profitable
+industry of rag-weaving established in any farmhouse without the
+existence of an indigo dyeing-tub.
+
+
+RED.
+
+The next important color is red. Red warps can be bought, but the
+lighter shades are not even reasonably fast; and indeed, the only sure
+way of securing absolutely fast colour in cotton warp is to dye it.
+Prepared dyes are somewhat expensive on account of the quantity
+required, but there are two colours, Turkey red and cardinal red,
+which are extremely good for the purpose. These can be brought at
+wholesale from dealers in chemicals and dye-stuffs at much cheaper
+rates than by the small paper from the druggist.
+
+
+COPPERAS.
+
+The ordinary copperas, which can be bought at any country store, gives
+a fast nankeen-coloured dye, and this is very useful in making a dull
+green by an after-dip in the indigo-tub.
+
+
+WALNUT.
+
+There are some valuable domestic dyes which are within the reach of
+every country dweller, the best and cheapest of which is walnut or
+butternut stain. This is made by steeping the bark of the tree or the
+shell of the nut until the water is dark with colour. It will give
+various shades of yellow, brown, dark brown and green brown, according
+to the strength of the decoction or the state of the bark or nut when
+used. If the bark of the nut is used when green, the result will be a
+yellow brown; and this stain is also valuable in making a green tint
+when an after-dip of blue is added. Leaves and tree-bark will give a
+brown with a very green tint, and these different shades used in
+different rags woven together give a very agreeably clouded effect.
+Walnut stain will itself set or fasten some others; for instance,
+pokeberry stain, which is a lovely crimson, can be made reasonably
+fast by setting it with walnut juice.
+
+
+RUST-COLOUR.
+
+Iron rust is the most indelible of all stains besides being a most
+agreeable yellow, and it is not hard to obtain, as bits of old iron
+left standing in water will soon manufacture it. It would be a good
+use for old tin saucepans and various other house utensils which have
+come to a state of mischievousness instead of usefulness.
+
+
+GRAY.
+
+Ink gives various shades of gray according to its strength, but it
+would be cheaper to purchase it in the form of logwood than as ink.
+
+
+LOGWOOD CHIPS.
+
+Logwood chips boiled in water give a good yellow brown--deep in
+proportion to the strength of the decoction.
+
+
+YELLOW FROM FUSTIC.
+
+Yellow from fustic requires to be set with alum, and this is more
+effectively done if the material to be dyed is soaked in alum water
+and dried previous to dyeing. Seven ounces of alum to two quarts of
+water is the proper proportion. The fustic chips should be well
+soaked, and afterward boiled for a half-hour to extract the dye, which
+will be a strong and fast yellow.
+
+
+ORANGE.
+
+Orange is generally the product of annato, which must be dissolved
+with water to which a lump of washing soda has been added. The
+material must be soaked in a solution of tin crystals before dipping,
+if a pure orange is desired, as without this the color will be a pink
+buff--or "nankeen" color.
+
+What I have written on the subject of home dyeing is intended more in
+the way of suggestion than direction, as it is simply giving some
+results of my own experiments, based upon early familiarity with
+natural growths rather than scientific knowledge. I have found the
+experiments most interesting, and more than fairly successful, and I
+can imagine nothing more fascinating than a persistent search for
+natural and permanent dyes.
+
+The Irish homespun friezes, which are so dependable in colour for
+out-of-door wear, are invariably dyed with natural stains, procured
+from heather roots, mosses, and bog plants of like nature. It must be
+remembered that any permanent or indelible stain is a dye, and if boys
+and girls who live in the country were set to look for plants
+possessing the colour-quality, many new ones might be discovered. I am
+told by a Kentucky mountain woman, used to the production of reliable
+colour in her excellent weaving, that the ordinary roadside smartweed
+gives one of the best of yellows. Indeed, she showed me a blanket with
+a yellow border which had been in use for twenty years, and still held
+a beautiful lemon yellow. In preparing this, the plant is steeped in
+water, and the tint set with alum. Combining this with indigo, or by
+an after-dip in indigo-water, one could procure various shades of fast
+blue-green, a colour which is hard to get, because most yellows, which
+should be one of its preparatory tints, are buff instead of lemon
+yellow.
+
+An unlimited supply and large variety of cheap and reliable colour in
+rag filling, and a few strong and brilliant colours in warps, are
+conditions for success in rag rug weaving, but these colours must be
+studiously and carefully combined to produce the best results.
+
+I have said that, as a rule, light warps must go with dark filling and
+dark warps with light, and I will add a few general rules which I have
+found advantageous in my weaving.
+
+In the first place, in rugs which are largely of one colour, as blue,
+or green, or red, or yellow, no effort should be made to secure _even_
+dyeing; in fact, the more uneven the colour is the better will be the
+rug. Dark and light and spotted colour work into a shaded effect which
+is very attractive. The most successful of the simple rugs I possess
+is of a cardinal red woven upon a white warp. It was chiefly made of
+white rags treated with cardinal red Diamond dye, and was purposely
+made as uneven as possible. The border consists of two four-inch
+strips of "hit or miss" green, white and red mixed rags, placed four
+inches from either end, with an inch stripe of red between, and the
+whole finished with a white knotted fringe.
+
+A safe and general rule is that the border stripes should be of the
+same colour as the warp--as, for instance, with a red warp a red
+striped border--while the centre and ends of the rug might be mixed
+rags of all descriptions.
+
+It is also safe to say that in using pure white or pure black in mixed
+rags, these two colours, and particularly the white, should appear in
+short pieces, as otherwise they give a striped instead of a mottled
+effect, and this is objectionable. White is valuable for strong
+effects or lines in design; indeed, it is hard to make design
+prominent or effective except in white or red.
+
+    [Illustration: THE LOIS RUG]
+
+These few general rules as to colour, together with the particular
+ones given in other chapters, produce agreeable combinations in very
+simple and easy fashion. I have not, perhaps, laid as much stress upon
+warp grouping and treatment as is desirable, since quite distinct
+effects are produced by these things. Throwing the warp into groups of
+three or four threads, leaving small spaces between, produces a sort
+of basket-work style; while simply doubling the warp and holding it
+with firm tension gives the honeycomb effect of which I have
+previously spoken. If the filling is wide and soft, and well pushed
+back between each throw of the shuttle, it will bunch up between the
+warp threads like a string of beads, and in a dark warp and light
+filling a rim of coloured shadow seems to show around each little
+prominence. Such rugs are more elastic to the tread than an
+even-threaded one, and on the whole may be considered a very desirable
+variation.
+
+It is well for the weaver to remember that every successful experiment
+puts the manufacture on a higher plane of development and makes it
+more valuable as a family industry.
+
+
+
+
+CHAPTER IV.
+
+INGRAIN CARPET RUGS.
+
+
+Undoubtedly the most useful--and from a utilitarian point of view the
+most perfect--rag rug is made from worn ingrain carpet, especially if
+it is of the honest all-wool kind, and not the modern mixture of
+cotton and wool. There are places in the textile world where a mixture
+of cotton and wool is highly advantageous, but in ingrain carpeting,
+where the sympathetic fibre of the wool holds fast to its adopted
+colour, and the less tenacious cotton allows it to drift easily away,
+the result is a rusty grayness of colour which shames the whole
+fabric. This grayness of aspect cannot be overcome in the carpet
+except by re-dyeing, and even then the improvement may be transitory,
+so an experienced maker of rugs lets the half-cotton ingrain drift to
+its end without hope of resurrection.
+
+The cutting of old ingrain into strips for weaving is not so serious a
+task as it would seem. Where there is an out-of-doors to work in, the
+breadths can easily be torn apart without inconvenience from dust.
+After this they should be placed, one at a time, in an old-fashioned
+"pounding-barrel" and invited to part with every particle of dust
+which they have accumulated from the foot of man.
+
+For those who do not know the virtues and functions of the
+"pounding-barrel," I must explain that it is an ordinary, tight,
+hard-wood barrel; the virtue lying in the pounder, which may be a
+broom-handle, or, what is still better, the smooth old oak or ash
+handle of a discarded rake or hoe. At the end of it is a firmly fixed
+block of wood, which can be brought down with vigour upon rough and
+soiled textiles. It is an effective separator of dust and fibre, and
+is, in fact, a New England improvement upon the stone-pounding process
+which one sees along the shores of streams and lakes in nearly all
+countries but England and America.
