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diff --git a/31630-h/31630-h.htm b/31630-h/31630-h.htm new file mode 100644 index 0000000..2606ad9 --- /dev/null +++ b/31630-h/31630-h.htm @@ -0,0 +1,4924 @@ +<!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"> +<head> +<meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1" /> +<title>The Project Gutenberg eBook of Hand-Loom Weaving, by Mattie Phipps Todd</title> + <style type="text/css"> + + p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + } + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; + } + hr { width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + + table {margin-left: auto; margin-right: auto;} + + body{margin-left: 10%; + margin-right: 10%; + } + + .pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: smaller; + text-align: right; + } /* page numbers */ + + .linenum {position: absolute; top: auto; left: 4%;} /* poetry number */ + .blockquot{margin-left: 5%; margin-right: 10%;} + .sidenote {width: 20%; padding-bottom: .5em; padding-top: .5em; + padding-left: .5em; padding-right: .5em; margin-left: 1em; + float: right; clear: right; margin-top: 1em; + font-size: smaller; color: black; background: #eeeeee; border: dashed 1px;} + + .bb {border-bottom: solid 2px;} + .bl {border-left: solid 2px;} + .bt {border-top: solid 2px;} + .br {border-right: solid 2px;} + .bbox {border: solid 2px;} + + .center {text-align: center;} + .smcap {font-variant: small-caps;} + .u {text-decoration: underline;} + + .caption {font-weight: bold;} + + .figcenter {margin: auto; text-align: center;} + + .figleft {float: left; clear: left; margin-left: 0; margin-bottom: 1em; margin-top: + 1em; margin-right: 1em; padding: 0; text-align: center;} + + .figright {float: right; clear: right; margin-left: 1em; margin-bottom: 1em; + margin-top: 1em; margin-right: 0; padding: 0; text-align: center;} + + .footnotes {border: dashed 1px;} + .footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + .footnote .label {position: absolute; right: 84%; text-align: right;} + .fnanchor {vertical-align: super; font-size: .8em; text-decoration: none;} + + .poem {margin-left:10%; margin-right:10%; text-align: left;} + .poem br {display: none;} + .poem .stanza {margin: 1em 0em 1em 0em;} + .poem span.i0 {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;} + .poem span.i2 {display: block; margin-left: 1em; padding-left: 3em; text-indent: -3em;} + .poem span.i4 {display: block; margin-left: 2em; padding-left: 3em; text-indent: -3em;} + .poem span.i10 {display: block; margin-left: 5em; padding-left: 3em; text-indent: -3em;} + + hr.full { width: 100%; + margin-top: 3em; + margin-bottom: 0em; + margin-left: auto; + margin-right: auto; + height: 4px; + border-width: 4px 0 0 0; /* remove all borders except the top one */ + border-style: solid; + border-color: #000000; + clear: both; } + pre {font-size: 85%;} + </style> +</head> +<body> +<h1>The Project Gutenberg eBook, Hand-Loom Weaving, by Mattie Phipps Todd</h1> +<pre> +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 <a href = "http://www.gutenberg.org">www.gutenberg.org</a></pre> +<p>Title: Hand-Loom Weaving</p> +<p> A Manual for School and Home</p> +<p>Author: Mattie Phipps Todd</p> +<p>Release Date: March 13, 2010 [eBook #31630]</p> +<p>Language: English</p> +<p>Character set encoding: ISO-8859-1</p> +<p>***START OF THE PROJECT GUTENBERG EBOOK HAND-LOOM WEAVING***</p> +<p> </p> +<h4>E-text prepared by Geetu Melwani, Stephen Hope, Josephine Paolucci,<br /> + and the Project Gutenberg Online Distributed Proofreading Team<br /> + (<a href="http://www.pgdp.net/c/">http://www.pgdp.net</a>)<br /> + from digital material generously made available by the<br /> + University of Georgia Libraries<br /> + (<a href="http://www.libs.uga.edu/">http://www.libs.uga.edu/</a>)</h4> +<p> </p> +<table border="0" style="background-color: #ccccff;" cellpadding="10"> + <tr> + <td valign="top"> + Note: + </td> + <td> + Images of the original pages are available through + the collection of Facsimile Books & Other Digitally + Enhanced Works, The University Of Georgia Libraries. See + <a href="http://fax.libs.uga.edu/T848xT7/"> + http://fax.libs.uga.edu/T848xT7/</a> + </td> + </tr> +</table> +<p> </p> +<hr class="full" /> +<p> </p> + +<div class="figcenter" style="width: 292px;"> +<img src="images/i0cv.jpg" width="292" height="448" alt="" title="" /> +</div> + +<h1>HAND-LOOM WEAVING</h1> + +<h2>A MANUAL</h2> + +<div class="figcenter" style="width: 286px;"> +<img src="images/i006.jpg" width="286" height="448" alt="Weaving on a Hand Loom" title="" /> +<span class="caption"><span class="smcap">Weaving on a Hand Loom</span><br /> + +<i>Showing the necessary positions. The rug the little girl is weaving is +made of heavy carpet wool. The body of the rug is golden brown, with +stripes of deep blue and green, separated by narrow stripes of white</i></span> +</div> + + + +<hr style="width: 65%;" /> +<h1>HAND-LOOM WEAVING</h1> + +<h2>A Manual for School and Home</h2> + +<h3>By</h3> + +<h2><span class="smcap">Mattie Phipps Todd</span></h2> + +<h4><i>Of the Motley School, Minneapolis, Minn.</i></h4> + +<h3><i>With an Introduction by</i></h3> + +<h2><span class="smcap">Alice W. Cooley</span></h2> + +<h4><i>Formerly Supervisor of Primary Schools, Minneapolis, Minn.</i></h4> + +<h4>With Fifty-seven Illustrations</h4> + +<div class="figcenter" style="width: 150px;"> +<img src="images/i007.jpg" width="150" height="141" alt="" title="" /> +</div> + +<p class="center"> +Rand, McNally & Company<br /> +<span class="smcap">Educational Publishers</span><br /> +<i>Chicago New York London</i><br /> +<br /> +<i>Copyright, 1902</i>,<br /> +By <span class="smcap">Mattie Phipps Todd</span><br /> +</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_5" id="Page_5">[Pg 5]</a></span></p> +<h2><span class="smcap">The Table of Contents</span></h2> + +<div class="sidenote"><i>The Table of Contents</i></div> + + +<div class='center'> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr><td align='left'> </td><td align='left'> </td><td align='right'>PAGE</td></tr> +<tr><td align='left'>An Introduction.</td><td align='left'>By <i>Alice W. Cooley</i></td><td align='right'><a href='#Page_7'>7</a></td></tr> +<tr><td align='left'><i>Chapter One.</i></td><td align='left'>The Primitive Loom</td><td align='right'><a href='#Page_13'>13</a></td></tr> +<tr><td align='left'><i>Chapter Two.</i></td><td align='left'>A Chat on Weaving</td><td align='right'><a href='#Page_22'>22</a></td></tr> +<tr><td align='left'><i>Chapter Three.</i></td><td align='left'>First Steps in Weaving</td><td align='right'><a href='#Page_30'>30</a></td></tr> +<tr><td align='left'><i>Chapter Four.</i></td><td align='left'>Methods of Stringing Warp</td><td align='right'><a href='#Page_42'>42</a></td></tr> +<tr><td align='left'><i>Chapter Five.</i></td><td align='left'>Materials</td><td align='right'><a href='#Page_51'>51</a></td></tr> +<tr><td align='left'><i>Chapter Six.</i></td><td align='left'>Directions for Dyeing</td><td align='right'><a href='#Page_58'>58</a></td></tr> +<tr><td align='left'><i>Chapter Seven.</i></td><td align='left'>Methods of Splicing Materials for Weaving</td><td align='right'><a href='#Page_83'>83</a></td></tr> +<tr><td align='left'><i>Chapter Eight.</i></td><td align='left'>Wool and Silkoline Rugs or Mats</td><td align='right'><a href='#Page_86'>86</a></td></tr> +<tr><td align='left'><i>Chapter Nine.</i></td><td align='left'>Hammocks</td><td align='right'><a href='#Page_93'>93</a></td></tr> +<tr><td align='left'><i>Chapter Ten.</i></td><td align='left'>Face and Dish Cloths and Bath Rugs</td><td align='right'><a href='#Page_99'>99</a></td></tr> +<tr><td align='left'><i>Chapter Eleven.</i></td><td align='left'>Raffia Mats</td><td align='right'><a href='#Page_101'>101</a></td></tr> +<tr><td align='left'><i>Chapter Twelve.</i></td><td align='left'>Oriental Rugs</td><td align='right'><a href='#Page_122'>122</a></td></tr> +<tr><td align='left'><i>Chapter Thirteen.</i></td><td align='left'>Navajo Blankets</td><td align='right'><a href='#Page_135'>135</a></td></tr> +<tr><td align='left'><i>Chapter Fourteen.</i></td><td align='left'>Songs, Games, and Stories</td><td align='right'><a href='#Page_143'>143</a></td></tr> +<tr><td align='left'><i>Chapter Fifteen.</i></td><td align='left'>A List of Helpful Books and Magazine Articles</td><td align='right'><a href='#Page_153'>153</a></td></tr> +<tr><td align='left'>The Index</td><td align='left'> </td><td align='right'><a href='#Page_159'>159</a></td></tr> +</table></div> + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_6" id="Page_6">[Pg 6]</a></span></p> + +<p class="center"><i>The highest<br /> +aim of art is<br /> +to make some<br /> +useful thing<br /> +beautiful.<br /> +<br /> +Kenyon Cox.</i></p> + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_7" id="Page_7">[Pg 7]</a></span></p> +<h2><span class="smcap">An Introduction</span></h2> + + +<p>For many years we, the teachers of the United States assembled in +village, city, State, and national conventions, have recited our creed +and chanted it in all keys.</p> + +<div class="sidenote"><i>Our creed</i></div> + +<p>We believe that man is a trinity, three in one—head, heart, and hand, +one soul made manifest; we believe that this union is vital and +indissoluble, since "what God hath joined together" may not be rent +asunder; we believe that this three-fold man, being "put to school" on +earth to grow, may devise and bring to successful issue no scheme of +education that is out of harmony with the plan of the Creator.</p> + +<p>Congratulating ourselves upon our ready and distinct utterance of this +lofty thought, we have calmly returned to our man-devised book-schools +for the acquisition of knowledge, in order to forward some plan for the +accumulation of more knowledge.</p> + +<div class="sidenote"><i>Deeds, not words, are now necessary</i></div> + +<p>But "wisdom lingered"! Here and there voices were raised that would not +be silenced: "You sang your beautiful song; what are you going to <i>do</i> +about it?" In the words of John<span class='pagenum'><a name="Page_8" id="Page_8">[Pg 8]</a></span> Stuart Mill, "It is now time to assert +in deeds, since the power of words is well-nigh exhausted."</p> + +<p>Investigators, studying this union of head and hand from the +physiological side, hurled truths at us that startled us from our +lethargy.</p> + +<div class="sidenote"><i>Physiological truths</i></div> + +<p>Every stimulus poured into nerve cells through the avenues of the senses +tends to pass out in motor action, which causes muscular movement. In +every idea are vitally united the impression and the tendency to +expression in action. The nervous system consists of the fibres which +carry currents inward, the organs of central redirection, and the fibres +which carry them outward—sensation, direction, action. Since control +means mental direction of this involuntary discharge of energy (directed +muscular movement), control of the muscles means development of will as +well as of skill. To prevent or cut off the natural outflow of nervous +energy results in fatigue and diseased nerves. Unrestrained and +uncontrolled expenditure of nervous energy results in lawlessness and +weakened will.</p> + +<p>Men of science said: "These are facts about man. What account have you +made of them in your elaborate system for educating him?"<span class='pagenum'><a name="Page_9" id="Page_9">[Pg 9]</a></span></p> + +<p>Students of sociological and economic problems called out to us as the +teachers of men:</p> + +<div class="sidenote"><i>Labor must be respected</i></div> + +<p>These great problems concerning the relation of labor and capital (the +brotherhood of man) will never be solved until there is greater respect +for labor; greater appreciation of the value of the products of labor; +until there is more joy to the worker in his labor, which should be the +expression through his hand, of the thought of his head, and the feeling +of his heart; until labor is seen in its true light, as service; until +the man with money as well as the man without learns through experience +to respect and appreciate labor and its products. "We <i>absorb</i> only so +much as we can interpret in terms of our own active experience."</p> + +<p>What contributions are our schools making to the bettering of social and +industrial conditions?</p> + +<p>Philosopher and poet—thinker and seer—send their message:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"That life is wisest spent<br /></span> +<span class="i0">Where the strong, working hand<br /></span> +<span class="i0">Makes strong the working brain."<br /></span> +</div></div> + +<p>To create, to make something, is the instinct of divinity in humanity, +the power that crowns man as divine.<span class='pagenum'><a name="Page_10" id="Page_10">[Pg 10]</a></span></p> + +<div class="poem"><div class="stanza"> +<span class="i0">"It is his impulse to create<br /></span> +<span class="i0">Should gladden thee."<br /></span> +</div></div> + +<div class="sidenote"><i>The will to do</i></div> + +<p>The practical business man thunders his protest at us against the +inefficiency of the man with only the knowledge-stored brain. He says: +We must have men that can <i>will to do</i>, and then <i>do</i> something, not +merely men that can think of things "'twere good to do." Our public +schools must train men and women to go out and take their place with the +workers of the world, to do something well and effectively.</p> + +<div class="sidenote"><i>Systematic hand-training the work of to-day</i></div> + +<p>At last we are awake, and throughout the country we are trying to heed +these calls, and to revive our own weakened thought by action, singing +our creed in deeds. Upon the foundations laid by Friedrich Froebel and +his students in the kindergarten, we are trying to build up a course in +systematic hand-training, through the primary, to intermediate and +grammar grades, and thence to manual training in the high schools. +<i>What</i> to do and <i>how</i> to do it has now become the practical problem of +the day. Everywhere the wide-awake primary teacher is sharing her +thought and experience with her co-workers.</p> + +<p>For little children, the <i>what</i> must utilize material suitable for +little fingers, and tools<span class='pagenum'><a name="Page_11" id="Page_11">[Pg 11]</a></span> must be large. The finished product should +belong to the maker, or be made by him as a service rendered to others; +the result should also be worthy of keeping or giving, from the +view-points of both beauty and utility.</p> + +<p>Another important factor is the adaptation to present public-schoolroom +conditions, and to present public-school treasury conditions.</p> + +<div class="sidenote"><i>Weaving the best hand work for primary schools</i></div> + +<p>More thoughtful study has led to the abandonment of the old-time sewing +and fine handwork in kindergarten and primary school. In its place we +find the weaving of useful and beautiful articles, out of various +available materials, and with simple, primitive tools—allowing always +for much and varied use of the great tools, the fingers.</p> + +<p>It is interesting to note that teachers in all parts of the country, +working independently of each other, have come to practically the same +conclusions, viz., that under present conditions, <i>weaving</i> seems the +best basis for a systematic course in industrial work that shall train +head and heart as well as hand. It is also of great interest to remember +that the signboards along the pathway of race development, by means of +work, exchange of labor and its products, all point to this idea as the +entering gateway.<span class='pagenum'><a name="Page_12" id="Page_12">[Pg 12]</a></span> Weaving is the first industry of all primitive +peoples.</p> + +<div class="sidenote"><i>This manual the result of study and experience</i></div> + +<p>Being practically agreed as to <i>what</i> shall be the first industrial work +in the primary school, the next great question is the <i>how</i>. With large +numbers of little children in her own schoolroom, the author of this +manual has long sought a satisfactory answer. Believing that the results +of her study and experience will be helpful to others in suggesting +possibilities, and in stimulating thought, as well as in practical +teaching and time-saving, she sends forth this little book with the +earnest hope that it may in these ways be of real service.</p> + +<div class="poem"><div class="stanza"> +<span class="i10"><span class="smcap">Alice W. Cooley</span>,<br /></span> +</div><div class="stanza"> +<span class="i10"><i>Critic Teacher and Instructor,</i><br /></span> +<span class="i10"><i>University of North Dakota.</i><br /></span> +</div><div class="stanza"> +<span class="i0"><i>August 1st, 1902.</i><br /></span> +</div></div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_13" id="Page_13">[Pg 13]</a></span></p> +<h2><span class="smcap">Hand-Loom Weaving</span></h2> + + + +<hr style="width: 65%;" /> +<h2>Chapter One</h2> + +<h3>THE PRIMITIVE LOOM</h3> + + +<div class="sidenote"><i>History of weaving</i></div> + +<p>Weaving, the oldest of the industrial arts, dates back so far that no +one can say when or where it had its beginning. We read in Genesis iii, +21, that when Adam was driven from the Garden of Eden he wore a coat of +skin; but, not long after, according to Professor Hurwitz, the +descendants of Adam wore an upper garment called the simla, which +consisted of a piece of cloth about six yards long and two or three +wide, greatly resembling a blanket (<i>Ashenhurst</i>). This might have been +woven from vegetable fibres, perhaps from wool, but in what manner we do +not know. The warp and woof of linen and woolen garments is mentioned in +Leviticus xiii, 47, 48.</p> + +<div class="sidenote"><i>Dyeing</i></div> + +<p>Spinning and weaving have been practised by the Chinese, Hindoos, and +Egyptians for thousands of years and carried by them to great +proficiency. The Israelites were probably familiar with the art of +weaving<span class='pagenum'><a name="Page_14" id="Page_14">[Pg 14]</a></span> before their sojourn in Egypt, but it was there that they +attained the skill which enabled them to execute the hangings in the +Tabernacle. Joseph's "coat of many colors" is a proof that dyeing +existed at a very early period, and the eloquent writings of Ezekiel +tell us of the beautiful colored cloths of Tyre and Damascus.</p> + +<div class="sidenote"><i>Migration of weaving</i></div> + +<p>From the ancient world the art of weaving passed through Europe and +became known in England after the Roman conquest. No doubt primitive +weaving with vegetable fibres, and perhaps with wool, was known in a +very crude way before that time. How the art developed, and how +improvement followed improvement, makes very interesting reading for the +student of textile fabrics.</p> + +<div class="sidenote"><i>Weaving as the first industrial art</i></div> + +<p>We know that weaving is the first industrial art practised by primitive +peoples, from the fact that it is found among the savages of Central +Africa (<i>Park</i>) and the islands of the sea. "Clavigero, in his history +of Mexico, shows that on the conquest of that country, weaving was found +to be practised by the natives." (<i>Ashenhurst</i>.)</p> + +<div class="sidenote"><i>Egyptian loom</i></div> + +<div class="sidenote"><i>Method of pushing the woof</i></div> + +<div class="sidenote"><i>Hindoo loom</i></div> + +<p>The Egyptians are supposed to have been inventors of the loom. There +were two kinds in use, one horizontal and the other<span class='pagenum'><a name="Page_15" id="Page_15">[Pg 15]</a></span> perpendicular. +Instead of a shuttle they used a stick with a hook at one end, which was +used also as a batten. Herodotus says that it was the practice of the +Egyptians to push the woof downwards, and this method is pictured in +many paintings; but one representation found at Thebes shows a man +pushing it upwards. The former method is, I believe, the one generally +used by all nations, and it certainly seems the easier way. Martin's +description of a Hindoo loom in his "Circle of the Mechanical Arts" is +interesting: "The loom consists merely of two bamboo rollers, one for +the warp and the other for the web, and a pair of gears. The shuttle +performs the double office of shuttle and batten, and for this purpose +is made like a huge netting needle, and of a length somewhat exceeding +the breadth of the cloth. This apparatus the weaver carries to a tree, +under which he digs a hole large enough to contain his legs and the +lower part of the gear. He then stretches his warp by fastening his +bamboo rollers, at a due distance from each other on the turf, by wooden +pins. The balance of the gear he fastens to some convenient branch of +the tree over his head. Two loops underneath the gear, in which he +inserts his great toes, serve instead<span class='pagenum'><a name="Page_16" id="Page_16">[Pg 16]</a></span> of treadles, and his long +shuttle, which also performs the office of batten, draws the weft +through the warp, and afterwards strikes it up close to the web."</p> + +<div class="sidenote"><i>Crude implements used by primitive peoples</i></div> + +<div class="sidenote"><i>Patience and dexterity necessary</i></div> + +<p>Ashenhurst says: "It is very evident that the implements used, not only +by the early Egyptians, but by other contemporaneous nations, and even +by the Hindoos at the present time, were of the rudest possible +character, and nothing but the most exemplary patience, dexterity, and +great delicacy of hand, acquired by long traditionary habit, can account +for the extraordinary beauty and fineness of their textile productions." +This exemplary patience, dexterity, and great delicacy of hand is +exactly what we claim that weaving develops in our children to-day.</p> + +<div class="sidenote"><i>Primitive loom in the public schools</i></div> + +<div class="sidenote"><i>Its disadvantages</i></div> + +<p>The primitive loom, as it is made for use in the public schools, is +familiar to almost every teacher. It consists of a wooden frame, in the +two ends of which are fastened brads at intervals of half an inch. The +warp is strung around these brads. There is no variation either in the +size of the rug or in the width of the warp to afford opportunity for +different materials. This is a decided objection, as a new frame has to +be made every time a change is desired. The first difficulty encountered +is the drawing in of the sides of<span class='pagenum'><a name="Page_17" id="Page_17">[Pg 17]</a></span> the rug, which is almost impossible +to avoid, even with the utmost care. Photographs of work in the leading +educational magazines, as well as samples of teachers' work, all show +the same defect. The Indians obviate this difficulty by twisting two +stout cords in the edge of the woof during the process of weaving. (See +illustration on page 135.) In one school, where the work in this respect +was fairly well done, the teacher was asked how she accomplished the +result. Her reply was, "Oh, I make them pull it out every time it +draws." Poor, patient little fingers! One can imagine the thoughts which +were woven into that imperfect rug by the discouraged little worker. +Another disadvantage of the primitive loom is that the child must bend +over it while weaving, and if, by chance, he turns it over to examine +the other side of the work, the brads are apt to leave an unsightly +impression on the desk.</p> + +<div class="sidenote"><i>Success in doing</i></div> + +<p>One of Froebel's fundamental principles is that a child should never be +<i>allowed</i> to fail—that his work should be so adapted that he will +succeed <i>every time</i>, and that he should be led step by step as his +power grows, to something more difficult.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"One thing is forever good,<br /></span> +<span class="i0">That one thing is success."<br /></span> +<span class='pagenum'><a name="Page_18" id="Page_18">[Pg 18]</a></span></div></div> + +<p>We have all experienced the joy of success in one way and another. Let +us help the children to have the same experience.</p> + +<div class="sidenote"><i>Idea of the "new education"</i></div> + +<div class="sidenote"><i>Small classes</i></div> + +<div class="sidenote"><i>Public school conditions</i></div> + +<p>The idea of the "new education" is that the child should work out his +own salvation—that having wrestled with the difficulties involved in +weaving on the primitive loom, he should proceed not only to invent, but +to construct a newer and more improved loom. In model schools, where the +classes are limited to ten, or sometimes fewer children, with one +teacher and several assistants, this idea, if carried out, is ideal, and +perhaps practical. But what shall be said of the public-school teacher +who has fifty children and no assistants; or, which is even more +objectionable, and which is the case in many of our crowded schools, +what of the teacher with two sessions of fifty children each? It was the +effort to solve a problem of this kind that led to the invention of the +Todd adjustable hand loom.</p> + +<div class="figcenter" style="width: 353px;"> +<img src="images/i023.jpg" width="353" height="336" alt="The Todd adjustable hand loom, Style b" title="" /> +<span class="caption">The Todd adjustable hand loom, Style b</span> +</div> + +<div class="sidenote"><i>Description of the Todd loom</i></div> + +<div class="sidenote"><i>The needle</i></div> + +<div class="sidenote"><i>Finishing the work</i></div> + +<div class="sidenote"><i>Removing the work</i></div> + +<p>The full size of the loom is 10 × 13 inches, upon which a rug 9 × 12 +inches can be woven. It is made adjustable to innumerable smaller square +and oblong sizes, by two devices. To regulate the length, the head +piece, which is movable, can be let down on brass buttons, which are +disposed along the sides at<span class='pagenum'><a name="Page_19" id="Page_19">[Pg 19]</a></span> intervals of an inch. Perforations are +placed half an inch apart in the head and foot pieces so that the side +rods can be moved inward to regulate the width. They also insure +straight edges, since the woof threads are passed around them as the +work progresses. The rods also serve another important function as +fulcrums upon which the needle may be pressed up and down, so that it +passes more easily over and under the successive warp strings. The +notches are one-sixteenth inch and the teeth one-eighth inch apart, +giving opportunity for warp one-half, three-eighths, and +three-sixteenths inches wide. The loom has an easel support, so that the +pupil need not bend over it—an important consideration in school +classes, and in home work as well. This support makes it possible to use +the loom for an easel in the painting lessons, by resting a piece of +pasteboard against it. The needle, which is longer than the warp is +wide, serves also as a heddle in pressing the woof<span class='pagenum'><a name="Page_20" id="Page_20">[Pg 20]</a></span> threads together +evenly. It is furnished with an eye for worsted, chenille, carpet +ravelings, or rope silk, and three slits for rags. To thread the needle +with rags, pass the strip up and down through the slits and <i>back</i> again +<i>under</i> the strip through the first slit. This binds the strip securely. +In finishing the work weave the last few woof threads with a large tape +needle, putting it up and down, over one thread at a time, as you would +sew on canvas. It has been found desirable with children to push about +an inch of woof threads close to the head piece and then fill in the +space. Care should be taken not to pull the woof too tight. If these +directions are followed and the warp is strung correctly the strings +will not slip out of the notches. In adjusting the loom it will be found +that the width from rod to rod is a little more than is required. For +instance, for a rug nine inches wide, the width from rod to rod will be +about nine and one-half inches. This is to allow for the<span class='pagenum'><a name="Page_21" id="Page_21">[Pg 21]</a></span> springing +together when the work is finished. To remove it from the loom, pull the +rods gently upward and out. Then lift the warp strings out of the +notches.