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+This eBook, including all associated images, markup, improvements,
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #53318 (https://www.gutenberg.org/ebooks/53318)
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-The Project Gutenberg EBook of Jacquard Weaving and Designing, by T. F. Bell
-
-This eBook is for the use of anyone anywhere in the United States and most
-other parts of the world at no cost and with almost no restrictions
-whatsoever.  You may copy it, give it away or re-use it under the terms of
-the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org.  If you are not located in the United States, you'll have
-to check the laws of the country where you are located before using this ebook.
-
-Title: Jacquard Weaving and Designing
-
-Author: T. F. Bell
-
-Release Date: October 19, 2016 [EBook #53318]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK JACQUARD WEAVING AND DESIGNING ***
-
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-Produced by Chris Curnow, Chris Jordan and the Online
-Distributed Proofreading Team at http://www.pgdp.net (This
-file was produced from images generously made available
-by The Internet Archive)
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-
-                               JACQUARD
-                         WEAVING AND DESIGNING
-
-
-
-
-                               JACQUARD
-                         WEAVING AND DESIGNING
-
-
-                                  BY
-                              T. F. BELL
-
-               NATIONAL SCHOLAR IN DESIGN (1875-8) AND
-                 THIRD GRADE CERTIFICATED ART MASTER,
-      SCIENCE AND ART DEPARTMENT, S. K.: MEDALLIST IN HONOURS AND
-        CERTIFICATED TEACHER IN ‘LINEN MANUFACTURING,’ AND IN
- ‘WEAVING AND PATTERN DESIGNING,’ CITY AND GUILDS OF LONDON INSTITUTE
-
-
-                                LONDON
-                       LONGMANS, GREEN, AND CO.
-                 AND NEW YORK: 15 EAST 16^{th} STREET
-                                 1895
-
-                         _All rights reserved_
-
-
-
-
-PREFACE
-
-
-The contents of the following pages have been derived from a long
-course of art and technical training, together with a lengthened
-practical experience in textile manufacturing and designing; during
-which time I received much valuable assistance from many kind
-friends--especially Mr. B. Ashenhurst, when master of the Belfast
-Technical School, and his brother, of Bradford; also Mr. John Mitchell,
-of Belfast and Glasgow--which I thankfully acknowledge.
-
-To supply a treatise that would be alike suitable to the manufacturer,
-the workman, and the student would be a difficult matter. To explain
-each point so fully that it would be clear to every person would
-make it wearisome to those having a knowledge of the subject. I
-have therefore endeavoured to keep the descriptions as concise as
-is compatible with a fairly clear explanation, which I hope will be
-considered the wisest plan to adopt; and, while quite aware of the
-many shortcomings of the work, I venture to hope that it will prove
-a valuable assistance to those wishing to improve their knowledge of
-jacquard weaving and designing.
-
-                                                     T. F. BELL.
-  Belfast, 1894.
-
-It affords me much satisfaction to add a few words of introduction to
-this work of my friend Mr. Bell. I cannot pretend to criticise his
-explanation of technical processes, but, from an examination of the
-proof-sheets, I am convinced that the book will be found an invaluable
-aid to students of both art and technical schools. We already possess
-numerous text-books on designing as an art, as also on the technical
-processes of weaving, &c., and on the materials of manufacture. Mr.
-Bell has aimed at bringing the technical and artistic sides of the
-subject together in a practical form, and has thus provided us with a
-valuable handbook.
-
-Though we have a Government Department of Science and Art, a knowledge
-of both branches is seldom united in the same individual. The artist
-is too often deficient in the science of his craft; while the man of
-science not unfrequently shows contempt for art. The author of this
-volume is peculiarly qualified for the task he has set himself, being
-a practical manufacturer as well as a designer of long experience, and
-thoroughly learned in the science of his subject. His book will supply
-a long-felt need.
-
-                                              GEORGE TROWBRIDGE,
-  _Head-Master Government School of Art, Belfast_.
-
-
-
-
-CONTENTS
-
-
-  CHAPTER                                     PAGE
-
-     I. INTRODUCTION                             1
-
-    II. JACQUARD MACHINES                       27
-
-   III. FULL-HARNESS MOUNTINGS                  69
-
-    IV. DESIGNING AND DRAUGHTING               110
-
-     V. CARD-CUTTING AND LACING                139
-
-    VI. SPECIAL JACQUARDS AND HARNESSES        155
-
-   VII. GAUZE                                  196
-
-  VIII. DOUBLE CLOTH                           233
-
-    IX. TAPESTRY AND PILE WORK                 255
-
-     X. CARPETS                                264
-
-    XI. LAPPETS AND SWIVELS                    294
-
-        INDEX                                  301
-
-
-
-
-JACQUARD WEAVING AND DESIGNING
-
-
-
-
-CHAPTER I
-
-_INTRODUCTION_
-
-
-Though the term ‘jacquard weaving’ is properly applied to work done by
-the jacquard machine, it will here be taken to apply to all harness
-weaving, or work that extends beyond the range of shafts, or leaves of
-heddles.
-
-The question arises, When is the limit to the number of shafts that
-ought to be used reached? It apparently used to be when no more could
-be got into the loom, as up to ninety-six shafts were used; and this
-seems to be quite enough for any weaver to get the yarn through, or
-for any loom to hold, but it must be remembered that at present the
-appliances are much more suited to the work than they formerly were;
-and now, except in woollen or worsted goods, where it is desirable to
-use shafts on account of their firmness in comparison with that of a
-harness, from twelve to sixteen shafts are as many as it is generally
-thought desirable to have in a power loom. I have seen thirty-five
-shafts, all in one tier or set, working diaper very conveniently in a
-hand loom, and more than double that number of leaves working worsted
-in a power loom; but whether the latter was desirable, or not, I must
-leave to the judgment of the manufacturer who possessed it.
-
-Many ingenious inventions have been made for the purpose of simplifying
-the working of a large number of shafts, but as a description of them
-would be out of place here, we may pass on to the draw loom, which
-appears to be the first form of harness of which we have an accurate
-description. How the cloths of Babylon were woven, in which
-
-    Men’s figured counterfeits so like have been
-    That if the party’s self had been in place,
-    Yet Art would vie with Nature for the grace--
-
-is not known, though in Gilroy’s report of Arphaxad’s description of
-his loom to Deioces, king of the Medes, it is stated to have been
-accomplished by means of carved blocks of wood acting on needles,
-which wrought the harness or heddles and thus formed the pattern; but
-as Gilroy has admitted that the introduction to his work on weaving
-is a pure invention of his own, for the purpose of making it appear
-that the Ancients were acquainted with motions similar to those on our
-modern looms, or as a ‘take-off on those who angle hourly to surprise,
-and bait their hooks with prejudice and lies,’ we need not dwell
-further on the subject. In any case, figured cloths must have attained
-considerable excellence in very early ages. The curtains of the
-Tabernacle were embroidered with figures, and the veil of the Temple
-was, according to Josephus, embroidered with all sorts of flowers, and
-interwoven with various ornamental figures, the door curtain being
-embroidered with blue and purple and scarlet. The ephod of the High
-Priest was similarly embroidered.
-
-[Illustration: Fig. 1]
-
-The Egyptians worked coloured patterns in the loom so rich that they
-vied with the Babylonian cloths, which were embroidered with the
-needle. The method of working is unknown, but cloths taken from the
-tombs in Egypt, which may be seen in South Kensington Museum and in the
-Gobelins tapestry manufactory, Paris, appear to be made on a principle
-similar to that of the Gobelins tapestry; the warp is of flax and the
-weft of coloured wool: and the looms depicted on the catacombs in Egypt
-are very similar in appearance to tapestry looms.
-
-Embroidering was practised in Egypt prior to the Exodus of the
-Israelites; and gold and silver threads or wires were used both for
-embroidering and weaving, being known nearly 4,000 years.
-
-The Babylonish garment taken by Achan, whose sin brought much woe upon
-the Israelites, is said, by Josephus, to have been a Royal garment
-woven entirely of gold; but it might only have been embroidered with
-gold, and was probably wrought in the plain of Shinar, as it was not
-till long after that Babylon was celebrated for its manufactures.
-
-Pliny says that weaving cloth with gold thread was invented by Attalus,
-an Asiatic king, and that the Babylonians were most noted for their
-skill in weaving coloured cloths. This was in Homer’s time, about 900
-B.C., when weaving and embroidering appear to have attained great
-excellence, and to have been very gorgeous. At that time the labour
-of the loom was considered an accomplishment, which ladies and even
-princesses tried to excel in.
-
-As before stated, the draw loom is the first form of machine for
-figured weaving of which we have any record. It is not known where it
-was invented, but it probably passed from China to Western Asia with
-the silk manufacture. The ancient Egyptians, Greeks, and Romans do not
-appear to have known it. The Chinese have still in use a draw loom in
-which the drawboy stands on the top and draws up the parcels of twines
-which have been previously arranged for him. After being established in
-Damascus (hence the name damask), the draw loom passed on to Europe,
-where the Chinese method of working was used till 1604, when M.
