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diff --git a/28109-h/28109-h.htm b/28109-h/28109-h.htm new file mode 100644 index 0000000..7789534 --- /dev/null +++ b/28109-h/28109-h.htm @@ -0,0 +1,3881 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml" lang="en" xml:lang="en"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <title> + The Project Gutenberg eBook of How To Make Rugs, by Candace Wheeler + </title> + <style type="text/css"> + + p {margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + text-indent: 1em; + } + + h1,h2,h3,h4,h5,h6 {text-align: center; /* all headings centered */ + clear: both; + } + + h2 {padding-top: 2em; + } + + hr {width: 5%; + margin-top: 0em; + margin-bottom: 0em; + margin-left: auto; + margin-right: auto; + clear: both; + height: 1px; + border: 0; + background-color: black; + color: black; + } + + table {margin-left: auto; + margin-right: auto; + } + + td.rightalign {text-align: right; + padding-right: 1em; + } + + td.leftalign {text-align: left; + padding-right: 8em; + padding-left: 2em; + text-indent: -2em;} + + body{margin-left: 10%; + margin-right: 10%; + } + + p.publisher {margin-top: 4em; + text-align: center; + font-size: smaller; + margin-bottom: 4em; + text-indent: 0em; + line-height: 180%; + } + + p.copyright {text-align: center; + font-size: 80%; + text-indent: 0em; + } + + img {border-style: none; + } + + .pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + right: 1%; + font-size: x-small; + text-align: right; + font-weight: normal; + font-style: normal; + letter-spacing: 0ex; + text-indent: 0em; + } + + a:link {text-decoration: none; + color: #104E8B; + background-color: inherit; + } + + a:visited {text-decoration: none; + color: #8B0000; + background-color: inherit; + } + + a:hover {text-decoration: underline;} + + a:active {text-decoration: underline;} + + .center {text-align: center; + text-indent: 0em;} + + .smcap {font-variant: small-caps;} + + .caption {font-size: 80%; + text-indent: 0em; + text-align: center;} + + .figcenter {margin: auto; + text-align: center; + text-indent: 0em; + } + + </style> + </head> +<body> + + +<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 + + + + + + +</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> <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 “Principles of Home Decoration,” 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 & 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 & 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> </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—after +the manner of travelers—to carry back +something characteristic of the country, +generally buys what we call “Indian +curiosities”—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 +“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.</p> + +<p>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.<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’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’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>“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’s larger affairs. The +woman works like a machine, irresponsible +as to final results; the man like a thinking, +planning, responsible, independent human +being.”</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’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 “parlour +looms” 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 “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<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’s clubs.</i> 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.</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’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 “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.</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—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<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’s family during the winter months, +when their time is not necessarily occupied +with growing and securing crops.</p> + +<p> <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’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—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<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—at least to my knowledge—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 “silk<span class='pagenum'><a name="Page_24" id="Page_24">[24]</a></span> +finish,” 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’ 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—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 “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.</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—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<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 “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.</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’ 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.</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—that is, simply <i>tacking</i> 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.</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—if the +tension is firm and the rags soft—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—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.</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, “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.</p> + +<p>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.</p> + +<p>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<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 “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.</p> + +<p>This, however, brings us to the question +of color in fillings, which must be treated +separately.</p> + +<p> <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 “hit or miss,” +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—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.</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’ +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<span class='pagenum'><a name="Page_42" id="Page_42">[42]</a></span> +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.</p> + +<p>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<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—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—or “nankeen” +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 “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.</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—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.</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> <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—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.</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 “pounding-barrel” +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 “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.</p> + +<p>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<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 +“Turkey red,” 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 “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,<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—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.</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—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<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 “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<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—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,<span class='pagenum'><a name="Page_69" id="Page_69">[69]</a></span>” +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—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,<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. “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<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’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—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.</p> + +<p> <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> <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—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—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’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’ 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—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’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—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.</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—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—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.</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—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<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> <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—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—or, to speak +comprehensively, <i>quality</i>—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.</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 “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.</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 “prison rug.”</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:—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:—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 +“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.</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—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<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—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.</p> + +<p> <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> <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> <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—<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—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.</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 “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.</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—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—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.</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’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—which is a perfectly +accepted and legitimate one—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 “piece-dyed” 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 +“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<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—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’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’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 “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.</p> + +<p> <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—inciting and encouraging +both—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 + +*** END OF THIS PROJECT GUTENBERG EBOOK HOW TO MAKE RUGS *** + +***** This file should be named 28109-h.htm or 28109-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/2/8/1/0/28109/ + +Produced by Irma Spehar and the Online Distributed +Proofreading Team at https://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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