</p> + +<div class="figcenter" style="width: 351px;"> +<img src="images/i024.jpg" width="351" height="336" alt="The Todd adjustable hand loom, Style a" title="" /> +<span class="caption">The Todd adjustable hand loom, Style a</span> +</div> + +<div class="sidenote"><i>Use of the primitive loom</i></div> + +<p>The primitive loom can be used by following these same directions, but +the work will, of course, be limited.</p> + +<div class="sidenote"><i>For school and home work</i></div> + +<p>While a great deal of the work is intended for the schoolroom, many +suggestions are given for home weaving, in making various articles for +birthday and holiday gifts.</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_22" id="Page_22">[Pg 22]</a></span></p> +<h2>Chapter Two</h2> + +<h3>A CHAT ON WEAVING</h3> + + +<div class="sidenote"><i>Weaving defined</i></div> + +<div class="sidenote"><i>Weaving trains both hands</i></div> + +<div class="sidenote"><i>The three-fold development</i></div> + +<p>Weaving is the art of interlacing threads, yarns, filaments, or strips +of different material, so as to form a cloth or fabric. It is an ideal +occupation, not only for little children, but for older ones as well, +affording admirable opportunities for the development of head, hand, and +heart. It trains both hands in deftness and proves a delight to the +left-handed child, who for the joy of using his left hand again, will +plod patiently across with the right. The fat little hands soon learn to +grasp the large needle, and the nerves and muscles of both hand and arm +are strengthened by daily use. Both hand and eye are trained in +accuracy, and the training in patience, perseverance, industry, economy +in the use of materials, perception, concentration, dexterity, and +self-reliance cannot be overestimated. The heart, too, has its part in +the joy of giving to others, for the children are encouraged to make +little gifts for the home. A consciousness of power comes, also, with +experience; and a<span class='pagenum'><a name="Page_23" id="Page_23">[Pg 23]</a></span> sense of self-respect arises when the child realizes +that he is of some use in the world.</p> + +<div class="sidenote"><i>Knowledge of principles necessary</i></div> + +<p>Lois Bates, in her "Kindergarten Guide," says that "in the manufacturing +districts of England great numbers of the children who pass through the +elementary schools are employed in mills where weaving is carried on, or +enter textile schools to learn designing in cloth. If this occupation of +mat-weaving could be continued until the children had a thorough +knowledge of its principles, how much intelligence might be brought to +bear on the actual weaving and how much more pleasure might the worker +draw from labor that is often looked upon as so much mechanical +drudgery!" The keynote for this is the <i>thorough knowledge</i> which is +necessary, whether or not our children are to enter textile schools. +Whatever they do, let them do it thoroughly. It should always be a +question of quality, not quantity.</p> + +<div class="sidenote"><i>Simple weaving the first essential</i></div> + +<div class="sidenote"><i>Mats as a preparation for loom weaving</i></div> + +<div class="sidenote"><i>Slat interlacing and splint work lead to basketry</i></div> + +<p>For this reason I have taken up, quite at length, the subject of first +steps in weaving, believing that children should be kept at simple +weaving until they understand the principles thoroughly. The felt and +paper mats prepare the way for loom-weaving; the free paper weaving, and +the slats and splints for basketry. A few suggestions on the use<span class='pagenum'><a name="Page_24" id="Page_24">[Pg 24]</a></span> of the +slats and splints have been given for two reasons: First, for the +training which they afford in dexterity and great delicacy of touch, to +say nothing of <i>exemplary patience</i>; and second, because the preliminary +training for basketry should be given in the lower primary grades. The +time necessary to train clumsy fingers can hardly be taken from the +regular work in grades where basketry is a prescribed course.</p> + +<p>"Skill in the fundamental methods of weaving is essential even as the +fingers must be trained in music before the soul of the musician can +find its expression. Make good baskets first, simple in shape, strong in +texture, suited to the purpose for which they are intended; +unconsciously they will grow beautiful. The most intricate basket will +fail in its purpose if the joinings are careless or flaws in workmanship +permitted. If originality is within the weaver, it will find its +expression, once the principles of weaving are second nature." (<i>C. S. +Coles.</i>) This is also true of rug and mat weaving, for the aim of all +training should be to bring out the best there is in a child.</p> + +<div class="sidenote"><i>"Devotedness to duty"</i></div> + +<div class="poem"><div class="stanza"> +<span class="i0">"The longer on this earth we live<br /></span> +<span class="i0">And weigh the various qualities of men,<br /></span> +<span class="i0">The more we feel the high, stern-featured beauty<br /></span> +<span class="i0">Of plain devotedness to duty;<br /></span><span class='pagenum'><a name="Page_25" id="Page_25">[Pg 25]</a></span> +<span class="i0">Steadfast and still, nor paid with mortal praise,<br /></span> +<span class="i0">But finding amplest recompense<br /></span> +<span class="i0">For life's ungarlanded expense<br /></span> +<span class="i0">In work done squarely and unwasted days."<br /></span> +</div><div class="stanza"> +<span class="i10">—<i>James Russell Lowell.</i><br /></span> +</div></div> + +<div class="sidenote"><i>Weaving the foundation for designing</i></div> + +<div class="sidenote"><i>Honest work begets sympathy with labor</i></div> + +<div class="sidenote"><i>Interdependence in life</i></div> + +<p>The "Kraus-Boelte Guide" has some good suggestions with regard to the +value of paper mat weaving, in number training, and for following +certain formulæ which will lead ultimately to invention. Mme. +Kraus-Boelte says: "Weaving leads to independent effort and offers the +greatest scope for future technical work, for it lays the foundation for +designing. Even though it may not fan into flame a latent spark of +genius, this means of occupation at least tends to show the value of +honest labor." The child not only recognizes the value in honest labor, +but his sympathy with all labor is aroused through his own efforts and +through the stories told of weavers in all lands. He realizes, also, +although in a limited way, the interdependence of the whole world. If +the sun did not shine, and the rain fall, there would be no grass. If +there were no grass, what would the sheep do? If the sheep did not give +any wool, what would the weaver do? If the weaver could not weave, what +would we do for clothes? Little children are always delighted to go back +to the<span class='pagenum'><a name="Page_26" id="Page_26">[Pg 26]</a></span> beginning of things. Oh, the joy of looking back on one's school +days! As Friedrich Richter has truly said, "Recollection is the only +paradise from which no man can be driven."</p> + +<div class="sidenote"><i>Some difficulties</i></div> + +<div class="sidenote"><i>A bit of experience</i></div> + +<div class="sidenote"><i>One solution</i></div> + +<div class="sidenote"><i>Community feeling continued</i></div> + +<p>One important thought in this whole subject is that the work should be +so arranged as not to add any additional burden to the already crowded +life of the teacher. It is a lamentable fact that we have overcrowded +rooms, and only one pair of hands to do all that has to be done. Perhaps +a bit of the author's own experience will be of some assistance. After +looking the subject squarely in the face and considering it on all +sides, the writer came to the conclusion that it would be an +impossibility to do all the work alone. So some helpers were called from +the pupils of the higher grades, and the request met such a hearty +response that it was wondered why it had not been tried before. As it is +now arranged the older girls come in before school and at recess. They +wind worsted, correct any knitting that may be wrong, start new spools, +string looms, cut material for rugs, water plants, keep the closets +where the materials are stored in order, and do many other things which +relieve in a great measure the burden<span class='pagenum'><a name="Page_27" id="Page_27">[Pg 27]</a></span> of detail. When it is possible, +the teacher should choose girls who have a sister or brother in the +room, because their interest is stronger and more lasting. Of course, +some training is necessary, but the result compensates for the trouble. +Sometimes the work in other grades can be so planned that the children +can make paper mats, etc., for use in the first grade. The beautiful +community feeling begun in the kindergarten can thus be continued in the +public school. The time will come when boys and girls in the higher +grades will design patterns for the younger children to weave.</p> + +<div class="sidenote"><i>Nature knows no hurry</i></div> + +<p>Take plenty of time in the first part of the year to teach the children +to work well. "Time is nothing when <i>power</i> is growing." There are some +children who learn faster than others and they are always delighted to +go about the room and help the slower ones. It will sometimes be found +that they know just how to explain a difficult point—perhaps because +they have just conquered it themselves.</p> + +<div class="sidenote"><i>A child's work should be suited to his capacity, without +regard to grade</i></div> + +<div class="sidenote"><i>Train the individual</i></div> + +<p>No work has been specified as suited to any particular grade. It should +depend entirely upon the children. While, for convenience, courses in +industrial training are planned, advising certain lines of work which +experience has proved the best for<span class='pagenum'><a name="Page_28" id="Page_28">[Pg 28]</a></span> first, second, or third grade, there +are in every school, certain children who have more manual than mental +ability. These are left behind as the more favored ones are promoted, +and because a certain course has been recommended for that particular +grade, they must, perforce, do it all over again. Instead of bringing +out the best in these less fortunate ones, and developing and +strengthening their minds through the hand by offering something not +only new and interesting, but which presents new difficulties to +conquer, we stunt their growth by giving them the same baby work term +after term. It is time that earnest teachers considered this important +question. Let us give up training the <i>mass</i> and begin to train the +<i>individual</i>. Through our interest in them they may find their life +work. If a child in the first grade is prepared to do any industrial +work of a higher grade, no matter how dull he may otherwise be, by all +means let him do it. It is his way of expressing what lies within him. +Not only will his hand and mind be trained thereby, but his heart will +be filled with the joy that always comes through achievement.</p> + +<div class="sidenote"><i>Value of hand training</i></div> + +<div class="sidenote"><i>If you would develop morality in a child, train him to +work</i></div> + +<div class="sidenote"><i>Making citizens</i></div> + +<p>Hand training has been found to be of great value in all other work. The +children<span class='pagenum'><a name="Page_29" id="Page_29">[Pg 29]</a></span> are brighter, and seem better able to grasp an idea. The slow +children are also stimulated, and in doing the simple work well are +preparing for that which is more difficult. Impression and expression +should go hand in hand. We know nothing of "the bad boy," now that we +have found something for his restless fingers to do. "The habit of +methodical work is the basis of all ethics." In teaching children to do +their best, we are training citizens. Some one has facetiously remarked +that, "In the making of a good citizen it is necessary to catch your +citizen early." We cannot get hold of the anarchists, but we can get +hold of their children, and in the training of them to work lies their +salvation. Formation is better than reformation.</p> + +<div class="sidenote"><i>Formation, not reformation</i></div> + +<div class="sidenote"><i>New applications for old teachings</i></div> + +<p>Verily, there is nothing new under the sun. We hie ourselves to the +summer schools, and return laden with new ideas—when lo! it dawns upon +us that all we have done during the hot days has been to make a new +application of what Froebel taught the world before we were born. So in +this introduction, an old story has been retold, but I hope that it will +come with a new meaning to my fellow teachers.</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_30" id="Page_30">[Pg 30]</a></span></p> +<h2>Chapter Three</h2> + +<h3>FIRST STEPS IN WEAVING</h3> + + +<div class="sidenote"><i>Felt mats and slats</i></div> + +<div class="sidenote"><i>Demonstration cards and diagrams</i></div> + +<p>The principles of weaving are very easily learned with felt mats and +slats. One-half a yard of felt two yards wide will make thirty-six mats +six inches square. These are very durable, and can be used year after +year, if protected from moth during the summer. Some prefer leather or +oil-cloth mats, backed with heavy unbleached muslin, but they are more +expensive, and not so pleasant to work with as the soft wool. The slats, +which should be at least one-half an inch wide, can be obtained at any +kindergarten supply store. Buy the uncolored slats and dye them +yourself. Dark green mats, woven with deep red slats, are pretty. The +slats are easier to handle if they are soaked and cut the required +length before dyeing. When the six-inch mats are cut, allow a +three-quarter-inch margin on all sides. Measure the mat for +one-half-inch strips, of which there will be nine, and mark by snapping +a chalked string upon the mat. Double it with chalked lines outside and +commence to cut from the<span class='pagenum'><a name="Page_31" id="Page_31">[Pg 31]</a></span> center; then open and finish cutting to the +margin. It would be better for very little children if the strips and +slats could be one inch wide. In this case the mats would, of course, be +larger, and it might be necessary to have the slats made to order. The +slats should be kept in little bundles containing the required number, +and secured by rubber bands. If one could have plenty of time and +material it would be a good plan to have several sets of mats of +different sizes, so that the children would not always be confined to +one number and its combinations in a certain set of patterns—in this +case, nine—but have the pleasure which comes from variety. +Demonstration cards and diagrams for weaving can be obtained at the +kindergarten and school-supply stores. An illustration of an excellent +demonstration frame can be seen in the "Kindergarten Guide," by Lois +Bates. Sample mats can be woven by the older children from the designs +in any of the "Guides," and given to the smaller children to copy.</p> + +<div class="sidenote"><i>Purpose of practice mats</i></div> + +<div class="sidenote"><i>Do not deceive the child</i></div> + +<p>When the purpose of these practice mats is understood there can be no +objection to them on the ground that the work is destroyed by pulling +out the slats each time. It is not an unusual thing to see in schools,<span class='pagenum'><a name="Page_32" id="Page_32">[Pg 32]</a></span> +and even in kindergartens, faithful and conscientious teachers remaining +after hours to pull out the slats, on the principle, perhaps, that what +the children do not see will not affect their development, and the +innocent little bundles are given out again on the morrow, only to +undergo the same experience at night. One wonders sometimes if this is +possibly within the definition of deception. "We mount to the summit, +round by round," and when the children understand that in doing the work +with the slats well, they are only learning <i>how</i>, and that each +successful attempt brings the delightful day nearer when they may have a +loom to work upon, they are perfectly satisfied.</p> + +<div class="sidenote"><i>Long slat weaving</i></div> + +<p>When the children have learned to weave the small mats, further practice +can be had by weaving long slats into a warp of cord on the loom. It is +better to conquer the mystery of "over and under" in this way than to +undo the work and wear out the material after making a mistake.</p> + +<div class="sidenote"><i>Paper mats</i></div> + +<p>Many teachers prefer to make the practice mats of paper because they are +cheaper. Heavy paper, in desirable colors, can be obtained at the +wholesale paper houses, and for a small sum can be cut in squares of any +required size. Mats can be made more<span class='pagenum'><a name="Page_33" id="Page_33">[Pg 33]</a></span> durable by pasting them on heavy +muslin before cutting. In many schools children in grades above the +entering room prepare their own mats by measuring with tablets or rulers +and then drawing and cutting on the lines. When they have learned to do +them well, let each child make one for the entering room. Nothing +strengthens the community feeling so much in a school as to encourage +the older pupils to help the younger.</p> + +<div class="sidenote"><i>Mat weaving in the kindergarten</i></div> + +<p>The mat-weaving, as it is done in the kindergarten, is very beautiful +and fascinating work. The mats can be obtained in any size and any width +of strips at the supply stores. The weaving is done with a long steel +needle which has a spring at one end to hold the strip. After +preliminary work with the felt mats and slats the children find +themselves able to weave quite independently, particularly if +demonstration cards or sample mats are placed before the class. An +infinite variety of patterns, which later will be useful in +wool-weaving, can be found in the "Kindergarten Guides." In weaving +patterns having a center, it is better to weave two strips at once, +pushing one to the top and one to the bottom of the mat. The old numbers +of the Godey and Peterson magazines<span class='pagenum'><a name="Page_34" id="Page_34">[Pg 34]</a></span> have patterns for Berlin wool and +bead work which can be used for the paper mats with good effect. Mrs. +Kate Douglas Wiggin (Mrs. Riggs) has some good suggestions for invention +in weaving, in her "Republic of Childhood" (Occupations). The value of +weaving in number work is also admirably set forth in this book.</p> + +<div class="sidenote"><i>Gifts</i></div> + +<p>At Christmas time many charming little gifts can be made of these mats. +Sachet cases made of a six or eight inch square, with four corners +folded to the center, are attractive. Inclose a square of wadding, in +which a pinch of heliotrope or white rose perfume powder has been +hidden, and fasten the corners together with a scrap picture of old +Santa Claus.</p> + +<p>Slat work is useful in learning the fundamental principles of weaving, +although this work is more closely related to basket than to rug +weaving. It is an excellent preparation for the free-paper weaving, and +is also a step toward basket work.</p> + +<div class="sidenote"><i>Interlacing slats</i></div> + +<p>In interlacing slats the mystery of "over and under" is solved and the +dependence of one slat upon another in making a perfect whole is shown +in a forcible way, particularly when the form falls to pieces in the +attempt to lift it from the table. Edward Wiebe<span class='pagenum'><a name="Page_35" id="Page_35">[Pg 35]</a></span> says in his "Paradise +of Childhood": "It was the <i>one</i> slat which, owing to its dereliction in +performing its duty, destroyed the figure and prevented all the other +slats from performing theirs." One experience of this kind will teach +more than a thousand precepts. The geometrical forms learned in the +sense-training lessons can be reproduced with the slats and will thus be +impressed upon the mind during the period of busy work at the desk. A +series of beautiful designs is published by E. Steiger, New York. Many +designs may be grouped for decoration, and single symmetrical figures +can be mounted upon heavy paper.</p> + +<div class="sidenote"><i>Free-paper weaving</i></div> + +<div class="sidenote"><i>Sequence</i></div> + +<p>Free-paper weaving requires quite a little skill of hand and a great +deal of patience before the child can achieve a successful result. +Perhaps a few words regarding it, and information about a simple +sequence of paper patterns, will not be out of place, since so many are +to-day taking it up. Strips of manilla paper forty inches long and one +inch wide are used. These are cut into strips eight inches, sixteen +inches, twenty inches, and twenty-four inches in length. For the first +pattern of the sequence take four strips eight inches long and double +each one. Hold two of them side by side in the left hand, so<span class='pagenum'><a name="Page_36" id="Page_36">[Pg 36]</a></span> that the +open ends of the outer strip are at the top while those of the other are +at the bottom. With the right hand inclose the first strip in the left +hand with one of the remaining double strips and pass the ends of the +latter between the two ends of the second strip. Then hold the work in +the right hand and proceed in the same way with the left hand. When both +strips are in, draw them tight and they will be firmly woven. The ends +can be cut in any way desired. These little forms can be used for +bookmarks. They are very attractive when made in two tones of one color.</p> + +<div class="figcenter" style="width: 640px;"> +<img src="images/i040.jpg" width="640" height="429" alt="Sequence in paper weaving" title="" /> +<span class="caption">Sequence in paper weaving</span> +</div> + +<div class="sidenote"><i>Sequence weaving</i></div> + +<p>The second pattern of the sequence is<span class='pagenum'><a name="Page_37" id="Page_37">[Pg 37]</a></span> made with sixteen-inch strips. +The first part is woven like the bookmark. Four double strips now +project from the square. Begin at the bottom and fold back the <i>upper</i> +one of each of these double strips. As you do this you will find that +you are weaving another square on top of the first one. To secure the +last strip pass it under the square next to it and pull it through. You +will now have eight single strips, two on each side. To form these into +points for a star proceed as follows: Begin with the right-hand strip at +the top and number all the strips from one to eight. Fold number one +back toward the right, making at the fold a right-angled triangle. Fold +the strip down again towards you, making another triangle which is +folded back to the left on the first one. Slip the end of the strip +under the square next to it and cut it off. Proceed in the same way with +three, five, and seven. Then turn the form over and fold the strips two, +four, six, and eight in the same way, cutting off the strips when +finished. Many of these stars can be joined to make mats, baskets, +picture frames, etc. They are pretty when made of gilt or colored paper +for Christmas decorations.</p> + +<div class="sidenote"><i>Sequence weaving</i></div> + +<p>Pattern number three, a bookmark, is made like the first, except that +eight strips of<span class='pagenum'><a name="Page_38" id="Page_38">[Pg 38]</a></span> sixteen-inch length are used and the strips woven at +right and left are finished as directed for the mat. Number four is +another form like this, with the long ends back and front slipped +through squares to form a napkin ring. Number five is a six-inch mat +made of twelve twenty-inch strips. Weave six double strips left and +right into two strips and then add four to make the square. To finish +the edge cut off the <i>under</i> one of each double strip, fold the upper +one over it and then slip it under the square which comes next, cutting +it off even. Strips of felt can be woven in this way for table mats or +holders.</p> + +<p>The sixth pattern is a pencil holder or a basket, as you may wish. It +may be round or square on the bottom—in the latter case the sides are +creased to form a square prism. Double twelve twenty-four-inch strips, +weave eight right and left into four; finish one long edge for the top +of the basket as you did the edge for the mat. Bend in the form of a +ring and slip the ends as you did for the napkin ring, cutting them off. +To make the bottom, crease all the projecting ends in and weave together +as you did the second part of number two only double, and fasten the +strips on the <i>outside</i> of the basket. This<span class='pagenum'><a name="Page_39" id="Page_39">[Pg 39]</a></span> makes a good waste basket +for the doll house. With a cover it would make a fine hamper for Miss +Dolly's clothes.</p> + +<div class="figcenter" style="width: 640px;"> +<img src="images/i043.jpg" width="640" height="360" alt="Examples of splint work" title="" /> +<span class="caption">Examples of splint work</span> +</div> + +<div class="sidenote"><i>Weaving with splints</i></div> + +<p>This free weaving leads directly to weaving with splints. These are much +thinner than slats and can be obtained at the kindergarten supply +stores. Many beautiful things can be made with splints. They are easily +dyed at home and many pleasing combinations of color can be obtained in +this way. Celluloid strips make beautiful boxes and baskets.</p> + +<div class="sidenote">"<i>Jacob's ladder</i>"</div> + +<p>A delightful exercise with the small children is the making of a +"Jacob's ladder," or "Pussy-cat stairs," as they are often called. Fold +a forty-inch strip of paper, one inch wide, so as to form a right-angle +in the middle. Or, if a longer ladder be desired,<span class='pagenum'><a name="Page_40" id="Page_40">[Pg 40]</a></span> place one end of a +forty-inch strip over the end of another one, at right angles, and +fasten with a drop of paste. Fold from left to right, one strip upon the +other, until you come to the end; then pull out, and behold the stairs! +The fat and clumsy little fingers will work patiently a long time to +achieve this charming result, and much skill of hand will be gained in +the doing. Use colored paper for this whenever possible.</p> + +<div class="figcenter" style="width: 348px;"> +<img src="images/i044.jpg" width="348" height="640" alt="A skirt for winter" title="" /> +<span class="caption">A skirt for winter</span> +</div> + +<div class="figcenter" style="width: 221px;"> +<img src="images/i044a.jpg" width="221" height="640" alt="A mitten and a cap" title="" /> +<span class="caption">A mitten and a cap</span> +</div> + +<p>The illustrations on this and on the following page show some +fascinating work for little hands. The looms are made of heavy +pasteboard cut in notches, in which the warp of the same<span class='pagenum'><a name="Page_41" id="Page_41">[Pg 41]</a></span> material as +the woof is strung. Care should be taken to keep the warp straight, and +to finish all the edges well. The articles in the illustrations were +made by first-grade children in the Ericcson School, St. Paul, Minn.</p> + +<div class="figcenter" style="width: 413px;"> +<img src="images/i045.jpg" width="413" height="640" alt="A sweater for the doll" title="" /> +<span class="caption">A sweater for the doll</span> +</div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_42" id="Page_42">[Pg 42]</a></span></p> +<h2>Chapter Four</h2> + +<h3>METHODS OF STRINGING WARP</h3> + + +<div class="sidenote"><i>Warp of three widths</i></div> + +<p>The adjustable loom can be strung with warp of three widths, one-half +inch, three-eighths inch, and three-sixteenths inch, thus giving +opportunity for a variety of materials.