-Simblot, in France, connected to the neck a separate series of cords,
-called the ‘Simple’ (perhaps a corruption of his name), so that the
-drawboy could work when standing at the side of the loom. It is said
-to have been introduced into England in 1567. The next improvement was
-to dispense with the drawboy’s services, and for this purpose a patent
-was taken out in 1687, by Joseph Mason, for ‘a draw boy engine by which
-a weaver may performe the whole worke of weaving such stuffe as the
-greatest weaving trade in Norwich doth now depend upon without the help
-of a draught boy.’ In 1779 William Cheape patented a plan to dispense
-with the drawboy by having the ‘simple’ above his head, and drawing it
-down with knots which were held in notches, as described in Fig. 2.
-
-Before beginning to describe the draw loom it may be better first to
-describe what it is required to do.
-
-Its principal use appears to have been for the weaving of damask,
-which is one of the simplest forms of figured weaving. Reduce a damask
-texture to its elementary form, and it consists of twilling, or, more
-correctly, turned or reversed twilling. If we take a common dice
-pattern woven with shafts, it will easily be seen that one dice is
-formed by a warp twill, and the next one by a weft twill, or that the
-dices are formed by warp and weft twills alternately.
-
-[Illustration: Fig. 2]
-
-Now, what forms the pattern? The yarn may be all of one colour, the
-threads may be so closely set together as to make them individually
-invisible, or to appear as a plain surface, and yet the dices come
-out distinctly in two shades of colour. The play of light on the
-longitudinal and latitudinal threads produces this effect. The dices
-formed by the latitudinal or horizontal threads will always appear
-darker than the yarn in the cloth when the latter is placed between
-the observer and the light, whether these threads be warp or weft, as
-there is a certain amount of shade on each of them, and of shadow cast
-by them, whereas the longitudinal or vertical threads are illuminated,
-without any shade or shadow, and appear lighter than the yarn did
-before being woven; and this is the reason why a good side light is
-the best for showing up the pattern on damask, it developing the above
-to the utmost. In a good material the difference of shade between the
-ground and figure is very considerable, but in some thin, coarse goods
-it is hardly visible, requiring them to be held in a favourable light
-to show the distinction: the pattern will appear light on a darker
-ground, or the reverse of this, according as the surface threads
-forming it run across the light or in the direction of it.
-
-This is the reason of the pattern appearing on the cloth; then it is
-the business of the designer to regulate what form it is to partake of,
-by preparing a suitable design; and according to instructions furnished
-to him by the design, it is the duty of the drawboy to raise the warp
-by regulating the cording of his harness, and drawing it so as to
-reverse the twill from a weft one to a warp one wherever the figure is
-to be formed on the cloth, and to do so in such order as to produce the
-pattern required.
-
-The draw-loom mounting consists of two parts--the drawboy mounting, or
-the harness with its tail and simples, to be wrought by the drawboy;
-and the shaft mounting, which is required to form the texture of the
-cloth, or to interlace the warp and weft through both ground and
-figures; the harness only interlaces them at the edges of the pattern,
-or causes either warp or weft to be above, to form the figure _en
-bloc_, but without interlacing them together.
-
-It is therefore a ‘compound mounting,’ and is known as a ‘presser’ or
-‘pressure’ harness. For simplicity’s sake let us suppose the principle
-of the drawboy to be applied to shafts or healds, and take a simple
-figure, as Fig. 1.
-
-For it there are 5 parts, or it could be wrought with 5 leaves of
-heddles with a straight draught. Fig. 2 shows the mounting; A A is the
-back mounting, which in this case is a shaft mounting, but would be a
-harness for a more extensive pattern. B, B are the pressure heddles
-or front mounting. These are 5 in number, as the ground or texture is
-taken as a 5-end satin or twill, C is the pulley box with the tail
-cords, D, D, passing over the pulleys, and tied to the wall or to the
-loom framing as at E. The knobs F hang over the weaver’s head, and are
-attached by cords H, passing through a hole board G, to the tail cords,
-D, D. There are heads on the cords H, and the holes in the hole board
-are made thus [Illustration: keyhole]; so that when the weaver pulls
-down a knob the bead can pass through the round hole, and the shaft
-or shafts of the back mounting attached to it will be raised, and can
-be kept in this position by drawing the cord into the notch or narrow
-part of the hole, which the bead will not pass through. Any number of
-shafts can be raised that are required to form the pattern, either by
-pulling down the knob for each shaft, or by having the knots corded to
-the shafts, so that each one will raise the proper number of shafts.
-Thus, in the figure, each knob is only tied to one of the tail cords;
-therefore a knob must be pulled down for each leaf of heddles to be
-raised, but each knob might be attached to any number of the tail cords
-according to the number of leaves of heddles it is required to raise,
-so that pulling down each knob in succession will complete the pattern.
-It might require too many knobs to do this, and then the former method
-would have to be adopted. When the weaver begins to work he draws the
-first figure shed with the back mounting by pulling down one or more
-of the knobs as is required; he then works over the ground treadles,
-b, b, till a change of pattern is required. Next he releases the drawn
-shed by pulling the cord out of the notch in the hole board; draws
-another shed, and works over the ground treadles as before. This gives
-the principle of how the draw loom works, but the principle of forming
-the texture with the back and front mountings combined will be fully
-explained under ‘Pressure Harness.’
-
-Fig. 3 gives the draw-loom harness; A, A is the carriage, or the rails
-that support the harness, which rests on the capes or side rails of the
-loom. Supported by the carriage is the pulley box P, which is a frame
-fitted with small pulleys, and must be sloped at such an angle as will
-allow the tail cords to sink when opening the sheds without obstructing
-the pulleys underneath them. The neck twines extend from the figures
-1 to 8 to the knots above the hole board D D. The cords which connect
-the neck twines to the mails E, E are called sleepers, and those which
-connect the mails with the leads F, F are called hangers. The hole
-board is made of hardwood perforated with holes, which run from front
-to back in diagonal rows from right to left; it should be a little
-finer than the set of the reed, to allow for empty holes that are
-sometimes caused by the tie of the harness ending with broken rows of
-hooks in some or all of the repeats. In Scotland, for this reason,
-when the reed is set on 37 in., the cumber board, or hole board, is set
-on 36 in.
-
-[Illustration: Fig. 3]
-
-B, B are the tail cords, attached to the neck of the harness at one
-end, and at the other end all of them are fastened to the tail stick
-M, by means of which they are secured to the roof of the house. There
-must be a tail cord for each part of the harness; here only eight are
-shown for the front row of the harness, and if there were eights rows
-of harness in the hole board, 64 tail cords would be required, and the
-complete harness would be made up of several repetitions of the 64 neck
-twines; four of these repetitions are here given for the first row of
-the hole board. Of course there might be 400 to 600 tail cords in a
-full mounting.
-
-From each tail cord descends a vertical cord to the ground, as shown
-at G, G. These are the simple cords, which, taken collectively, are
-termed the ‘Simple.’ It is on these cords that the pattern is read, or,
-rather, tied up. The simple cords are gathered together, according to
-the pattern, by passing twines round them and forming the twines into
-lashes or leashes, as shown at I, I. Heads of stronger cord, to which
-the lashes are attached, are shown at N, N. The leashes or lashes are
-made of cotton yarn No. 48, from six to eighteen plies of which are
-moderately twisted together so that the twine will not curl; the heavy
-twine is used for coarse work, where only a small number of lashes is
-necessary. The length of the lashes is from 8 to 12 in., according to
-the breadth of the simple. The heads are about 4-1/2 in. long, of good
-cord, as foot twine, which is used finer or coarser according as more
-or less heads are required. The heads are made with a noose on them
-that will run up or down on the gut cord L, which is a strong cord,
-generally extending from the ground to the roof of the house. K, K are
-the bridles connected with the lashes, and used to draw them down in
-succession as they are wanted by the drawboy. When there are a great
-number of lashes, two gut cords are used, as shown at No. 1 (Fig. 3),
-and the lashes are looped alternately on each and bridled accordingly.
-In coloured work, where three or four draws are required for each weft
-line of the pattern--that is, one draw for each colour--it is usual to
-have two gut cords with cross bridles from the one to the other which
-will slide up and down on them. On these, cross bridles the heads of
-the lashes are fastened, about 1 in. apart, so that the drawboy can
-take them in succession and draw the shed for each colour.
-
-The method of preparing and mounting the draw-loom harness is much the
-same as that now in use for jacquard harnesses, and, as it is entirely
-out of use, it is unnecessary to describe it.
-
-In order to make the neck twines draw evenly, rollers are placed
-between each set of cords at the points 1, 2, 3, &c.; these rollers
-keep the cords straight and make them all rise the same height at the
-mails, which they would not do unless they all sloped to the hole board
-at the same angle.
-
-
-READING OR LASHING THE PATTERN
-
-[Illustration: Fig. 4]
-
-The pattern, painted on design paper, same as for pressure-harness
-damask, is fixed upon a lashing frame, as shown in Fig. 4, and the
-lower ends of the simples are passed over it and fastened to the
-crossbar B. The simple cords are held in position over the design by
-the comb C, C, which must be of such a fineness as to make each simple
-cord stand directly opposite that space of the pattern to which it
-corresponds, one simple cord being placed between each pair of teeth
-of the comb. It will thus be seen that there must be a simple cord
-for each vertical line on the pattern, or rather for each vertical
-space between the black lines. In the same way, there must be a
-head of lashes for each horizontal space, or line, as it is usually
-called, and which would answer to a card for the jacquard or dobby.