+
+If the pounding-barrel is lacking, the next best thing is--after a
+vigorous shaking--to leave the breadths spread upon the grass, subject
+to the visitations of wind and rain. After a few days of such
+exposure they will be quite ready to handle without offense. Then
+comes the process of cutting. The selvages must be sheared as narrowly
+as possible, since every inch of the carpet is valuable. When the
+selvages are removed, the breadths are to be cut into long strips of
+nearly an inch in width and rolled into balls for the loom. If the
+pieces are four or five yards in length, only two or three need to be
+sewn together until the weaving is actually begun, as the balls would
+otherwise become too heavy to handle. As the work proceeds, however,
+the joinings must be well lapped and strongly sewn, the rising of one
+of the ends in the woven piece being a very apparent blemish.
+
+Rugs made of carpeting require a much stronger warp than do ordinary
+cotton or woolen rugs, and therefore a twine made of flax or hemp, if
+it be of fast colour, will be found very serviceable. Some weavers
+fringe the rags by pulling out side threads, and this gives an effect
+of _nap_ to the woven rug which is very effective, for as the rag is
+doubled in weaving the raveled ends of threads stand up on the
+surface, making quite a furry appearance. I have a rug treated in
+this way made from old green carpeting, woven with a red warp, which
+presents so rich an appearance that it might easily be mistaken for a
+far more costly one. It has, however, the weak point of having been
+woven with the ordinary light-red warp of commerce, and is therefore
+sure to lose colour. If the warp had been re-dyed by the weaver, with
+"Turkey red," it would probably have held colour as long as it held
+together.
+
+This cutting of ingrain rags would seem to be a serious task, but
+where weaving is a business instead of an amusement it is quite worth
+while to buy a "cutting table" upon which the carpet is stretched and
+cut with a knife. This table, with its machinery, can be bought
+wherever looms and loom supplies are kept, at a cost of from seven to
+eight dollars. If the strips are raveled at all, it should be at least
+for a third of an inch, as otherwise the rug would possess simply a
+rough and not a napped surface. If the strips are cut an inch in width
+and raveled rather more than a third on each side, it still leaves
+enough cloth to hold firmly in the weaving, but I have known one
+industrious soul who raveled the strips until only a narrow third was
+left down the middle of the strip, and this she found it necessary to
+stitch with the sewing machine to prevent further raveling. I have
+also known of the experiment of cutting the strips on the bias,
+stitching along the centre and pulling the two edges until they were
+completely ruffled. Although this is a painstaking process, it has
+very tangible merits, as, in the first place, absolutely nothing of
+the carpet is wasted--no threads are pulled out and thrown away as in
+the other method--and in the next the sewings together are overhand
+instead of lapped. The raveled waste can often be used as filling for
+the ends of rugs if it is wound as it is pulled from the carpet rags.
+Indeed, one can hardly afford to waste such good material.
+
+It will be seen that there are great possibilities in the carpet rug.
+Even the unravelled ones are desirable floor covering on account of
+their weight and firmness. They lie where they are placed, with no
+turned-up ends, and this is a great virtue in rugs.
+
+Of course much of the beauty of the ingrain carpet rug depends upon
+the original colour of the carpet. Most of those which are without
+design will work well into rugs if a strongly contrasting colour is
+used in the warp. If, for instance, the carpet colour is plain blue,
+the warp should be white; if yellow, either an orange warp, which will
+make a very bright rug, or a green warp, which will give a soft
+yellowish green, or a blue, which will give a general effect of green
+changing to yellow.
+
+If the carpet should be a figured one, a red warp will be found more
+effective than any other in bringing all the colours together. If it
+should happen to be faded or colourless, the breadths can be dipped in
+a tub of strong dye of some colour which will act well upon the
+previous tint. If, for instance, it should be a faded blue, it may be
+dipped in an indigo dye for renewal of colour, or into yellow, which
+will change it into green. A poor yellow will take a brilliant red
+dye, and a faded brown or fawn will be changed into a good claret
+colour by treating it with red dye. Faded brown or fawn colours will
+take a good dark green, as will also a weak blue. Blue can also be
+treated with yellow or a fresher blue.
+
+Of course, in speaking of this kind of dyeing, the renewal of old
+tints, it is with reference to the common prepared dyes which are for
+sale--with directions--by every druggist, and with a little knowledge
+of how these colours act upon each other one can produce very good
+effects. It is quite a different thing from the dyeing of fibre which
+is to be woven into cloth. In the latter case it is far wiser to use
+vegetable dyes, but in the freshening of old material the prepared
+mineral dyes are more convenient and sufficiently effective.
+
+
+
+
+CHAPTER V.
+
+WOVEN RAG PORTIERES.
+
+
+Rag weaving is not necessarily confined to rugs, for very beautiful
+portieres and table and lounge covers may be woven from carefully
+chosen and prepared rags. The process is practically the same, the
+difference being like that between coarse and fine needlework, where
+finer material and closer and more painstaking handiwork is bestowed.
+The result is like a homespun cloth. Both warp and woof must be finer
+than in ordinary carpet weaving. Instead of coarse cotton yarn, warp
+must be fine "mercerized" cotton, or of linen or silk thread, and the
+warp threads are set much closer in the loom. In place of ten or
+twelve threads to the inch, there should be from fifteen to twenty.
+The woof or filling may be old or new, and either of fine cotton,
+merino, serge, or other wool material, or of silk. The ordinary
+"silk-rag portiere" is not a very attractive hanging, being somewhat
+akin to the crazy quilt, and made, as is that bewildering production,
+from a collection of ribbons and silk pieces of all colours and
+qualities, cut and sewed together in a haphazard way, without any
+arrangement of colour or thought of effect, and sent to the weaver
+with a vague idea of getting something of worth from valueless
+material. This is quite a different thing from a silk portiere made
+from some beautiful old silk garment, which is too much worn for
+further use, where warp and woof colour are selected for fitness and
+harmony, and the weaver uses her rags, as the painter does his
+colours, with a purpose of artistic effect. If the work is done from
+that point of view, the last state of the once beautiful old garment
+may truly be said to be better than the first. If a light cloth is
+used for this kind of manufacture, it may be torn into strips so
+narrow as to simulate yarn--and make what appears to be yarn weaving.
+This cannot well be done with old or worn cloth, because there is not
+strength in the very narrow strip to bear the strain of tearing; but
+new muslin, almost as light as that which is known as "cheesecloth,"
+treated in this way makes a beautiful canvas-like weaving which, if
+well coloured, is very attractive for portieres or table covers.
+
+If one has breadths of silk of a quality which can be torn without
+raveling, and is sufficiently strong to bear the process, it is
+delightful material to work with. If it is of ordinary thickness, a
+half-inch in width is quite wide enough, and this will roll or double
+into the size of ordinary yarn. If the silk is not strong enough to
+tear, it is better to cut the strips upon the bias than straight, and
+the same is true of fine woolens, like merinos, cashmeres, or any
+worsted goods. There is much more elasticity in them when cut in this
+way, and they are more readily crushed together by the warp.
+
+I know a beautiful hanging of crimson silk, or rather of crimson and
+garnet--the crimson having been originally a light silk dress dyed to
+shade into the garnet. The two coloured rags were sewn together "hit
+or miss" fashion and woven upon a bright cardinal-coloured warp. There
+was no attempt at border: it was simply a length of vari-coloured
+coarse silk weaving, absolutely precious for colour and quality.
+
+Treated in this way, an old silk gown takes on quite a new value and
+becomes invested with absorbing interest. Spots and tarnish disappear
+in the metempsychosis, or serve for scattered variation, and if the
+weaver chooses to still further embellish it with a monogram or design
+in cross stitch embroidery, she has acquired a piece of drapery which
+might be a valuable inheritance to her children.