</p> + +<p>For heavy rags, candle wicking, etc., wind the warp strings around three +teeth in the head and foot pieces. This will give a warp of one-half +inch—that is, one-half inch from one string to the other.</p> + +<p>For silk, silkoline, finer rags, carpet ravelings, double wool, etc., +wind the warp strings around two teeth, thus making a warp of +three-eighths inches.</p> + +<div class="sidenote"><i>Kindergarten patterns</i></div> + +<p>For double wool, worsted, rope silk, chenille, or raffia, where one +wishes to reproduce kindergarten designs, as in paper-weaving, place the +warp strings around one tooth only. This makes a close warp of +three-sixteenths inch, which helps to form the design with the woof +threads. In this case the warp should be of the same material as the +woof. In kindergarten patterns the woof threads<span class='pagenum'><a name="Page_43" id="Page_43">[Pg 43]</a></span> determine the color +effect. It is better to have the children weave the pattern first with +practice mats and slats, particularly if they have never had experience +in the kindergarten. Suggestions for weaving kindergarten designs are +given under the head of <i>Raffia</i>.</p> + +<div class="sidenote"><i>Plaids</i></div> + +<p>For a plaid effect, string the warp at regular intervals, with different +colors. Then weave the same colors at equal intervals to form the plaid. +(See illustrations, pages 92, 98, and 101.) Shawls, carriage blankets, +etc., woven in this way are very attractive.</p> + +<div class="sidenote"><i>Stripes</i></div> + +<p>A striped warp is strung in the same way. (See illustrations, pages 101 +and 117.) The stripes could be continued through the mat, if desired, by +weaving only <i>one</i> color in the woof. By weaving <i>two</i> colors squares +are obtained such as those seen in the corners.</p> + +<div class="sidenote"><i>Materials for warp</i></div> + +<p>For weaving with carpet ravelings or rags, and sometimes double wool, +where a plain effect is desired, the warp should be of common twine, as +near the color of the work as possible. Carpet thread is good, +especially for the double warp in Turkish rugs. Balls of warp string can +be obtained at department stores. Oriental cord comes in several colors, +and can be had at a few cents a ball at the notion and stationery +counters in department stores.<span class='pagenum'><a name="Page_44" id="Page_44">[Pg 44]</a></span></p> + +<div class="sidenote"><i>How to string a warp</i></div> + +<p>The warp should always be one continuous string, and several inches +should be left at each end in order to fasten securely when the work is +finished. If preferred, the warp ends can be fastened before the weaving +is commenced. Care should be taken to place the first and last strings +of the warp directly <i>over</i> the rods, and, in weaving, to pass the woof +threads entirely around the <i>rods and strings</i> to insure straight edges. +The ends of wool warp threads should be wound in and out of the notches +to the right and left of rods, to fasten them until the weaving is +finished. It sometimes happens that little children, and more especially +those who are blind, pull up the warp strings when near the end of the +work. In such cases it is a good plan to pass a rubber band <i>over</i> the +warp strings at the top of the loom and <i>behind</i> the bars, back of the +head piece, making it set up close by putting it around one tooth at +each end. In this way the warp strings cannot possibly slip out of the +notches.</p> + +<div class="sidenote"><i>Splicing with a weaver's knot</i></div> + +<div class="sidenote"><i>A raffia warp</i></div> + +<p>Some teachers splice the warp with a weaver's knot, an illustration of +which can be seen in any large dictionary. The continuous string is to +be preferred, however, as experience has proved that even a weaver's +knot will sometimes fail to stand the stress<span class='pagenum'><a name="Page_45" id="Page_45">[Pg 45]</a></span> of weaving. It is very +difficult to splice a warp of raffia. It is better to knot the warp +threads in pairs (see directions, page 46), leaving two or three inches +beyond the head and foot. These ends may be used for a fringe by tearing +very fine, or they may be run down in the woven part with a darning +needle, as rattan is run down in basket work.</p> + +<div class="sidenote"><i>To fasten wool or silk warp strings</i></div> + +<div class="sidenote"><i>When the warp is correct</i></div> + +<p>When the weaving is done and the mat lifted from the loom, the ends of +the wool warp strings can be run in along the sides with a tape needle. +If the warp be of twine, it is better to tie the end to the next warp +string and allow the fringe to cover the knot; or, as in the case of +silkoline, the woof strips can be caught over the warp strings with silk +of the same color in order to hide them. Only experience can teach the +tightness with which a warp should be strung. Worsted, carpet thread and +twine will stretch as the work progresses, and raffia will not. If the +warp be too loose the work will be uneven and the strings will slip out +of the notches. If it be too tight it will be difficult to finish the +last two or three inches and the woof threads will look crowded. The +best test is to place the hand upon the warp before commencing to weave. +If it feels firm and does not push down too easily, but<span class='pagenum'><a name="Page_46" id="Page_46">[Pg 46]</a></span> springs +slightly beneath the hand, it is probably correct.</p> + +<div class="sidenote"><i>To string a warp for fringe</i></div> + +<div class="sidenote"><i>To string the warp threads in pairs</i></div> + +<p>Where the warp is of the same material as the woof and it is desired to +extend it to form a fringe, it can be done in the following manner: +After the loom is adjusted for the size required, cut the warp strings +so as to allow two or three inches beyond the head and foot pieces. If +you intend to knot the fringe in some fanciful way after the weaving is +finished, allow four or five inches. Take two threads, knot so as to +leave the required length for fringe below the foot piece, then pass +around one or two teeth, as the case may be, draw tightly to the head +piece and knot firmly on the upper side, leaving a fringe of the same +length there. Knot the strings in pairs in this way until the whole warp +is strung. It will be noticed that the rods are placed beneath the +notches of odd numbers. In knotting warp strings in pairs it will be +found necessary, when the last tooth is reached, to do one of two +things—either allow one string to lie beyond the rod, or, having strung +the warp within one tooth of the rod, to start the next string in the +<i>same</i> notch, bringing the two strings together. This will bring one +string on top of the rod and none beyond. In the first<span class='pagenum'><a name="Page_47" id="Page_47">[Pg 47]</a></span> case, the string +beyond the rod must be taken up in weaving with the one on top of the +rod. Experience has proved the second method to be the better one.</p> + +<div class="sidenote"><i>Double warp for Turkish rugs, etc., with fringe</i></div> + +<p>Kiz-Kilim rugs have perforated or open-work patterns. To produce this +effect string a <i>double</i> warp through every notch in the foot and head +pieces; that is, use two strings in each notch, tying in pairs for +fringe as before. Use a brownish white carpet thread. With strong black +thread string through every other notch to outline perpendicular sides +of squares in the pattern. Your warp will be strung three-sixteenths +inch, but the black threads will be three-eighths inch. This will enable +you to keep the patterns straight as the work progresses.</p> + +<div class="figcenter" style="width: 437px;"> +<img src="images/i051.jpg" width="437" height="336" alt="A Kiz-Kilim rug pattern" title="" /> +<span class="caption">A Kiz-Kilim rug pattern</span> +</div> + +<div class="sidenote"><i>Patterns for Turkish rugs</i></div> + +<p>In drawing designs for Turkish rugs, where the pattern is to be placed +under the warp, it is better to make a squared paper first. Lay the head +piece of the loom upon unlined paper. Place a dot at every other notch. +Draw perpendicular lines first, then dot for horizontal lines. The +result will be a foundation to fit your loom. If the squared<span class='pagenum'><a name="Page_48" id="Page_48">[Pg 48]</a></span> paper of +the kindergarten be used the squares will be either too large or too +small to correspond with the notches in the loom. It will be found very +easy to transfer a pattern from a rug to the paper. Fasten the pattern +under the warp by overhanding to the rods, taking care to have the black +strings directly over the perpendicular lines in the pattern.</p> + +<div class="sidenote"><i>Patterns for Navajo blankets</i></div> + +<p>Patterns for Navajo blankets are usually triangular. Draw on unlined +paper and fasten under the warp as before.</p> + +<div class="sidenote"><i>To string a continuous warp for long strips</i></div> + +<p>Rugs and similar articles may be made of any length by stringing a +continuous warp. After the length has been decided upon, cut the warp +strings <i>twice</i> as long. Place the middle of one string around the first +tooth of the foot piece (or two or three, according to the width of warp +desired) and bring up the two ends firmly to the first tooth in the head +piece. Knot securely and let the long ends extend beyond the head piece. +If desired they can be wound on spools, or around the tops of the rods, +to prevent tangling. Continue until all the warp is strung. Observe the +instructions given before for stringing warp strings in pairs. It is not +necessary to weave the loom full each time, as the last inch is very +slow work, but when the weaving<span class='pagenum'><a name="Page_49" id="Page_49">[Pg 49]</a></span> is near the head piece draw out the +rods, lift it from the notches, pass it down to the foot piece so that +the part which was at the head is now at the foot, untie the knots so +that the work will lie close to the foot piece and knot the warp strings +as before at the head piece. This can be done as many times as desired.</p> + +<div class="sidenote"><i>Methods of fastening long strips together</i></div> + +<p>For afghans, slumber robes, couch covers, etc., crochet with plain +stitch or baste on oil-cloth and weave together with tape needle, making +it as nearly like the original weaving as possible. By studying Turkish +rugs and curtains one can learn how to put strips together with a fancy +stitch somewhat like our feather stitch.</p> + +<p>Strips for floor rugs should be basted on oil-cloth and the warp strings +in the two edges caught together at intervals, running the connecting +thread <i>through</i> the loops so as to be invisible. Finish the outside +edges by stitching on a tape of the same color, by machine.</p> + +<div class="sidenote"><i>Table covers, afghans, slumber robes, or large rugs</i></div> + +<p>By making several of these long strips and fastening them together one +can have a table cover, afghan, slumber robe, or a large rug.</p> + +<div class="sidenote"><i>Floor rugs</i></div> + +<p>The floor rug shown in the illustration on page 100 (1-1/4 yards by 3/4 +yard) is woven in<span class='pagenum'><a name="Page_50" id="Page_50">[Pg 50]</a></span> strips with a continuous warp. The center strip is +one yard long and nine inches wide. It is made of deep cardinal carpet +wool. The strips of black, nine inches wide at the sides and ends, +terminate diagonally, as seen in the illustration. The black diagonal +lines show where the weaving ends. The warp is then tied and cut close +to the weaving. The strips are to be sewn or crocheted together.</p> + +<div class="sidenote"><i>Fine weaving</i></div> + +<div class="sidenote"><i>To produce a design with the woof</i></div> + +<p>For very fine weaving, where it is necessary for the warp threads to +<i>touch</i> each other in order to produce a design with the woof, string a +<i>double</i> warp in every notch with the same material. Then, with a tape +needle, separate the warp threads, twist one over the other so that all +will lie side by side, and secure them by weaving a few times across the +loom. By using this method, one can have a close warp on the wooden +looms.</p> + +<div class="sidenote"><i>Warp for doll towels</i></div> + +<p>In stringing warp in pairs for doll towels, have two strings on each bar +and one extending one notch beyond at each side. This makes a good +fringe for the edges of the towel.</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_51" id="Page_51">[Pg 51]</a></span></p> +<h2>Chapter Five</h2> + +<h3>MATERIALS</h3> + + +<div class="sidenote"><i>Silkoline</i></div> + +<p>Plain and figured silkoline should be cut in bias strips one-half inch +wide. Stretch and pull through the hands until both edges are raveled. +When these strips are woven, the rug or mat will be reversible. Figured +silkolines give a pretty mottled effect, especially those in which +Turkish colors predominate. Rugs having plain centers and mottled +borders are beautiful. A full-sized rug requires nearly two yards of +material.</p> + +<div class="sidenote"><i>Cheese cloth</i></div> + +<p>Strips of cheese cloth can be prepared in the same way. Cut them +three-fourths inch wide on account of the tendency to ravel. Serviceable +face and dish cloths can be made of white cheese cloth. Some of the +colored cheese cloths make pretty rugs. When a desirable color cannot be +found, the white cloth can be dyed at home.</p> + +<div class="sidenote"><i>Dress linings</i></div> + +<p>Soft dress linings come in many beautiful colors. Old pieces may be +utilized by cleaning and dyeing. The pieces are cut in bias strips, +one-half inch in width.<span class='pagenum'><a name="Page_52" id="Page_52">[Pg 52]</a></span></p> + +<div class="sidenote"><i>Silk</i></div> + +<p>Pieces of old silk can also be prepared in this way. One can often +obtain new pieces at dressmaking establishments.</p> + +<div class="sidenote"><i>Candle-wicking</i></div> + +<p>Table mats, wash cloths, and similar articles can be made from +candle-wicking. For lamp mats, cushion covers, and other articles the +material may be dyed and woven in two colors, or in two tones of one +color. A number of squares can be joined to make a hammock pillow. By +stringing a close warp with white or colored wicking and weaving over +and under one string with the same material, a coarse canvas can be +made, upon which the children can cross-stitch a pretty border and +center piece, or an all-over pattern by copying the kindergarten +designs, or even initials and monograms. Most of the canvas sold at the +stores, even the old Java canvas of our childhood days, is too fine for +little children to work upon. In canvas made of candle-wicking by the +child himself, the squares are large, and to this there is the added +pleasure of the child being able to say when the work is finished, "I +did it all myself."</p> + +<div class="sidenote"><i>Rope silk, or ropetine</i></div> + +<p>Beautiful silk canvas can be made of rope silk and cross-stitched with +another color or tone, or with chenille, making a velvet figure. This +material is, of course, more<span class='pagenum'><a name="Page_53" id="Page_53">[Pg 53]</a></span> expensive. Two colors or two tones may be +woven with chenille and silk in a kindergarten design. Beautiful holiday +and birthday gifts can be made from these materials, such as mats, +cushion covers, and sachet cases. Glove, mouchoir, necktie, fan, and +trinket boxes can be made by weaving the top, bottom, and sides in +panels. Foundation boxes, which may be purchased for a few cents, are +excellent for this purpose, or they can be made very well at home from +three-ply cardboard. Make the hinges of ribbon and line the boxes with +silk of a corresponding or contrasting color.</p> + +<div class="sidenote"><i>Carpet ravelings</i></div> + +<p>Carpet ravelings may be obtained from the carpet stores, or pieces of +carpet can be raveled by the children. Let them have the pleasure and +benefit which come from sorting the ravelings. It is an excellent lesson +in color, besides developing the patience, concentration, +discrimination, and judgment so much to be desired in other work. After +the wool is sorted—not before, because it is not all fast color—dip in +water, wring, and let the children straighten it gently, one piece at a +time. This will make it as smooth and soft as new wool. Procure some +small boxes—shoe boxes are a good size—place one color in a box with a +sample fastened<span class='pagenum'><a name="Page_54" id="Page_54">[Pg 54]</a></span> outside at one end, and pile them upon a low shelf or +window sill. Train the children to go to the "play store" to match their +own wool. If they go quietly, one at a time, no one is disturbed and +each child gains in knowledge of color as well as in independence. A +little management of this kind helps the teacher as well as the child.</p> + +<div class="sidenote"><i>Carpet wools</i></div> + +<p>New wools of various kinds and beautiful colors can be bought in large +quantities from dealers in materials for industrial work. In some carpet +departments you will find oriental wools which are used to mend rugs, +and a small quantity can be bought. Some of the kindergarten supply +stores and decoration companies have already advertised a stock of these +materials.</p> + +<div class="sidenote"><i>Double Germantown wool</i></div> + +<div class="sidenote"><i>Germantown knitting yarn</i></div> + +<p>An ideal material for little folks is double Germantown wool. The soft +wool, used for both warp and woof, is excellent for weaving kindergarten +designs. This should be done with a close warp, which may be extended +each side of the head and foot piece as a fringe. By extending the warp +any length desired beyond the head piece, long strips for slumber robes, +afghans, and such articles can be woven. The warp may be strung with +twine as near the color of the wool as possible, and a plain rug be +made, with<span class='pagenum'><a name="Page_55" id="Page_55">[Pg 55]</a></span> colored stripes at each end. A very pretty and easy gift for +a little child to make is a holder for the teapot, as described on page +92. The Germantown knitting yarn, which is more tightly twisted, makes +very pretty rugs and mats. It is sometimes used for Navajo blankets.</p> + +<div class="sidenote"><i>Darning cotton</i></div> + +<p>White dolls'-towels, with red or blue stripes, are made of darning +cotton. Baste a small piece of canvas at one end and cross-stitch Miss +Dolly's initial.</p> + +<div class="sidenote"><i>Knitting cotton</i></div> + +<p>Plain white bedspreads, or white combined with a color in a kindergarten +design, can be made of knitting cotton which is a little coarser than +darning cotton. Knot a fringe on all sides. Lunch cloths and table +covers for Miss Dolly can be made in the same way.</p> + +<div class="sidenote"><i>Macremé cord</i></div> + +<p>Macremé cord is the best material for hammocks. It comes in many +beautiful colors, at a few cents a ball.</p> + +<div class="sidenote"><i>Leather strips</i></div> + +<p>To weave a kindergarten design in two colors of leather strips, have the +leather cut the desired width, and fasten them to a piece of strong +muslin at the top and bottom of the mat or panel. Fit the muslin over +the teeth in head and foot pieces by cutting a small opening.</p> + +<div class="sidenote"><i>Celluloid strips</i></div> + +<div class="sidenote"><i>Leather strips</i></div> + +<p>Celluloid strips may be treated in the<span class='pagenum'><a name="Page_56" id="Page_56">[Pg 56]</a></span> same way. Leather and celluloid +strips can be woven free-hand like the paper strips.</p> + +<div class="sidenote"><i>Raffia</i></div> + +<p>Many beautiful articles can be made of raffia, which is a palm fibre +brought from the island of Madagascar. It can be obtained in the natural +color at most of the department stores, the kindergarten supply houses, +and the florists. The cost is usually 20 cents or 25 cents per pound, +although the florists will sell a few cents' worth. It can be dyed +easily, and with little expense, with Diamond or aniline dyes. It should +first be washed. Care should be taken, in the selection, to obtain long, +smooth pieces which will be at least one-half inch wide when wet, and of +an even color. Some of the raffia is musty and badly spotted. It is well +to wet all of it first, then straighten and allow it to dry. While +weaving, keep the raffia moist by dipping the fingers now and then in a +cup of water. Experience has proved this method to be more satisfactory +than to allow the raffia to remain in water and become thoroughly +soaked, particularly the colored raffia. If one cares to expend money +instead of time and trouble, the raffia can be dyed in very beautiful +colors at the dye houses.</p> + +<div class="sidenote"><i>Shetland wool</i></div> + +<p>Blankets for Miss Dolly can be made of the soft Shetland wool and +Germantown<span class='pagenum'><a name="Page_57" id="Page_57">[Pg 57]</a></span> zephyr. For bed blankets, cream color, with stripes of two +or more colors, are very attractive. Carriage blankets made with white +centers and colored borders, or with a tone for the center and a shade +for the border, are a great addition to the carriage, as well as a +source of comfort to the little occupant. Bind the edges with ribbon and +run a narrow one through the beading formed by taking out the extra +rods. This ribbon can be run all around the center part by leaving out a +few woof threads at the top and bottom.</p> + +<div class="sidenote"><i>Knitting silk</i></div> + +<p>By stringing a close warp of knitting silk and extending it the required +length, shawl-straps, suspenders, belts, and garters can be woven. The +rods should be adjusted for the desired width. Finish at each end with +pieces of silk elastic of the same color, and with buckles.</p> + +<div class="sidenote"><i>Angora wool</i></div> + +<p>Angora wool makes pretty Tam O'Shanters. Initials can be woven in any +article.</p> + +<div class="sidenote"><i>Books of patterns</i></div> + +<p>Small books containing cross-stitch designs can be found at the German +and French embroidery stores in large cities—sometimes, but rarely, at +the art counter in department stores. The "Kindergarten Guides" can be +obtained at most public libraries, or a kindergartner friend will be +glad to loan one.</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_58" id="Page_58">[Pg 58]</a></span></p> +<h2>Chapter Six</h2> + +<h3>DIRECTIONS FOR DYEING</h3> + + +<div class="sidenote"><i>Diamond dyes</i></div> + +<p>A few hints with regard to dyeing raffia, cheese cloth, white cord for +hammocks, and other materials, may be found useful. For raffia use the +Diamond dyes which are intended for wool or silk. Wash the raffia first. +The color will be improved by soaking the raffia a day in alum water, +one-half pound to the gallon. Dye once used can be kept in an air-tight +dish and reheated whenever needed.</p> + +<div class="sidenote"><i>Vegetable dyes</i></div> + +<p>Should one be interested in vegetable dyes much information can be +obtained at the public libraries. Dr. Washington Matthews speaks of +Indian dyes in his article on the Navajo weavers mentioned in this book. +"How to Make and How to Mend" also contains some good suggestions about +dyes.</p> + +<div class="sidenote"><i>Mrs. Candace Wheeler's pamphlet</i></div> + +<p>In her little pamphlet, <i>Home Industries and Domestic Weavings</i>, +published by the Associated Artists, 115 East 23d Street, New York City, +Mrs. Candace Wheeler has an interesting chapter on "Rag-Carpet Weaving." +Her suggestions for dyeing rags apply<span class='pagenum'><a name="Page_59" id="Page_59">[Pg 59]</a></span> equally to yarns and to other +materials which may be used on hand looms for children. Through her kind +permission I am allowed to quote the following suggestions:</p> + +<div class="sidenote"><i>Uses of the indigo tub</i></div> + +<p>"In the early days of this present century a dye tub was as much a +necessity in every house as a spinning-wheel, and the reëstablishment of +it in houses where weaving is practiced 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 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> + +<div class="sidenote"><i>Blue universally used</i></div> + +<div class="sidenote"><i>Green</i></div> + +<p>"Blue is, perhaps, more universally useful than any other color in +rag-rug making, since it is safe for both cotton and wool, and covers a +range from the white rug with blue warp, the blue rug with white warp, +through all varieties of shade to the dark blue, or clouded blue and +green rug, also, upon white warp. It can also be used in connection with +yellow or orange, or with copperas or walnut dye,<span class='pagenum'><a name="Page_60" id="Page_60">[Pg 60]</a></span> 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> + +<div class="sidenote"><i>Red</i></div> + +<div class="sidenote"><i>Copperas</i></div> + +<div class="sidenote"><i>Dull green</i></div> + +<p>"The next important color is red. Fortunately, red warps can be bought +which are reasonably fast, but the only way to procure red rags in +quantity is to dye them, and, although the dye is somewhat expensive, +there are two colors, turkey red and cardinal red, which are extremely +good for the purpose. Probably these could be bought at wholesale from +dealers in chemicals and dyestuffs at much cheaper rates than by the +small paper from the druggist or the country store. Copperas gives a +fast nankeen-colored dye, and this is very useful in making a dull green +by an after dip in the indigo tub.</p> + +<div class="sidenote"><i>Domestic dyes</i></div> + +<div class="sidenote"><i>Nut stains</i></div> + +<div class="sidenote"><i>Leaf stains</i></div> + +<div class="sidenote"><i>Iron rust</i></div> + +<div class="sidenote"><i>Ink stains</i></div> + +<p>"There are some valuable domestic dyes which are within the reach of +every country dweller, the cheapest and best 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 color, and setting it with +alum. It will give various shades of yellow, brown, dark brown,<span class='pagenum'><a name="Page_61" id="Page_61">[Pg 61]</a></span> and +green brown, according to the strength of the decoction or the state of +the bark or nut when used. If the bark of the nut is used when green, +the result will be a yellow brown; and this stain is also valuable in +making a green tint when an after dip of blue is added. Leaves and +tree-bark will give a brown with a very green tint, and these different +shades used in different rags woven together give a very agreeably +clouded effect. Walnut stain will itself set or fasten some others; for +instance, pokeberry stain, which is a lovely crimson, can be made +reasonably fast by setting it with walnut juice. 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. 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> + +<div class="sidenote"><i>Vegetable dyes</i></div> + +<p>"There is a strong and well-founded preference among art producers in +favor of vegetable dyes, and yet it is possible to use<span class='pagenum'><a name="Page_62" id="Page_62">[Pg 62]</a></span> certain of the +aniline colors, especially in combination, in safe and satisfactory +ways.</p> + +<div class="sidenote"><i>The variety of shades</i></div> + +<p>"Everyone who undertakes domestic weaving must know how to dye one or +two good colors. Black, of course, and the half-black, or gray, which a +good colorist of my acquaintance calls <i>a light black</i>. Indigo blue +equally, of course, in three shades of very 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 color. 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> + +<div class="sidenote"><i>Carding and twisting</i></div> + +<p>"Carding together gives a very much better effect in wool, while +twisting together is preferable in cotton.