-The straight-edge E E is made so that it will slide up and down in
-the frame, to mark the line on the design paper that is to be next
-read by the lasher. Now refer to the line of the pattern above the
-straight-edge, and it will be seen that the first square or check to
-the left is blank, and it is accordingly passed over by the lasher;
-the second and third checks are painted, and as the simple cords
-corresponding to them have to be drawn to form the pattern, the lasher
-twists one end of his lash over the pin G, and takes a turn of it round
-the second and third simples, again passing it round the pin G. The
-fourth check, being blank, is passed over, and a turn or tack of the
-lash twine is taken round the fifth, sixth, and seventh simples, as the
-checks on the design paper opposite these are painted. The reading and
-lashing proceeds in this way till the line is finished, as shown in the
-figure; then the two ends of the lash twine are tied together round
-the pin G, which is then taken out, and the loop made round it by the
-lash twine is twisted round and formed into a snitch for the purpose
-of fastening it to the head. The lash is now pushed down behind the
-board H, to make room for another; the straight-edge is then shifted to
-the next line, and the lashing proceeded with as before. If too many
-painted squares of the design paper come together, all the simple cords
-corresponding to them must not be looped or lashed together, but can
-be taken in two or more loops or tacks, never taking more than six or
-seven simple cords into one tack of the lash twine.
-
-It will be observed that the board H is rounded at the back; this is
-for the purpose of having all the simples at an equal distance from the
-pin G when they are tacked up by the lash twine, and consequently a
-more regular shed will be produced when they are drawn in the process
-of weaving.
-
-The method of fastening the head to the lash is to loop the cord for
-the head, which should be double, round the gut cord, then knot the
-two ends of it together, and take this knot through the snitch formed
-on the end of the lash, and when the snitch is drawn tight the knot
-prevents the head from slipping out.
-
-In weaving with the draw loom two persons are required--the weaver,
-who works over the ground treadles, throws the shuttle, beats up the
-weft, &c.; and the drawboy, who takes the lashes in succession as he
-draws them down by the bridle, and by pulling out the simples raises
-the harness and holds it in this position till the weaver has worked as
-many shots as are required to be given to each draught.
-
-When some thousands of twines were required for the harness, and with a
-simple of three or four hundred cords, the weight and friction made it
-very severe work for the drawboy. To assist him a fork, as shown at V,
-No. 2, Fig. 3, was used. It was made to run to and fro on a carriage,
-so that when the simples were drawn forward by the lashes, one spike of
-the fork could be run in behind those drawn forward, while the other
-spike was in front of them. When the fork was depressed, till the
-handle T came to the position shown by the dotted lines, it drew down
-the simple cords, and they could easily be held in that position till a
-change of draught was required.
-
-[Illustration: Fig. 5]
-
-When the mounting of the draw loom was very extensive, it was necessary
-to employ from two to ten pulley-boxes and as many drawboys, so that
-it is not surprising that many endeavours were made to work without
-the aid of a drawboy. One of these machines, known as the ‘Parrot’ or
-‘Pecker,’ is shown in Fig. 5. It is wrought by the treadles T, which
-are attached to the marches M, and these are connected by the pulley P,
-on the rocking shaft R, by a cord which passes over and is fastened to
-it. When one of the treadles is pressed down the pulley rocks and turns
-the shaft to one side, and when the other treadle is pressed down the
-shaft will rock to the other side. The parrot or pecker K is movable
-on the rocking shaft--that is, it can slide along it--but it must rock
-from one side to the other with the shaft. The cords C, C are passed
-through holes in the boards B, B, for the purpose of keeping them in
-position, and they have knots or beads on them at _m, m_, and weights,
-W, W, at their ends to keep them in tension. Fastened to the cords
-C, C is another set of cords, S, connected with the tail cords of the
-draw-loom harness, and so corded or arranged as to draw those tail
-cords required to be sunk to raise the harness to form the pattern. As
-the shaft R is rocked from side to side by depressing the treadles in
-succession, it carries with it the pecker K, and the groove or notch
-at the point of the pecker, shown clearly in Nos. 2 and 6, coming
-into contact with the knots or beads on the cords, draws them down
-alternately, first at one side of the machine and then at the other,
-until the pecker, as it slides along the rocking shaft, has passed
-over all the cords; it is then released and drawn back to its original
-position by means of the weight D, attached to it by the cord _e_. At
-the end of the rocking shaft is a ratchet wheel, N. The cord _e_ passes
-from the pecker through the segmental hole in the pulley P, as shown in
-No. 4, and is fastened to a boss, O, on the inner side of the ratchet
-wheel. This wheel receives its motion from a catch, as shown at E, No.
-5, which is simply a pin fixed in a slotted piece of wood. The pin _y_
-forms the catch, and the slot acts as a guide, which passes over the
-edge of the ratchet wheel, and keeps the catch in position. The catch
-is attached to the marches and works vertically. It is raised by the
-treadles, and when released is drawn down by the weight attached to
-it, the wire _y_ catching one of the teeth of the ratchet and moving
-it round. There are two pins, _z_ and _t_, in the ratchet, as shown
-in No. 3, and it is according to their distance apart that the length
-of traverse of the pecker is determined. The bar _q_, shown in No. 3
-attached to the pulley V, which is loose on the axle, is raised by the
-stud _t_, as the ratchet wheel is advanced tooth by tooth, till it
-comes into contact with the catch S, and raises it; this allows the
-ratchet wheel to be reversed by the weight D on the end of the cord
-_e_ till the stud _z_ comes round and draws away the bar, which allows
-the catch to fall into position again and stops the pecker where the
-pattern is to begin. Thus, the distance between the studs _z_ and _t_
-must be arranged to suit the number of cords the pecker has to pass, or
-to give the number of threads in the pattern. The teeth of the ratchet
-wheel and traverse of the catch must be of such a pitch that as each
-tooth is moved round the pulley will be turned the exact distance
-required to move the pecker from one cord to the next one. No. 2, Fig.
-5, is an elevation of a ‘parrot’ arranged for a single row of cords,
-as these machines were first made. There was only one treadle, as
-shown in section at M, No. 2, and the pecker only rocked to one side.
-Either this or the double machine could be used for a shaft mounting
-where a large number of treads are necessary. The cords C pass over
-pulleys, and are fastened to long coupers or levers with their fulcrum
-at the side of the loom, and to these the shafts are hung from jacks or
-otherwise. These machines were made to work very exactly. In the double
-machine the pecker would travel over three or four hundred cords in
-consecutive order.
-
-To avoid confusion the beads are not shown on the front cords in No. 1.
-
-
-CROSS’S COUNTERPOISE HARNESS
-
-About the year 1816 Mr. James Cross, of Paisley, invented a machine to
-do away with the drawboys.
-
-[Illustration: Fig. 6]
-
-This machine is fully described by Murphy and Gilroy in their works
-on weaving. Only the general principle of it will be given here, as
-an introduction to the jacquard. The detail of drawing the lashes and
-treading, though ingenious, is not of any practical importance now, and
-it requires rather a lengthy description to explain it. The harness F
-is the same as in the common draw loom till it reaches the tail cords,
-where the counterpoise apparatus commences. The framing B B (Fig. 6)
-of this machine is supported by the carriage A A, which rests on the
-capes or top rails of the loom. In this frame are two boards, C and
-D, perforated with holes corresponding in number with the tie of the
-harness or cords in the simple. The top board is called the suspension
-board, and is mortised into the bar E. From this board the harness
-hangs, the neck being taken up through the holes in it, and fastened
-above them. The lower board, D, which is mortised into the bar G, is
-called the neck board, or directing board, as it keeps the harness in
-its proper place. H and K are two other boards, perforated as shown
-in Fig. 7, mortised into the sliding bars I and L respectively; these
-are called the trap boards, M, M and N, M are four bars, called
-pushers, which are fastened to the sliding bars I and L as well as
-to the pulleys P, P, and when the pulleys are oscillated by means of
-a treadle the sliding bars will be moved up and down. The knot cords
-or tail cords O, O are fastened to the suspension board C, and pass
-through the two trap boards, then through the neck board, and are tied
-to the harness. Only two of these cords are shown tied to the harness,
-to avoid confusion. These knot cords have knots or beads on them as
-shown, and the round holes in the trap boards H and K, as shown in Fig.
-7, must be sufficiently large (about 1/4 in. in diameter) to allow the
-knots or beads to pass freely through. There are notches or saw-cuts at
-the sides of the holes to admit the cords, but support the knots. T,
-T^1 is the simple, extending horizontally through the knot cords. It
-is fastened to the ceiling beyond T, and to the frame of the machine
-beyond T^1. S is a half-leaf of heddles for the purpose of supporting
-the simple cords. Each simple cord is tied to a knot cord, and beyond
-T^1 the simple is lashed according to the pattern. In working the
-machine the lashes are drawn by means of hooked levers, wrought by a
-treadle connected with the pulley V, and those simple cords that are
-drawn down pull the knot cords into the notches or saw-cuts in the trap
-boards, so that when the trap board is raised the harness fastened to
-those knot cords that are drawn into the saw-cuts will also be raised.
-R is a set of cords with weights on their ends for the purpose of
-drawing the knot cords out of the saw-cuts as soon as the simple is
-released by the lashes. The two trap boards rise and fall alternately,
-and this is why the machine is called a counterpoise.