+
+Merino or cashmere which has been worn and washed, and is coupled with
+other material of harmonizing colour, like pieces of silk or velvet,
+is almost as valuable for the making of portieres and table covers as
+if it were silk. Indeed, for the latter purpose it is preferable,
+being generally washable.
+
+Cotton hangings made in this way are often very desirable. "Summer
+muslins" which have served their time as dresses, and are of beautiful
+colour and quite strong enough to go into the loom, can be woven with
+a warp of gray linen thread into really beautiful hangings, especially
+the strong, plain tints--the blues and greens and reds which have
+been so much worn of late years. They have the advantage of being
+easily washable, and are particularly suitable for country-house
+hangings. Even worn sheets and pillow-cases can be dyed to suit the
+furnishing of different rooms, and woven with a silk warp of stronger
+colour. They should be torn into strips not more than a third of an
+inch wide, so that it may crush into a roll not larger than an
+ordinary yarn. This will weave into a light, strong cloth, always
+interesting because it differs from anything which can be purchased
+through ordinary channels. To reappear in the shape of a beautiful and
+valuable rag-weaving is the final resurrection of good textiles, when
+they have performed their duty in the world and been worn out in its
+service.
+
+These home-woven portieres are better without borders, the whole
+surface being plain or simply clouded by mixing two tints of the same
+colour together. They can be elaborated by adding a hand-made fringe
+of folds of cloth sewn into a lattice and finished with tassels. This
+is quite a decorative feature, and particularly suitable to the
+weaving.
+
+It can easily be understood that a large share of the beauty of making
+these household furnishings lies in the colour. If that is good the
+rug or portiere or table-cover is beautiful. If it is either dull or
+glaring, the pleasure one might have in it is lacking, and it is quite
+within one's power to have the article always beautiful.
+
+It must also be remembered, if weaving is taken up as a source of
+profit, that _few things which do not please the eye will sell_.
+Therefore, if for no other reason, it is well worth while for the
+weaver to first study the choice, production and combination of
+beautiful colours rather than the fabric of the rug.
+
+I have said, and will reiterate, that for this particular kind of
+manufacture--the restoration and adaptation of old goods, and the
+strengthening of tints in carpet warps--the yellows and reds of the
+Magic or Diamond dyes of commerce are effective and reliable. Indeed,
+for new goods cardinal dye is all that could be asked, but when it
+comes to the use of dyes for the weaving of textiles and artistic
+fabrics, one must resort to dye woods and plants.
+
+    [Illustration: KNOTTED WARP FRINGE FOR WOVEN TABLE-COVER]
+
+    [Illustration: SEWED RAG FRINGE FOR WOVEN PORTIERE]
+
+
+FRINGES.
+
+Nothing is more important than the proper _finish_ of the rug, and
+this generally consists in a careful going over of the work after it
+has come from the loom--the cutting of stray ravelings and sewing of
+loose ends, and the knotting of the long warp ends.
+
+It is only a very careless or inexperienced weaver who leaves the warp
+ends in the state in which they come from the loom; and indeed they
+can be made one of the most effective features of the rug. Simple
+knotting of every six threads will make them safe from raveling, and
+sometimes the shortness of the warp ends allows no more than this. It
+is well worth while, however, to leave six or eight inches to work
+into decorative fringes, and these can be made in various ways, of
+which illustrations are given.
+
+In the case of decorative fringes there can be double or triple
+knotting--straight, or worked into points; braided fringes which have
+the merit of both strength and beauty, and are free from the
+tangle-trouble of long fringes, and the very effective rag-lattice
+finish for portieres and table-covers. Indeed, half the beauty of the
+rug may lie in the fringing and finish.
+
+
+PROFITS.
+
+The pecuniary gain from rag rug weaving may easily be calculated.
+First of all comes the cost of the loom, which will be about seventy
+dollars. The interest upon this, with necessary repairs, may be
+reckoned at about five dollars per year.
+
+To every six-foot rug goes two-thirds of a pound of warp, and this
+would amount to from ten-and-a-half to fourteen cents, according to
+the rate of purchase. To every such rug must go three pounds of cotton
+or two pounds of woolen rags, costing for cotton thirty and for woolen
+fifty cents. To the cotton rugs must be added the possible cost of
+dye-stuffs, which, again, might cost twenty cents, making cost of
+material in either cotton or woolen rugs from sixty to sixty-four
+cents.
+
+As far as profit is concerned, if rag rugs are well made they will
+sell for two dollars each, if successful in colour, from two dollars
+and a half to three and a half, and if beautiful and exceptional in
+colour and finish from four to six dollars. But it must be remembered
+that this latter price will be for rugs which have artistic value.
+Probably the average weaver can safely reckon upon one dollar and
+eighty-five cents to two dollars regular profit for the labor of
+sewing and filling and weaving and knotting the rugs. It is fair to
+accept this as a basis for regular profit, the amount of which must
+depend upon facility of production and the ability to produce
+unexceptionable things.
+
+But it is not alone pecuniary gain which should be considered. Ability
+to produce or create a good thing is in itself a happiness, and the
+value of happiness cannot easily be reckoned. The knowledge necessary
+to such production is a personal gain. Everything we can do which
+people generally cannot or do not do, or which we can do better than
+others, helps us to a certain value of ourselves which makes life
+valuable. For this reason, then, as well as for the gain of it, a loom
+in the house and a knowledge of weaving is an advantage, not only for
+the elders, but to the children. If the boys and girls in every
+farmhouse were taught to create more things, they would not only be
+abler as human beings, but they would not be so ready to run out into
+the world in search of interesting occupations. A loom, a
+turning-lathe, a work-bench, and a chest of tools, a house-organ or
+melodeon, and a neighbourhood library, would keep boys and girls at
+home, and make them more valuable citizens when independent living
+became a necessity. Everything which broadens the life, which must by
+reason of narrow means and fixed occupation be stationary, gives
+something of the advantage of travel and contact with the world, and
+the adding of profitable outside industries to farmhouse life is an
+important step in this direction.
+
+
+
+
+CHAPTER VI.
+
+WOOLEN RUGS.
+
+
+There are two conditions which will make home weaving valuable. The
+first is that the material, whether it be of cotton or wool, should be
+grown upon the farm, and that it could not be sold in the raw state at
+a price which would make the growing of it profitable. In wool crops
+there are certain odds and ends of ragged, stained and torn locks,
+which would injure the appearance of the fleece, and are therefore
+thrown aside, and this waste is perfectly suitable for rug weaving.
+
+In cotton there is not the amount of waste, but the fibre itself is
+not as valuable, and a portion of it could be reserved for home
+weaving, even though it should not be turned to more profitable
+account.
+
+The next condition is that the time used in weaving is also waste or
+left-over time. If housekeeping requires only a quarter or half of a
+woman's time, weaving is more restful and interesting, as well as
+more profitable, than idleness; and in almost every family there are
+members to whom partial employment would be a boon.
+
+There is no marketable value for spare time or for individual taste,
+so that the women of the family possessing these can start a weaving
+enterprise, counting only the cost of material at growers' prices. If
+they can card, spin, dye and weave as well as the women of two
+generations did before them, they have a most profitable industry in
+their own hands in the shape of weaving.
+
+If materials must be purchased the profit is smaller, and the question
+arises whether spare time and personal taste and skill can be made
+profitable. This depends entirely upon circumstances and character.
+When circumstances are or can be made favourable, and there is
+industry and ambition behind them, domestic weaving is a beautiful and
+profitable occupation.
+
+There are many neighbourhoods where the conditions are exactly
+suitable to the prosecution of important domestic industries--localities
+where sheep are raised and wool is a regular product, or where cotton
+is grown and the weaving habit is not extinct. This is true of many
+New England neighbourhoods and of the whole Cumberland Mountain
+region, and it is in response to a demand for direction of unapplied
+advantages that this book is written.
+
+I am convinced that the weaving of domestic wool or cotton rugs might
+be so developed in the mountain regions of the South as to greatly
+decrease the importation of Eastern ones of the same grade.