</p> + +<div class="sidenote"><i>Blue</i></div> + +<div class="sidenote"><i>Pink</i></div> + +<div class="sidenote"><i>Gray</i></div> + +<div class="sidenote"><i>Clouding</i></div> + +<p>"Dark blue and white and medium blue and white wool carded together will +give two blue grays which cannot be obtained by dyeing, and are most +valuable. White and red carded together give a lovely pink, and any +shade of gray can be made by carding different proportions of black and +white or half-black and white. A valuable gray is made by carding black +and white wool<span class='pagenum'><a name="Page_63" id="Page_63">[Pg 63]</a></span> 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 color which it is impossible to get +in any other way. Clouding, which is almost an indispensable process for +rug centers, 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 color. If it is to be two shades of one color, +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> + +<div class="sidenote"><i>Mrs. Albee's manual</i></div> + +<p>Through the courtesy of Mrs. Helen R. Albee, who has done much to revive +an interest in rug-weaving, I am allowed to quote the following detailed +suggestions on the subject of dyeing from her helpful manual, <i>Abnákee +Rugs</i>. This little manual treats fully of the "Abnákee Rug Industry," +the<span class='pagenum'><a name="Page_64" id="Page_64">[Pg 64]</a></span> "Materials," "Methods of Work," and "Dye Formulas." It was issued +through the Riverside Press in 1901.</p> + +<p>Speaking of combinations of color, Mrs. Albee says:</p> + +<div class="sidenote"><i>Combinations of color</i></div> + +<div class="sidenote"><i>Safe tones</i></div> + +<div class="sidenote"><i>Colors in rugs</i></div> + +<div class="sidenote"><i>Use of white</i></div> + +<p>"A careful study of the effects of colors upon each other will show that +colors which are in themselves beautiful are often inharmonious when +combined. Also, a little of a color may be good, when a larger +proportion seems to destroy the balance or harmony. Success in this +matter is largely a matter of close observation and experience, although +some persons have a natural feeling or instinct regarding color which is +seldom in error. Strong colors should never be used, especially greens. +Though they may be modest in the piece, when worked in with other +colors, they have an unfortunate way of becoming intensified tenfold. +The safest tones for an amateur to deal with are dull gray green, yellow +green, and a soft, full, but dark olive. In striking a certain key in +color it should be maintained throughout. Thus, if a full rich color +predominates, rich dark colors should be used through the whole scheme. +If a light tone is the body color, soft light tones of other colors will +be found most harmonious.<span class='pagenum'><a name="Page_65" id="Page_65">[Pg 65]</a></span> Thus, for example, a rug for a library, or a +hall, in which a good deal of rich terra cotta appears, should have a +border or design worked in dark blues, full shades of olive green, and +dull yellow. There is an apparent exception to this in the use of dull +reds, old ivory, and black as seen in Bokhara rugs. But if studied, the +cream color is very dull, and is used in such small quantities as to be +quite subdued by the black that is used freely in the pattern. Old rose, +warm golden browns, and olive may be used effectively. A light Gobelin +blue may be worked with ivory, old pink, light dull olive, and the +outlines can be either a dark yellow brown or very dark bronze green. An +ivory center is lovely with an old pink border worked in green. A tan +center may be combined with old rose, sage green, bronze green, light +yellow, cream color, and dark brown outlines. Indigo blue, forest green, +and dull yellow are excellent colors when combined. A great variety of +beautiful rugs may be made by using only blue and white, and unless one +wishes to go extensively into dyeing, it might be well to choose a +certain simple color scheme such as blue and white, red, black, and +ivory, and abide by it. Let it be remembered that white in rugs is not<span class='pagenum'><a name="Page_66" id="Page_66">[Pg 66]</a></span> +white, neither is it a delicate cream. Unless it is decidedly yellowish +or even grayish in tone, when in combination with other colors, it +becomes a staring white that is anything but artistic. I dye my cream +colors, just as much as I do dark reds or greens.</p> + +<div class="sidenote"><i>Planning a color scheme for a rug</i></div> + +<p>"I have been asked many times what is the best way to plan a color +scheme for a rug. This is a point I cannot determine for another. Some +may find help in making water color sketches of what they wish to do. In +my own work I never use them, as it requires making a reduced drawing of +great accuracy, and much time to color it. Often I plan a combination +mentally, and match it up from the dyed flannels I always have on hand. +Other times I vary the scheme of some rug I have already made, +experimenting with different combinations, using other rugs as if they +were books of reference. I have discovered one rather curious thing, +which is, that when all my experimenting is done I find some particular +color scheme fits a certain rug as no other does. It seems to clothe or +to fulfill the pattern as if it belonged personally to it. When I once +discover this elective affinity of a pattern for its special coloring, I +never make it again save in that one guise.<span class='pagenum'><a name="Page_67" id="Page_67">[Pg 67]</a></span></p> + +<div class="sidenote"><i>Shading</i></div> + +<div class="sidenote"><i>Directions for shading</i></div> + +<p>"Much skill can be shown by an artistic worker in the use of slight +shades of difference in the same color. For example, in the plain center +of a rug, several tones representing shades of the same color will give +the effect of a play of light on a silky surface, which is very +beautiful. By using material that has been dyed a trifle darker at one +end of the rug, and working in gradually lighter tones, the result is +surprisingly effective. To do this, each three or four yards should be +dyed with these slight differences of tone; then when within thirty +strips of the end of one color (more or less, according to the width of +the rug), work in a broken line of the next tone all across the rug. +Then use a few rows (not worked in single rows, however) of the first +color across the entire rug, then a wider broken line of the second +color. Broken lines blend better than continuous lines do. The portions +of the second line should fall above the broken spaces left in the first +line (in the same way that masons lay bricks), then a little more of the +first color, using less and less of it, and increasing the width of the +second in masses, until the first color has become only broken lines +upon the ground of the second color. All the way through, any changes +of<span class='pagenum'><a name="Page_68" id="Page_68">[Pg 68]</a></span> color should be merged in this way. Be sure to work this method from +side to side across the rug, as the frameful is filled.</p> + +<div class="sidenote"><i>Coloring</i></div> + +<p>"This is the most difficult feature of the whole handicraft, the actual +coloring, and yet for fine effects I should recommend only the use of +hand-dyed materials. Goods dyed by professional dyers are perfectly +uniform in color throughout, and rugs made of such material will have +nothing of that difference of tone, that play of color, that is +absolutely necessary for beauty.</p> + +<div class="sidenote"><i>Dye kettles</i></div> + +<p>"In dyeing use only brass, copper, granite, or porcelain kettles, unless +one goes into it on a large scale and uses regular machinery. Brass and +copper vessels are to be preferred, while iron, or tin showing iron, are +to be carefully avoided, as the mordants have a great affinity for iron +and ruin the color. I use a large brass kettle holding about five +gallons.</p> + +<div class="sidenote"><i>Mordants</i></div> + +<p>"For mordants I use Glauber salts and sulphuric acid, and with the +weight of cloth I use, it takes 3 oz. of Glauber salts and 3/4 oz. of +sulphuric acid (full strength) to each six yards of flannel. I use a +one-ounce Phenix graduate (American standard) measuring glass, and as +full strength sulphuric acid has about twice the specific gravity of +water,<span class='pagenum'><a name="Page_69" id="Page_69">[Pg 69]</a></span> one should measure by the scale engraved on the right-hand side +of the glass. The left-hand scale is based upon the standard unit of +weight, which is water.</p> + +<div class="sidenote"><i>Uses of acids</i></div> + +<p>"In using sulphuric acid I dilute it in a little cold water in a cup by +pouring the acid on to the water, as sulphuric acid in uniting with +water causes a chemical reaction. Where a large quantity of acid is used +this reaction is accompanied by a sudden burst of steam, if the water +falls upon the acid. But in a small quantity as this, there is no +possible danger of accident if the acid is poured on the water. +Sulphuric acid should be closely stoppered and used with care, as it is +corrosive, eating holes in cotton or linen fabrics. With ordinary +precautions it can be used without the least difficulty.</p> + +<div class="sidenote"><i>Salts set the dyes</i></div> + +<p>"Glauber salts are too well known in commerce to need description, and +are used to neutralize the acid. The two in combination do not injure +woolen fabrics, but merely set the dyes.</p> + +<div class="sidenote"><i>Preparation of a dye bath</i></div> + +<p>"In preparing the dye bath allow three gallons of water, and 3/4 oz. of +sulphuric acid; stir thoroughly and add 3 oz. Glauber salts to six yards +of cloth. Then add the dyestuff in required proportions. Stir thoroughly +as each ingredient is added, for the evenness<span class='pagenum'><a name="Page_70" id="Page_70">[Pg 70]</a></span> of the dye depends upon +the thorough distribution of the mordants and color in the dye bath. +Generally it is advised to strain the dye before it is added, but, as an +even tone is not the desired result for this special handicraft, I never +follow this suggestion.</p> + +<div class="sidenote"><i>Coloring depends on temperature</i></div> + +<p>"The proper temperature for introducing the color in the bath is not +over 150° F., but if one has not a bath thermometer, the temperature +must be very hot, yet far below boiling point. Temperature plays a great +part in dyeing, for if the dye bath is too hot when the cloth is +introduced, the dye, having a great avidity for wool, will be absorbed +unequally by the cloth, the ends and outside folds of the cloth +absorbing more color than is desired, and the inner folds will have +less. I am not discussing the process of dyeing as it should be done on +a large scale with vats and suitable reels, etc., but as it is likely to +be done by an amateur, in a small way. When the bath is too hot, the +cloth takes the dye unequally and is quite spotted. A little +irregularity is necessary for a play of color, but it should be secured +in a definite way and only to a certain degree, and not as the result of +accident. If the cloth has come out spotty, it may be redipped, having +added more dye and mordants to the bath,<span class='pagenum'><a name="Page_71" id="Page_71">[Pg 71]</a></span> but it will come out a darker +shade. If the bath is anywhere near the boiling point before the cloth +is dipped, reduce it by adding a quart or two of cold water."</p> + +<div class="sidenote"><i>Process of dyeing yarn or raffia</i></div> + +<div class="sidenote"><i>Clear days are best for dyeing</i></div> + +<p>Before dyeing yarn or raffia, bind the skeins loosely in several places +to prevent tangling. "Having prepared the bath, gather the cloth in the +right hand at half a dozen places along one selvedge, and drop it in, +spreading it at once, using two stout sticks, lifting it up and down +continually so as to expose all parts to the dye. The temperature should +be increased to the boiling point and continued for three-quarters of an +hour. Then lift the cloth up and drain it, then rinse in cold water, +wring dry, but do not press with an iron, as the soft wooly texture is +very desirable. When a quantity of the same color is desired, the same +water can be used again by adding acid and Glauber salts, together with +more dyestuff with each fresh dip of cloth. It must be stated, however, +that the color will not be so clear with succeeding dips, but that does +not matter, as a difference is desired. The process of dyeing is very +delicate, and the utmost precision must be observed in following +proportions and directions regarding temperature, etc. Dyeing is more +successful in clear weather<span class='pagenum'><a name="Page_72" id="Page_72">[Pg 72]</a></span> than on rainy days, and soft water is +required to get good results. If water contains much lime or earthy +salts it is unfit for dyeing, and must be neutralized by acetic acid. In +such cases it would be still better to use rain water.</p> + +<div class="sidenote"><i>Vegetable dyes and chemical dyes compared</i></div> + +<p>"There is a curious conviction prevailing in some quarters that +beautiful durable colors are obtainable only from vegetable dyes. My +first experiments were with barks, mosses, etc., but the difficulty of +getting them, the enormous amount necessary to dye any quantity of +goods, the tedious process in their use, and the fact that after all +only a narrow range of colors is obtainable from them, compelled me to +abandon them altogether. I began to investigate chemical dyes, and to +gain information I applied to one of the largest woolen mills in New +England, one which maintains a high reputation for the class of goods it +manufactures; also to two wholesale houses dealing in all kinds of +dyestuffs; and finally to one of the best experts in color in the +country. Their verdict was unanimous, and is summed up in the opinion of +the expert which he expressed in a letter to me on this question:</p> + +<p>"'In regard to the use of vegetable dyes, I would say that they have +almost disappeared<span class='pagenum'><a name="Page_73" id="Page_73">[Pg 73]</a></span> from commerce, certainly for the purpose of dyeing +fabrics.</p> + +<div class="sidenote"><i>Aniline colors</i></div> + +<p>"'We know, of course, that there are strong prejudices still existing in +the layman's mind in regard to the use of aniline colors, who supposes +that they are not only fugitive, but that the resulting tones are harsh +and unattractive. This, unfortunately, was so twenty-five years ago, and +the impression made then upon the layman's mind has not been changed +during all these years; but I can assure you that all the beautiful silk +goods, tapestries, cloths, and all the colors which we see in fabrics +to-day, are made, without exception, from aniline colors, which are +immeasurably more permanent than are the vegetable dyes used up to, say, +1875.'</p> + +<div class="sidenote"><i>Formulas to be followed</i></div> + +<p>"In using my range of eight colors I provide myself with large, strong +glass bottles in which I keep my diluted colors. I use a pint measure +for diluting the dyes. In preparing the fluid I put one half or one +quarter of an ounce of dry color, whichever amount the formula calls +for, into the pint measure and mix it thoroughly with a little cold +water. The reason for using cold water is that the dyes are a tar +product, and if mixed with hot water first, they are apt to<span class='pagenum'><a name="Page_74" id="Page_74">[Pg 74]</a></span> grow waxy +under the heat and not dissolve readily. Having dissolved them, I fill +up the measure with hot water, stirring all the time. This makes a pint +of liquid which is of uniform strength under all circumstances, and +every formula is based upon this invariable pint measure of water. These +formulas I have tried over and over again. They are made with special +reference to the grade of flannel I have adopted, and doubtless will +vary in results if used on other weights or weaves of wool goods."</p> + + +<h3>DYE FORMULAS</h3> + + +<h4>NO. 1. DARK TERRA COTTA</h4> + +<div class="sidenote"><i>Dark terra cotta</i></div> + +<p>Dissolve 1/2 oz. of dull red in 1 pint of water.</p> + +<p>Dissolve 1/4 oz. of green in 1 pint of water.</p> + +<p>Take full pint measure of dull red dye and 4 tablespoonfuls of green dye +to 6 yds. of cloth.</p> + +<p>Mordants: 3/4 oz. sulphuric acid and 3 oz. Glauber salts. Boil 3/4 of an +hour.</p> + + +<h4>NO. 2. FULL TERRA COTTA</h4> + +<div class="sidenote"><i>Full terra cotta</i></div> + +<p>Dissolve 1/2 oz. of dull red in 1 pint of water.</p> + +<p>Use full pint measure of dull red dye to 6 yds. of cloth.<span class='pagenum'><a name="Page_75" id="Page_75">[Pg 75]</a></span></p> + +<p>Mordants: 3/4 oz. sulphuric acid and 3 oz. Glauber salts.</p> + + +<h4>NO. 3. LIGHTER TERRA COTTA</h4> + +<div class="sidenote"><i>Lighter terra cotta</i></div> + +<p>Dissolve 1/2 oz. of dull red in 1 pint of water.</p> + +<p>Use 22 tablespoonfuls of dull red dye to 6 yds. of cloth.</p> + +<p>Mordants: 3/4 oz. sulphuric acid and 3 oz. Glauber salts.</p> + + +<h4>NO. 4. RICH OLD RED</h4> + +<div class="sidenote"><i>Rich old red</i></div> + +<p>Dissolve 1/2 oz. of dull red in 1 pint of water.</p> + +<p>Dissolve 1/4 oz. of green in 1 pint of water.</p> + +<p>Use 24 tablespoonfuls of dull red dye and 3 tablespoonfuls of green dye +to 6 yds. of cloth.</p> + +<p>Mordants: Same as No. 1.</p> + + +<h4>NO. 5. DULL OLD ROSE</h4> + +<div class="sidenote"><i>Dull old rose</i></div> + +<p>Dissolve 1/4 oz. of dull red in 1 pint of water.</p> + +<p>Dissolve 1/4 oz. of bright blue in 1 pint of water.</p> + +<p>Dissolve 1/4 oz. of dull yellow in 1 pint of water.</p> + +<p>Use 16 tablespoonfuls of dull red dye, and 1 tablespoonful of bright +blue dye, and 3<span class='pagenum'><a name="Page_76" id="Page_76">[Pg 76]</a></span> tablespoonfuls of dull yellow dye to 6 yds. of cloth.</p> + +<p>Mordants: Same as in No. 1.</p> + + +<h4>NO. 6. OLD PINK</h4> + +<div class="sidenote"><i>Old pink</i></div> + +<p>Dissolve 1/4 oz. of dull red in 1 pint of water.</p> + +<p>Dissolve 1/4 oz. of dull yellow in 1 pint of water.</p> + +<p>Dissolve 1 oz. of dark blue in 1 pint of water.</p> + +<p>Use 6 tablespoonfuls of dull red dye, and 3 tablespoonfuls of dull +yellow dye, and 1-1/2 teaspoonfuls of dark blue dye to 6 yds. of cloth.</p> + +<p>Mordants: Same as in No. 1.</p> + + +<h4>NO. 7. FULL YELLOW</h4> + +<div class="sidenote"><i>Full yellow</i></div> + +<p>Dissolve 1/4 oz. of bright yellow in 1 pint of water.</p> + +<p>Dissolve 1/4 oz. of dull yellow in 1 pint of water.</p> + +<p>Dissolve 1/4 oz. of green in 1 pint of water.</p> + +<p>Use 6 tablespoonfuls of bright yellow dye, and 5 tablespoonfuls of dull +yellow dye, and 2 tablespoonfuls of green dye to 6 yds. of cloth.</p> + +<p>Mordants: Same as in No. 1.<span class='pagenum'><a name="Page_77" id="Page_77">[Pg 77]</a></span></p> + + +<h4>NO. 8. RICH DULL YELLOW</h4> + +<div class="sidenote"><i>Rich dull yellow</i></div> + +<p>Dissolve 1/4 oz. of bright yellow in 1 pint of water.</p> + +<p>Dissolve 1/4 oz. of dull red in 1 pint of water.</p> + +<p>Use 12 tablespoonfuls of yellow dye and 6 tablespoonfuls of dull red dye +to 6 yds. of cloth.</p> + +<p>Mordants: Same as in No. 1.</p> + + +<h4>NO. 9. DARK TAN YELLOW</h4> + +<div class="sidenote"><i>Dark tan yellow</i></div> + +<p>Dissolve 1/4 oz. of dull yellow in 1 pint of water.</p> + +<p>Use 14 tablespoonfuls of dull yellow dye to 6 yds. of cloth.</p> + +<p>Mordants: Same as in No. 1.</p> + + +<h4>NO. 10. LIGHT OLIVE TAN</h4> + +<div class="sidenote"><i>Light olive tan</i></div> + +<p>Dissolve 1/4 oz. of bright yellow in 1 pint of water.</p> + +<p>Dissolve 1/4 oz. of dull yellow in 1 pint of water.</p> + +<p>Dissolve 1 oz. of dark blue in 1 pint of water.</p> + +<p>Use 6 tablespoonfuls of bright yellow dye, 4 tablespoonfuls of dull +yellow dye, 1-1/2 tablespoonfuls of dark blue dye to 6 yds. of cloth.</p> + +<p>Mordants: Same as in No. 1.<span class='pagenum'><a name="Page_78" id="Page_78">[Pg 78]</a></span></p> + + +<h4>NO. 11. OLD IVORY</h4> + +<div class="sidenote"><i>Old ivory</i></div> + +<p>Dissolve 1/4 oz. of bright yellow in 1 pint of water.</p> + +<p>Dissolve 1/4 oz. of drab in 1 pint of water.</p> + +<p>Dissolve 1/4 oz. of dull red in 1 pint of water.</p> + +<p>Use 1 teaspoonful of yellow dye, and 1 teaspoonful of drab dye, and 1/4 +teaspoonful of dull red dye to 6 yds. of cloth.</p> + +<p>Mordants: Same as in No. 1.</p> + + +<h4>NO. 12 RICH NAVY BLUE</h4> + +<div class="sidenote"><i>Rich navy blue</i></div> + +<p>Dissolve 1 oz. of dark blue in 1 pint of water.</p> + +<p>Use full pint measure of dark blue dye to 6 yds. of goods.</p> + +<p>Mordants: 1 oz. sulphuric acid, 3 oz. Glauber salts. Boil 1 hour.</p> + + +<h4>NO. 13. DARK PERSIAN BLUE</h4> + +<div class="sidenote"><i>Dark Persian blue</i></div> + +<p>Dissolve 1 oz. of dark blue in 1 pint of water.</p> + +<p>Dissolve 1/4 oz. of green in 1 pint of water.</p> + +<p>Use 10 tablespoonfuls of dark blue dye, 6 tablespoonfuls of green dye to +6 yds. of cloth.</p> + +<p>Mordants: Same as in No. 12.</p> + + +<h4>NO. 14. GOBELIN BLUE</h4> + +<div class="sidenote"><i>Gobelin blue</i></div> + +<p>Dissolve 1 oz. of dark blue in 1 pint of water.<span class='pagenum'><a name="Page_79" id="Page_79">[Pg 79]</a></span></p> + +<p>Dissolve 1/4 oz. of green in 1 pint of water.</p> + +<p>Use 6 tablespoonfuls of dark blue dye, 4 tablespoonfuls of green dye to +6 yds. of cloth.</p> + +<p>Mordants: Same as in No. 12.</p> + + +<h4>NO. 15. LIGHT GRAY BLUE</h4> + +<div class="sidenote"><i>Light gray blue</i></div> + +<p>Dissolve 1 oz. of dark blue in 1 pint of water.</p> + +<p>Dissolve 1/4 oz. of green in 1 pint of water.</p> + +<p>Use 3 tablespoonfuls of dark blue dye, 2 tablespoonfuls of green dye to +6 yds. of cloth.</p> + +<p>Mordants: Same as in No. 12.</p> + + +<h4>NO. 16. LIGHT SAGE GREEN</h4> + +<div class="sidenote"><i>Light sage green</i></div> + +<p>Dissolve 1/4 oz. of green in 1 pint of water.</p> + +<p>Dissolve 1/4 oz. of bright yellow in 1 pint of water.</p> + +<p>Dissolve 1/4 oz. of dull red in 1 pint of water.</p> + +<p>Use 10 tablespoonfuls of green dye, 2 tablespoonfuls of bright yellow +dye, and 1-1/2 tablespoonfuls of dull red dye to 6 yds. of cloth.</p> + +<p>Mordants: Same as in No. 1.</p> + + +<h4>NO. 17. LIGHT OLIVE</h4> + +<div class="sidenote"><i>Light olive</i></div> + +<p>Dissolve 1/4 oz. of green in 1 pint of water.</p> + +<p>Dissolve 1/4 oz. of bright yellow in 1 pint of water.<span class='pagenum'><a name="Page_80" id="Page_80">[Pg 80]</a></span></p> + +<p>Dissolve 1/4 oz. of dull red in 1 pint of water.</p> + +<p>Use 16 tablespoonfuls of green dye, 4 tablespoonfuls of bright yellow +dye, and 3 tablespoonfuls of dull red to 6 yds. of cloth.</p> + +<p>Mordants: Same as in No. 1.</p> + + +<h4>NO. 18. DARK MOSS GREEN</h4> + +<div class="sidenote"><i>Dark moss green</i></div> + +<p>Dissolve 2 level teaspoonfuls of green in 1 pint measure of water.</p> + +<p>Dissolve 1/4 oz. of bright yellow in 1 pint of water.</p> + +<p>Use full pint measure of green dye and 15 tablespoonfuls of bright +yellow dye to 6 yds. of cloth.</p> + +<p>Mordants: 3 oz. of Glauber salts and 1 oz. of sulphuric acid. Boil 3/4 +of an hour.</p> + + +<h4>NO. 19. GOLDEN BROWN</h4> + +<div class="sidenote"><i>Golden brown</i></div> + +<p>Dissolve 1/4 oz. of dull yellow in 1 pint of water.</p> + +<p>Dissolve 1/4 oz. of dull red in 1 pint of water.</p> + +<p>Dissolve 1/4 oz. of green in 1 pint of water.</p> + +<p>Use 20 tablespoonfuls of dull yellow dye, 5 tablespoonfuls of dull red +dye, 15 tablespoonfuls of green dye to 6 yds. of cloth.</p> + +<p>Mordants: Same as in No. 18.<span class='pagenum'><a name="Page_81" id="Page_81">[Pg 81]</a></span></p> + + +<h4>NO. 20. DARK BRONZE</h4> + +<div class="sidenote"><i>Dark bronze</i></div> + +<p>Dissolve 1/4 oz. of green in 1 pint of water.</p> + +<p>Dissolve 1/4 oz. of dull red in 1 pint of water.</p> + +<p>Dissolve 1 oz. of dark blue in 1 pint of water.</p> + +<p>Dissolve 1/4 oz. of bright yellow in 1 pint of water.</p> + +<p>Use 8 tablespoonfuls of green dye, 12 tablespoonfuls of dull red dye, 4 +tablespoonfuls of dark blue dye to 6 yds. of cloth.</p> + +<p>Mordants: Same as in No. 18.</p> + +<p>Redip in 4 tablespoonfuls of green dye and 5 tablespoonfuls of bright +yellow dye.</p> + +<p>Mordants: Repeat the one above.</p> + +<div class="sidenote"><i>These formulas are the basis for numerous tones</i></div> + +<p>"These formulas can be taken as the basis of many other tones and shades +which can be secured by a slight alteration of proportions. By adding a +trifle more dull red, green, indigo, or drab liquid dyes, a color can be +darkened. By using less of these than the formulas call for, the colors +will be lighter. By using more of dull or bright yellow a color can +often be made richer without darkening it. Beginners are cautioned +against making changes until they become familiar with the dyes. In +making new experiments, try them on yard lengths,<span class='pagenum'><a name="Page_82" id="Page_82">[Pg 82]</a></span> carefully subdividing +any given formula for both dyes and mordants, and increasing the +proportion of any particular color desired. If the cloth should fail to +take up the dye properly after boiling the full time, increase the +quantity of acid, lifting the cloth out when adding the acid to the dye +bath."</p> + +<p>Excellent suggestions by Miss Albee for color schemes in stripes may be +found on pages 64 and 65.</p> + +<p>[Mrs. Albee is prepared to furnish any of the foregoing dyes at 20 cents +an ounce. Her address is Mrs. Helen R. Albee, Pequaket, Silver Lake P. +O., N. H.]</p> + +<div class="figcenter" style="width: 423px;"> +<img src="images/i086.jpg" width="423" height="640" alt="A deep blue wool rug made of carpet yarn" title="" /> +<span class="caption">A deep blue wool rug made of carpet yarn</span> +</div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_83" id="Page_83">[Pg 83]</a></span></p> +<h2>Chapter Seven</h2> + +<h3>METHODS OF SPLICING MATERIALS FOR WEAVING</h3> + + +<div class="sidenote"><i>Woolens, fine worsteds, ravelings, and cottons</i></div> + +<p>Such materials as carpet and oriental wools, fine worsteds, carpet +ravelings, darning and knitting cotton should, in splicing, be run past +each other. In weaving, run the wool through the warp to the very end. +Start the new piece a few warp threads back, being careful to go over +and under exactly the <i>same</i> warp threads as you did when finishing the +end. As you pass these threads you will find that you are taking up the +right warp threads, and that no mistake has been made. It is best to run +the threads past each other in the <i>middle</i> of the mat rather than on +the <i>sides</i>. The children learn this method of splicing very quickly and +the result is much more satisfactory than knotting, because the back of +the rug or mat will be smooth. As Mrs. Wiggin says: "There should never +be a wrong side to work any more than there should be to folks."</p> + +<div class="sidenote"><i>Silkoline, cheese cloth, rags</i></div> + +<div class="sidenote"><i>Candle-wicking, chenille, and macremé cord</i></div> + +<p>In splicing such materials as silkoline, rags, candle-wicking, chenille, +and macremé<span class='pagenum'><a name="Page_84" id="Page_84">[Pg 84]</a></span> cord, lay the end of one piece over another, each lapping +about one-quarter inch, and sew securely with silk or thread of like +color. Cut off the selvedge ends of rags. These strips can be run past +each other, but the work will not be so smooth.</p> + +<div class="sidenote"><i>Germantown wool, heavy worsteds, and rope silk</i></div> + +<p>In splicing Germantown wool, heavy worsteds, or rope silk, thread a +worsted needle with one strand obtained by unwinding the wool or silk, +lay one end over the other, and sew over and over. Twist the part just +sewn between the thumb and finger and the splicing will be hardly +visible.