-
-[Illustration: Fig. 7]
-
-Some time after an improvement was made upon this machine which was
-known as
-
-
-THE COMB DRAW LOOM
-
-[Illustration: Fig. 8]
-
-This machine appears to have been invented in both Scotland and
-Ireland, as Gilroy describes it as an invention of Dr. McLaughlin, of
-Ballyshannon, County Donegal; and Murphy describes a similar machine
-invented by Mr. Bonnar, of Dunfermline. The machine is shown in Fig.
-8. A, A are the posts of the loom, and B B the top rail; C C is
-the framing of the machine. The harness G, G is suspended from the
-suspension board D, and passes through the guide board E and the cumber
-board F. The upper portion of the harness is composed of tail or knot
-cords, as in Cross’s machine. From each of the tail cords a simple
-cord, H, extends horizontally over the weaver’s head, and is fastened
-to the board I. The lashes K hang from the simples over the weaver’s
-head, and have a knob on the end of each, so that the weaver can catch
-them and draw his own draught.
-
-[Illustration: Fig. 9]
-
-The lash cords have a knot or bead on them, so that when drawn they can
-be held in the cuts of the board L, also shown in plan at L (Fig. 9).
-M, N (Fig. 8) is a side view of the comb and handle, or lever, shown in
-plan at M, N (Fig. 9). S is a cord or chain attached to the end of the
-lever M, and passing down to a treadle. When the weaver draws one of
-the knobs, the tail cords connected with the simples in this lash are
-drawn between the teeth of the comb, as shown by the dotted lines in
-Fig. 8. He then depresses the treadle, which raises the comb, and the
-harness along with it; he holds the treadle down with his left foot,
-and works over the ground treadles with his right one. The comb is
-recovered or counterbalanced by the cord O, which passes from the comb
-through the board P, and has a weight, R, suspended on it. D (Fig. 9)
-is a plan of the boards D, E, F and I (Fig. 8).
-
-
-THE BARREL OR CYLINDER LOOM
-
-This machine was introduced by Mr. Thomas Morton, of Kilmarnock. The
-harness and tail or knot cords are arranged similarly to those in the
-comb draw loom; but instead of the simple cords for drawing out the
-tail cords, each tail cord in the barrel loom passes through a slide,
-or horizontal wire. The points of these slides are acted upon by the
-pattern cylinder or barrel, and those held back press out their tail
-cords from the others, and the knots on these tail cords are caught by
-the teeth on the comb or roller, and the harness raised.
-
-The pattern is arranged upon the barrel much in the same way as a
-tune is arranged on the cylinder of a barrel organ or musical box. A
-section of the barrel is shown at A (Fig. 10), with wire staples driven
-into it to form the pattern.
-
-[Illustration: Fig. 10]
-
-Each of these staples represents so many lines of the design paper, or
-so many lashes or draughts. The pattern is ruled out and painted on
-the barrel, and staples are driven into it so as to cover the painted
-squares of the pattern. The barrel is so arranged on the loom that
-exactly the space of one line of the design paper is turned round for
-each draught, and the slides are drawn back by cords attached from
-their ends to a roller when the shift of the barrel is being made. B is
-a section of the comb; it is a cylinder with teeth, C, like a parrot’s
-beak fixed to it. The teeth are made of this shape to hold the knot
-cords when they are caught by them, and they rise or fall as the roller
-is rocked upwards or downwards by a treadle.
-
-Whilst these improvements on the draw loom were being made in this
-country for the purpose of producing a convenient method of harness
-weaving, the French were endeavouring to obtain the same result, but on
-a different principle, and their method has proved successful.
-
-In 1725 M. Bouchon employed a band of pierced paper, pressed by hand
-against a row of horizontal needles, so as to push back those which
-were opposite the blank spaces, and thus bring loops on the extremities
-of vertical wires into connection with a comb-like rack below, which,
-being depressed, drew down the wires, pushed on the pins in it, and
-raised the harness.
-
-[Illustration: Fig. 11]
-
-Fig. 11 is a sketch of a model of this loom in the Conservatoire des
-Arts, Paris. A is the pulley-box with two rows of pulleys in it; B the
-tail cords; C the simples, tied to rings on their upper ends, which run
-on the tail cords at B; the other ends of the simples pass over a small
-roller at D to prevent them rubbing against the side of the loom, then
-down through the hole board F, under which they are tied to wire hooks
-or loops, as shown under A (Fig. 11A). Next these wires pass through
-the needle box G, also shown at B, Fig. 11A, and down to the comb H
-(Fig. 11), and C (Fig. 11A). The perforated paper is rolled on the
-roller E, and passing downwards, is pressed against the needles with a
-hand bar, as shown at L, Fig. 11B. The roller K is for rolling up the
-paper as it passes down from the upper roller.
-
-Fig. 11B is a back view of the mounting. A shows where the simples are
-connected with the tail cords P; B shows the connection of the tail
-cords with the harness; C is the cumber board; D the mails and E the
-leads. F and K are the two rollers for the paper, H the needle box, and
-I the comb. This was the first attempt at forming the pattern by means
-of perforated paper acting upon needles and wires.
-
-In 1728 M. Falcon adopted a chain of perforated cards in lieu of the
-perforated paper, and placed his horizontal wires or needles in several
-rows or ranks, thereby admitting the use of a greater number of them
-in a moderate space. He also used a square prism or cylinder, as it is
-called, for the cards to pass over.
-
-[Illustration: Fig. 11A]
-
-[Illustration: Fig. 11B]
-
-Fig. 12 is a sketch from a model of his loom, also in the Conservatoire
-des Arts. The principle of it is much the same as the preceding. A is
-the pulley box for four rows of pulleys, B the connection of the simple
-with the tail cords, C the hole board for the simple to pass through
-and also the support for the cylinder H, D is the needle box, E the
-comb or griffe, F the levers for drawing down the griffe, and G the
-treadle. The cards are laced in a chain and pass over the cylinders I
-and H, but they are pressed against the needles by a hand bar, similar
-to that used by Bouchon. There are two racks or receptacles for holding
-the cards, as shown. The cylinders H and I are simply used as rollers
-to support the cards, and not for pressing them against the needles, as
-in the jacquard.
-
-[Illustration: Fig. 12]
-
-Figs. 12A and 12B give detailed views of the hooks, etc., for drawing
-the harness: the letters in both refer to the same parts as are marked
-with similar letters in Fig. 12. The simples B are tied to loops on
-the hooks under the hole board C. In Fig. 12B it will be clearly seen
-how the needles in four rows act upon the hooks. The griffe consists
-of four round iron rods or wires set in the frame E, Fig. 12A, which
-can be drawn down by the treadle G, connected with the levers F by the
-cords 3 and 4. One of the levers has its fulcrum at one side and the
-other has it at the opposite side, and the points of the levers are
-tied to the griffe frame by the cords 1 and 2. The griffe, when sunk,
-is brought back to its place again by weights hanging on cords running
-over pulleys. It may be seen that the hooks hang in front of the rods
-or bars of the griffe; therefore, those hooks will be pushed on the
-griffe whose needles come against the solid portions of the cards, thus
-acting similarly to Bouchon’s machine. The hand bar for pressing the
-cards against the needles is shown at F. The needles can pass through
-the slot in it, and, when a card is pressed against the needles, the
-bar can be fastened with hooks for the purpose, so that the operator is
-free to depress the treadle. There are no springs on the needles, but
-a clap board comes behind them, which is pressed in by means of a cord
-passing over each end of it and fastened to a spiral spring. There are
-ten leaves of heddles in front of the harness. They are plain clasped
-heddles, and apparently act as five, the front five being raised by the
-top levers connected with the treadles, as shown in Fig. 11, and the
-back five are held up by a set of levers at each side, with weights on
-the ends of them, similarly to those now used for hand-loom damasks,
-and tied to the treadles below, so that sinking a treadle would cause
-one of the back leaves to sink and one of the front ones to rise. Only
-the harness mechanism of Falcon’s loom is given in Fig. 12, the front
-portion being similar to that of Bouchon, or to any hand loom.
-
-[Illustration: Fig. 12A]
-
-[Illustration: Fig. 12B]
-
-In 1746 the accomplished mechanician, Vaucanson, altogether dispensed
-with the cumbrous tail cords and simple of the draw loom, and made the
-draw-boy machine completely self-acting by placing the hooks upright
-on the top of the loom, and hanging the harness from them. This loom
-may be seen in the Conservatoire des Arts, as well as a model of it on
-the same scale as those already mentioned--viz., one-third the size.
-The machine for drawing the harness is exactly like a small jacquard,
-with two rows of hooks and two rows of needles, as shown in Fig. 13.
-Instead of a square cylinder and cards, the pattern is punched on
-a band of paper, which passes over a round or true cylinder. This
-cylinder is fitted with a rack wheel, so that a tooth can be passed for
-each change of pattern, the cylinder moving out and turning one tooth,
-then pressing in against the cards again. The diameter of the cylinder
-is about twelve inches. The hooks are raised with a griffe, similar
-to that in a jacquard, which is fastened to a lever connected to a
-treadle below. This treadle, and four others for working the heddles,
-is wrought by tappets, made of wood, on a shaft running along the side
-of the loom and turned by a wince handle in front. Altogether, the loom
-is a nice mechanical contrivance, and a great step in advance of its
-predecessors.