+
+An endless variety might be made in these localities, the difference
+of climate, material and habits of thought adding interest as well as
+variety, and it is safe to say that the home market is waiting for
+them. Housekeepers have learned by experience that a rug which can be
+easily lifted and frequently shaken is not only far more cleanly, and
+consequently safer, from a sanitary point of view, than a carpet, but
+that it has other merits which are of economic as well as esthetic
+importance.
+
+A rug is more durable than a carpet of equal weight and texture
+because it can be constantly shifted from points of wear to those
+which are less exposed. It can be moved from room to room, or even
+from house to house, without the trouble of shaping or fitting; and
+last but not least, it brings a concentration of colour exactly where
+it is needed for effect, and this is possible to no other piece of
+house furnishing. In short, there seems to be no bar to its general
+acceptance, excepting the bad floors of our immediate predecessors in
+building.
+
+It only needs that cost, quality and general effect of the home-woven
+rugs should be shaped into perfect adaptation to our wants, to make
+them as necessary a part of ordinary house-furnishing as chairs and
+tables.
+
+These three requirements are within the reach of any home-weaving
+farmer's wife who will give to the work the same thought for
+economical conditions, the same ambition for thorough work and the
+same intelligent study which her husband bestows upon his successful
+farming.
+
+As there is already one American rug which fulfills most of these
+conditions, it is well to consider it as a starting point for
+progress. This is the heavy Indian rug known as the Navajo blanket.
+Originally fashioned to withstand the cold and exposure of outdoor
+life, it has combined thickness, durability and softness with
+excellent colour and weaving and perfectly characteristic design.
+
+In the best examples, where the wool is not bought from traders, but
+carded, spun and dyed by the weaver, the Navajo blanket is a perfect
+production of its kind, and I cannot help wondering that the
+manufacture of these rug-like blankets--some of which are of great
+intrinsic value--should have been so long confined to a primitive
+race, living at our very doors. The whole process of spinning, dyeing
+and weaving could be carried on in any farmhouse, using the coarsest
+and least valuable wool, and by reliable and well-chosen colour, good
+weight and careful weaving bringing the manufacture into a prominent
+place among the home productions of our people.
+
+One can hardly imagine simpler machinery than is used by the Indians.
+It is scarcely more than a parallelogram of sticks, supported by a
+back brace, and yet upon these simple looms an Indian woman will
+weave a fabric that will actually hold water.
+
+The clumsy, old-fashioned loom which is still in use in many
+farmhouses is fully equal to all demands of this variety of weaving,
+but there are already in the market steel-frame looms with fly
+shuttles which take up much less room and are more easily worked. I
+was about to say they were capable of better work, but nothing could
+be better in method than the Indian rug, woven on its three upright
+sticks; and after all it is well to remember that _quality is in the
+weaver_, and not in the loom. The results obtained from the simplest
+machinery can be made to cover ground which is truly artistic.
+
+As an example of what may be done to make this kind of weaving
+available, we will suppose that some one having an ordinary loom, and
+in the habit of weaving rag carpet, wishes to experiment toward the
+production of a good yarn rug. The first thing required would, of
+course, be material for both warp and woof.
+
+The warp can be made of strong cotton yarn which is manufactured for
+this very purpose and can be bought for about seventeen cents a
+pound. This is probably cheaper than it could be carded and spun at
+home even on a cotton-growing farm.
+
+The wool filling should be coarse and slack-twisted, and on
+wool-growing farms or in wool-growing districts is easily produced. If
+it is of home manufacture, it may be spun as loosely or slackly as
+possible, dyed and woven without doubling, which will be seen to be an
+economy of labor. The single thread, slackly twisted, gives a very
+desirable elasticity to the fabric, because the wool fibre is not too
+closely bound or packed. On the other hand, if the wool as well as the
+warp must be bought, it is best to get it from the spinning machine in
+its first state of the single thread, and do the doubling and twisting
+at home. In this case it can be doubled as many or as few times as it
+is thought best, and twisted as little as possible.
+
+The next and most important thing is colour, and it is a great
+advantage if the dyeing can be done at home. There is a strong and
+well-founded preference among art producers in favor of vegetable
+dyes, and yet it is possible to use certain of the aniline colours,
+especially in combination, in safe and satisfactory ways.
+
+Every one who undertakes domestic weaving must know how to dye one or
+two good colours--black, of course, and the half-black or gray which a
+good colourist of my acquaintance calls _light black_; indigo blue
+equally, of course, in three shades of very dark, medium and light;
+and red in two shades of dark and light. Here are seven shades from
+the three dyes, and when we add white we see that the weaver is
+already very well equipped with a variety of colour. The eight shades
+can be still further enlarged by clouding and mixing. The mixing can
+be done in two ways, either by carding two tints together before
+spinning, or by twisting them together when spun.
+
+Carding together gives a very much better effect in wool, while
+twisting together is preferable in cotton.
+
+Dark blue and white or medium blue and white wool carded together will
+give two blue-grays, which cannot be obtained by dyeing, and are most
+valuable. White and red carded together give a lovely pink, and any
+shade of gray can be made by carding different proportions of black
+and white or half-black and white. A valuable gray is made by carding
+black and white wool together (and by black wool I mean the natural
+black or brownish wool of black sheep). Mixing of deeply dyed and
+white wool together in carding is, artistically considered, a very
+valuable process, as it gives a softness of colour which it is
+impossible to get in any other way. Clouding--which is almost an
+indispensable process for rug centres--can be done by winding certain
+portions of the skeins or hanks of yarn very tightly and closely with
+twine before they are thrown into the dye-pot. The winding must be
+close enough to prevent the dye penetrating to the yarn. This means,
+of course, when the clouding is to be of white and another colour. If
+it is to be of two shades of one colour, as a light and medium blue,
+the skein is first dyed a light blue, and after drying is wound as I
+have described, and thrown again into the dye-pot, until the unwound
+portions become the darker blue which we call medium.
+
+In a neighbourhood where weaving is a general industry, it is an
+advantage if some one person who has a general aptitude for dyeing
+and experiments in colours undertakes it as a business. This is on the
+principle that a person who does only one thing does it with more
+facility and better than one who works in various lines. Yet even when
+there is a neighbourhood dyer, it is, as I have said, almost
+indispensable that the weaver should know how to dye one or two
+colours and to do it well.
+
+Supposing that the material, in the shape of coarse cotton warp,
+black, red or white, has been secured, or that a wool filling in the
+colours and shades I have described has been prepared for weaving; the
+loom is then to be warped, at the rate of fifteen or less threads to
+the inch, according to the coarseness or fineness of the filling.
+
+It is well to weave a half-inch of the cotton warp for filling, as
+this binds the ends more firmly than wool. Next to this, a border of
+black and gray in alternate half-inch stripes can be woven, and
+following that, the body of the rug in dark red, clouded with white.
+After five feet of the red is woven, a border end of the black and
+gray is added, and the rug may be cut from the loom, leaving about
+four inches of the warp at either end as a fringe. If the filling
+yarn is of good colour, and has been well packed in the weaving, _so
+as to entirely cover the warp_, the result will be a good, attractive
+and durable woolen rug, woven after the Navajo method.
+
+In this one example I have given the bare and simple outline by
+following which a weaver whose previous work has been only rag carpet
+weaving can manufacture a good and valuable wool rug. The difference
+will be simply that of close warping and a substitution of wool for
+rags. Its value will be considerably increased or lessened by the
+choice of material both in quality and colour and the closeness and
+perfection of weaving.
+
+The example given calls for a rug six feet long by three feet in
+width. To make this very rug a much more important one, it needs only
+to vary the size of the border. For a larger rug the length must be
+increased two feet, and the border, which in this case must be of
+plain or mixed black--that is, it must not be alternated with stripes
+of gray--must measure one foot at either end. When this is complete,
+two narrow strips one foot in width, woven with mixed black filling,
+must be sewed on either side, making a rug eight feet long and five in
+width. It is not a disadvantage to have this border strip sewn,
+instead of being woven as a part of the centre. Many of the cheaper
+Oriental weavings are put together in this way, and as many of the
+older house-looms will only weave a three-foot width, it is well to
+know that that need not prevent the production of rugs of considerable
+size.