</p> + +<p>When weaving stripes, splice the wool so that the piecing will come on +top of the rod. In this way the new color will start at the edge of the +rug, as it should, and the number of loops on the rod will be the same +on each side. Consider the <i>under</i> side of the weaving as the <i>right</i> +side. It is always smoother and cleaner, and the splicing can be done +more neatly on top of the rod.</p> + +<div class="sidenote"><i>Raffia</i></div> + +<p>Splicing raffia is the most difficult of all, and the method used in +braiding and basket weaving is the best. As you near the end of a strip +in weaving it usually becomes narrower. Find another strip having a +narrow end, and place one over the other, securing, if necessary, by +winding a very narrow piece—just<span class='pagenum'><a name="Page_85" id="Page_85">[Pg 85]</a></span> a thread torn from a long piece—and +fastening this by sewing a few times over and over. Or, the two narrow +ends may be run past each other, as in carpet ravelings. Care should be +taken to have the splicing the same width as the other parts of the +weaving, so that the spliced parts will not be noticeable.</p> + +<div class="sidenote"><i>Leather, leatherette, and celluloid strips</i></div> + +<p>Leather, leatherette, and celluloid strips should be long enough to +extend the entire width and length of the frame without splicing. The +ends can be cut, as is done in paper weaving, or turned in some pretty +way like that in the splint work.</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_86" id="Page_86">[Pg 86]</a></span></p> +<h2>Chapter Eight</h2> + +<h3>WOOL AND SILKOLINE RUGS OR MATS</h3> + + +<div class="figcenter" style="width: 480px;"> +<img src="images/i090.jpg" width="480" height="614" alt="Silkoline rug with three white stripes" title="" /> +<span class="caption">Silkoline rug with three white stripes</span> +</div> + +<div class="sidenote"><i>Plain rug with end stripes</i></div> + +<div class="sidenote"><i>Finishing the ends</i></div> + +<p>Silkoline rugs or mats are by far the prettiest for doll-house use. The +method of preparing the strips is explained under Materials (page 51). +Make the warp with twine of the same color as the silkoline. It should +be a three-eighths-inch warp. Choose a plain color for the body of the +rug, and a short distance from each end weave several stripes of a +contrasting color. The rug in the illustration is of deep cardinal. The +stripes can be of olive green, black, or any preferred color. Mottled +stripes are also attractive and effective. When the stripes at the foot +are woven, ascertain the distance from the foot piece to the last one. +To know where to commence the first stripe at the head, measure the +distance just found from the head piece down, and mark on both rods by +tying<span class='pagenum'><a name="Page_87" id="Page_87">[Pg 87]</a></span> or sewing a colored string to the warp. This helps the child to +understand where the stripe should begin, which he soon learns to +measure for himself; and this training in accuracy and independence is +most excellent. There is nothing better than learning self-reliance, and +the child who has been taught it, is not apt to ask others to do his +examples for him. To learn the manner of making the stripes and spaces +each of the same width, count the loops on the rods (one has to weave +twice across the loom to have one loop on a rod), and have the same +number on each side. Care should be taken not to <i>twist</i> the strips in +weaving. The method of splicing the strips and fastening the warp +strings is explained in Chapter V. The rug may be finished with a wool +or silk fringe of the predominating color, or a fringe of the combined +colors. If desired, it may be left plain, catching the woof strips +together at each end to conceal the warp strings. When a mistake has +been made, run the needle back under the same strings instead of pulling +out what is wrong. It prevents stretching and a destruction of the +material.</p> + +<div class="sidenote"><i>Mottled rugs made of figured silkoline</i></div> + +<p>Mottled rugs are made of figured silkoline. Choose oriental colors, no +matter how gaudy the silkoline may look in the piece.<span class='pagenum'><a name="Page_88" id="Page_88">[Pg 88]</a></span> It will have a +beautiful effect when woven. Portières are pretty made in this way. +These rugs should always be plain—that is, without stripes.</p> + +<div class="figcenter" style="width: 480px;"> +<img src="images/i092.jpg" width="480" height="635" alt="A mottled rug of figured silkoline, in which the colors +brown, blue, and old gold predominate" title="" /> +<span class="caption">A mottled rug of figured silkoline, in which the colors +brown, blue, and old gold predominate</span> +</div><p><span class='pagenum'><a name="Page_89" id="Page_89">[Pg 89]</a></span></p> + +<div class="sidenote"><i>Plain rugs with mottled borders, or mottled rugs with plain +borders</i></div> + +<p>Plain rugs with mottled borders, or mottled rugs with plain borders, are +the delight of the children. Adjust the frame for the size required, and +decide how wide the border is to be. It is necessary to have an extra +pair of rods, if one desires a smooth and well-finished rug. The border +of the rug represented in the illustration is two inches. This should be +woven with a tape needle. Weave the border at the foot of the loom. This +extends the entire width. Place the extra rods two inches toward the +center from the side rods on the outside of the rug, keeping them <i>back</i> +of the border already woven at the foot. This will outline the sides of +the plain oblong in the center. Weave the left and right hand borders up +to a point two inches from the head piece, taking care to go around the +rods just placed. Then begin the plain center. As you come to the border +on each side, run your tape needle <i>through</i> the loops of mottled +silkoline which are around the rod, but do not go around the rod itself +with the plain silkoline, since doing so would make a ridge in the rug. +Draw the woof strips tightly and firmly, so that the work will lie flat +and smooth when removed from the loom. Be sure to weave the center far +enough, remembering that the upper woof<span class='pagenum'><a name="Page_90" id="Page_90">[Pg 90]</a></span> strips in the border will crowd +it down. When the center is finished, remove the extra rods and finish +weaving the border to<span class='pagenum'><a name="Page_91" id="Page_91">[Pg 91]</a></span> the head piece. In selecting a color for the +center, match one of the colors in the figured silkoline. The color for +the center in the rug of the illustration on page 90 is green, and the +same color appears also in the mottled border, with yellow and brown. +The ends should be left plain, the warp strings being concealed as +directed. These rugs are very beautiful, and can be made in an infinite +variety through the use of different colors, and by reversing the center +and border. They can be made of carpet or Germantown wool, in two colors +or in two tones of one color. In weaving rugs with centers and borders, +weave a little farther than the exact measure, because the next woof +threads will push down the woof already made, and you may find that you +have not woven the correct measure. These rugs are useful as "heel +rugs"; they are placed under the piano near the pedal to protect the +carpet from the pressure of the heel. (See also page 82.)</p> + +<div class="figcenter" style="width: 480px;"> +<img src="images/i094.jpg" width="480" height="633" alt="A plain silkoline rug, with a mottled border" title="" /> +<span class="caption">A plain silkoline rug, with a mottled border</span> +</div> + +<div class="sidenote"><i>Holder or mat</i></div> + +<div class="sidenote"><i>Many squares joined together</i></div> + +<div class="sidenote"><i>Small rug with fringe</i></div> + +<div class="sidenote"><i>Stair and hall carpets</i></div> + +<p>Adjust the loom for the size required. The plaid effect in the holder +illustrated on page 92 is obtained by stringing a close warp with green +and white carpet wool, alternating two of white with four of green. In +weaving, use two woof threads of white and <i>four</i> of green to make the +square correct. The<span class='pagenum'><a name="Page_92" id="Page_92">[Pg 92]</a></span> kindergarten designs make pretty holders. If you +have woven a holder, it will be finished when it is removed from the +loom and the warp strings have been fastened. If you wish your holder to +be very thick, weave two of these pieces, lay a square of felt or +flannel between and sew or crochet the edges together. If the work is to +be a mat, knot a pretty fringe all around it. Many of these squares can +be joined to make sofa pillows, afghans, slumber robes, and other dainty +articles. With a continuous warp, one can weave long strips for the same +articles. If a small rug for Miss Dolly's bedroom is desired, string the +warp so that the two ends will have a fringe. Stair and hall carpets for +the doll house can be woven in these pretty designs by adjusting the +loom for a narrow strip, and, if necessary, a continuous warp.</p> + +<div class="figcenter" style="width: 387px;"> +<img src="images/i096.jpg" width="387" height="336" alt="Holder of green and white carpet wool" title="" /> +<span class="caption">Holder of green and white carpet wool</span> +</div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_93" id="Page_93">[Pg 93]</a></span></p> +<h2>Chapter Nine</h2> + +<h3>HAMMOCKS</h3> + + +<div class="figcenter" style="width: 480px;"> +<img src="images/i097.jpg" width="480" height="616" alt="Back of loom, showing method of stringing warp through +rings for a hammock" title="" /> +<span class="caption">Back of loom, showing method of stringing warp through +rings for a hammock</span> +</div> + +<div class="sidenote"><i>Method of adjustment</i></div> + +<div class="sidenote"><i>Use of stripes for various colors</i></div> + +<div class="sidenote"><i>Lengthwise stripes</i></div> + +<p>To weave a hammock, one must first adjust the loom to its full size. Tie +two rings together and fasten them at the back of the loom, to head, +foot, and sides, as in the illustration. One must then decide how close +the warp is to be strung. Measure the string, which should be +continuous, allowing enough to go to the rings at the back and make a +buttonhole stitch each time. Then wind on a long thin stick or dress +steel, in such a way that it will pass easily through the rings. In +stringing the hammock in the illustration, a penholder was used. The +rings are tied, with white cord, to the four sides of the loom. By doing +this, all tangling of the warp string is avoided, and it is far +preferable to splicing. Tie the first warp string to the top ring. Draw +it tightly through the first groove,<span class='pagenum'><a name="Page_94" id="Page_94">[Pg 94]</a></span> over the face of the loom to the +opposite groove, then to the back of the loom through the bottom ring. +Make a buttonhole stitch and return in the same manner over the face of +the loom, around to the top ring, where you make a buttonhole stitch and +return, until the whole warp is strung. Care should be taken to make it +firm and tight. Hold the string and ring firmly in the left hand while +making the buttonhole stitch with the right. Cut the woof cords long +enough to allow a fringe on each side of the hammock. Weave each cord +separately, tying in pairs around the rods. Stripes of one or more +colors can be woven at each end or at intervals through the hammock. By +weaving two colors alternately, the stripes will be lengthwise instead +of crosswise. Knot the fringe at each side. To fasten the top and bottom +woof cords so that they will not pull out of place, thread a tape needle +with cord and tie each warp string close to the woof. Another way to +secure the top and bottom woof cords is to weave two cords at one time, +twisting one over the other between the warp strings. The bottom one +should be woven before the hammock is commenced. The top one can be +woven before the hammock is finished, and pushed<span class='pagenum'><a name="Page_95" id="Page_95">[Pg 95]</a></span> up close to the head +piece. Then fill up the space.</p> + +<div class="figcenter" style="width: 636px;"> +<img src="images/i099.jpg" width="636" height="480" alt="A hammock made from strings of different colors in +lengthwise stripes" title="" /> +<span class="caption">A hammock made from strings of different colors in +lengthwise stripes</span> +</div> + +<div class="sidenote"><i>Making the fringe</i></div> + +<div class="sidenote"><i>The stretcher</i></div> + +<div class="sidenote"><i>The head-rest</i></div> + +<div class="sidenote"><i>Hammock with lengthwise colored stripes</i></div> + +<div class="sidenote"><i>Knotted hammocks</i></div> + +<p>Instead of knotting the fringe as suggested, two cords can be twisted at +each side of the hammock in the same way that the woof cords are secured +at the top and bottom. This forms a heading for the fringe. Take up +<i>two</i> cords of the fringe at a time. If desired, the strings which +extend from the rings to the hammock may be woven for the space of an +inch or so close to the rings<span class='pagenum'><a name="Page_96" id="Page_96">[Pg 96]</a></span> instead of making a buttonhole stitch. +Make a stretcher for the head by covering a piece of rattan with +buttonhole stitch. Fasten this to the hammock. A head-rest can also be +woven and adjusted. To remove the hammock from the loom, cut the two +rings apart, and then lift the warp strings from the grooves. A very +pretty hammock can be made by stringing the warp of different colors, in +order to make <i>lengthwise</i> stripes. Weave a neutral color through them. +In this case, have a close warp. Pretty hammocks can be made by knotting +instead of weaving.</p> + +<div class="sidenote"><i>To string warp for hammock in order to have the sides +shorter than the center</i></div> + +<p>Cut two semi-circular pieces from light wood or pasteboard. These should +suit the width of the hammock to be made. If this is the width of the +loom, then 9-1/2 inches long and two inches at the widest part. Cut the +curved edge in notches to correspond with the number taken in the head +piece. These pieces will be firmer and more satisfactory if made of wood +and finished at the lower edges like the metal head piece. This can be +easily done by glueing them to a narrow piece of wood so that they will +stand. If furnished with perforations, they can be laced to the head and +foot pieces or the rods can be run through them. By stringing the warp +in this way, the sides of the hammock<span class='pagenum'><a name="Page_97" id="Page_97">[Pg 97]</a></span> will be shorter than the center, +and there will be no danger of Miss Dolly falling out.</p> + +<p>The warp can be strung more quickly and easily if hammock hooks similar +to those in the two illustrations below are used. Measure the right +length—22 warp strings 31 inches long for the metal loom, or 29 the +same length for the wooden loom—and wind as before.</p> + +<div class="figleft" style="width: 250px;"> +<img src="images/i101.jpg" width="250" height="246" alt="Hook No. 1" title="" /> +<span class="caption">Hook No. 1</span> +</div> + +<div class="figright" style="width: 250px;"> +<img src="images/i101a.jpg" width="250" height="176" alt="Hook No. 2" title="" /> +<span class="caption">Hook No. 2</span> +</div> + +<div class="sidenote"><i>Hammock hooks</i></div> + +<div class="sidenote"><i>Weaving</i></div> + +<p>In using hammock hook No. 1, knot half the number of warp strings in the +left-hand ring and half in the right-hand ring. If hook No. 2 be used, +unpin the part at the right, knot the warp strings along the straight +edge at the bottom, and then pin the right-hand part again. Weaving each +cord separately across the loom makes a heavy fringe at the sides. If a +lighter fringe be desired, cut the woof cords twice the width of the +loom plus twice the length of the fringe. Weave across the loom, leaving +enough for the fringe at the side, then <i>around</i> the rod and back again, +drawing the cord through to the same length as the part left at first.<span class='pagenum'><a name="Page_98" id="Page_98">[Pg 98]</a></span> +Weave in the same way with the second color, having the loop on the +<i>same</i> rod and the fringe at the <i>same</i> side as the other. Weave the +next two cords with loops on the <i>opposite</i> rod and fringe on the +<i>opposite</i> side. Continue in this way until the hammock is finished. +Make a heading at the sides as described, only carry the two cords +<i>through</i> the loops, crossing them between on top of the rods. The warp +strings can be passed through the rings without buttonholing. A firm +pretty finish can be made at the sides by cutting two cords—one of each +color two yards long and buttonholing around the rods on <i>top</i> of the +woof cords which extend at each side. Fasten these long cords at the +bottom of the loom. After two pairs of woof cords have been tied, +buttonhole the edge over them and around the rods and continue this +until the hammock is finished.</p> + +<div class="figcenter" style="width: 349px;"> +<img src="images/i102.jpg" width="349" height="336" alt="A square of silk canvas" title="" /> +<span class="caption">A square of silk canvas</span> +</div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_99" id="Page_99">[Pg 99]</a></span></p> +<h2>Chapter Ten</h2> + +<h3>FACE AND DISH CLOTHS AND BATH RUGS</h3> + + +<div class="figcenter" style="width: 336px;"> +<img src="images/i103.jpg" width="336" height="364" alt="A face cloth made from cheese cloth" title="" /> +<span class="caption">A face cloth made from cheese cloth</span> +</div> + +<div class="sidenote"><i>Materials</i></div> + +<p>The materials for making face and dish cloths are: cheese cloth cut +bias, darning or knitting cotton, or candle-wicking. Those made from +cheese cloth resemble the Turkish rags. Cut and splice the cheese cloth +according to directions on page 83. The face cloth in the illustration +is made from white cheese cloth, cut bias. String the warp 3/16 inch +with white twine. It being desirable to have face and dish cloths as +soft as possible, do not push the woof threads too closely together. +When the cloth is removed from the loom, conceal the ends of the warp +strings as previously<span class='pagenum'><a name="Page_100" id="Page_100">[Pg 100]</a></span> directed. Fine white thread should be used. If +preferred, the edges can be bound with tape. Cloths of candle-wicking +are very quickly woven, but they are not so soft.</p> + +<p>Face cloths of cheese cloth with borders of knitting cotton would be +durable and satisfactory. Make them according to directions given for +rugs with centers and borders.</p> + +<p>Cross-barred face cloths made of knitting cotton No. 4, in two colors, +are very pretty.</p> + +<div class="sidenote"><i>Bath rug made with continuous warp</i></div> + +<p>Serviceable bath rugs can be made by making three strips as long as +desired, and then fastening together. They are made of cheese cloth cut +bias, but the woof threads are packed much tighter than in the face +cloths. Finish the edges by stitching a white tape all around. Floor +rugs of any kind can be made firmer by finishing in this way with tape +of the same color.</p> + +<div class="figcenter" style="width: 448px;"> +<img src="images/i104.jpg" width="448" height="302" alt="A pattern for a floor rug" title="" /> +<span class="caption">A pattern for a floor rug</span> +</div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_101" id="Page_101">[Pg 101]</a></span></p> +<h2>Chapter Eleven</h2> + +<h3>RAFFIA MATS</h3> + + +<div class="figcenter" style="width: 565px;"> +<img src="images/i105.jpg" width="565" height="480" alt="Method of weaving a raffia mat on the loom, showing +colored stripes" title="" /> +<span class="caption">Method of weaving a raffia mat on the loom, showing +colored stripes</span> +</div> + +<div class="sidenote"><i>Method of making raffia mats</i></div> + +<div class="sidenote"><i>The rods and the warp strings in kindergarten patterns</i></div> + +<p>Mats of raffia are made like all the other mats. The warp may be of +twine or carpet thread. In this case, the mat should be woven of raffia +in the natural color, with stripes of bright color at each end; or, it +may be of some dark tone with stripes of a<span class='pagenum'><a name="Page_102" id="Page_102">[Pg 102]</a></span> contrasting color. By using +a warp of raffia, many of the beautiful kindergarten designs can be +produced. Use one color for the warp and another for the woof. The +method of stringing a warp of raffia is described in "Methods of +Stringing Warp," on page 45. The illustration shows a raffia mat in +process of making. The natural color of raffia is used, with stripes of +cardinal, and the method of stringing color in the warp to obtain this +effect is clearly seen. The children will have no difficulty in carrying +out the pattern, if they remember that the <i>rods</i> correspond to the +<i>border</i> of the paper mat. Before stringing the warp for a kindergarten +pattern, count the strips in the paper mat and begin to count on the +loom <i>from</i> the rods. In this kind of work the string on top of the rod +does not count. It forms the <i>border</i> of the mat.<span class='pagenum'><a name="Page_103" id="Page_103">[Pg 103]</a></span></p> + +<div class="figcenter" style="width: 414px;"> +<img src="images/i107.jpg" width="414" height="640" alt="A woven mat of raffia, from a kindergarten pattern in +green and the natural color of the raffia" title="" /> +<span class="caption">A woven mat of raffia, from a kindergarten pattern in +green and the natural color of the raffia</span> +</div><p><span class='pagenum'><a name="Page_104" id="Page_104">[Pg 104]</a></span></p> + +<div class="sidenote"><i>Stringing the warp</i></div> + +<p>In making mats, or matting, of raffia, the material can be carried over +the rods as in wool-weaving, or it can be finished on the edges in the +same way as the real matting is done. This will be easily understood by +examining a piece of matting. In stringing the warp, have three strings +over each bar instead of one. Cut the woof strips several inches longer +than the width of the loom. Weave the first strip, leaving a piece at +each side. Thread a tape needle with one end and weave it in and out the +three warp threads on the rod. Then cut it off close to the edge. Finish +off all the ends in this way. When the work is removed from the loom, +press the edges flat with a warm iron. It is a little easier to keep the +pattern right by weaving in this way, and the work resembles the real +matting more nearly. Use a tape needle for weaving raffia.</p> + +<div class="sidenote"><i>Porch curtains</i></div> + +<p>If the doll house which we are fitting is a large one with porches, one +could complete the furnishings with a porch curtain, for sunny +afternoons.</p> + +<div class="sidenote"><i>Glove, trinket, and mouchoir boxes</i></div> + +<p>Boxes of all kinds can be made of raffia woven in panels. It will make +the box stronger and firmer to overhand a piece of rattan around the +edges of the panels before joining them in the form of a box. Thread a +worsted needle with a narrow strip of raffia and buttonhole the edges of +the panels together; or, sew them over and over and cover with a braid +of raffia. Spiral-weaving is pretty for this finishing. It is described +in an article entitled "Straw-Weaving," in "American Homes" for +September, 1900, a magazine published in Knoxville, Tenn. Glove, +trinket, and mouchoir boxes are pretty<span class='pagenum'><a name="Page_105" id="Page_105">[Pg 105]</a></span> for holiday gifts. By using +different patterns and colors a great variety of them can be made.</p> + +<div class="sidenote"><i>Rugs of carpet wool</i></div> + +<p>For rugs made of carpet wool, string a three-eighths-inch warp of twine, +or oriental cord, the color of the body of the rug. Use a deep tone of +red, olive green, or any preferred color, with a stripe at each end. A +study of rugs will soon enable one to get the right proportion of rug +and stripe. Beautiful rugs are made with a succession of Roman stripes +separated by a narrow one of deep red, green, or blue, the ends of the +rug being woven of the same color. Center and corner patterns can be +woven by placing the pattern under the warp. By stringing a close warp +of the same material all the designs for paper-weaving can be easily +reproduced. Lengthwise stripes are also pretty. String the warp with +different colors and weave a neutral color through them. The rug in the +frontispiece is woven of heavy carpet wool, some of which is seen on the +table.</p> + +<div class="sidenote"><i>Patterns for rugs</i></div> + +<div class="sidenote"><i>Fundamental form No. 1</i></div> + +<p>Beautiful patterns for rugs can be made by cutting squares and triangles +of paper according to directions given in the "Kindergarten Guides." The +"Paradise of Childhood" has some very pretty ones. There<span class='pagenum'><a name="Page_106" id="Page_106">[Pg 106]</a></span> are two +fundamental forms for this paper-cutting. The first is made from a +nine-inch square. Fold one diagonal, place the right acute angle upon +the left so as to produce four triangles resting upon each other. The +form now lies before you with the right angle at the right and two acute +angles (one on top of the other) at the left. Lift one of these acute +angles and place on top of the angle at the back, creasing the fold; +then fold the remaining acute angle <i>under</i> to the same angle at the +back, creasing as before. Now place the form with the right angle at the +back and hold all the open edges to the left while cutting. +Illustrations in the "Kindergarten Guides" show a network drawn on the +triangle at the top as an aid to transferring the pattern.</p> + +<div class="figcenter" style="width: 338px;"> +<img src="images/i110.jpg" width="338" height="336" alt="A rug pattern from an equilateral triangle" title="" /> +<span class="caption">A rug pattern from a square</span> +</div> + +<div class="figcenter" style="width: 361px;"> +<img src="images/i110a.jpg" width="361" height="336" alt="A rug pattern from an equilateral triangle" title="" /> +<span class="caption">A rug pattern from an equilateral triangle</span> +</div> + +<div class="sidenote"><i>Fundamental form No. 2</i></div> + +<p>The second fundamental form is made from a six-fold equilateral +triangle. Directions<span class='pagenum'><a name="Page_107" id="Page_107">[Pg 107]</a></span> for folding and cutting this from the square are +given in the "Paradise of Childhood." It can be cut, also, from a circle +whose diameter is equal to the width of the rug desired. In drawing and +cutting the pattern, hold the form with the entirely <i>open sides</i> toward +you. The whole pattern is cut at once and the unfolding often reveals a +charming design for a rug, which can be woven in tones or contrasting +colors. If cut from colored paper, it can be mounted on white and placed +under the warp. Beautiful original designs in conventional leaf and +flower patterns can also be made.</p> + +<div class="sidenote"><i>Conventional leaf forms</i></div> + +<p>To make a conventional leaf form, use fundamental form No. 1. Cut the +leaf on the mid-rib and lay this part on the base of the triangle with +the point of the leaf on the open edges at the left, and the stem on the +closed part at the right. Draw around the edges of the leaf and cut, +taking care not to separate the leaf forms at the center, which is at +the closed part at your right hand.</p> + +<p>Some excellent suggestions for this leaf-cutting in centerpieces and +borders can be found in the "Pratt Institute Monthly" for April, 1900.