-
-[Illustration: Fig. 13]
-
-Joseph Marie Jacquard, a working mechanic of Lyons, having invented
-a fishing net loom, turned his attention to improving the means of
-drawing the harness in looms for figured weaving, about 1790. A model
-of a machine by him, dated 1790, to dispense with the drawing of the
-harness, is in the Conservatoire des Arts. It is made with cords and
-rollers, and has no resemblance to the machine bearing his name. He was
-brought to Paris to repair Vaucanson’s loom about 1804, and it appears
-to be then that he combined the best qualities of the machines of his
-predecessors, and produced the jacquard, a model of which, dated 1804,
-is in the Conservatoire des Arts. This is very much like our present
-jacquard, but with four rows of hooks and needles made similar to those
-of Vaucanson, Fig. 13. He dispensed with Vaucanson’s cylinder and band
-of paper, and used instead a square prism with a chain of cards passing
-over it. The cylinder (or prism) he set in a frame or carriage, made to
-run on four wheels or pulleys on the top of the frame of the loom. The
-carriage is drawn out by depressing a treadle, and brought back again
-to press the cylinder against the needles, by means of weights tied
-to cords running over pulleys. The griffe is raised by means of two
-levers, one at each side; one end of each is connected with the griffe,
-and the others to a crossbar at the bottom of the loom, and this
-crossbar is fastened from its centre to a treadle. In all these looms
-the cards or paper hang at the side of the loom, the mounting being on
-the principle known as the London tie. Jacquard was born in 1752, and
-died in 1834. Vaucanson died in 1782.
-
-
-FRENCH DRAW LOOM
-
-Shortly after the introduction of Cross’s counterpoise harness, a
-machine was imported from France, which is shown in Fig. 14, and
-described in Murphy’s ‘Art of Weaving’ as a French draw loom. This
-machine far surpassed any attempts at the improvements at the draw
-loom that had hitherto appeared, in simplicity of construction and
-operation. From the neck upwards the harness is similar in construction
-to Cross’s counterpoise, having the knot cords arranged in the same
-manner, but with only one trap board. Instead of the cumbrous tail, the
-knot cords are acted upon by wires or needles, on each of which is a
-loop, through which one of the knot cords passes. D is the cylinder or
-barrel, perforated with holes, as in the common jacquard cylinder, and
-C, C shows the chain of cards for forming the pattern; E is the lever
-for raising the trap board, to which it is connected by means of pieces
-of iron at each side, with a bar across between them, to the centre of
-which the lever is connected with a piece of wire. O O are crossbars of
-wood, with holes in their centres, through which run pieces of strong
-iron wire, which are fixed into the trap board at each end to keep it
-steady while in operation. There is no spring box for the needles as is
-now used in the jacquard, but into the crossbar or frame F is inserted
-a flat piece of wood moving on springs, which yields to the pressure
-of the needles that are forced back by the barrel, and recovers them
-again when the barrel is withdrawn. The lever E is drawn down by the
-cord H, attached to a treadle, when the trap board is to be raised, and
-the barrel is drawn back by the cord G, which is attached to another
-treadle. The barrel is pressed against the needles by springs, and when
-it is relieved by the treadle and is moving inwards, it is turned by
-one of the catches shown in Fig. 14A. Either of these catches can be
-brought into action, so as to turn the barrel either way, by raising
-or lowering them with a cord. When at rest the knot cords stand in the
-notches or saw cuts of the trap board, but when the cards are pressed
-against the needles, except where there are holes in the cards, the
-needles are pressed back and the cords are pushed out of the notches
-so that the knots stand above the holes in the trap board, and pass
-through them when the board is raised by depressing the treadle
-connected with the lever E. The trap board is shown in Fig. 7.
-
-[Illustration: Fig. 14]
-
-[Illustration: Fig. 14A]
-
-Whether this machine was Jacquard’s invention or not, I have not been
-able to ascertain; but Gilroy states that Jacquard’s first machines
-were made with cords and trap boards, like Cross’s counterpoise
-machine. It is also recorded that William Jennings, of Bethnal Green,
-invented a machine, similar to the above, about 1830, as an improvement
-on the jacquard, on account of its simplicity, as the latter appears
-to have given the weavers some trouble, and notice was taken of his
-machine by the Society of Arts.
-
-[Illustration: Fig. 15]
-
-Machines similar to the above are still in use for hand-loom work, and
-answer very well. They have also been used for power looms, but the
-cords do not stand the friction long. As at present made about Glasgow,
-the cylinders of these machines work on slide rods, and receive their
-motion from the rising of the trap board, same as the cylinders in
-jacquards are sometimes wrought by the rising of the griffe with what
-is known as the ‘swan neck’ motion. The spring board at the ends of the
-needles is held back by a spring and drawn in by the cylinder frame
-as it moves outwards, which brings all the needles forward, and the
-cords into the saw cuts in the trap board, or comb as it is frequently
-called. The knots on the cords for these machines are made as at B,
-Fig. 15, which, when drawn tight, are as shown at A. The cord is a
-good twisted cord, such as whipcord, and the holes in the trapboard
-are about 3/16 in. in diameter, which the knots on the cords must pass
-freely through. The upper ends of the cords pass through a perforated
-board on the top of the machine, and another cord is drawn through
-loops on their ends, which prevents them from being drawn through the
-holes.
-
-
-
-
-CHAPTER II
-
-_JACQUARD MACHINES_
-
-
-The jacquard machine was introduced into England about 1818 and came
-into general use from 1824 to 1832. It was introduced into Scotland
-about 1824. Fig. 16 is a representation of the early form of jacquard,
-and of course intended for hand-loom work. Although the present
-machines for power-loom work are very different in make, nearly all
-the working parts as here used are to be found in different machines
-at present working, or still being made, though the best machine
-makers have adopted newer and better principles for fast working and
-withstanding wear and tear. Fig. 16A is a view of the interior of the
-machine. The working of the machine will be explained further on;
-only those parts that will not be given in the new machines will now
-be noticed. The griffe or frame for raising the hooks is lifted by
-the straps A, A, Fig. 16, which are attached to the pulleys B, B, and
-a cord C over a pulley on the same shaft as B, B, is attached to a
-treadle beneath the loom. As the weaver presses down this treadle the
-griffe is raised, and when the treadle is released the griffe falls
-of its own weight. The cylinder is moved out and in by the pulley E,
-fastened on the bent iron bar, attached to the frame which carries the
-cylinder, when the griffe rises and falls. D, D is a frame which lies
-in the turned-up portion of the hooks; only a few hooks are shown, and
-the outer bars of the frame. There should be a bar in the frame for
-each row of hooks. This frame rises up and down with the hooks, the
-turn on the ends of which must be of such length that when the frame
-is raised by the hooks lifted by the griffe, it will not be raised
-out of the turns on those that are left down. This frame is for the
-purpose of preventing the hooks from turning round, so that the turns
-on the upper end of them, as shown at A, A, Fig. 16A, cannot get out
-of position to be caught by the blades or crossbars of the griffe. The
-lower ends of the hooks rest on a perforated board as shown in Fig.
-16A, and tail cords are looped on them and pass through the perforated
-board as shown. To these cords is fastened the neck of the harness.
-Machines with these perforated boards and frames to keep the hooks in
-position are still (1890) being made in Yorkshire. In Fig. 16A is shown
-a section through the spring box B. This box contains a spiral spring
-for each of the horizontal needles, the ends of which press against the
-springs, which allow them to yield or move back as the cards press on
-their points; but recover them again when the card is moved away by the
-cylinder. Similar spring-boxes are now used.
-
-[Illustration: Fig. 16]
-
-It might be interesting to describe the various changes and attempted
-improvements that have been made on the original jacquard, but it
-would take up too much space, and many of them are of more historical
-than practical importance; some of them will be mentioned that may be
-interesting from a mechanical point of view, in connection with the
-descriptions of the machines, even though they have only been partially
-successful. Though a very different machine from what it originally
-was, the principle of the jacquard remains the same, and is not likely
-to be altered or superseded till a revolution takes place in the
-process of weaving.
-
-[Illustration: Fig. 16A]
-
-A jacquard machine is simply a shedding motion by which a great variety
-of sheds can be formed; the larger the machine, or the greater the
-number of hooks it contains, the greater is the variety of shedding
-that can be produced by it.
-
-If a jacquard is made small, with, say, from 16 to 48 hooks, it is
-called a dobby or shedding motion, and is used for working shaft
-mountings; but the ordinary jacquard machines have from 200 to 600
-hooks, which have long cords, called the harness, connected to them, no
-shafts being required, as each hook has only a few cords tied to it,
-which can be raised independently of the others. The fewer the cords
-that are tied to each hook, the greater is the variety of shedding that
-can be made on the same number of warp threads, till, when there is but
-one cord to the hook, any thread or any number of threads can be raised
-independently of any of the others.
-
-Jacquards may be divided into four classes--viz. single-acting,
-double-acting lift, double acting with double cylinders, and twilling
-jacquards; and besides these there are several other varieties made
-for special purposes. The single-acting is the real jacquard, and much
-the simplest machine. It has the disadvantage which all single-acting
-shedding motions have--viz. that one shed must be closed before the
-following one begins to open. This is on account of the same lifter
-having to open each shed; it must bring down the set of hooks that are
-raised, and then raise the next set.