+
+Endless variations of this very simple yarn rug can be made with
+variation in size as well as in colour. Two breadths and two borders,
+the breadths three feet in width and the borders one foot and six
+inches, will give a breadth of nine feet, which with a corresponding
+length will give a rug which will sufficiently cover the floor of an
+ordinary room. If the centre is skilfully mottled and shaded, it will
+make a floor spread of beautiful colour, and one which could hardly be
+found in shops.
+
+    [Illustration: ISLE LA MOTTE RUG]
+
+The border can be made brighter, as well as firmer and stiffer, by
+using two filling threads together--a red and a black; or an alternate
+use of red and black, using two shuttles, will give a lighter and
+better effect than when black is used exclusively.
+
+After size and weight--or, to speak comprehensively, _quality_--is
+secured in this kind of simple weaving, the next most important thing
+is colour. Of course the colour must be absolutely fast, but I have
+shown how much variety can be made by shading and mixing of three fast
+colours, and much more subtle and artistic effects can be produced by
+weaving alternate threads of different colours. Indeed, the effects
+obtained by using alternate threads can be varied to almost any
+extent; as, for instance, a blue and yellow thread--provided the blue
+is no deeper than the yellow--will give the effect of green to the
+eye. If the blue is stronger or deeper, as it will almost necessarily
+be, it will be modified and softened into a greenish blue.
+
+Red and white woven in alternate threads upon a white warp will give
+an effect of pink, and with this colour for a centre the border should
+be a good gray.
+
+Of course, alternate throwing of different coloured yarns makes the
+weaving go more slowly than when one alone is used, and something of
+the same colour effect can be produced by doubling, instead of
+alternating. It is, of course, not quite the same, as one colour may
+show either under or over the other, and the effect is apt to be
+mottled instead of one of uniform stripes.
+
+The end in view in all these mixtures is _variation_ and liveliness of
+colour, not an effect of stripes or spots; indeed, these are very
+objectionable, especially when in contrasted or different colors. A
+deepening or lightening of the same colour in irregular patches, as
+will occur in clouded yarns, gives interest, whereas if these
+cloudings were in strongly contrasted colours they would be crude and
+unrestful. For this reason, if for no other, it is well to work in few
+tints, and use contrasting colours only for borders.
+
+To show how much variety is possible in weaving with the few dyes I
+have named, I will give a number of combinations which will produce
+good results and be apt to harmonize with ordinary furnishing. By
+adding orange yellow, which is also one of the simplest and safest of
+dyes, we secure by mixture with blue a mottled green, and this
+completes a range of colour which really leaves nothing to be desired.
+
+No. 1. _Colours black and red._ Border, alternate stripes of black and
+dark red, as follows: First stripe of black, one and a half inches;
+second stripe of red, one inch; third stripe of black, one inch;
+fourth stripe of red, one-half inch; fifth stripe of black,
+three-quarters inch; sixth stripe of red, one-half inch; seventh
+stripe of black, half-inch; centre of light red clouded with dark red;
+reversed border.
+
+No. 2. _Colours black and red._ Border one foot in depth, of black and
+red threads woven alternately. Centre dark red, clouded with light
+red. Woven six feet, with one-foot border at sides as well as ends.
+
+No. 3. _Colours red and white._ Border seven inches of plain red.
+Centre of red and white woven alternately.
+
+No. 4. _Colours red and black._ Border black and red, threads woven
+alternately, one foot in depth; centre of alternate stripes, two
+inches in width, of dark red and light red; eight feet in length, with
+foot-wide side borders, woven with alternate threads of red and
+black.
+
+No. 5. _Colours red and black._ Border eighteen inches in depth, of
+alternate red and black, half-inch stripes. Centre of dark red,
+clouded with light.
+
+No. 6. _Colours gray, red and white_, to be woven of doubled, slightly
+twisted threads. Border one foot in depth at ends and sides, woven of
+red and gray yarn twisted together. Centre of red and white yarn in
+twisted threads.
+
+No. 7. _Colours red and white._ Border of plain red, twenty inches in
+depth. Centre in alternate half-inch stripes of red and white.
+
+No. 8. _Colours blue, red and black._ Border four inches deep of
+black, two inches of plain red, one inch of black. Centre of clouded
+blue.
+
+No. 9. _Colour blue._ Border eight inches of darkest blue. Centre of
+clouded medium and light blue.
+
+No. 10. _Colours blue and white._ Border of very dark and medium blue
+woven together. Centre of blue and white yarn woven together.
+
+No. 11. _Colours blue and white._ Border of medium plain blue. Centre
+of blue, clouded with white.
+
+No. 12. _Colours blue and white._ Border of medium blue. Centre of
+alternate stripes of one inch width blue, and half-inch white stripes.
+
+No. 13. _Colours blue and white._ Border twelve inches deep of dark
+blue, clouded with medium. Centre of alternate threads of medium blue
+and white.
+
+No. 14. _Colours blue, black and orange yellow._ Border eight inches
+deep of black, one inch of orange, two of black. Centre, alternate
+threads of blue and orange.
+
+No. 15. Border of doubled threads of dark blue and orange. Centre of
+alternate stripes of inch wide light blue and orange woven together,
+one-half inch stripes of clear orange and white woven together.
+
+In the examples I have given, wherever doubled threads of different
+colours woven together are used, it must be understood that they are
+to be slightly twisted, and that the warping for double-filling rugs
+need not be as close as for single filling. Twelve threads to the inch
+would be better than fifteen, and perhaps ten or eleven would be still
+better. Doubled yarn of different colours produces a mottled or broken
+effect, and this can often be done where the colours of the yarns do
+not quite satisfy the weaver. If they are too dull, twisting them
+slackly with a very brilliant tint will give a better shade than if
+the original tint was satisfactory, but in the same way yarns which
+are too brilliant can often be made soft and effective by twisting
+them together with a paler tint. Minute particles of colour brought
+together in this way are brilliant without crudeness. It is, in fact,
+the very principle upon which impressionist painters work, giving pure
+colour instead of mixed, but in such minute and broken bits that the
+eye confounds them with surrounding colour, getting at the same time
+the double impression of softness and vivacity.
+
+These examples of fifteen different rugs which can be woven from the
+three tints of blue, red and orange, together with black and white, do
+not by any means exhaust the possibilities of variety which can be
+obtained from three tints. Each rug will give a suggestion for the
+next, and each may be an improvement upon its predecessor.
+
+
+
+
+CHAPTER VII.
+
+COTTON RUGS.
+
+
+The warp-covered weaving which I have described in a previous chapter
+as being the simplest and best method for woolen rugs, is equally
+applicable to cotton weaving. It is, in fact, the one used in making
+the cotton rugs woven in prisons in India, and which in consequence
+are known as "prison rugs." They are generally woven in stripes of
+dark and light shades of indigo blue and measure about four by eight
+feet. They are greatly used by English residents in India, being much
+better adapted to life in a hot climate than the more costly Indian
+and Persian rugs, which supply the world-demand for floor coverings.
+
+In our own summer climate and chintz-furnished summer cottages they
+would be an extremely appropriate and economical covering for floors.
+The warp is like that of the Navajo blanket, a heavy cotton cord, the
+filling or woof of many doubled fine cotton threads, which quite cover
+the heavy warp, and give the ridged effect of a coarse _rep_.
+
+As I have said, they are woven almost invariably in horizontal stripes
+of two blues, or blue and white, with darker ends and a warp fringe.
+Simple as they are and indeed must be, as they are the result of
+unskilled labour, they are pleasant to look at, and have many virtues
+not dependent upon looks. They are warm and pleasant to unshod feet,
+and therefore suitable for bedroom use. They are soft to shoe tread,
+and give colour and comfort to a summer piazza. They can be hung as
+portieres in draughty places with a certainty of shelter, and can be
+lifted and thrown upon the grass to be washed by the downpour of a
+thunder shower, and left to dry in the sun without detriment to colour
+or quality.
+
+Surely this is a goodly list of virtues, and the sum of them is by no
+means exhausted. Their durability is surprising; and they can be sewn
+together and stretched upon large floors with excellent colour effect.