</p> + +<div class="sidenote"><i>Dusters</i></div> + +<p>Dusters for hardwood floors are best made of strips of old flannel. They +can be<span class='pagenum'><a name="Page_108" id="Page_108">[Pg 108]</a></span> made of stocking strips, or cheese cloth. Make two mats the full +size of the loom, sew on three sides and run a gathering-string around +the top. It will fit better if it has a piece of cheese cloth sewn at +the top through which the gathering-string can be run. This makes a fine +duster to slip over a broom. If one prefers, a continuous warp can be +strung—the length to be twice the length of the broom part—and a long +piece woven which will require sewing on two sides only.</p> + +<div class="figleft" style="width: 291px;"> +<img src="images/i112.jpg" width="291" height="640" alt="A doll towel with fringed ends" title="" /> +<span class="caption">A doll towel with fringed ends</span> +</div> + +<div class="sidenote"><i>Doll towels</i></div> + +<div class="sidenote"><i>Patterns for towel borders</i></div> + +<div class="sidenote"><i>Lunch cloths</i></div> + +<div class="sidenote"><i>Bedspreads</i></div> + +<div class="sidenote"><i>Quilts</i></div> + +<p>Doll towels are very fascinating things to make. Adjust the loom for the +required size. The exact proportion can be ascertained from a large +towel. String the close warp with fine darning cotton and have the +strings in pairs with fringe at each end. Allow several inches for +fringe so that it can be knotted easily. The woof threads, which are +also of fine darning cotton, should be pushed very closely and smoothly +together. Plain stripes of red or blue, or fancy stripes made with a +kindergarten design, can be woven. Observe the same directions for +spacing the stripes which are given with the silkoline rug.<span class='pagenum'><a name="Page_109" id="Page_109">[Pg 109]</a></span> The towel +in the illustration is made of white darning cotton, with the stripes +and initial of red. The children will be delighted to lay towel borders +with their tablets, and after cutting and pasting with colored paper, +weave them in towels for Miss Dolly's housekeeping. Cross-stitch the +initial as previously directed. Lunch cloths and bedspreads can be made +in the same way. These should be fringed all around. A cross-barred +cloth or spread can be made by putting the color in the warp at regular +intervals and weaving across with color and white to form squares. +Pretty quilts of coarse cotton can be made with kindergarten designs. By +weaving many squares, a large quilt can be made. See directions on page +50.</p> + +<div class="sidenote"><i>Bed and carriage blankets</i></div> + +<p>Bed and carriage blankets are best made of single zephyr, although +Germantown wool will do. The heavy carpet wools are also pretty. Some +suggestions for this work have already been given under the head of +Materials. These blankets are really mats, but made only for another +use, and are to be woven in a similar way. Those with centers and +borders are pretty, and the plaid ones are always attractive. (See +illustration of the holder on page 92.)</p> + +<div class="sidenote"><i>Doll shawls</i></div> + +<p>For doll shawls choose a pretty Scotch<span class='pagenum'><a name="Page_110" id="Page_110">[Pg 110]</a></span> plaid and match the colors in +fine wool. String a close warp with wool, copying the Scotch plaid +exactly. Weave the colors across so that a "truly" plaid shawl may grace +Miss Dolly's shoulders on the cold winter mornings. A striped shawl is +pretty, or one having one color for the center and another for the +border.</p> + +<div class="sidenote"><i>Doll skirt</i></div> + +<p>Miss Dolly may have a lovely petticoat, too. String a continuous warp +long enough for the width of the skirt. Adjust the rods for the length. +By using a little color in the warp near the right edge of the weaving, +the skirt will have some stripes. Twist a cord of the wool and run in +the top for a draw-string.</p> + +<div class="sidenote"><i>Reins</i></div> + +<p>To make reins, adjust for a narrow strip and string a close, continuous +warp the length desired. Make a piece, also, to go across the front. Use +Germantown knitting yarn. A black warp with a bright red woof is pretty.</p> + +<div class="sidenote"><i>A square Tam O'Shanter</i></div> + +<p>In order to obtain a Tam O'Shanter for Dolly, first weave a square the +required size. String a close warp with wool and weave a kindergarten +pattern with two colors. When completed, remove from the loom, fold four +corners to the center, turn them in to form an opening for the head, and +fasten<span class='pagenum'><a name="Page_111" id="Page_111">[Pg 111]</a></span> the edges by sewing, or by lacing with a cord made of the two +colors. Fasten a tassel on the top and it is finished. Angora wool is +pretty for these caps.</p> + +<div class="figcenter" style="width: 640px;"> +<img src="images/i115.jpg" width="640" height="186" alt="Fringe for a rug in red and black" title="" /> +<span class="caption">Fringe for a rug in red and black</span> +</div> + +<div class="sidenote"><i>Fringe</i></div> + +<div class="sidenote"><i>Threading the needle</i></div> + +<div class="sidenote"><i>Making the fringe into tassels</i></div> + +<div class="sidenote"><i>Removing the fringe from the loom</i></div> + +<p>The head piece of the loom should be adjusted for the width of the rug +for which the fringe is required. A rug nine inches wide would require +fringe nine inches long. Adjust the rods one inch apart—that is, with +one perforation between the rods. String the warp in every groove, one +string over each rod and three between, making five in all. Weave over +and under one until the heading is finished. If you have an extra side +rod, place it in the sixth perforation from the right-hand rod. This +will make tassels a little over two inches long. If a shorter fringe is +preferred, adjust accordingly. If you have not an extra side rod remove +the <i>left</i> one and place as directed, leaving the <i>right</i> one in the +heading until the whole fringe is finished. Thread a large tape needle +with two pieces of worsted, as<span class='pagenum'><a name="Page_112" id="Page_112">[Pg 112]</a></span> long as the two can be conveniently +managed. If the fringe is made of two colors, take one of each for the +tassels, weaving the heading with the one which predominates in the rug. +Run the ends in the grooves to fasten them. Wind under the right rod, +which was left in the heading, through the first stitch, which includes +the warp string over the rod, then over the extra rod to the right. Wind +under again through the next stitch in the heading (always around the +rod) and so on until the end is reached. To make this fringe into +tassels, separate six strands of each color and tie with the two colors, +running the tape needle and worsted along from one tassel to another, or +tie each one securely and cut. The fringe will need no finishing at the +ends. Run the short ends, which were wound through the grooves in the +beginning in order to fasten them, through a few stitches in the +heading. The fringe can be made of one color, and of any width. To take +the fringe from the loom, first remove the rod at the end of the tassels +and cut the fringe before removing the rods from the heading. This will +insure straight cutting at the ends of the tassels. If one prefers a +knotted fringe, cut and knot before removing the heading. By examining +rug<span class='pagenum'><a name="Page_113" id="Page_113">[Pg 113]</a></span> fringes in the furniture stores one can get a very good idea of the +manner of knotting. (See also directions for splicing Germantown wool on +page 84.)</p> + +<div class="sidenote"><i>Knotting</i></div> + +<p>A simple fringe can be knotted quickly and easily in the ends of the +warp strings, after the rug is taken from the loom. First decide upon +the length of the fringe when finished. Add at least two inches to allow +for knotting. Cut each piece of wool twice this length, double, and +thread a tape needle. Pass the needle from the right side of the rug to +the wrong, through the warp strings at the end of the rug. Draw the loop +of wool through and unthread the needle. Pass the two ends of the wool +down through the loop and draw it tight. When this has been done in +every pair of warp strings, knot every other piece of the fringe +together, in the same way that towel fringe is made.</p> + +<p>This question of whether a rug should have fringe or not is much +discussed at present. It is largely a personal one. The best way, +perhaps, is to study different kinds of rugs and know which ones are +usually made with fringe and which are not.</p> + +<div class="figcenter" style="width: 640px;"> +<img src="images/i118.jpg" width="640" height="466" alt="Bed shoes made of white wool" title="" /> +<span class="caption">Bed shoes made of white wool</span> +</div> + +<div class="sidenote"><i>Bed shoes, or socks</i></div> + +<div class="sidenote"><i>Bed shoes</i></div> + +<div class="sidenote"><i>Baby shoes</i></div> + +<p>Bed shoes of all sizes are easily woven, and make a useful holiday gift. +They are made without soles and are intended to be<span class='pagenum'><a name="Page_114" id="Page_114">[Pg 114]</a></span> drawn up around the +ankle like a high moccasin. Use the soft double Germantown wool. White, +fastened together with pink or blue, or white striped with a color, may +be used, and are attractive. The socks in the illustration are of white +wool with a pink seam up the instep and pink scallops around the top. +One sock is shown on a last, and the other as it appears off the foot. +The stripes in the knitting can be shown in the weaving by using a +color. The full size of the loom makes a shoe of medium size. String a +close warp with white wool. If the shoe is to be all white, weave with +the same, leaving the color for the finishing. If it is to be striped, +weave perhaps eight or ten times across with color and then with white; +when the weaving is finished you will have a mat 9 × 12 inches. Double +one of the short edges and sew over and over on the wrong side with +white wool. This is the toe. The two long edges now lie together. They +may be crocheted, or knitted, with colored wool by holding them close +and fulling in, or by<span class='pagenum'><a name="Page_115" id="Page_115">[Pg 115]</a></span> <i>puckering</i> a little. If this is done in color, +it makes a pretty seam on the top of the foot and front of the ankle. +The top may be finished by crocheting a beading and scallops of the +colored wool. Run a ribbon or worsted cord through the beading. If +desired, the long edges may be laced together with ribbon one-half inch +wide. Baby shoes are made in the same way. To ascertain what length to +adjust the loom, measure the sole, then up, back of the heel, to a point +above the ankle. For the width, measure around the foot. Finish the cord +with tassels or balls.</p> + +<div class="sidenote"><i>Worsted balls for bed shoes, and other articles</i></div> + +<p>To make worsted balls, first cut two small circles from cardboard. From +the center of each cut a smaller circle. Hold one circle over the other, +and with a worsted or tape needle threaded with wool, wind over and over +very closely until the hole in the center is completely filled. Always +piece the wool on the <i>outside</i> edge. Cut the wool all around on the +outside. Make a cord of the wool and slip <i>between</i> the two circles. +Then tie so as to fasten all the pieces of wool in the middle, leaving +the cord long enough to tie in a bow if desired. Tear the pasteboards, +remove them, and trim the wool evenly. A second ball should be fastened +on the other<span class='pagenum'><a name="Page_116" id="Page_116">[Pg 116]</a></span> end of the cord, <i>after</i> it has been laced through the +beading.</p> + +<div class="sidenote"><i>Photograph frames</i></div> + +<p>To weave photograph and picture frames of silk, chenille, raffia, +celluloid, or leather, proceed in the same way as for a bordered rug, +having the oblong or square center the required size for the picture. +Foundation frames for mounting the work can be purchased, usually, at +the stores where tissue paper and flowers are sold.</p> + +<div class="sidenote"><i>Table mats</i></div> + +<p>Square and oblong table mats for hot dishes can be made of +candle-wicking, knitting cotton, or cheese cloth.</p> + +<div class="sidenote"><i>Tippet or scarf</i></div> + +<p>To-day, tippets and scarfs are very little used, but they are very +comfortable things to wear to school on a cold day. In order to make +them, string a continuous warp of the required length with Germantown +dark colored wool. Weave the same color for the woof, and brighten it at +intervals with Roman stripes. A plaid scarf can be woven, if preferred; +while with a close warp one can have a kindergarten pattern in another, +or contrasting color.</p> + +<div class="sidenote"><i>Wristlets</i></div> + +<p>In making wristlets, one must decide how long they are to be, and adjust +the length on the loom. Measure around the wrist for the width, +remembering that the wristlets will stretch when pulled over the hand.<span class='pagenum'><a name="Page_117" id="Page_117">[Pg 117]</a></span> +Weave in stripes or plaid, or, if desired, plain, stringing the warp +with the same wool as is used in weaving. Remove the mat and sew the +edges together.</p> + +<div class="sidenote"><i>Sleeve protectors</i></div> + +<p>Sleeve protectors can be woven of raffia in the same way as wristlets. +Make them so they can be fastened on the outside of the sleeve, like a +cuff.</p> + +<div class="figcenter" style="width: 480px;"> +<img src="images/i121.jpg" width="480" height="482" alt="A table mat made from carpet wool" title="" /> +<span class="caption">A table mat made from carpet wool</span> +</div><p><span class='pagenum'><a name="Page_118" id="Page_118">[Pg 118]</a></span></p> + +<div class="sidenote"><i>Purses, or chatelaine bags</i></div> + +<p>Purses, or chatelaine bags, are made of knitting-silk. Beads can be +added, if desired. Adjust the loom for the required size, and string a +continuous warp, if necessary. One can obtain the silver or nickel tops, +which open and close, at the department stores.</p> + +<div class="figcenter" style="width: 640px;"> +<img src="images/i122.jpg" width="640" height="292" alt="Borders for rugs or squares" title="" /> +<span class="caption">Borders for rugs or squares</span> +</div> + +<div class="sidenote"><i>Shopping and school bags</i></div> + +<div class="sidenote"><i>Opera glass bags</i></div> + +<p>It will be better to use heavier material for shopping and school bags. +Raffia makes a strong bag; silk strips are serviceable, and leather +strips are good for school bags. For opera-glass bags, make two mats and +lace or weave them together, or string a continuous warp. Use rope silk, +chenille, or knitting silk with beads.</p> + +<div class="figcenter" style="width: 640px;"> +<img src="images/i122a.jpg" width="640" height="346" alt="Borders for rugs or squares" title="" /> +<span class="caption">Borders for rugs or squares</span> +</div><p><span class='pagenum'><a name="Page_119" id="Page_119">[Pg 119]</a></span></p> + +<p>When one has mastered the mysteries of weaving thoroughly enough to make +a <i>good</i> mat, it is very easy to "turn them into" various articles. +There is no sleight of hand about it.</p> + +<div class="sidenote"><i>Panels of silk canvas for boxes</i></div> + +<p>Silk canvas panels are made by adjusting the loom for the required size +of the sides of the box, and weaving a plain mat for the top. A number +of suggestions have been given on page 52, under the head of Materials.</p> + +<p>Pretty neckties of fine knitting silk can be made on the loom by using a +continuous warp of the same material.</p> + +<div class="figcenter" style="width: 378px;"> +<img src="images/i123.jpg" width="378" height="336" alt="A square of silk canvas with cross-stitched pattern of +chenille" title="" /> +<span class="caption">A square of silk canvas with cross-stitched pattern of +chenille</span> +</div> + +<div class="sidenote"><i>Sofa pillows, cushions, sachet cases and veil cases</i></div> + +<p>The accompanying illustration, and another on page 98, and also the +vignette on the title page, show squares of silk canvas, and will give +one many ideas of how they may be used. One has a cross-stitched pattern +of chenille, and in another the chenille was alternated with silk in the +warp, and<span class='pagenum'><a name="Page_120" id="Page_120">[Pg 120]</a></span> both chenille and silk were used in the woof. The squares can +be made up in cushion and box covers, sachet cases, sofa pillows, or the +larger squares can be used as veil cases. A number of them can be joined +for large sofa pillows. In the latter case they can be made of wool, and +many of them could be crocheted together for an afghan or slumber robe.</p> + +<div class="figcenter" style="width: 492px;"> +<img src="images/i124.jpg" width="492" height="480" alt="Pattern for rugs or squares" title="" /> +<span class="caption">Pattern for rugs or squares</span> +</div> + +<p>The design in the illustration is a pattern<span class='pagenum'><a name="Page_121" id="Page_121">[Pg 121]</a></span> which may be used for +either a Wilton or Axminster rug, or for mats, sachet cases, cushion or +box covers, or cross-stitch embroidery on burlap, or silk, or wool +canvas. The patterns given on pages 120, 125, 130, and 134 will be found +adaptable for rugs or squares.</p> + +<div class="sidenote"><i>Slumber robes or afghans</i></div> + +<div class="sidenote"><i>Portières</i></div> + +<p>Slumber robes or afghans have been previously mentioned on page 54, +under the head of Materials. It will be found very easy, after a little +experience with a continuous warp, to make strips of any length. It is +better to wind the extra lengths of warp upon spools, as has been +suggested, or around the tops of the rods. Large portières can be made +of long strips of silk or silkoline cut bias. Fasten the long strips +together horizontally in imitation of Bagdad curtains.</p> + +<div class="figcenter" style="width: 640px;"> +<img src="images/i125.jpg" width="640" height="324" alt="Borders for rugs or squares" title="" /> +<span class="caption">Borders for rugs or squares</span> +</div> + +<div class="sidenote"><i>Hair receivers</i></div> + +<p>Hair receivers are easily made from raffia. Make a square mat and fold +it in cornucopia form.</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_122" id="Page_122">[Pg 122]</a></span></p> +<h2>Chapter Twelve</h2> + +<h3>ORIENTAL RUGS</h3> + + +<div class="sidenote"><i>Rugs and draperies</i></div> + +<p>To be quite up to date, Miss Dolly should have oriental rugs and +draperies in her house beautiful. These are easily made on the loom, and +the little girl or boy, who has first copied a pattern and then seen it +grow under patient fingers, has a thing of beauty and a joy forever. +What could give more pleasure than to be able to say fifty years from +now: "I wove that, my dear, when I went to school"? Truly the +grandchildren would reply: "How I wish I could have gone to grandma's +school!"—only they may have something equally beautiful which will take +its place in that far-off time—who knows?</p> + +<div class="figcenter" style="width: 640px;"> +<img src="images/i126.jpg" width="640" height="184" alt="Border for rugs or squares" title="" /> +<span class="caption">Border for rugs or squares</span> +</div> + +<div class="figcenter" style="width: 640px;"> +<img src="images/i127.jpg" width="640" height="470" alt="Borders for rugs or squares" title="" /> +<span class="caption">Borders for rugs or squares</span> +</div> + +<div class="sidenote"><i>Patterns</i></div> + +<div class="sidenote"><i>Oriental colors</i></div> + +<p>The patterns for oriental rugs familiar in the East have descended +through hundreds of years, and the exquisite colors, produced<span class='pagenum'><a name="Page_123" id="Page_123">[Pg 123]</a></span> by +vegetable dyes, and increasing in richness and beauty with age, are only +to be seen in old rugs. We have nothing in our modern dyes to compare +with the old color. One is soon interested in the study of these Eastern +treasures, and it becomes second nature in a short time not only to chat +familiarly of Kermans, Serebends, Khivas, Bokharas, and Kiz-Kilims, <i>ad +infinitum</i>, but to jot down now and then in one's notebook, or still +better in one's design book (made of the kindergarten squared paper, +one-eighth inch), a pretty border or centerpiece for the rug which is to +grace some doll house. The patterns of Turkish rugs (see page 127) are +of geometrical or arabesque designs—an<span class='pagenum'><a name="Page_124" id="Page_124">[Pg 124]</a></span> edict from the Koran having +prohibited the reproduction of living things. The Persians, however, +weave animals, birds, etc., as their ancestors did in days gone by.</p> + +<div class="sidenote"><i>Inscriptions on Persian rugs</i></div> + +<p>There is some very interesting reading in "Oriental Rug Weaving," by V. +Kurdji, on the subject of inscriptions often found on Persian rugs. He +says: "If the possessors of some of the rare pieces that are sold in +this country knew the meaning of the inscriptions woven in their rugs, +the knowledge would add a charm and interest which would make them more +valuable than the harmonious colors so beautifully blended."</p> + +<div class="figcenter" style="width: 640px;"> +<img src="images/i128.jpg" width="640" height="190" alt="Pattern for border of Persian rug" title="" /> +<span class="caption">Pattern for border of Persian rug</span> +</div> + +<div class="sidenote"><i>Bokkara rugs</i></div> + +<div class="sidenote"><i>Khiva rugs</i></div> + +<p>Oriental rugs take their names from the countries or provinces in which +they are made. Bokhara rugs are made in mountainous districts of +Turkestan, and have never been successfully imitated, because the dyes +used are made from a plant grown only in that district. The designs are +geometrical, and the colors deep maroon or blue. The pile is woven as +close as velvet. They<span class='pagenum'><a name="Page_125" id="Page_125">[Pg 125]</a></span> are noted for the superior quality of their dyes. +Khiva rugs, sometimes called afghan, are made in Turkestan. They +resemble the Bokhara rugs, but are coarser in texture and heavier in +pile, and they differ from them in having a wide selvage at each end. +Some Khivas have a small pattern in red mosaic over the surface with a +circle in the center. One often sees a rug made of a rich golden yellow +with a background of dark red.</p> + +<div class="figcenter" style="width: 480px;"> +<img src="images/i129.jpg" width="480" height="525" alt="A Kiz-Kilim rug pattern" title="" /> +<span class="caption">A Kiz-Kilim rug pattern</span> +</div><p><span class='pagenum'><a name="Page_126" id="Page_126">[Pg 126]</a></span></p> + +<div class="figcenter" style="width: 640px;"> +<img src="images/i130.jpg" width="640" height="355" alt="Pattern for a Kiz-Kilim stripe" title="" /> +<span class="caption">Pattern for a Kiz-Kilim stripe</span> +</div> + +<div class="sidenote"><i>Kiz-Kilim rugs</i></div> + +<div class="sidenote"><i>Kiz-Kilim rugs</i></div> + +<p>The Kiz-Kilim rugs have no nap, and are woven with a needle. They are +thin and almost alike on both sides. The larger sizes are woven in two +strips fastened together so that they can be taken apart and used for +curtains. "These Kiz-Kilims are woven by Armenians and Turks in Anatolia +(the land of sunrise, and the Greek name for Asia Minor). The literal +translation of the word Kiz-Kilim is bride's rug, it being a custom in +that country for a bride to present to her husband one of these rugs, +which she has woven during her engagement to him. The quality of the rug +is supposed to measure the quality of the husband's affection for his +bride, consequently we have many beautiful specimens of this class, the +brilliant hues and intricate designs of which could only have been +inspired by the whisperings of Cupid. They are in open-work +patterns—called perforated—and often have long tufts of colored silk +tied to the rugs with blue beads, in order to keep them from the effects +of the Evil Eye." The Kiz-Kilim rug in the illustration was copied from +a genuine rug. The filling is a deep blue and the borders are in +oriental colors. The center figure is white, with red, brown, and yellow +inside. There are four kinds of Kilims. Much interesting and valuable +information can be found in John Kimberley Mumford's "Oriental Rugs"; +New York: Charles Scribner's Sons, 1900, where directions for weaving +Kiz-Kilims, Khivas, and Bokharas are given, with a few patterns.<span class='pagenum'><a name="Page_127" id="Page_127">[Pg 127]</a></span></p> + +<div class="figleft" style="width: 356px;"> +<img src="images/i131.jpg" width="356" height="640" alt="A Kiz-Kilim rug" title="" /> +<span class="caption">A Kiz-Kilim rug</span> +</div> + +<p><span class='pagenum'><a name="Page_128" id="Page_128">[Pg 128]</a></span></p> + +<div class="figcenter" style="width: 327px;"> +<img src="images/i133.jpg" width="327" height="445" alt="Pattern for a Turkish rug" title="" /> +<span class="caption">Pattern for a Turkish rug</span> +</div> + +<div class="sidenote"><i>Materials used</i></div> + +<div class="sidenote"><i>Perforations</i></div> + +<p>Oriental wools or carpet ravelings are used for these rugs. Copy your +figures and colors from genuine rugs. The accompanying patterns were +obtained in this way. See directions on page 47 for stringing a double +warp with fringe at each end. First fasten the pattern under the warp; +then weave about one-quarter inch at each end with carpet thread like +the warp. This will<span class='pagenum'><a name="Page_129" id="Page_129">[Pg 129]</a></span> make it look like a "truly" Kiz-Kilim. Next to +this, weave a very narrow strip of several colors each twice across, +regarding the double strings as one. Then weave each part of the narrow +border. To make the perforations, take up one thread of the double warp +for one side of the pattern, and the other thread for weaving the +pattern next to it. For instance, the "steps," as the children call +them, of triangle No. 1, when finished, will stand close to the steps of +triangle No. 2, with a little slit between. These perforations occur +only where one pattern joins another of a different color, or the dark +filling. For instance, in the white figure in the center, where three or +five squares come together, the slits occur at each end, the part +between being woven over the double strings as if they were only one. In +this way the perforations of other parts are closed top and bottom. Use +a tape needle and weave each section of the pattern separately. Weave<span class='pagenum'><a name="Page_130" id="Page_130">[Pg 130]</a></span> +the filling last. As this peculiar tone of blue could not be obtained in +carpet ravelings, an eighth of a yard of terry was raveled for the +purpose. Take care not to draw any part of the pattern too tight, or the +perforations will be too large. The right and left edges of the rug are +woven over the rods to keep them straight. Both narrow borders were +woven before the center was commenced. The pattern in the illustration +is for a Wilton or Axminster rug, but can be used for mats, or box, +sachet, and cushion covers. It is made with cross-stitch embroidery on +burlap, silk, or wool canvas. (See also page 120.)</p> + +<div class="figcenter" style="width: 480px;"> +<img src="images/i134.jpg" width="480" height="488" alt="A pattern for a rug or square" title="" /> +<span class="caption">A pattern for a rug or square</span> +</div><p><span class='pagenum'><a name="Page_131" id="Page_131">[Pg 131]</a></span></p> + +<div class="sidenote"><i>Turkish patterns laid with tablets</i></div> + +<p>The children can lay these Turkish patterns with square tablets upon +their desks, the pattern being drawn upon the board, or on paper with a +rubber pen. It will be a delight to the children to transfer them to +paper by drawing and then coloring, or by cutting and pasting colored +papers.