-
-This constitutes the true jacquard lift; and while it makes a clear
-shed, and is desirable for some purposes, it is generally considered
-the most imperfect form of shedding--that is, so far as the making
-of a good cloth is concerned. It is not suitable for making a heavy,
-well-covered cloth, nor for working at a high speed, 120 to 140 picks
-per minute being a very good speed to drive it.
-
-A single-acting jacquard is a very simple machine, and when properly
-made should give very little trouble in working, particularly if the
-motions are properly set in relation to each other, and if such methods
-of working are adopted as will cause the least wear and tear on it.
-
-In whatever way jacquards are made, the principle of working is much
-the same. There are a number of upright hooks set in a frame; attached
-to each hook is a horizontal wire or needle, one end of which is
-pressed upon by a spring, which keeps both it and the hook steady and
-in position, while the other end, or point, passes through a perforated
-plate, beyond which it projects about half an inch (see Fig. 16A). To
-lift the hooks there is a set of bars or knives arranged in a frame,
-just below the heads of the hooks; this frame is called the ‘griffe’
-or ‘brander,’ and if raised would draw all the hooks up with it. What
-hooks will be lifted for each shed is regulated by perforated cards
-being pressed against the points of the needles. A perforation in the
-card allows the point of a needle to pass through and the hook to be
-raised; but where there is no perforation the card comes against the
-point of the needle, pressing it back, and holding the head of the hook
-clear of the blade of the griffe, so that the griffe will pass without
-raising the hook. It will thus be seen that any variety of shedding
-can be made by punching the cards to suit it. Fig. 17 shows one of
-the best makes of single-acting jacquards. One of the best methods
-of driving is shown in this and the following figure. The griffe is
-raised by means of the lever G, which is sometimes supported on a beam
-fastened to the roof or pillars of the shed, or it may be supported by
-an upright fastened on the frame of the loom. A portion of this upright
-is shown in Fig. 17, and as well as being fastened to the loom frame,
-it should be stayed to the top of the machine. One end of the lever
-is fastened by a link connection to the centre of the bar across the
-griffe frame, care being taken that the connection is so made as to
-draw up the griffe vertically, and not have any strain on the slide
-rods or spindles that are used for keeping the griffe horizontal when
-rising.
-
-[Illustration: Fig. 17]
-
-The other end of the lever is connected to a crank on the crank-shaft
-of the loom by a rod, E (Fig. 17); also shown at A (Fig. 18), where the
-crank is also given.
-
-[Illustration: Fig. 18]
-
-In hand-loom machines the griffe is frequently pushed up from below
-instead of being drawn up from the top as is shown in Fig. 17. The
-method of doing this is similar to that given for lifting the griffes
-of twilling jacquards.
-
-F (Fig. 17) is called the cylinder or barrel, evidently taking its name
-from the round cylinders or barrels used in the old machines, but is
-in reality a square prism. It is made of wood, and perforated on each
-side with a set of holes--a hole for each needle in the machine; its
-use is to draw round the chain of cards and press each one against the
-needles, or horizontal wires, in the machine. In order to keep the
-cards firmly on the cylinder, flat steel springs are sometimes used, as
-shown, attached to the top rail of the frame which holds the cylinder;
-and there are also steel wires which pass down in front of the cylinder
-over the ends of the cards. These springs are useful when only a small
-number of cards is used and the machine driven quickly; with a large
-set of cards, where there is plenty of drag on them from their own
-weight, they are not necessary, and but seldom used; but they are in
-common use in the Yorkshire districts.
-
-It will be seen from the illustrations (Figs. 17 and 18) that the
-cylinder hangs in a frame suspended from the top of the machine;
-this is called the swing or batten motion, to distinguish it from
-the horizontal or sliding motion which is shown at Fig. 20 (No. 1)
-and in Fig. 27. The swing motion is the simpler of the two, and is
-cleaner, requiring less oil; but the sliding motion is steadier, and
-does not swing the cards so much, consequently is more suitable when
-the cylinder has to travel quickly. The swing motion also requires the
-machine to be higher; with a slide motion the frame is usually cut off
-a little above the griffe.
-
-The cylinder has to travel out and in when the machine is working, so
-that it may be turned round and bring a fresh card against the needles
-for each shot. There are many methods of accomplishing this, which may
-be divided into two classes--viz. independent motions, or those which
-are driven from the loom independently of the machine; and self acting
-motions, or those which drive the cylinder out and in through the
-rising and falling of the griffe. The latter are the simpler, but the
-former are much better, causing less wear and tear on both the cards
-and machine, as will be explained further on.
-
-It will be seen in Fig. 18 that as the cylinder travels out it will be
-caught by the hook K^1, and turned round; the head or lantern of the
-cylinder is made of iron, as shown, so that the hook, or shears, will
-take a firm catch on it. To prevent the cylinder from turning more than
-one card at once, and to keep it steady so that it will always come in
-fair against the needles, it is held firm by a hammer pressed on it by
-a spring. This pressure is applied in different ways, one of which may
-be clearly seen in Fig. 17, and another in Fig. 27. When taking out
-the cylinder, or wanting to run it round quickly to draw over a number
-of cards, the hammers can be held up by a hook or sliding catch, which
-should be fitted to the machine for the purpose.
-
-One of the best independent motions for driving the cylinder is shown
-in Fig. 17; and that shown in Fig. 18 is also a very good one for small
-machines, perhaps the most convenient that is made; but the former
-is much stronger. In Fig. 17 a connecting-arm from the frame of the
-cylinder is attached to the lever B. The connecting-arm should have a
-slotted joint, so that it can be made shorter or longer, if required,
-for the purpose of regulating the pressure of the cylinder on the
-needles.
-
-The lever B is on a horizontal shaft, bracketed to the frame of the
-loom, or to the beams on which the machine rests; or some machines
-have bearings attached to their framing for it. There is, of course, a
-lever, as B, and a connecting-arm at each side of the machine. There
-is another lever on the end of the shaft, at right angles to B, which
-is connected with an eccentric on the crank-shaft of the loom by a
-rod, C, in the same way as the rod C is connected with the eccentric
-in Fig. 18. The eccentric can be set to bring the cylinder against
-the needles at any required time, independent of the lifting motion
-of the machine, which cannot be done when the self-acting motions are
-used. The larger the eccentric, the greater dwell the cylinder will
-have against needles. The method of working the cylinder in Fig. 18
-is somewhat similar, and can easily be seen; but it will be observed
-that a good deal of pressure will be put upon the studs on which the
-cylinder frame, or batten, hangs, particularly when the cylinder is
-being pressed in, as this is effected by drawing down the lever L;
-however, in a light machine this does not matter much.
-
-[Illustration: Fig. 19]
-
-The principal feature in this motion is the escapement apparatus for
-the purpose of disengaging the cylinder from its connection with the
-driving eccentric when it is required to turn some of the cards back.
-Fig. 19 (Nos. 1 and 2) shows this arrangement. The motion is not quite
-the same as that given in Fig. 18, but is on the same principle, and
-one may be easily understood from the other. In Fig. 18 the latch G
-comes out of the notch in the quadrant F, when the handle E is pressed
-close; the handle is on the lever D, having its fulcrum on the shaft N,
-and the quadrant F is connected to the eccentric rod C. The quadrant
-is loose on the shaft, and the lever is fast on it. Fig. 19 is a more
-convenient motion. The two halves of the handle A are held apart by
-the spring H, and this, through the hook B on the inner end of the
-handle, presses the latch or catch on the slide D into the notch on
-the quadrant C. The quadrant and handle are one piece, and are fast on
-the shaft E, and a lever F on this shaft is connected to the batten of
-the machine, in the same manner as shown by D and B in Fig. 18. When
-there are two or more machines, one of these levers would be required
-for each. The lever K is loose on the shaft E, and the rod G connects
-it with the eccentric, same as is shown by the rod C in Fig. 18. In
-No. 2, Fig. 19, the quadrant is left out to show clearly how the hook
-B acts on the slide D, and also to show the lever K on the shaft. The
-two halves of the handle, being pressed out by the spring, keep D in
-position, firmly pressed inwards; but when the handle is pressed the
-hook B presses the slide D outwards, leaving the quadrant free to pass
-up or down; and by pulling down the cord H (Fig. 18), which raises
-the shears K and K^1, the cards can easily be turned back by working
-the handle up and down, as the under shears will catch the cylinder
-and turn it the reverse way. The weaver must be careful not to jerk
-the motion and throw the cards off the cylinder or damage them; but a
-very little practice will enable anyone to turn them back quite easily
-and quickly. This motion answers very well for one, or perhaps two,
-small machines; for a 400 or 600 machine, or any smaller size working
-spottings, &c., it is very convenient, but when large mountings are
-required, as in 800 to 2400 machines, it is quite too weak for the
-work; even if made strong enough it would not be satisfactory, as the
-strength of spring that would be required to bear the strain and keep
-the catch in the notch would make it a very difficult matter to use the
-motion for reversing the cylinder. For heavy machinery the method of
-working the cylinder shown in Fig. 17 is far preferable, and separate
-motions for turning back the cards can be fixed on the machine. These
-will be explained further on.