+They can be turned or moved from room to room and place to place with
+a facility which makes them more than useful. The manufacture is so
+simple that a child might weave them, while at the same time, by a
+skilful use of colour and good arrangement of border, they can be made
+to fit the needs of the most luxurious as well as the simplest summer
+cottage. In short, they are capable of infinite variation and
+improvement, without departure from the simple method of the "prison
+rug."
+
+Of course the variation must be in colour and the arrangement of
+colour; and in studying this possible improvement it must be
+remembered that cotton will neither take nor hold dyes as readily as
+wool or silk, and that certain dyes which are very tenacious in their
+hold upon animal fibre cannot be depended upon when applied to
+vegetable fibre. There are, however, certain dyes upon which we can
+safely rely. Indigo blue, and the red used in dyeing what is called
+Turkey red, are reliable in application to both wool and cotton, and
+are water and sun proof as well. Walnut and butternut stains will give
+fast shades of brown and yellow, and in addition there is also the
+buff or nankeen-coloured cotton, the natural tint of which combines
+well with brown and blue.
+
+In giving directions for rug colourings in cottons, I shall confine
+myself to the use of black, white, blue and red, because these colours
+are easily procurable, and also because rugs manufactured from them
+will fit the style of furnishing which demands cotton rugs.
+
+The examples I shall give call for graduated dyeing, especially in the
+two tints of red and blue.
+
+Any one expecting to succeed in rug weaving must be able to procure or
+produce from two to three planes of colour, as well as two mixtures in
+each. These would be as follows:
+
+In blue:--1st, dark blue; 2d, medium blue; 3d, light blue.
+
+After these three tints are secure, three variations of blue can be
+made by knotting the skeins more or less closely and throwing medium,
+light blue and white together into the dye-tub. Here they must remain
+until the white skeins show an outside of light blue; the light blue
+skeins are apparently changed to medium, and the medium to dark. When
+they are untied and dried they will show three clouded mixtures:
+
+1st, the medium blue clouded with dark; 2d, light blue clouded with
+medium blue; 3d, white, clouded with light blue.
+
+Here we have six variations of the one tint. Red can be treated in the
+same way, except that a rather light and a very dark red are all that
+can be counted upon safely as plain tints. A very light red will not
+hold. Therefore we have in reds:--1st, dark red; 2d, light red; 3d,
+light red, clouded with dark; 4th, white, clouded with light red.
+
+This gives ten shades in these two tints, and when we add the
+variations which seem to come of themselves in dyeing, variations
+which are by no means subject to rule, we shall see that with these
+two, and black and white, we are very well equipped.
+
+The more irregular the clouding, the better the results. The yarn may
+be made into large double knots, or small single ones, or into more or
+less tightly wound balls or bundles, and each will have its own
+special and peculiar effect. Perhaps it is well to say that in
+clouding upon white the colours should be kept as light as is
+consistent with the tenacity of tint.
+
+After clouding, still another process in cotton mixtures is possible,
+and this is in "doubling and twisting," which has the effect of
+darkening or lightening any tint at will, as well as of giving a
+mottled instead of a plain surface.
+
+Having secured variety by these various expedients, the next step is
+to make harmonious and well-balanced combinations, and this is quite
+as important, or even more so, as mere variety.
+
+There is one very simple and useful rule in colour arrangements, and
+this is to make one tint largely predominant. If it is to be a blue
+rug, or a pink, or a white one, use other colours only to _emphasize_
+the predominant one, as, for instance, a blue rug may be emphasized by
+a border of red and black; or a red rug by a border of black and
+white, or black and yellow.
+
+The border should always be stronger--that is darker or deeper in
+colour--than the centre, even when the same colour is used throughout,
+as in a light red rug, with dark, almost claret-red ends, or a medium
+blue rug with very dark blue ends.
+
+White, however, can often be used in borders of rather dark rugs in
+alternation with black or any dark colour, because its total absence
+of tint makes it strong and distinct, and gives it _force_ in marking
+a limit.
+
+One successful combination of colours will suggest others, and the
+weaver who has taken pains to provide herself with a variety of
+shades, and will follow the rules of proportion, will be at no loss in
+laying out the plan of her weavings.
+
+The examples for fifteen weavings given in the paper on wool rugs are
+equally available in cotton. I will, however, add a few variations
+especially adapted for cotton rugs:
+
+No. 1. _Colours blue and white._ Border six inches of plain dark blue.
+Six inches of alternate half-inch stripes of dark blue and white. Four
+to five feet of clouded blue, border repeated, with four inches of
+warp fringe as a finish.
+
+No. 2. _Colours blue and white._ Border eight inches wide of plain
+medium blue. Centre, six feet of light blue, clouded with medium. Two
+side borders eight inches wide; finish of white warp fringe.
+
+No. 3. _Colours black, white and red._ Border twelve inches of
+alternate half-inch stripes of black and white. Centre, four feet of
+light red, clouded with dark. Repeat border, and finish with warp
+fringe.
+
+No. 4. _Colours red and white._ Border, twelve inches of dark and
+light red, in twisted double thread. Centre, light red and white
+twisted double thread. Repeat border and finish with four-inch fringe.
+
+No. 5. _Colours butternut-brown, walnut-yellow, red, and white._
+Border of six inches of brown and yellow, twisted together. Centre,
+five feet of light red and white, twisted together. Repeat border, and
+finish with fringe.
+
+No. 6. _Colours brown, blue, and clouded-white._ Border, half-inch
+stripes of medium blue and brown alternated for six inches. Centre,
+five feet of light blue, clouded with medium. Repeat border and finish
+with warp fringe.
+
+These six examples may be varied to any extent by the use of clouded,
+plain or mixed centres. Borders, as a rule, should be woven of
+unclouded colours.
+
+A natural development of the cotton rug would be the weaving of coarse
+cotton yarns into piece lengths which could be cut and sewn like
+ingrain carpet, or like the fine cotton-warped mattings which have
+been so popular of late years. They would have the advantage over
+grass-weavings in durability, ease of handling and liveliness of
+effect. Indeed, the latter consideration is of great importance, as
+cotton carpets can be woven to harmonize with the chintzes and cottons
+which are so much used in summer furnishings. This is especially true
+of indigo-blue floor covering, since so few things are absolutely
+perfect as an adjunct to the blue chambrays, striped awning-cloths,
+denims, and India prints so constantly and effectively used in
+draperies. Indeed, such excellent art in design has been devoted to
+blue prints, both foreign and domestic, that one can safely reckon
+upon their prolonged use, and this being taken for granted, it is well
+to extend the weaving of mixtures of white and blue indefinitely.
+
+Although the warp-covered method described for woolen and cotton rug
+weaving can very well be used for carpets, the still simpler one of
+the alternate thread, or basket-weaving, when warp and filling are of
+equal weight and size, can be made to answer the purpose quite as
+well. In fact, there is a certain advantage in the latter method,
+since it makes the warp a factor in the arrangement of colour.
+
+It is necessary in this style of weaving that the filling should be a
+hand-twisted thread of the same weight and size as the warp, and of a
+lighter or darker shade of the same colour. If the warp is dark, the
+filling may be light, or the reverse. It should be warped at the rate
+of about twenty-four threads to the inch.
+
+In this kind of weaving the colours must be plain--that is,
+unclouded--as the variation is obtained by the different shades of
+warp and filling. Still another variation is made by using a closer
+warp of thirty threads to the inch and a large soft vari-colour
+filling which will show between the warp threads with a peculiar
+watered or vibratory effect. A light red warp, with a very loosely
+twisted filling of black and white, or a medium blue warp with a black
+and orange filling, will give extremely good results.
+
+    [Illustration: GREEK BORDER IN RED OR BLACK]
+
+    [Illustration: BRAIDED FRINGE]
+
+    [Illustration: DIAMOND BORDER IN RED OR BLACK]
+
+What I have said thus far as to the weaving of woolen and cotton rugs,
+and of cotton carpets, gives practical directions for artistic results
+to women who understand the use of the loom in very simple weaving. Of
+course, more difficult things can be done even with ordinary looms, as
+any one who has examined the elaborate blue-and-white spreads our
+grandmothers wove upon the cumbrous house-loom of that period can
+testify. In fact, the degree of skill required in the weaving of these
+precious heirlooms would be quite sufficient for the production of
+rugs adapted to very exacting purchasers.