</p> + +<div class="sidenote"><i>Stitches for Khiva and Bokhara rugs</i></div> + +<p>The genuine Khiva and Bokhara rugs are made by weaving and knotting +alternately. It will be easier at first to weave a web, or foundation. +Choose a tight twisted yarn about the color of the rug to be woven. +String a close warp of the wool and weave plain up and down, one string +at a time, until you have a rug of the desired size. Put in the pattern +first, and then the filling. This work will be almost too difficult for +<i>little</i> children. Carpet wools and Germantown wool can be used. It will +not be found difficult to follow the pattern, especially if one is used +to cross-stitch embroidery. Each stitch counts for one of cross-stitch. +Keep the stitches very close together so that the nap will stand up well +when<span class='pagenum'><a name="Page_132" id="Page_132">[Pg 132]</a></span> finished. Silk rugs can be copied in the same way, using floss or +rope silk for the pile. If one prefers, a piece of burlap may be +stretched across the loom and secured to the rods, instead of weaving a +foundation, as suggested.</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/i136.jpg" width="400" height="376" alt="Stitches for pile weaving" title="" /> +<span class="caption">Stitches for pile weaving</span> +</div> + +<div class="sidenote"><i>Stitches for pile weaving</i></div> + +<div class="sidenote"><i>The first stitch</i></div> + +<p>Stitches for pile weaving are very easily made. This illustration +showing examples of stitches for pile weaving illustrates the methods +used in the stitches, and may be used for Axminster or Wilton rugs, for +boxes, sachet cases, and other articles. The tape<span class='pagenum'><a name="Page_133" id="Page_133">[Pg 133]</a></span> needle is the kind +used for weaving when the large needle cannot be used. It is preferable +to use one of this kind on account of the eye and blunt point, and it +may be obtained at the notion counter in department stores for a few +cents. There are two stitches, each occupying half of the illustration +and numbered from left to right, beginning at the top. Make No. 1 by +passing a tape needle threaded with wool down through the web, leaving a +short end, then up one stitch to the left. This is the first step. In +No. 2 continue over on the right side, <i>past</i> the stitch where you +started, to the stitch on the right; then down and up through the first +hole, and cut off the wool the same length as the end you left at first. +No. 3 shows a stitch completed. No. 4, one row of stitches, and No. 5, +three rows, showing how one row overlaps another. When the rug is +finished, the ends should be cut evenly, so that the nap is like velvet. +The children would say that this stitch looks like a two-legged stool, +and so it does.</p> + +<div class="sidenote"><i>The second stitch</i></div> + +<p>The second stitch is made so that the nap lies sideways from left to +right. No. <i>a</i> is just like the preceding stitch. No. <i>b</i> shows the +needle passing down the stitch where you started and up one stitch to +the right.<span class='pagenum'><a name="Page_134" id="Page_134">[Pg 134]</a></span> Cut off the wool and pull the end left at first over the +last one. This pile should stand very straight and even. No. <i>c</i> shows a +completed stitch; No. <i>d</i> one row, and No. <i>e</i> three rows. These +stitches are useful in mending Khiva and Bokhara rugs.</p> + +<div class="sidenote"><i>Wilton and Axminster rugs</i></div> + +<p>Wilton, Axminster, or any rugs having a pile, can be woven with the same +stitches. The pattern in the illustration may be used for either a +Wilton or Axminster rug, for a box cover, cushion, sachet case, or mat; +and can be cross-stitched embroidery, on burlap, silk or woolen canvas.</p> + +<div class="figcenter" style="width: 450px;"> +<img src="images/i138.jpg" width="450" height="322" alt="Pattern for a rug, mat or cover" title="" /> +<span class="caption">Pattern for a rug, mat or cover</span> +</div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_135" id="Page_135">[Pg 135]</a></span></p> +<h2>Chapter Thirteen</h2> + +<h3>NAVAJO BLANKETS</h3> + + +<div class="figcenter" style="width: 458px;"> +<img src="images/i139.jpg" width="458" height="495" alt="A miniature Indian loom" title="" /> +<span class="caption">A miniature Indian loom</span> +</div> + +<div class="sidenote"><i>A sketch</i></div> + +<div class="sidenote"><i>Indian weaving</i></div> + +<div class="sidenote"><i>The colors used</i></div> + +<div class="sidenote"><i>Old Indian blankets are rare</i></div> + +<div class="sidenote"><i>Description of the illustration</i></div> + +<p>Navajo blankets were first made by the Pueblo Indians, from whom the +Navajo Indians learned the art, and not long after the latter excelled +in the making of them. Among the Pueblo Indians the men do the work; but +women are the weavers among the Navajos. In the illustration on this +page is seen a miniature Navajo loom with the blanket commenced. The two +cords woven at the sides with the woof can be easily seen. Simple looms +are suspended between two posts or trees, and the weaver sits upon the +ground. A twig is used for a shuttle, and a reed, fork-shaped<span class='pagenum'><a name="Page_136" id="Page_136">[Pg 136]</a></span> like a +hand, is used to push down the woof threads. The blanket is made +waterproof by pounding down the threads with a batten, a good picture of +which is seen in Dr. Washington Matthews' article on Navajo weavers in +the Third Annual Report of the Bureau of Ethnology. Separate balls of +color are used to carry out the pattern, which is sometimes traced in +the sand before the work is commenced. As many as twenty-nine different +balls have been seen hanging from a single blanket. Some of the designs +have been handed down from one generation to another, and are carried +entirely in the memory. They are often symbolical "and unfold a whole +legend to the knowing eye of the native." The weaving is done from the +bottom up, some working in one direction, while others weave first at +the bottom, then turn the loom upside down, and, after weaving about the +same distance there, finish in the middle. The last part of the weaving +is like darning, and is often done with a needle. The colors most used +are white, gray, black, a bright yellow, red (a scarlet, generally +obtained by raveling bayeta cloth), and sometimes blue. In former times, +when the Indians used vegetable dyes, the colors were beautiful and +lasting. These old blankets are becoming more and more rare, and to-day +in their places we have the bright and not always satisfactory results +of aniline dyes. The blanket in the illustration facing this page has +narrow stripes in the following colors: On each end (seven stripes) red, +black, white, orange, green, white, black. The two groups of six stripes +in the middle are: Black, white, red, green, white, black. Before the +advent of the present squaw dress, the black, red, and dark blue +blankets were used as clothing, but the best blankets were, and still +are, worn at sacred dances. Dr. Matthews, in his report, gives an +interesting description of the method of making these blankets, with +several pictures of the better examples. Navajo blankets are finished +with four border cords, which are secured as the weaving progresses, and +the ends are fastened at the four corners by small tassels.<span class='pagenum'><a name="Page_137" id="Page_137">[Pg 137]</a></span></p> + +<div class="figcenter" style="width: 370px;"> +<img src="images/i141.jpg" width="370" height="550" alt="A Navajo Indian woman weaving a blanket" title="" /> +<span class="caption">A Navajo Indian woman weaving a blanket</span> +</div><p><span class='pagenum'><a name="Page_138" id="Page_138">[Pg 138]</a></span></p> + +<div class="sidenote"><i>Method of making</i></div> + +<div class="sidenote"><i>Indian blankets</i></div> + +<p>Small Navajo blankets can be woven on the loom. Draw the pattern and +place under the warp, fastening it to the side rods. Use warp or carpet +thread for the warp, and weave with a tape or upholstery needle. One may +weave all the pattern first, and then put in the filling; while another +will weave as the Indians do, filling in from one part of the pattern to +the other by threading the needle with a different color. This can be +done, without running the thread underneath, by hooking it in the loop +of the pattern just finished. These little blankets are very fascinating +things to make, and the children become much interested in them, and in +Indian life as well.<span class='pagenum'><a name="Page_139" id="Page_139">[Pg 139]</a></span></p> + +<div class="figcenter" style="width: 431px;"> +<img src="images/i143.jpg" width="431" height="550" alt="A Navajo blanket" title="" /> +<span class="caption">A Navajo blanket</span> +</div><p><span class='pagenum'><a name="Page_140" id="Page_140">[Pg 140]</a></span></p> + +<div class="sidenote"><i>The colors in the blanket on page 141</i></div> + +<p>This very beautiful Navajo blanket, shown in the illustration, has three +broad red stripes, two narrow red stripes about one-half the width of +the former, and four gray stripes about one-half the width of narrow red +stripes. The centers of all the figures are red, like the filling—a +brilliant scarlet. The colors of the large figures, beginning at the +center of each, and counting from left to right, are as follows: Nos. 1, +3, and 5, red, green, and light yellow. Nos. 2 and 4, red, white, and +black. The small figures, counting the same way, are: Nos. 1, 3, and 5, +red, white, and black. Nos. 2 and 4, red, yellow, and green. The four +corners are finished with twisted red cord-like tassels. This cord also +extends across the warp ends. Dr. Matthews tells in his article on +"Navajo Weavers" how two cords are twisted and woven at the sides with +the woof.<span class='pagenum'><a name="Page_141" id="Page_141">[Pg 141]</a></span></p> + +<div class="figcenter" style="width: 480px;"> +<img src="images/i145.jpg" width="480" height="551" alt="A very beautiful Navajo Indian blanket, showing the +manner of decoration" title="" /> +<span class="caption">A very beautiful Navajo Indian blanket, showing the +manner of decoration</span> +</div> + +<p>The two Navajo Indian blankets illustrated in this chapter, and the +pattern on the following page, may be easily adapted for the loom. +Germantown knitting wool or carpet ravelings can be used, although to +obtain softer wool is better. Some of the handsomest Navajo blankets +have a long nap.<span class='pagenum'><a name="Page_142" id="Page_142">[Pg 142]</a></span></p> + +<div class="sidenote"><i>Navajo patterns laid with tablets</i></div> + +<p>The children will take pleasure in laying Navajo patterns with +triangular tablets, and then transferring the pattern to paper by +drawing and coloring, or by cutting and pasting in colors.</p> + +<div class="figcenter" style="width: 342px;"> +<img src="images/i146.jpg" width="342" height="450" alt="A pattern for a Navajo blanket" title="" /> +<span class="caption">A pattern for a Navajo blanket</span> +</div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_143" id="Page_143">[Pg 143]</a></span></p> +<h2>Chapter Fourteen</h2> + +<h3>SONGS, GAMES, AND STORIES</h3> + + +<p>There are many beautiful songs which can be sung during the weaving. +Thomas Carlyle has said:</p> + +<div class="sidenote"><i>Songs and games lighten work</i></div> + +<p>"Give us, O give us the man who sings at his work! He will do more in +the same time; he will do it better; he will persevere longer. One is +scarcely sensible of fatigue whilst he marches to music, and the very +stars are said to make harmony as they revolve in their spheres."</p> + +<div class="sidenote"><i>Songs for the children</i></div> + +<p>There are songs about the birds' nests, always pleasing to the little +folks, and doubly so when they have held in their own hands the +wonderful bit of weaving, so strong and yet so soft, woven by the +mother-bird for the baby-birds. Mrs. Spider is also very interesting +with her lace-like webs which are to be found even in well-regulated +schoolrooms, and the songs of the bleating sheep who give us their wool +fill every little heart with delight. Miss Poulsson's Finger Play, "The +Lambs," gives the restless fingers something to do and the<span class='pagenum'><a name="Page_144" id="Page_144">[Pg 144]</a></span> "eight white +sheep all fast asleep" afford a chance for a good laugh over the "two +old dogs close by" (the thumbs). One has the opportunity, too, of +noticing whether the eight white sheep on the tiny hands are really +<i>white</i> enough to do the weaving. A smiling allusion to some small +<i>black</i> sheep will bring them back clean for the next session.</p> + +<div class="sidenote"><i>A weaving game</i></div> + +<p>The following weaving game can be played in several ways. This extract +is from the "Kindergarten Guide," by Lois Bates: "Six children stand in +a row; a tall one at each end for the border of the mat and the other +four representing the strips. The child who is to be the weaver holds +one end of a long tape, while the other is fastened to the left shoulder +of the first child. The weaver weaves the tape in and out among the +children, placing the second row lower down. It will be easily seen that +the children who had it passed in <i>front</i> of them in the first row, had +it <i>behind</i> them in the second, and vice versa."</p> + +<p>The following weaving song in the Walker and Jenks book can be sung +during the weaving. To be sure it is not really "over and under" when +you think of them as <i>children</i>. Remember that they represent<span class='pagenum'><a name="Page_145" id="Page_145">[Pg 145]</a></span> a mat, +and they are for the time the strips and border.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">(<i>Sung to the tune of "Nellie Bly.</i>")<br /></span> +</div><div class="stanza"> +<span class="i0">Over one, under one,<br /></span> +<span class="i0">Over one again.<br /></span> +<span class="i0">Under one, over one,<br /></span> +<span class="i0">Then we do the same.<br /></span> +<span class="i0">Hi, weavers! Ho, weavers!<br /></span> +<span class="i0">Come and weave with me!<br /></span> +<span class="i0">You'll rarely find, go where you will,<br /></span> +<span class="i0">A happier band than we!<br /></span> +</div></div> + +<p>Kate Douglas Wiggin (Mrs. Riggs) in her "Republic of Childhood" +describes the game in this way:</p> + +<div class="sidenote"><i>Explanation of the game</i></div> + +<p>"First choose a row of children for threads of the warp, standing at +such a distance from each other that a child may pass easily between +them. Second, choose a child, or children, for thread of woof. After +passing through the warp, each child takes his place at the end and +other children are chosen." In this way more children can take part than +if a tape were used. Some teachers play it in a different way, using the +desks with the seats turned up for the warp and the whole number of +children for the woof, winding in and out all over the room. This is +very delightful, indeed, if there is enough space for the children to +pass easily without tripping on the iron supports of the desks.<span class='pagenum'><a name="Page_146" id="Page_146">[Pg 146]</a></span> This is +a good game for a rainy day, when there is no outdoor recess.</p> + +<div class="sidenote"><i>Bird games</i></div> + +<p>The bird games are beautiful and leave a wholesome impression of home +life and home love on the children, which will have a lasting influence. +Few children, brought up in this tender and beautiful way, will ever +feel an inclination to harm the birds, or indeed any animal.</p> + +<div class="sidenote"><i>Interesting stories</i></div> + +<p>The fund of stories of birds and birds' nests is almost inexhaustible. +Miss Poulsson's "In the Child's World" contains many stories of the +weaver (pages 407-412), and several about birds and birds' nests (pages +292-301). Her talks to teachers with regard to the presentation of each +subject are very helpful, as well as her suggestions for the teachers' +reading. Stories of the weaving birds, particularly the African weaver, +are interesting. It is said that two birds work together, one on the +inside of the nest and the other on the outside, passing the grass and +twigs in and out, until the home is completed. The children will enjoy, +too, stories of weaving in other lands, material for which can be easily +obtained. In fact, no one need to be without stories in these days of +books and magazines.</p> + +<div class="sidenote"><i>Conversation</i></div> + +<div class="sidenote"><i>Never repress the children</i></div> + +<p>Last, but not least, is the conversation<span class='pagenum'><a name="Page_147" id="Page_147">[Pg 147]</a></span> during the weaving. Anyone who +has attended a teachers' meeting, where the industrial work was being +given, has not failed to remark the sociability all over the room. "How +are you getting on?" "Let me see yours." "Oh, I cannot get it at all," +etc., etc., are heard everywhere, and yet those same teachers go into +their class rooms the next day and expect the children to work without +whispering. If they will read what Mrs. Wiggin says in the "Republic of +Childhood," in her talk on "Sewing," they will never be guilty of it +again. A good plan is to have the room perfectly quiet while a dictation +is being given, and then allow a period of relaxation when the little +folks can compare and admire the work to their hearts' content. Beware +of too much repression. A child when asked why a tree grew crooked, +replied: "Somebody stepped on it, I suppose, when it was a little +fellow." The answer is painfully suggestive. Mrs. Wiggin truly says: "If +the children are never to speak except when they answer questions, how +are we to know aught of their inner life?"</p> + +<p>The following list of songs, games, and stories suggests interesting +material to correlate with the work in hand-loom weaving.<span class='pagenum'><a name="Page_148" id="Page_148">[Pg 148]</a></span></p> + + +<h3>SONGS AND GAMES</h3> + + +<div class="sidenote"><i>Songs and Games</i></div> + +<p><span class="smcap">Atkinson, Frank H., Jr.</span> Singing Songs for Children. See <span class="smcap">Coonley</span>.</p> + +<p><span class="smcap">Beebe, Katherine</span>. Schoolroom Plays. <i>Chicago: Thomas Charles Co.</i> 25 +cents.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">A Weaving Game.<br /></span> +</div></div> + +<p><span class="smcap">Brown, Kate L.</span> Stories in Song. See <span class="smcap">Emerson</span>.</p> + +<p><span class="smcap">Coolidge, Elizabeth</span>. After Supper Songs. <i>Chicago: Herbert S. Stone & +Co.</i> $2.00.</p> + +<p><span class="smcap">Coonley, Lydia A.</span>; <span class="smcap">Smith, Eleanor</span>; <span class="smcap">Gaynor, Jessie L.</span>; <span class="smcap">Root, Frederick +W.</span>; and <span class="smcap">Atkinson, Frank H., Jr.</span> Singing Verses for Children. <i>New York: +The Macmillan Co.</i> $2.00.</p> + +<p><span class="smcap">Davis, Katherine Wallace</span>. Singing Rhymes and Games. <i>Chicago: Clayton T. +Summy Co.</i> 35 cents.</p> + +<p><span class="smcap">Emerson, Elizabeth U.</span>, and <span class="smcap">Brown, Kate L.</span> Stories in Song. <i>Boston: +Oliver Ditson Co.</i> $1.00.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">The Oriole's Nest.<br /></span> +</div></div> + +<p><span class="smcap">Forsythe, Clarence</span>. Old Songs for Young America. <i>New York: Doubleday, +Page & Co.</i> 1901. $2.00.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Needle's Eye.<br /></span> +</div></div> + +<p><span class="smcap">Gaynor, Jessie L.</span> Songs of the Child World. <i>New York: The John Church +Co.</i> $1.00.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">The Bird's Nest.<br /></span> +<span class="i0">The Happy Lambkins.<br /></span> +<span class="i0">Song of the Shearers.<br /></span> +<span class="i0">Spinning the Yarn.<br /></span> +<span class="i0">Grandma's Knitting Song.<br /></span> +<span class="i0">Weaving Song.<br /></span> +<span class='pagenum'><a name="Page_149" id="Page_149">[Pg 149]</a></span></div></div> + +<div class="sidenote"><i>Songs and Games</i></div> + +<p><span class="smcap">Gaynor, Jessie L.</span> See also <span class="smcap">Coonley</span>.</p> + +<p><span class="smcap">Hill, Patty S.</span> Song Stories for the Kindergarten. <i>Chicago: Clayton T. +Summy Co.</i> $1.00.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">The Children and the Sheep.<br /></span> +</div></div> + +<p><span class="smcap">Hofer, Mari Ruef.</span> Children's Singing Games <i>Chicago: Published by Mari +Ruef Hofer, Kindergarten Magazine Co.</i> 50 cents.</p> + + +<p><span class="smcap">Hubbard, Clara Beeson</span>. Merry Songs and Games. <i>St. Louis: Balmer & Weber +Music Co.</i> $2.00.</p> + +<p><span class="smcap">Jenks, Harriet S.</span> Songs and Games for Little Ones. See <span class="smcap">Walker</span>.</p> + +<p><span class="smcap">Neidlinger, W. H.</span> Small Songs for Small Singers. <i>New York: G. +Schirmer.</i> $1.00.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">The Spider.<br /></span> +<span class="i0">The Bee.<br /></span> +<span class="i0">The Rainy Day.<br /></span> +</div></div> + +<p><span class="smcap">Nursery Stories</span> and Rhymes for the Kindergarten and Home. <i>Springfield, +Mass.: Milton Bradley Co.</i> $1.00.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">The Song of a Baby's Blanket.<br /></span> +<span class="i0">The Song of a Baby's Shirt.<br /></span> +</div></div> + +<p><span class="smcap">Pratt, Waldo S.</span> St. Nicholas Songs. <i>New York: The Century Co.</i> $2.00.</p> + +<p><span class="smcap">Root, Frederick W.</span> Singing Songs for Children. See <span class="smcap">Coonley</span>.</p> + +<p><span class="smcap">Smith, Eleanor</span>. First Book in Vocal Music. <i>Chicago and New York: +Silver, Burdette & Co.</i> 30 cents.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Oriole's Nest Song.<br /></span> +<span class="i0">Spinning Song.<br /></span> +<span class='pagenum'><a name="Page_150" id="Page_150">[Pg 150]</a></span></div></div> + +<div class="sidenote"><i>Songs and Games</i></div> + +<p><span class="smcap">Smith, Eleanor</span>. A Primer of Vocal Music. <i>Chicago and New York: Silver, +Burdette & Co.</i> 25 cents.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">The Lazy Sheep.<br /></span> +<span class="i0">The Spider.<br /></span> +<span class="i0">The Silkworm.<br /></span> +</div></div> + +<p>---- See also <span class="smcap">Coonley</span>.</p> + +<p><span class="smcap">Songs in Season</span>. Plan Book. <i>Chicago: A. Flanagan.</i> 50 cents.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">The Lambkin.<br /></span> +</div></div> + + +<p><span class="smcap">Walker, Gertrude</span>, and <span class="smcap">Jenks, Harriet S.</span> Songs and Games for Little Ones. +<i>Boston: Oliver Ditson Co.</i> $1.50.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Birdies in the Green Wood.<br /></span> +<span class="i0">Fly, Little Birds.<br /></span> +<span class="i0">In the Branches of a Tree.<br /></span> +<span class="i0">Eight White Sheep.<br /></span> +<span class="i0">Weaving Song.<br /></span> +</div></div> + + +<h3>STORIES</h3> + +<div class="sidenote"><i>Stories</i></div> + +<p><span class="smcap">Andrews, Jane</span>. Each and All. <i>Boston: Ginn & Co.</i> 50 cents. <i>Boston: Lee +& Shepard.</i> $1.00.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">New Work for Pense.<br /></span> +</div></div> + +<p><span class="smcap">Chase, A.</span>, and <span class="smcap">Clow, E.</span> Stories of Industry. <i>Boston: Educational +Publishing Co.</i> 2 vols. 60 cents each.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Stories of Cotton, Wool, Silk, and Carpets.<br /></span> +</div></div> + +<p><span class="smcap">Clow, E.</span> Stories of Industry. See <span class="smcap">Chase</span>.</p> + +<p><span class="smcap">Farmer, Lydia Hoyt</span>. Boy's Book of Famous Rulers. <i>New York: Thomas Y. +Crowell & Co.</i> $1.50.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Robert Bruce and the Spider.<br /></span> +<span class='pagenum'><a name="Page_151" id="Page_151">[Pg 151]</a></span></div></div> + +<div class="sidenote"><i>Stories</i></div> + +<p><span class="smcap">Miller, Olive Thorne</span>. Little Folks in Feathers and Fur, and Others in +Neither. <i>New York: E. P. Dutton & Co.</i> $2.50.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">The Spider Speaks for Herself.<br /></span> +<span class="i0">Stories of Caterpillars and Butterflies.<br /></span> +<span class="i0">A Funny Little Log House.<br /></span> +</div></div> + +<p><span class="smcap">Pierson, Clara Dillingham</span>. Among the Farmyard People. <i>New York: E. P. +Dutton & Co.</i> $1.25.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">The Lamb with the Longest Tail.<br /></span> +<span class="i0">The Twin Lambs.<br /></span> +<span class="i0">Why the Sheep Ran Away.<br /></span> +</div></div> + +<p><span class="smcap">Poulsson, Emilie</span>. Nursery Finger Plays. <i>Boston: Lothrop Publishing Co.</i> +$1.25.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">The Lambs.<br /></span> +</div></div> + +<p>---- Child Stories and Rhymes. <i>Boston: Lothrop Publishing Co.</i> $1.25.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">The Story of Baby's Blanket.<br /></span> +</div></div> + +<p>---- In the Child's World. <i>Springfield, Mass.: Milton Bradley Co.</i> +$2.00.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Stories of Caterpillars and Butterflies.<br /></span> +<span class="i0">A Visit to the Weaver.<br /></span> +<span class="i0">John's Trousers.<br /></span> +<span class="i0">How a Little Boy got a New Shirt.<br /></span> +<span class="i0">Molly's Lamb.<br /></span> +<span class="i0">Sequel to an Old Story.<br /></span> +<span class="i0">Cotton Field Stories.<br /></span> +<span class="i0">The Flax.<br /></span> +<span class="i0">The Flax Flower.<br /></span> +<span class="i0">The Silk Worm.<br /></span> +<span class="i0">The Sparrow's Nest.<br /></span> +<span class="i0">The Life of a Silk Worm.<br /></span> +<span class="i0">The Goddess of the Silk Worm.<br /></span> +<span class="i0">The Nest of Many Colors.<br /></span> +<span class="i0">The Little Worm that was Glad to be Alive.<br /></span> +<span class='pagenum'><a name="Page_152" id="Page_152">[Pg 152]</a></span></div></div> + +<div class="sidenote"><i>Stories</i></div> + +<p><span class="smcap">Smith, Nora A.</span> The Story Hour. See <span class="smcap">Wiggin</span>.</p> + +<p><span class="smcap">Stories in Season</span>. Plan Book. <i>Chicago: A. Flanagan.</i> 35 cents.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">The Bramble Bush and the Lambs.<br /></span> +</div></div> + +<p><span class="smcap">Wiggin, Kate Douglas</span> (Mrs. George C. Riggs), and <span class="smcap">Smith, Nora A.</span> The +Story Hour. <i>Boston: Houghton, Mifflin & Co.</i> $1.00.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">The Child and the World.<br /></span> +</div></div> + +<p><span class="smcap">Wiltse, Sara A.</span> Kindergarten Stories and Morning Talks. <i>Boston: Ginn & +Co.</i> 75 cents.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Stories of Wool, etc.<br /></span> +</div></div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_153" id="Page_153">[Pg 153]</a></span></p> +<h2>Chapter Fifteen</h2> + +<h3>A LIST OF HELPFUL BOOKS AND MAGAZINE ARTICLES</h3> + + +<h3>BOOKS</h3> + +<div class="sidenote"><i>Books</i></div> + +<p><span class="smcap">Albee, Mrs. Helen R.</span> Abnákee Rugs. <i>Boston: The Riverside Press. Issued +by the author, Pequaket, Silver Lake P. O., N. H.</i></p> + +<p>---- Mountain Playmates. <i>Boston: Houghton, Mifflin & Co.</i></p> + +<div class="blockquot"><p>(Chapter on Rug-making.)</p></div> + +<p><span class="smcap">Ashenhurst, Thomas R.