-
-Instead of the eccentric and crank for driving the cylinder and raising
-the griffe being as they are shown in Fig. 18, though a plan frequently
-in use, it is neater, and perhaps better, to have the eccentric at the
-back of the fly-wheel, and the fly-wheel either cast with one half
-solid, or have a plate fastened across two or more of the spokes, to
-which the connecting-rod can be attached with a bolt fastened in a
-slot. The amount of lift can be increased or diminished, either by
-shifting the top of the connecting-rod along the lever G (Fig. 17), or
-by increasing or reducing the throw of the crank at the fly-wheel.
-
-[Illustration: Fig. 19A]
-
-Self-acting motions actuate the cylinder through the rising and falling
-of the griffe without requiring any special connection from the
-loom. One of the most convenient of these is that frequently used on
-hand-loom machines, and known as the S iron or swan-neck motion. It is
-shown in Fig. 19A (No. 1), and another form of it on a swing cylinder
-motion is shown in Fig 16. D is the swan-neck or S iron. In the groove
-in it a roller stud on the griffe frame travels, sliding in and out the
-cylinder A as the griffe falls and rises. E is the slide bar, which may
-be flat or round; if round, there must be some means of keeping it from
-turning in its bearings, which is generally accomplished by having a
-crossbar bolted across the two slide bars behind the machine.
-
-No. 2, Fig. 19A, is a motion for the same purpose, but consists of a
-series of levers; and No. 3 is an arrangement of a similar nature. B is
-the fulcrum of the levers, or fast pin by which they are connected to
-the machine. C shows the attachment of the levers to the slide rod of
-the machine. A is the connection with the cylinder frame. As the griffe
-rises or falls it will easily be seen that the cylinder will be driven
-out or in.
-
-The connecting-bar H is in two parts, slotted and bolted together at H
-to admit of regulating the position of the cylinder.
-
-No. 4 is a motion on a different principle; it is a French motion. It
-will readily be seen that the cylinder is driven out and in by the
-toothed wheel, which is wrought by a rack on the slide rod E. This
-slide rod works outside the framing of the machine, as is common in the
-French machines. One point must be observed about these motions--viz.
-that they must have a certain amount of dwell at the bottom of the
-stroke, or when the cylinder is in. The reason of this dwell will be
-explained further on, but the method of obtaining it may be given
-here. In the swan-neck motion (No. 1), any desired dwell can easily be
-obtained at either top or bottom by the length of the slot that is in
-a vertical direction, as when the stud is passing through this portion
-of the slot no motion is given to the cylinder. In the lever motions
-Nos. 2 and 3, as well as in No. 4, the dwell is got by the levers or
-arms passing the centres; in Nos. 2 and 4 it is by the lever or arm H
-passing the back centre, which may be considered as a crank; and in No.
-3 it is the short lever C passing the centre that gives the dwell.
-
-[Illustration: Fig. 20]
-
-[Illustration: Fig. 21]
-
-[Illustration: Fig. 22]
-
-Fig. 20 is a view of the interior of a single-acting jacquard machine
-with the framework removed; only one row of hooks and needles are
-given, to avoid confusion. The blades or knives of the griffe, with
-a support running across their centres, are shown at B. A is the
-face-plate or needle board, sometimes made of iron, but better to
-be of hard wood. C is the spring-box, the detail of which is given
-in Fig. 24. E, E^1 are the hooks, and F, F^1 the needles. D is the
-grating through which the hooks pass, and are supported by it. It will
-be seen that the hooks and needles are arranged in rows of eight: a
-400 machine would have 50 or 51 of these rows in it; 500 machines
-are usually arranged in rows of 10, and 600 machines in rows of 12.
-The hooks should be set perfectly upright or vertical, and should
-be close up against the knives, but not pressing against them. There
-should be a provision made for shifting both the grating and the
-knives, so as to admit of both them and the hooks being properly set
-in relation to each other; but if set correctly by the maker, which
-they should be, no alteration is necessary. A (Fig. 21) is a side view
-of four hooks and needles, with the ends of the knives of the griffe
-shown at _a_, _a_, _a_, _a_. When the machine is working the needles
-are acted upon by perforated cards cut from the pattern. Suppose we
-take plain cloth--that is, a pattern in which each half of the warp,
-or every alternate thread, is raised and sunk alternately; then, if
-the first card acts on all the odd numbers of the needles, and the
-second card on all the even numbers, this repeated would make plain
-cloth. Whenever a hook of the jacquard is to be raised a hole is cut
-in the card for the needle connected with that hook, and a card with
-all the even numbers of holes cut in it will cause the griffe to
-raise all the even-numbered hooks. Refer to _b_ (Fig. 21), where the
-second and fourth holes are cut in the card. If the card is pressed
-against the needles, as at _c_, the first and third needles will be
-pressed back, and will push the first and third hooks back from their
-position--shown by the dotted lines--to the position in which they are
-shown in B (Fig. 21); but the second and fourth hooks are not moved,
-as their needles pass through the holes in the card. If the griffe
-is now raised, the blades or knives will pass the first and third
-hooks, but will lift the second and fourth; and if the odd numbers
-of holes are cut on the next card, the first and third hooks will be
-lifted when it is pressed against the needles, as shown at C (Fig.
-21), thus making the cross-shed; and this explains the principle of
-working any pattern by the jacquard without taking into consideration
-the intricacies of mounting, &c. In C (Fig. 21), it will be seen that
-if the knives _d_, _d_ were upright instead of slanting, they would
-come down on the heads of the hooks that are under them, but, being
-slanted, their lower edges pass the heads of the hooks, and press them
-away as the griffe descends. Sometimes, even with slanting knives, if
-there is much vibration in the hooks, or if the loom ‘bangs off,’ some
-of the hooks are liable to get under the knives and be ‘crowned,’ or
-bent down. To avoid this deep blades are often used, principally in
-double-acting machines, so that the lower edges of the blades will
-not pass the bottom hook, as shown at D (Fig. 21). This prevents any
-danger of crowning, but it darkens the machine a little--that is, makes
-it more difficult to see down into it if any of the wires require to
-be examined; it also requires the heads of the hooks to be somewhat
-higher above the heads of the needles than is necessary with the narrow
-blades. Another principle has been tried--viz. that of making the
-heads of the hooks as shown in Fig. 22, and using narrow blades. This
-effects its object well, but there is too much friction of the knives
-against the hooks, and the latter are liable to wear out too quickly.
-A good machine with firmly set hooks should work very well without
-these protections if it is steadily placed above the loom, and it is
-better not to be resting on the loom framing, if convenient to have
-it so. It will be seen from the foregoing explanation that the proper
-time, or, rather, the necessary time, for the cylinder to press against
-the needles is just after the griffe begins to rise. When the griffe
-is down the top edges of the knives should be 3/16in. or 1/4in. lower
-than the turned points of the hooks, and before this edge rises up
-to the hooks those that are not to be lifted should be full back, or
-the cylinder should be close in, having the front of the head of the
-hooks 3/16in. or 1/4in. behind the blades. The cylinder should have
-a short dwell in this position; and if it has a longer dwell it may
-assist to reduce the friction of the heads of the hooks against the
-knives; but if it has too great a dwell it may have to travel out and
-in too quickly to make up for the lost time, which will probably not
-be compensated for by the advantage of the increase in the dwell. Now,
-when the cylinder is driven with an independent motion, as in Figs. 17
-and 18, it is easy to set the eccentric so that it can be brought in at
-any required time; but when a self-acting motion is used, it is plain
-that if the cylinder must press against the needles when the blades of
-the griffe are passing the heads of the hooks in rising, it must also
-press against them in the same position when the griffe is falling,
-unless some special escapement motion could be devised to avoid it, and
-this is where the dwell is required, and where the evil effect of the
-motion takes place; and it is worse in a double-lift machine with one
-cylinder, as the heads of the hooks in it are larger, or have a longer
-turn on them. A little consideration will suffice to show that when the
-brander or griffe is falling, say, with one-half of the hooks hanging
-on its knives, and the cylinder is brought in against the needles
-before the hooks are quite down, as it must be, it will either cause
-the hooks to be shot off the knives, or will put a considerable strain
-on them, as well as upon the needles and cards. It is for this reason
-that these motions are objectionable, particularly in power-loom work,
-where the speed is high and the hooks are strong. In hand-loom work
-it is not so objectionable, as there is more spring in the wires, and
-the heads of the hooks need not be too large, and, besides, the speed
-is less and the wear and tear not so great; but, even with this, if a
-hand-loom machine that has been in use for some time be examined, it
-will be seen that the points of the hooks are considerably worn, and
-that the edges of the knives are hollowed out like a coarse saw by the
-friction of the hooks on them. This latter will partly arise from the
-lifting of the hooks.
-
-[Illustration: Fig. 23]
-
-In the old Jacquard, given in Figs. 15 and 16, the hooks are shown
-resting on a perforated board, and it was mentioned that in order to
-prevent them from turning round a frame lay in the turned-up portion
-of the hooks. The grating in Fig. 20, through which the turned-up
-bottoms of the hooks pass, readily accomplishes this object. Sometimes
-flattened hooks are used, as in C (Fig. 23), with the needles twisted
-once or twice round the hooks; this makes a firm arrangement, but if
-anything goes wrong with a hook it is not easy to get it clear of the
-needle. When the needles were made with a full twist or loop on them,
-as at B, the same was the case; they are now usually made as at A,
-and if arranged in the machine as in Fig. 20, there is no danger of
-the hooks sliding out of the recess in the needle, and if a hook gets
-bent or broken, it can be taken out and replaced by a new one without
-disturbing the needles.