+
+Perhaps it is as well to add that the directions given in this and the
+preceding chapter for rug weaving are designed not only or exclusively
+for weavers, but also for club women who are so situated as to have
+access to and influence in farming or weaving neighbourhoods.
+
+Home manufactures, guided by women of culture and means, would have
+the advantage not only of refinement of taste, but of a certainty of
+aim. Women know what women like, and as they are the final purchasers
+of all household furnishings, they are not apt to encourage the
+making of things for which there is no demand.
+
+I am often asked the question, How are all of these homespun and
+home-woven things to be disposed of? To this I answer that the first
+effort of the promoters or originators must be--_to fit them for an
+existing demand_.
+
+There is no doubt of the genuineness of a demand for special domestic
+weavings. Any neighbourhood or combination of women known to be able
+to furnish such articles to the public would find the want far in
+excess of the supply, simply because undirected or commercial
+manufactures cannot fit personal wants as perfectly as special things
+can do. It must be remembered, also, that the interchange of news
+between bodies of women interested in industrial art will be a very
+potent factor in the creation of a market for any domestic specialty.
+In fact, it is in response to a demand that these articles upon
+home-weavings have been prepared, and a demand for technical
+instruction presupposes an interest in the result.
+
+
+
+
+CHAPTER VIII.
+
+LINSEY WOOLSEY.
+
+
+It has often been given as a reason for the discontinuance of home
+weaving, that no product of the hand loom can be as exact or as cheap
+as that of the power loom. The statement as to cost and quality is
+true, but so far from being a discouraging one, it gives actual
+reasons for the continuance of domestic weavings. The very fact that
+homespun textiles are not exact--in the sense of absolute
+sameness--and not cheap, in the sense of first cost, is apt to be a
+reason for buying them. Hand-weaving, like handwriting, is individual,
+and this is a virtue instead of a defect, since it gives the variety
+which satisfies some mystery of human liking, a preference for
+inequality rather than monotonous excellence.
+
+Every hand-woven web differs from every other one in certain
+characteristics which are stamped upon it by the weaver, and we value
+these differences. In fact, this very trace of human individuality is
+the initial charm belonging to all art industries, and even if we
+discount this advantage, and reckon only money cost and money value,
+durability must certainly count for something. A thing which costs
+more and lasts longer is as cheap as one which costs less and goes to
+pieces before its proper time.
+
+In a long and intimate acquaintance with what are called "art
+textiles"--that is, textiles which satisfy the eye and the imagination
+and fulfill more or less competently the function of use, I have
+learned that certain very desirable qualities are more often found in
+home-woven than in machine-woven goods. Something is wanting in each
+of the excellent and wonderful variety of commercial manufactures
+which would fit it for the various decorative and art processes which
+modern life demands. To perfectly satisfy this demand, we should have
+a weaving which is not only in itself an artistic manufacture, but
+which easily absorbs any additional application of art.
+
+In my own mind I call the thing which might and does not exist, The
+Missing Textile. To make it entirely appropriate to our esthetic and
+practical needs, the missing textile must be strong enough for
+every-day wear and use; it must be capable of soft, round folds in
+hanging; and have the quality of elasticity which will prevent
+creasing; and above all, it must have beautiful and lasting colour. If
+it can add to these qualities an adaptability to various household
+uses, it will achieve success and deserve it. These different
+qualities, and especially the one of a natural affinity for such
+art-processes as colour and embroidery, exist in none of our domestic
+weavings, excepting only linsey woolsey. After much study of this
+virtuous product of the mountain regions of our Southern States I find
+it capable of great development. It has two qualities which are not
+often co-existent, and these are strength and flexibility; and this is
+owing not only to its being hand-woven, but also to its being a
+wool-filled textile--that is, it is woven upon a cotton warp, with a
+single twisted wool-filling. This peculiarity of texture makes it very
+suitable for embroidery, since it offers little resistance to the
+needle, and yet is firm enough to prevent stitches sinking into its
+substance--a frequent fault with soft or loosely woven textiles. The
+warp is generally made of what the weavers call mill yarns, cotton
+yarns spun and often dyed in cotton mills; and when the cloth is woven
+for women's wear it is apt to carry a striped warp of red and blue,
+with a mixed filling made from spinning the wool of black sheep with a
+small proportion of white.
+
+In searching for art textiles, one would not find much encouragement
+in this particular variety of linsey woolsey, but the unbleached,
+uncoloured material which is woven for all kinds of household use, or
+piece-dyed for men's wear, is quite a different thing. In its undyed
+state it is of a warm ivory tint, which makes a beautiful ground for
+printing, and in my first acquaintance with it, which was made through
+the women commissioners from Kentucky, Tennessee and Georgia during
+the Columbian Exposition, I made some most interesting experiments in
+block printing upon this natural background.
+
+One can hardly expect that linsey woolsey will come into frequent or
+common use as a printed textile, since the two processes of
+hand-weaving and block-printing are not natural neighbours, but this
+capacity for taking and holding stains is of great value in
+embroidery, since it enables an artistic embroiderer to produce
+excellent effects with comparatively little labour. A clever
+needlewoman, working upon a fabric which takes kindly to stains, can
+apply colour in many large spaces and inter-spaces in her design which
+would otherwise have to be covered with stitchery, and in this
+way--which is a perfectly accepted and legitimate one--she gains an
+effect which would otherwise be costly and laborious.
+
+From the composite nature of this domestic fabric, its cross-weaving
+of animal and vegetable fibre, it takes colour irregularly. Every
+cross-thread of wool is deeper in tone than the cotton thread it
+crosses, and this gives the quality which artists call vivacity or
+vibration. Linsey woolsey even when "piece-dyed" has something of this
+effect, and judicious and artistic colour treatment would complete its
+claims to be considered an art textile.
+
+It is not to be supposed that the weavers themselves can work out
+this problem. It will need the direction and encouragement of educated
+and artistic women. Taking the fabric just as it exists, it is ready
+for the finer domestic processes learned by the women of the South
+during the hard years of the Civil War. The clever expedients of
+stitchery, the ways in which they varied their simple home-manufactures,
+and above all the knowledge gained of domestic "colouring," will be of
+inestimable value in the direction of artistic industries. In truth,
+Southern women have ways of staining and dyeing and producing
+beautiful colour quite unknown to other American women. They know how
+to get different grays and purples and black from logwood, and golden
+and dark brown from walnut bark, and all the shades of blue possible
+to indigo; and yellow-reds from madder, and rose-red and crimson from
+pokeberry, and one yellow from pumpkin and another from goldenrod; and
+they are clever enough to find mordants for all these dyes and stains,
+and make them indelible. It needs exactly the conjunction which we
+find in the South, of facile home-weaving, knowledge and practice of
+experimental dyeing, and love of practical art, to develop true art
+fabrics.
+
+To show what linsey woolsey is capable of, I will instance a material
+woven in India in thin woolen strips of about twelve inches in width.
+It is what we should call a _sleazy_ material to begin with. The
+strips of different colours are sewn, and very badly sewn, together,
+and they are also badly woven. Too flimsy for actual wear, they are
+simply admirable vehicles for colour, and to this quality alone they
+owe their popularity and importance. After being sewn together, the
+strips are generally embroidered in a rough way, with a constantly
+repeating figure on each breadth. The colour is certainly beautiful, a
+contrast of soft blues, and a selection of unapproachable
+browns--yellow-browns, red-browns, green-browns and gold-browns, with
+yellows of all shades, and whites of all tints, and this colour-beauty
+gives them a place as portieres and curtains where they do not belong
+by intrinsic or constitutional worth.