</span> Designs in Textile Fabrics. <i>London: Cassell & +Co.</i></p> + +<p>---- Weaving and Designing of Textile Fabrics. <i>London: Simpkin, +Marshall & Co.</i></p> + +<div class="blockquot"><p>(Chapters on History of Weaving, Color, and Combination and +Arrangement of Designs.)</p></div> + +<p><span class="smcap">Bates, Lois.</span> Kindergarten Guide. <i>New York: Longmans, Green & Co.</i></p> + +<p><span class="smcap">Benjamin, S. G. W.</span> Persia and the Persians. <i>Boston: Houghton, Mifflin & +Co.</i></p> + +<p><span class="smcap">Birdwood, Sir George</span>. Industrial Arts of India. <i>London: Chapman & +Hall.</i></p> + +<p><span class="smcap">Bishop, Mrs.</span> I. B. Journeys in Persia and Kurdistan. <i>New York: G. P. +Putnam's Sons.</i></p> + +<p><span class="smcap">Caine, William</span> S. Picturesque India. <i>New York: George Routledge & +Sons.</i><span class='pagenum'><a name="Page_154" id="Page_154">[Pg 154]</a></span></p> + +<div class="sidenote">Books</div> + +<p><span class="smcap">Collins, Treachor</span> E. In the Kingdom of the Shah. <i>London: T. Fisher +Unwin.</i></p> + +<p><span class="smcap">Davie, Oliver</span>. Nests and Eggs of North American Birds. <i>Columbus, Ohio: +The Landon Press.</i></p> + +<p><span class="smcap">Dellenbaugh, Frederick</span> S. North Americans of Yesterday. <i>New York: G. P. +Putnam's Sons.</i></p> + +<p><span class="smcap">Dixon, Charles</span>. Curiosities in Bird Life. <i>London: George Redway & Son.</i></p> + +<p>---- Curious Nests. <i>London: George Redway & Son.</i></p> + +<p><span class="smcap">Dugmore, A. Radclyffe</span>. Bird Homes. <i>New York: Doubleday, Page & Co.</i></p> + +<p><span class="smcap">Earle, Alice Morse</span>. Home Life in Colonial Days. <i>New York: The Macmillan +Co.</i></p> + +<p><span class="smcap">Firth, Annie</span>. Cane Basket Work. <i>London: L. Upcott Gill. 1899. New York: +Charles Scribner's Sons.</i></p> + +<p><span class="smcap">Grinnell, George Bird</span>. Indians of To-day. <i>New York: D. Appleton & Co.</i></p> + +<p>---- Story of the Indian. <i>New York: D. Appleton & Co.</i></p> + +<p><span class="smcap">Gurdji</span>, V. Oriental Rug Weaving. <i>New York: F. Tennyson Neely Co.</i></p> + +<p><span class="smcap">Herrick, Francis Hobart</span>. The Home Life of the Wild Birds. <i>New York: G. +P. Putnam's Sons.</i></p> + +<p><span class="smcap">Holt, Rosa Belle</span>. Rugs: Oriental and Occidental. <i>Chicago: A. C. McClurg +& Co.</i></p> + +<p><span class="smcap">How to Make</span> and How to Mend. (Directions for dyeing.) <i>New York: The +Macmillan Co.</i></p> + +<p><span class="smcap">Hummel, Prof</span>. The Dyeing of Textile Fabrics. <i>New York: Cassell & Co.</i><span class='pagenum'><a name="Page_155" id="Page_155">[Pg 155]</a></span></p> + +<div class="sidenote">Books</div> + +<p><span class="smcap">James, George Wharton</span>. Indian Basketry. <i>New York: Henry Malkan. 1902.</i></p> + +<p><span class="smcap">Knapp, Elizabeth S</span>. Raphia and Reed Weaving. <i>Springfield, Mass.: Milton +Bradley Co.</i></p> + +<p><span class="smcap">Kraus-Boelte, Mme.</span> Kindergarten Guide. (Occupations.) <i>New York: Steiger +& Co.</i></p> + +<p><span class="smcap">Mason, O. T.</span> Woman's Share in Primitive Culture. <i>New York: D. Appleton +& Co.</i></p> + +<p><span class="smcap">Morris, William</span>. Some Hints on Pattern Designing. <i>New York: Longmans, +Green & Co.</i></p> + +<p><span class="smcap">Mumford, J. K.</span> Oriental Rugs. <i>New York: Charles Scribner's Sons.</i></p> + +<p><span class="smcap">Sheldon, William E.</span>, and others. Illustrated Lessons with Paper Folding. +<i>Springfield, Mass.: Milton Bradley Co.</i></p> + +<p><span class="smcap">Walker, Louisa</span>. Varied Occupations in String Work; comprising Knotting, +Netting, Looping, Plating, and Macremé. <i>New York: The Macmillan Co.</i></p> + +<p>---- Varied Occupations in Weaving. <i>New York: The Macmillan Co.</i></p> + +<p><span class="smcap">Wheeler, Mrs. Candace</span>. Home Industries and Domestic Weavings. <i>New York: +Associated Artists, 115 East 23d Street.</i></p> + +<p><span class="smcap">White, Mary</span>. How to Make Baskets. <i>New York: Doubleday, Page & Co. +1902.</i></p> + +<p><span class="smcap">Wiebe, Edward</span>. Paradise of Childhood. <i>Springfield, Mass.: Milton +Bradley Co.</i></p> + +<p><span class="smcap">Wiggin, Kate Douglas</span> (Mrs. George C. Riggs). Republic of Childhood +(Occupations). <i>Boston: Houghton, Mifflin & Co.</i></p> + +<p><span class="smcap">Worst, Edward F.</span> Construction Work. <i>Chicago: A. W. Mumford. 1901.</i><span class='pagenum'><a name="Page_156" id="Page_156">[Pg 156]</a></span></p> + + +<h3>FINE ART BOOKS</h3> + +<div class="sidenote"><i>Fine art books</i></div> + +<p>The following books can be found in the Fine Art Collections in some +public libraries. They are very valuable and contain many very beautiful +illustrations of oriental rugs and carpets, which are helpful in the +study of design and of harmony in color:</p> + +<p><span class="smcap">Burty</span>, P. Masterpieces of Industrial Art.</p> + +<p><span class="smcap">Coxon, Herbert</span>. Oriental Carpets.</p> + +<p><span class="smcap">Lessing, Julius</span>. Ancient Oriental Carpet Patterns.</p> + +<p><span class="smcap">Robinson, Vincent</span> J. Eastern Carpets.</p> + +<p><span class="smcap">Vienna Imperial and Royal Austrian Museum</span>. Oriental Carpets.</p> + + +<h3>MAGAZINE ARTICLES</h3> + +<div class="sidenote"><i>Magazine articles</i></div> + +<p><span class="smcap">A Profitable Philanthropy</span>, by Mrs. Helen R. Albee. <i>Review of Reviews, +July, 1900.</i></p> + +<p><span class="smcap">Art of the American Indian</span>. <i>Chautauquan, March, 1899.</i></p> + +<p><span class="smcap">A Study of the Textile Art</span>, by Wm. H. Holmes. <i>Sixth Annual Report, +Bureau of Ethnology, Washington, D. C.</i> (pp. 84, 85.)</p> + +<p><span class="smcap">Domestic Art Number</span>. <i>Pratt Institute Monthly, February, 1901.</i></p> + +<p><span class="smcap">Home Industries and Domestic Manufactures</span>, by Mrs. Candace Wheeler. <i>The +Outlook, Oct. 14, 1899.</i></p> + +<p><span class="smcap">Industrial Classes in Settlement Work</span>, by George W. R. Twose. <i>Pratt +Institute Monthly, November, 1898.</i><span class='pagenum'><a name="Page_157" id="Page_157">[Pg 157]</a></span></p> + +<div class="sidenote"><i>Magazine articles</i></div> + +<p><span class="smcap">Industrial Education as a Social Force</span>, by H. W. Stebbins. <i>Educational +Review, May, 1902.</i></p> + +<p><span class="smcap">Juvenile Portiere Makers</span>. <i>New York Tribune, New York City, March 10, +1901.</i> Reprinted in <i>Minneapolis Journal Junior, April 20, 1901, +Minneapolis, Minn.</i></p> + +<p><span class="smcap">Leaf Cutting</span> (for rug designs). <i>Pratt Institute Monthly, April, 1900.</i></p> + +<p><span class="smcap">Mrs. Volk and Her Work</span>. <i>Good Housekeeping, September, 1901.</i></p> + +<p><span class="smcap">Navajo Weavers</span>, by Dr. Washington Matthews. <i>Third Annual Report of +Bureau of Ethnology, Washington, D. C.</i></p> + +<div class="blockquot"><p>(This volume also contains a number of fine illustrations of +blankets, etc.)</p></div> + +<p><span class="smcap">New England Rugs</span>. <i>Minneapolis Journal, Minneapolis, Minn., March 28, +1900.</i></p> + +<p><span class="smcap">On the Designing and Making of Carpets</span>, by F. J. Mayer. <i>The Artist, +July and August, 1899.</i></p> + +<p><span class="smcap">Prehistoric Textile Art of Eastern United States</span>, by Wm. H. Holmes. +<i>Thirteenth Annual Report of Bureau of Ethnology, Washington, D. C.</i> +(pp. 91, 92.)</p> + +<p><span class="smcap">Some Social Aspects of Education</span>, by G. Stanley Hall. <i>Educational +Review, May, 1902.</i></p> + +<p><span class="smcap">Straw Weaving</span>. <i>American Homes, Knoxville, Tenn., September, 1900.</i></p> + +<p><i>Teachers' College Record.</i> Teachers' College, Columbia University, New +York.</p> + +<div class="blockquot"><p>(Containing a number of articles on weaving.)</p></div><p><span class='pagenum'><a name="Page_158" id="Page_158">[Pg 158]</a></span></p> + +<div class="sidenote"><i>Magazine articles</i></div> + +<p><span class="smcap">Textile Industries of the United States</span>. <i>Chautauquan, March, 1899.</i></p> + +<p><span class="smcap">Textile Industry Since 1890.</span> <i>Forum, May, 1899.</i></p> + +<p><span class="smcap">Textiles, Old and New</span>. <i>The Craftsman, The United Crafts, Eastwood, N. +Y., January, 1902.</i></p> + +<div class="blockquot"><p>(Contains "Notes from the History of Textiles," "A Revival +of English Handicrafts," and "Brain and Hand.")</p></div> + +<p><i>The Elementary School Record</i>, by Dr. John Dewey. Numbers 1 to 9. <i>The +University of Chicago Press, 1900.</i></p> + +<div class="blockquot"><p>(Containing a number of articles on weaving and a record of +industrial work done in the University Elementary School of +the University of Chicago.)</p></div> + +<p><span class="smcap">The Labor Museum at Hull House</span>, by Jessie Luther. <i>The Commons, Hull +House, Chicago, Vol. VII., No. 70, May, 1902.</i></p> + +<div class="blockquot"><p>(Containing valuable illustrations of old looms, and the +methods of spinning and weaving.)</p></div> + +<p><span class="smcap">Weavers of the Philippines</span>, by G. E. Walsh. <i>The Catholic World, March, +1902.</i></p> + +<p><span class="smcap">What is Being Done in Textile Education</span>. <i>Chautauquan, August, 1900.</i></p> + +<p>Many topics interesting to teachers of industrial work are dealt with in +the instruction papers of the International Correspondence Schools, +Textile department. Communications should be addressed to Christopher P. +Brooks, New Bedford, Mass.</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_159" id="Page_159">[Pg 159]</a></span></p> +<h2>The Index</h2> + + +<p> +"Abnákee Rug Industry," <a href='#Page_63'>63</a> ff.<br /> +<br /> +Accuracy, weaving develops, <a href='#Page_22'>22</a>.<br /> +<br /> +Acids, used in dyeing, <a href='#Page_69'>69</a>, <a href='#Page_74'>74</a> ff.<br /> +<br /> +Action, relation to ideas, <a href='#Page_8'>8</a>.<br /> +<br /> +Afghans, weaving of, <a href='#Page_49'>49</a>, <a href='#Page_54'>54</a>, <a href='#Page_120'>120</a>, <a href='#Page_121'>121</a>.<br /> +<br /> +Albee, Mrs. Helen R., <a href='#Page_63'>63</a>, <a href='#Page_64'>64</a> ff.<br /> +<br /> +Angora wool, <a href='#Page_57'>57</a>.<br /> +<br /> +Aniline dyes, <a href='#Page_73'>73</a>.<br /> +<br /> +Ashenhurst, quotations from, <a href='#Page_13'>13</a>, <a href='#Page_14'>14</a>, <a href='#Page_16'>16</a>.<br /> +<br /> +Axminster rugs, <a href='#Page_120'>120</a>-121, <a href='#Page_131'>131</a>, <a href='#Page_132'>132</a>, <a href='#Page_134'>134</a>.<br /> +<br /> +<br /> +Baby shoes, <a href='#Page_115'>115</a>.<br /> +<br /> +Balls, worsted, <a href='#Page_115'>115</a>.<br /> +<br /> +Basketry, preparation for, <a href='#Page_23'>23</a>, <a href='#Page_24'>24</a>.<br /> +<br /> +Bates, Lois, <a href='#Page_23'>23</a>, <a href='#Page_31'>31</a>, <a href='#Page_144'>144</a>.<br /> +<br /> +Bath rugs, <a href='#Page_100'>100</a>.<br /> +<br /> +Batten, The, Hindoo and Egyptian, <a href='#Page_15'>15</a>.<br /> +<br /> +Bed shoes, <a href='#Page_113'>113</a>, <a href='#Page_114'>114</a>.<br /> +<br /> +Bed spreads, <a href='#Page_109'>109</a>.<br /> +<br /> +Blankets, <a href='#Page_56'>56</a>-57;<br /> +<span style="margin-left: 1em;">carriage, <a href='#Page_109'>109</a>.</span><br /> +<br /> +Blue dye, <a href='#Page_59'>59</a>-60;<br /> +<span style="margin-left: 1em;">wool carded, <a href='#Page_62'>62</a>.</span><br /> +<br /> +Bokhara rugs, <a href='#Page_123'>123</a>, <a href='#Page_124'>124</a>-125, <a href='#Page_128'>128</a>, <a href='#Page_131'>131</a>, <a href='#Page_134'>134</a>.<br /> +<br /> +Bookmark, <a href='#Page_35'>35</a>-36, <a href='#Page_37'>37</a>.<br /> +<br /> +Borders, <a href='#Page_89'>89</a>, <a href='#Page_109'>109</a>, <a href='#Page_118'>118</a>, <a href='#Page_121'>121</a>, <a href='#Page_122'>122</a>, <a href='#Page_123'>123</a>, <a href='#Page_124'>124</a>.<br /> +<br /> +<br /> +Candle-wicking, <a href='#Page_52'>52</a>, <a href='#Page_83'>83</a>-84, <a href='#Page_108'>108</a>.<br /> +<br /> +Cap, <a href='#Page_40'>40</a>.<br /> +<br /> +Carding, <a href='#Page_62'>62</a> ff.<br /> +<br /> +Carpet ravelings, see <i>Ravelings</i>.<br /> +<br /> +Carpet wool, rugs of, <a href='#Page_105'>105</a>.<br /> +<br /> +Carriage blankets, <a href='#Page_109'>109</a>.<br /> +<br /> +Celluloid strips, <a href='#Page_55'>55</a>-56, <a href='#Page_85'>85</a>.<br /> +<br /> +Chatelaine bags, <a href='#Page_117'>117</a>-118.<br /> +<br /> +Cheese cloth, <a href='#Page_51'>51</a>, <a href='#Page_58'>58</a> ff., <a href='#Page_99'>99</a>, <a href='#Page_108'>108</a>.<br /> +<br /> +Chenille, <a href='#Page_42'>42</a>, <a href='#Page_53'>53</a>;<br /> +<span style="margin-left: 1em;">splicing of, <a href='#Page_83'>83</a>-84.</span><br /> +<br /> +Chinese, weaving practiced by, <a href='#Page_13'>13</a>.<br /> +<br /> +Clavigero, on weaving in Mexico, <a href='#Page_14'>14</a>.<br /> +<br /> +Clouding, <a href='#Page_63'>63</a>.<br /> +<br /> +Coles, C. S., <a href='#Page_24'>24</a>.<br /> +<br /> +Colors, <a href='#Page_62'>62</a>, <a href='#Page_64'>64</a>-65, <a href='#Page_136'>136</a>-138;<br /> +<span style="margin-left: 1em;">color scheme, <a href='#Page_66'>66</a>;</span><br /> +<span style="margin-left: 1em;">shading, <a href='#Page_67'>67</a>-68;</span><br /> +<span style="margin-left: 1em;">see also <i>Dyes</i>, <i>Formulas</i>, and names of colors.</span><br /> +<br /> +Concentration, weaving develops, <a href='#Page_22'>22</a>.<br /> +<br /> +Conversation in class room, <a href='#Page_147'>147</a>.<br /> +<br /> +Copperas, <a href='#Page_60'>60</a>.<br /> +<br /> +Cotton, darning, <a href='#Page_55'>55</a>;<br /> +<span style="margin-left: 1em;">knitting, <a href='#Page_55'>55</a>.</span><br /> +<br /> +Couch covers, weaving of, <a href='#Page_49'>49</a>.<br /> +<br /> +Creed, The, <a href='#Page_7'>7</a>;<br /> +<span style="margin-left: 1em;">disregarded, <a href='#Page_7'>7</a>-8.</span><br /> +<br /> +Cushions, <a href='#Page_120'>120</a>.<br /> +<br /> +<br /> +Demonstration cards, <a href='#Page_31'>31</a>.<br /> +<br /> +Designing, weaving prepares for, <a href='#Page_23'>23</a>, <a href='#Page_25'>25</a>.<br /> +<br /> +Designs, <a href='#Page_27'>27</a>, <a href='#Page_31'>31</a>, <a href='#Page_33'>33</a>, <a href='#Page_35'>35</a>, <a href='#Page_47'>47</a>-48, <a href='#Page_57'>57</a>, <a href='#Page_105'>105</a> ff., <a href='#Page_120'>120</a>, <a href='#Page_122'>122</a>.<br /> +<br /> +Dexterity, weaving develops, <a href='#Page_22'>22</a>, <a href='#Page_24'>24</a>.<br /> +<br /> +Discouragement, Froebel's theory, <a href='#Page_17'>17</a>.<br /> +<br /> +Dish cloths, <a href='#Page_99'>99</a>-100.<br /> +<br /> +Doll's shawl and skirt, <a href='#Page_109'>109</a>-110.<br /> +<br /> +Doll's towel, <a href='#Page_55'>55</a>, <a href='#Page_108'>108</a>-109.<br /> +<br /> +Dusters, <a href='#Page_107'>107</a>-108.<br /> +<br /> +Dyeing, <a href='#Page_14'>14</a>, <a href='#Page_58'>58</a>-82;<br /> +<span style="margin-left: 1em;">formulas, <a href='#Page_73'>73</a> ff.</span><br /> +<br /> +Dyes, kinds of, <a href='#Page_58'>58</a>, <a href='#Page_60'>60</a>, <a href='#Page_61'>61</a>, <a href='#Page_72'>72</a>, <a href='#Page_73'>73</a>;<br /> +<span style="margin-left: 1em;">see also names of colors.</span><br /> +<br /> +<br /> +Easel support for loom, <a href='#Page_19'>19</a>.<br /> +<br /> +Egyptians, inventors of the loom, <a href='#Page_14'>14</a>.<br /> +<br /> +<br /> +Face cloths, <a href='#Page_99'>99</a>-100.<br /> +<br /> +Felt mats, <a href='#Page_23'>23</a>, <a href='#Page_30'>30</a>-32.<br /> +<br /> +Finger Play, <a href='#Page_143'>143</a>.<br /> +<br /> +Floor rugs, weaving of, <a href='#Page_49'>49</a>-50.<br /> +<br /> +Formulas for colors, <a href='#Page_73'>73</a> ff.<br /> +<br /> +Frames, photograph and picture, <a href='#Page_116'>116</a>.<br /> +<br /> +Free-paper weaving, <a href='#Page_35'>35</a>.<br /> +<br /> +Fringe, <a href='#Page_111'>111</a>-113.<br /> +<br /> +Froebel, Friedrich, <a href='#Page_10'>10</a>, <a href='#Page_17'>17</a>.<br /> +<br /> +<br /> +Games, <a href='#Page_143'>143</a>-152;<br /> +<span style="margin-left: 1em;">list of, <a href='#Page_148'>148</a> ff.</span><br /> +<br /> +Germantown wool, <a href='#Page_54'>54</a>, <a href='#Page_55'>55</a>, <a href='#Page_84'>84</a>, <a href='#Page_109'>109</a>, <a href='#Page_114'>114</a>.<br /> +<br /> +Gifts, made by children, <a href='#Page_21'>21</a>, <a href='#Page_34'>34</a>, <a href='#Page_37'>37</a>, <a href='#Page_55'>55</a>, <a href='#Page_113'>113</a>.<br /> +<br /> +Glauber salts, <a href='#Page_68'>68</a>, <a href='#Page_69'>69</a>, <a href='#Page_71'>71</a>, <a href='#Page_74'>74</a> ff.<br /> +<br /> +Glove boxes, <a href='#Page_104'>104</a>.<br /> +<br /> +Gray, wool carded, <a href='#Page_62'>62</a>-63.<br /> +<br /> +Green dye, <a href='#Page_66'>66</a>;<br /> +<span style="margin-left: 1em;">dull shade, <a href='#Page_69'>69</a>.</span><br /> +<br /> +<br /> +Hair receivers, <a href='#Page_121'>121</a>.<br /> +<br /> +Hammocks, <a href='#Page_93'>93</a>-98.<br /> +<br /> +Hand-training in kindergarten, <a href='#Page_10'>10</a>, <a href='#Page_22'>22</a>.<br /> +<br /> +Hindoo loom, <a href='#Page_15'>15</a>-16.<br /> +<br /> +Holders, <a href='#Page_91'>91</a>, <a href='#Page_92'>92</a>.<br /> +<br /> +Hurwitz, Professor, <a href='#Page_13'>13</a>.<br /> +<br /> +<br /> +Indian dyes, <a href='#Page_58'>58</a>.<br /> +<br /> +Indian loom, <a href='#Page_135'>135</a>, <a href='#Page_137'>137</a>.<br /> +<br /> +Individual, The, training of, <a href='#Page_28'>28</a>.<br /> +<br /> +Industrial training, <a href='#Page_11'>11</a>, <a href='#Page_28'>28</a>-29.<br /> +<br /> +Ink stains, <a href='#Page_61'>61</a>.<br /> +<br /> +Iron rust, <a href='#Page_61'>61</a>.<br /> +<br /> +<br /> +"Jacob's ladder," <a href='#Page_39'>39</a>.<br /> +<br /> +<br /> +Kerman rugs, <a href='#Page_123'>123</a>.<br /> +<br /> +Khiva rugs, <a href='#Page_123'>123</a>, <a href='#Page_125'>125</a>, <a href='#Page_128'>128</a>, <a href='#Page_131'>131</a>, <a href='#Page_134'>134</a>.<br /> +<br /> +Kindergarten, hand-training in, <a href='#Page_10'>10</a>.<br /> +<br /> +"Kindergarten Guides," <a href='#Page_23'>23</a>, <a href='#Page_31'>31</a>, <a href='#Page_33'>33</a>, <a href='#Page_144'>144</a>.<br /> +<br /> +Kiz-Kilim rugs, <a href='#Page_47'>47</a>, <a href='#Page_123'>123</a>, <a href='#Page_125'>125</a>, <a href='#Page_126'>126</a>-129.<br /> +<br /> +Knotting fringe, <a href='#Page_113'>113</a>.<br /> +<br /> +<span class='pagenum'><a name="Page_160" id="Page_160">[Pg 160]</a></span>Kraus-Boelte, Mme., <a href='#Page_25'>25</a>.<br /> +<br /> +"Kraus-Boelte Guide," <a href='#Page_25'>25</a>.<br /> +<br /> +Kurdji, V., <a href='#Page_124'>124</a>.<br /> +<br /> +<br /> +Leaf forms, <a href='#Page_107'>107</a>.<br /> +<br /> +Leaf stains, <a href='#Page_61'>61</a>.<br /> +<br /> +Leather strips, <a href='#Page_55'>55</a>, <a href='#Page_85'>85</a>.<br /> +<br /> +Linings, <a href='#Page_51'>51</a>.<br /> +<br /> +Loom, The, <a href='#Page_13'>13</a>-21.<br /> +<br /> +Loom, The Todd Adjustable Hand, see <i>Todd</i>.<br /> +<br /> +Lunch cloths, <a href='#Page_109'>109</a>.<br /> +<br /> +<br /> +Macremé cord, <a href='#Page_55'>55</a>;<br /> +<span style="margin-left: 1em;">splicing of, <a href='#Page_83'>83</a>-84.</span><br /> +<br /> +Making, instinct for, <a href='#Page_9'>9</a>.<br /> +<br /> +Manual training, <a href='#Page_10'>10</a>.<br /> +<br /> +Materials, <a href='#Page_10'>10</a>, <a href='#Page_51'>51</a>-57.<br /> +<br /> +Mats, see <i>Felt</i>, <i>Paper</i>, and <i>Table</i>.<br /> +<br /> +Matthews, Dr. W., <a href='#Page_58'>58</a>, <a href='#Page_136'>136</a>, <a href='#Page_138'>138</a>, <a href='#Page_140'>140</a>.<br /> +<br /> +Measuring glass, <a href='#Page_68'>68</a>-69.<br /> +<br /> +Mill, John Stuart, <a href='#Page_8'>8</a>.<br /> +<br /> +Mitten, <a href='#Page_40'>40</a>.<br /> +<br /> +Mordants, <a href='#Page_68'>68</a>.<br /> +<br /> +Mottled rugs and borders, <a href='#Page_87'>87</a> ff.<br /> +<br /> +Mumford, John Kimberley, <a href='#Page_128'>128</a>.<br /> +<br /> +<br /> +Navajo blankets, <a href='#Page_48'>48</a>, <a href='#Page_135'>135</a>-142.<br /> +<br /> +Needle, used with loom, <a href='#Page_19'>19</a>, <a href='#Page_20'>20</a>.<br /> +<br /> +Nut stains, <a href='#Page_60'>60</a>-61.<br /> +<br /> +<br /> +Opera-glass bags, <a href='#Page_118'>118</a>.<br /> +<br /> +Oriental cord, for warp, <a href='#Page_43'>43</a>.<br /> +<br /> +Oriental rugs, weaving of, <a href='#Page_122'>122</a>-134.<br /> +<br /> +"Oriental Rugs," <a href='#Page_128'>128</a>.<br /> +<br /> +"Oriental Rug Weaving," <a href='#Page_124'>124</a>.<br /> +<br /> +<br /> +Panels, of silk canvas, <a href='#Page_119'>119</a>.<br /> +<br /> +Paper mats, <a href='#Page_23'>23</a>, <a href='#Page_25'>25</a>, <a href='#Page_33'>33</a> ff.<br /> +<br /> +"Paradise of Childhood," <a href='#Page_35'>35</a>, <a href='#Page_105'>105</a>, <a href='#Page_107'>107</a>.<br /> +<br /> +Patterns, see <i>Designs</i>.<br /> +<br /> +Pencil holder, <a href='#Page_38'>38</a>.<br /> +<br /> +Persian rugs, designs for, <a href='#Page_124'>124</a>.<br /> +<br /> +Photograph and picture frames, <a href='#Page_116'>116</a>.<br /> +<br /> +Pile weaving, <a href='#Page_132'>132</a>-134.<br /> +<br /> +Pink, wool carded, <a href='#Page_62'>62</a>.<br /> +<br /> +Porch curtains, <a href='#Page_104'>104</a>.<br /> +<br /> +Portières, <a href='#Page_121'>121</a>.<br /> +<br /> +Poulsson, Miss, <a href='#Page_143'>143</a>, <a href='#Page_146'>146</a>.<br /> +<br /> +Practical training, need of, <a href='#Page_10'>10</a>.<br /> +<br /> +Principles, value of learning, <a href='#Page_23'>23</a>.<br /> +<br /> +Public schools, practical training in, <a href='#Page_10'>10</a>, <a href='#Page_18'>18</a>, <a href='#Page_26'>26</a>-27.<br /> +<br /> +Purses, <a href='#Page_117'>117</a>-118.<br /> +<br /> +"Pussy-cat stairs," <a href='#Page_39'>39</a>-40.<br /> +<br /> +<br /> +Quilts, <a href='#Page_109'>109</a>.<br /> +<br /> +<br /> +Raffia, <a href='#Page_42'>42</a>, <a href='#Page_45'>45</a>, <a href='#Page_56'>56</a>, <a href='#Page_58'>58</a> ff., <a href='#Page_71'>71</a>, <a href='#Page_84'>84</a>-85.<br /> +<br /> +Raffia mats, method of weaving, <a href='#Page_101'>101</a>-121.<br /> +<br /> +Ravelings, <a href='#Page_43'>43</a>, <a href='#Page_53'>53</a>, <a href='#Page_83'>83</a>.<br /> +<br /> +Red dye, <a href='#Page_60'>60</a>.<br /> +<br /> +Reins, <a href='#Page_110'>110</a>.<br /> +<br /> +"Republic of Childhood," The, <a href='#Page_34'>34</a>, <a href='#Page_145'>145</a>.<br /> +<br /> +Rope silk, <a href='#Page_42'>42</a>, <a href='#Page_52'>52</a>-53;<br /> +<span style="margin-left: 1em;">splicing of, <a href='#Page_84'>84</a>.</span><br /> +<br /> +<br /> +Sachet cases, <a href='#Page_120'>120</a>.<br /> +<br /> +Scarf, <a href='#Page_116'>116</a>.<br /> +<br /> +School bags, <a href='#Page_118'>118</a>.<br /> +<br /> +Scientific facts as applied in schools, <a href='#Page_8'>8</a>.<br /> +<br /> +Sequence weaving, <a href='#Page_35'>35</a> ff.<br /> +<br /> +Serebend rugs, <a href='#Page_123'>123</a>.<br /> +<br /> +Shawls, <a href='#Page_109'>109</a>-110.<br /> +<br /> +Shetland wool, <a href='#Page_56'>56</a>.<br /> +<br /> +Shoes, bed, <a href='#Page_113'>113</a>-114;<br /> +<span style="margin-left: 1em;">baby, <a href='#Page_115'>115</a>.</span><br /> +<br /> +Shopping bags, <a href='#Page_118'>118</a>.<br /> +<br /> +Shuttle, Egyptian, <a href='#Page_13'>13</a>;<br /> +<span style="margin-left: 1em;">Hindoo, <a href='#Page_15'>15</a>.</span><br /> +<br /> +Silk, <a href='#Page_52'>52</a>;<br /> +<span style="margin-left: 1em;">knitting, <a href='#Page_57'>57</a>.</span><br /> +<br /> +Silk canvas, <a href='#Page_119'>119</a>-120.<br /> +<br /> +Silkoline, <a href='#Page_51'>51</a>, <a href='#Page_83'>83</a>;<br /> +<span style="margin-left: 1em;">for rugs or mats, <a href='#Page_86'>86</a>-92.</span><br /> +<br /> +Skirt, doll's, <a href='#Page_110'>110</a>.<br /> +<br /> +Slats, weaving with, <a href='#Page_23'>23</a>-24, <a href='#Page_31'>31</a>-32.<br /> +<br /> +Sleeve protectors, <a href='#Page_117'>117</a>.<br /> +<br /> +Slumber robes, <a href='#Page_49'>49</a>, <a href='#Page_54'>54</a>, <a href='#Page_120'>120</a>, <a href='#Page_121'>121</a>.<br /> +<br /> +Socks, <a href='#Page_113'>113</a>-114.<br /> +<br /> +Sofa pillows, <a href='#Page_120'>120</a>.<br /> +<br /> +Songs, games, and stories, <a href='#Page_143'>143</a>-152, <a href='#Page_148'>148</a> ff.<br /> +<br /> +Splicing, methods of, <a href='#Page_83'>83</a>-85.<br /> +<br /> +Splints, weaving with, <a href='#Page_23'>23</a>-24, <a href='#Page_39'>39</a>.<br /> +<br /> +Star, <a href='#Page_37'>37</a>.<br /> +<br /> +Steiger, E., publisher, <a href='#Page_35'>35</a>.<br /> +<br /> +Stories, <a href='#Page_143'>143</a>, <a href='#Page_152'>152</a>;<br /> +<span style="margin-left: 1em;">list of, <a href='#Page_148'>148</a> ff.</span><br /> +<br /> +"Straw Weaving," <a href='#Page_104'>104</a>.<br /> +<br /> +Success, Froebel's theory, <a href='#Page_17'>17</a>.<br /> +<br /> +Sweater, doll's, <a href='#Page_41'>41</a>.<br /> +<br /> +<br /> +Table cover, <a href='#Page_49'>49</a>.<br /> +<br /> +Table mats, <a href='#Page_38'>38</a>, <a href='#Page_116'>116</a>, <a href='#Page_117'>117</a>.<br /> +<br /> +Tam O'Shanter, <a href='#Page_110'>110</a>.<br /> +<br /> +Tassels, <a href='#Page_112'>112</a>.<br /> +<br /> +Tippet, <a href='#Page_116'>116</a>.<br /> +<br /> +Todd Adjustable Hand-loom, <a href='#Page_18'>18</a>-21.<br /> +<br /> +Towels, doll's, <a href='#Page_55'>55</a>, <a href='#Page_108'>108</a>-109.<br /> +<br /> +Turkish rugs, designs for, <a href='#Page_47'>47</a>-48, <a href='#Page_123'>123</a>-124.<br /> +<br /> +<br /> +Vegetable dyes, <a href='#Page_58'>58</a>, <a href='#Page_61'>61</a>, <a href='#Page_72'>72</a>.<br /> +<br /> +Vegetable fibres, for weaving, <a href='#Page_13'>13</a>, <a href='#Page_14'>14</a>.<br /> +<br /> +Veil cases, <a href='#Page_120'>120</a>.<br /> +<br /> +<br /> +Walker and Jenks, song by, <a href='#Page_144'>144</a>, <a href='#Page_145'>145</a>.<br /> +<br /> +Warp, <a href='#Page_20'>20</a>, <a href='#Page_42'>42</a>-50.<br /> +<br /> +Weaving, its advantages, <a href='#Page_11'>11</a>, <a href='#Page_22'>22</a>;<br /> +<span style="margin-left: 1em;">oldest of the industrial arts, <a href='#Page_12'>12</a>, <a href='#Page_13'>13</a>, <a href='#Page_14'>14</a>;</span><br /> +<span style="margin-left: 1em;">defined, <a href='#Page_22'>22</a>;</span><br /> +<span style="margin-left: 1em;">first steps in, <a href='#Page_23'>23</a>, <a href='#Page_30'>30</a>-41;</span><br /> +<span style="margin-left: 1em;">free paper, <a href='#Page_35'>35</a>.</span><br /> +<br /> +Wheeler, Mrs. Candace, <a href='#Page_58'>58</a>.<br /> +<br /> +Wiebe, Edward, <a href='#Page_34'>34</a>, <a href='#Page_35'>35</a>.<br /> +<br /> +Wiggin, Mrs. Kate Douglas, <a href='#Page_34'>34</a>, <a href='#Page_145'>145</a>.<br /> +<br /> +Wilton rugs, <a href='#Page_120'>120</a>-121, <a href='#Page_131'>131</a>, <a href='#Page_132'>132</a>, <a href='#Page_134'>134</a>.<br /> +<br /> +Woof, stringing of, <a href='#Page_20'>20</a>.<br /> +<br /> +Wool, for weaving, <a href='#Page_13'>13</a>, <a href='#Page_14'>14</a>, <a href='#Page_54'>54</a>, <a href='#Page_62'>62</a> ff.<br /> +<br /> +Worsted, splicing of, <a href='#Page_83'>83</a>.<br /> +<br /> +Wristlets, <a href='#Page_116'>116</a>-117.<br /> +</p> + +<p> </p> +<p> </p> +<hr class="full" /> +<p>***END OF THE PROJECT GUTENBERG EBOOK HAND-LOOM WEAVING***</p> +<p>******* This file should be named 31630-h.txt or 31630-h.zip *******</p> +<p>This and all associated files of various 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