+
+If one was intent only upon producing an imitation of the Bagdad
+curtains in linsey woolsey, it would be easy to weave narrow lengths
+of various colours, and by choosing those which were good contrasts or
+harmonies, and embroidering them together with buttonhole-stitch, or
+cat-stitch, or any ornamental stitch, to get something very like them
+in effect and far better in quality. But it should be the aim of
+domestic manufacture to do something which is _distinctive_, and
+therefore it would be better to start with the intention of producing
+the effect in one's own way. This could be done by weaving the cloth
+in full width (which should, if possible, be four feet), depending
+entirely upon the warp threads for colour. This, it may be remembered,
+is already one of the means of variation applied to linsey woolsey in
+weaving homespun dress goods; but in this case it must be carefully
+chosen art-effort, using colours which are in themselves beautiful. In
+depending upon the warp alone for colour the fact must be kept in mind
+that it will be much obscured by the over-weaving of the wool filling.
+It will be necessary, therefore, to use far stronger colours than if
+they were to stand unmixed or unobscured. Vivid blue, strong orange,
+flaming red and gold-brown could be used in the warp in stripes of
+about ten inches in width, with two inches of dead black on the sides
+and between each colour. The filling must be of one pale tint, either
+an ivory white or lemon yellow, or a very pale spring green woven over
+all. This would modify the violence of colour, giving an effect like
+hoar frost over autumn leaves. As a simple weaving this would have a
+beautiful effect, but when a coarse orange-coloured silk embroidery,
+consisting of a waved stem and alternate leaves, is carried down the
+centre of each black stripe, the simple length of linsey woolsey is
+transformed into what would be called a very Eastern-looking and
+valuable embroidery.
+
+This is just one of its possible and easily possible adaptations for
+portieres and hangings. Quite another and perhaps equally popular one
+would be cross-colour upon a tinted warp. In this case the warp might
+be ivory white, yellow, light green, or even for darker effects,
+claret red, dark blue, dark green, or black. If an ivory white or
+light warp colour should be chosen, the cross-colours must be selected
+with special reference to the warp tint. A beautiful effect for a
+light room would be made on an ivory-coloured warp by weaving at the
+top and also below the middle a series of narrow stripes like a Roman
+scarf. There should be a finger's depth of rose colour at the top, and
+this would be obtained by a filling of light red, woven upon the ivory
+white warp. Then should come an inch stripe of pale blue, an inch of
+gold, another inch of blue; three inches of orange, then the inch of
+blue, the gold, and the blue again, and after that the rose-red for
+two-thirds the length of the portiere, when the ribbon stripes should
+again occur, after which the remaining third should be woven with a
+deeper red or a pale green.
+
+Such a portiere would not require embroidery to complete its effect,
+for if the tints were pure as well as delicate, it would be a lovely
+piece of colour in itself.
+
+This variety or style of hanging would have the advantage of throwing
+the burden of colour upon the wool, and as the animal fibre is apt to
+be more tenacious in its hold upon colour than vegetable, the question
+of fading would not have to be considered.
+
+These two varieties of artistic homespun can by experiment be made to
+cover a great deal that is beautiful and artistic in manufacture, and
+yet it leaves untouched the extensive field of plain piece-dyed or
+yarn-dyed weavings. Yarn-dyed material always has the advantage of the
+possible use of two colours, one in the warp and one in the filling,
+but in certain places, as in upholstery, a solid colour produced by
+piece-dyeing would be preferable. Linsey woolsey dyed in fast and
+attractive colour would undoubtedly be a good material for upholstery
+of simple furniture, because of its strength and durability, but it
+seems to me its chief mission and probable future is to supply an
+exceptional art textile; one which has the firmness and flexibility
+belonging to hand-woven stuffs, and can be at the same time beautiful
+in colour, capable of hard wear and reasonably inexpensive. I am
+tempted to modify the last qualification, because no hand-woven goods
+ought to be or can be inexpensive, in comparison with those
+manufactured under every condition of competitive economy. And in
+truth, domestic weavings are sure of their market at paying prices,
+simply because they are what they are, _hand products_.
+
+I have shown in a limited way some of the possibilities of artistic
+hand-weaving without touching upon cotton or flax diapers and damasks,
+since these cannot readily compete with power-weavings, but I have not
+spoken of the difference it would make in the lives of the mountain
+weavers of the South if their horizon could be widened by the
+introduction of art industries. Only those who know the joy and
+compensation of producing things of beauty can realize the change it
+might work in lives which have been for generations narrowed to merely
+physical wants; but there are many gifted Southern women who do fully
+realize it, and we may safely leave to them the introduction and
+encouragement of art in domestic manufactures.
+
+
+
+
+NEIGHBOURHOOD INDUSTRIES
+
+AFTER-WORD
+
+
+I am often asked by women who are interested in domestic manufactures,
+how one should go to work to build up a profitable neighbourhood
+industry. To do this one must know the place and people, for anxious
+as most country women are to earn something outside of farm profits,
+they are both timid and cautious, and will not follow advice from
+unpractical people or from strangers.
+
+In every farming community there will be one or two ingenious or
+ambitious women who do something which is not general, and which they
+would gladly turn to account. One woman may be a skilled knitter of
+tidies, or laces, or rag mats; another may pull rags through burlap,
+and so construct a thick and rather luxurious-looking door-mat;
+another may have an old-fashioned loom and weave carpets for all the
+neighbourhood; and each one of these simple arts is a foundation upon
+which an industry may be built, important to the neighbourhood, and in
+the aggregate to the country.
+
+The city woman or club woman who wishes to become a link between these
+things and a purchaser must begin by improving or adapting them. She
+must show the knitter of tidies an imported golf stocking with all of
+the latest stitches and stripes and fads, and if the yarn can be had,
+undoubtedly the tidy-knitter can make exactly such another. When a
+good pair has been produced, the city friend will not have to look far
+among her town acquaintances for a "golf fiend," even if she herself
+is not one, and to him or her she must show the stocking and expatiate
+upon its merits: That it is not machine-made, but hand-knit; that it
+is thicker, softer, made of better material than woven ones, and above
+all, not to be found in any shop, but must be ordered from a
+particular woman who is a phenomenal knitter. All of which will be
+true, and equally so when the demand has increased and it has become a
+neighbourhood industry.
+
+    [Illustration: THE LUCY RUG]
+
+A golf player hardly need be told how to create a demand for
+hand-knit stockings, or how to assist the knitter by advice, both in
+the improvement and disposal of her wares; but it should be a
+veritable golf player and not a philanthropic amateur.
+
+It is the same with other industries. The adviser must study them,
+improve them, adapt them, and find the first market, after which they
+will sell upon their own merits.
+
+As far as I know, nothing has been done in the way of improvement of
+knitted mats or rugs, although a very beautiful manufacture has been
+founded upon the method of pulling rags through burlap. Knitted rugs
+have much to recommend them. They can be made of all sorts of pieces,
+even the smallest; they wear well, and can easily be made beautiful.
+
+The building up of a rag carpet or rag rug industry is a much simpler
+matter, because the demand exists everywhere for cheap, durable and
+well-coloured floor covering. In my own experience I have found that
+the thing chiefly necessary is to teach the weavers that the colour
+must be pleasing and permanent, and to put them in communication with
+sources of supply of rags and warp. The rugs sell themselves, and
+probably will continue to do so.
+
+The thing to remember when one wishes to be of use to their own and
+other communities, is that they must be sure of a commercial basis for
+the products before they encourage more than one person to begin a
+manufacture, and that the demand must be in advance of a full supply.
+Kindly and cultivated women who wish to be of real use to their summer
+neighbours will find this a true mission. Their lives lie within the
+current of demand, while the country woman lives within that of
+supply, and it is much easier for the city woman to bridge the space
+between than for her working neighbour. All good and well-founded
+industries take care of themselves in time, but until the merchant
+finds them out, and interposes the wedge of personal profit between
+things and their market--inciting and encouraging both--it seems to be
+the business of women in every lot of life to help each other.
+
+
+
+
+
+End of the Project Gutenberg EBook of How to make rugs, by Candace Wheeler
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author	Roger Frank <rfrank@pglaf.org>	2025-10-15 02:37:24 -0700
committer	Roger Frank <rfrank@pglaf.org>	2025-10-15 02:37:24 -0700
commit	4bc97248adbd4047d259ba65f8f7b51b0b26ccb5 (patch)
tree	d5517eb0a1230f3f1663a6dbe1415c45cb7819c3