-
-Fig. 16 shows how the needles press against the springs in the
-spring-box, which is much the same as that at present in use. Fig. 24
-is the present arrangement. No. 1 gives a plan of the end of a needle,
-B. C C is the horizontal wire which supports it as shown in section at
-C C in No. 2. D (No. 1) is a section of the vertical wire shown at D
-D (No. 2), which passes through the loops or eyes on the ends of the
-needles, and keeps the springs from shooting them too far forward. A
-(No. 2) is a wire which passes down at the outside of the box over the
-ends of a row of springs, so that by drawing out this wire any of the
-springs can be drawn out without taking off the spring-box, as the
-springs pass through the box. The springs should be strong enough to
-keep the hooks and needles steady, but if unnecessarily strong they
-give the card and cylinder unnecessary work.
-
-[Illustration: Fig. 24]
-
-In some machines there is no spring-box. The hooks are made double, as
-shown in Fig. 25, and rods, as _a_, _a_, run along between the rows
-of hooks; the spring of the double wire keeps the hooks steady. There
-is a clap-board used, similar to that in the French draw loom, (Fig.
-13), which is pressed against the needles with springs; this board is
-connected with the face-plate by a bar at each end, forming a frame.
-The needles do not project much through the face-plate, but when the
-cylinder is pressed against it, it slides back on the needles, and
-presses the clap-board back, which also allows those needles to go
-back which the card presses against. The needles are not looped on the
-hooks, but have a turned catch in front of them as shown. The bottom of
-the hook rests on a hole board, C, through which the tail cords pass;
-and through the hooks at D are wires fixed in a frame which rises and
-falls when the hooks are raised, and keeps them from turning round,
-same as explained in Fig. 15. Machines of this description are at
-present being made in France, and work with a rising and falling shed,
-which will be hereafter explained (see Fig. 30).
-
-[Illustration: Fig. 25]
-
-[Illustration: Fig. 26]
-
-[Illustration: Fig. 27]
-
-In working, the card cylinder must be so set that it will come forward
-fair on the needles--that is, that when it comes forward the points of
-the needles will enter fair into the centres of the holes in it. For
-the purpose of setting it there must be provision made in the fittings
-so that it can be moved laterally or vertically. In the swing motion
-the frame can be moved laterally by means of the two screw studs on
-which it hangs. C, Fig. 27, shows the bearing on which the stud of the
-cylinder revolves. This bearing can be raised up or down in the frame
-R--a side view of which is given at S--by slackening the bolt B with
-the wing nut A, and adjusting the bearing with the set screw D or E.
-
-A method commonly adopted by tacklers or tuners to see that the needles
-are perfectly fair in the centres of the holes in the cylinder, is to
-rub their fingers on some dirty oil, and touch over the points of the
-needles with it. They then bring in the cylinder against the needles
-with a card on it, in which about half of the holes are cut. The points
-of the needles mark the card where there are no holes, and it can
-easily be seen whether the mark is in the centre of where a hole should
-be, or not.
-
-One of the best bearings and attachments for a cylinder with a
-horizontal slide motion is given in Fig. 26. D is the bearing for the
-cylinder E, and C the bolts for setting it. F F is the bracket which
-holds the hammer and bearings, which can be set in position on the
-slide bar B by the bolt A. I is the hammer held down by the spring H
-attached to the rod G.
-
-The cards are kept in position on the cylinder by pegs or studs,
-originally made of wood, and driven into the cylinder. Now they are
-made of brass, and set in a slotted bracket, so that they can be
-shifted in order to have the holes in the cards corresponding exactly
-with those in the cylinder. The pegs should also be set on springs, so
-that if a card gets off them, and between them and the needle plate,
-they will yield or sink into the cylinder, and not break the card. In
-all good machines they are made in this way.
-
-When the motion for driving the cylinder is not fitted with an
-escapement for the purpose of turning back the cards, it is necessary
-for the convenience of the weaver to have a motion on the machine for
-the purpose.
-
-[Illustration: Fig. 28]
-
-Figs. 28 and 29 show two varieties of these motions. A is the cylinder
-head; C, the catch for reversing the cylinder; F, the spring for
-returning the catch to its position; E, a cord which hangs down, with a
-knob on the end of it, in a convenient position for the weaver to catch
-and work the motion. In Fig. 28 the motion is on the opposite side of
-the machine to the shears, but might be on either side, and the weaver
-has to raise the shears to turn the cylinder, which she can easily do
-by catching the knob for raising the shears in one hand, and working
-the reversing motion with the other. The cylinder must be full out for
-this motion to turn it properly, and this prevents the weaver from
-tearing the cards on the needles, as she might easily do by trying to
-turn the cylinder when it is too close in. In Fig. 29, B is the shears
-for turning the cylinder, and both it and the pushing catch, C, pass
-through a keeper or bracket, D, on the side of the machine. There is a
-rise on C a little back from the point, and when the cord E is pulled
-down C is shot forward by the lever, which has its fulcrum at G, and in
-going forward the rise on it comes into contact with the bend in the
-shears, and raises them up so that it can turn the cylinder when it
-catches on the head of it. Both these are good and convenient motions.
-For the latter the cylinder should be about half-way out when the cards
-are being turned back.
-
-[Illustration: Fig. 29]
-
-Sometimes the cylinder may not be completely turned by the shears when
-the machine is working, by reason of the cards catching, or if the
-shears are too long, or it may arise from other causes. In this case
-the cylinder would come in with one corner against the needles, and
-be pressed heavily against the needle plate. Some of the levers would
-probably be broken, or the cylinder might be shot out of its bearings
-and fall, breaking the yarn, or perhaps injuring the weaver. To avoid
-this, small snecks, as at H, Figs. 28 and 29, are set so that when the
-cylinder is square it will pass over them; but if turned angularly
-its lower edge will catch on the point of the sneck, as the cylinder
-is coming in, and turn it square. The sneck is held up with a spring
-so as to allow the cylinder in turning to depress it. Sometimes the
-sneck, as at H, is liable to cause broken shots; for if the weaver
-turns back the loom, and the cylinder moves out sufficiently far to be
-turned to its angular position, and remains there, it will, in coming
-in, be turned square by the sneck, and thus a card would be passed
-over without a pick being put in for it. This is sometimes remedied by
-putting the sneck above the cylinder, instead of below it, which would
-turn it the reverse way; but this might come wrong at other times. The
-better plan is to keep it below, and let the weaver get to understand
-what she is doing, as it is not very difficult to learn.
-
-The setting of a jacquard machine for working consists in adjusting the
-cylinder motion so as to bring in the cylinder at the proper time, and
-press it sufficiently close against the face-plate to keep the hooks
-clear of the knives of the griffe, without pressing it too close; and
-regulating the lifting of the griffe to suit the time for shedding,
-and to give the size of shed required. The shed must be open for the
-shuttle to pass through; the time for picking is when the cranks of
-the crank-shaft of the loom are at the bottom centre, therefore the
-shed should be almost fully open at this time. The lifting of the
-griffe can be made a little earlier or later to suit circumstances,
-but very little alteration can be made, as it takes a full revolution
-of the crank to raise and lower the griffe. Further consideration will
-be given to jacquard shedding after double-acting machines have been
-explained.
-
-The motion for working the cylinder, if an independent one, should be
-rigid and strong; for if there is any spring in it, though the cylinder
-may be brought in sufficiently close when there is much cutting on the
-card, if a blank card or one with very little cutting on it comes on,
-the extra pressure on the needles, especially with a large machine,
-may prevent it from getting in sufficiently close to clear the hooks
-from the griffe. With self-acting motions there may sometimes be some
-trouble in this way, as the weight of the griffe may not be sufficient
-to press in the cylinder. In this case the griffe may be weighted, or
-may be allowed to drop quicker, or the lifting rod and lever may be
-made to assist in pressing it down somewhat.
-
-Before starting the machine the needles should be examined to see
-that they are all free, and that they will spring out easily after
-being pressed back. The griffe should be perfectly horizontal and all
-the knives properly set; the holes in the cards and cylinder should
-exactly correspond, and when the cylinder comes in the needles should
-be fair in the centre of the holes; if not, the cylinder must be set as
-described (see description of Figs. 26 and 27).
-
-The driving of heavy single-acting jacquards will be further considered
-under Twilling Jacquards.
-
-When any of the hooks or needles in a jacquard get bent or broken, they
-can easily be straightened, or taken out and replaced by others. By
-putting a thin blade of iron or wood down through the needles alongside
-of the hook to be replaced, and springing open the passage, the old
-hook may be drawn out and a new one put into its place. The tail cord
-must, of course, be cut off the bottom of the hook, and a new one tied
-on. For changing a needle take off the spring-box and draw up the pin
-which fastens the row of needles at the back; then the needles in this
-row may be taken out till the defective one is reached, and the row
-made up again; or, the old one may be renewed without taking any of the
-others out. A flat blade is used to slide through the hooks and keep
-clear the place for the needle to be put in.
-
-_Card Frames._--The cards for jacquard work are usually hung on a
-frame as O, Fig. 18, wires sufficiently long to catch on both sides
-of the frame being tied to the lacing of the cards. The number of
-cards between each wire may vary to suit the space and the quantity
-of cards. Sixteen to twenty suit very well, the former for small and
-the latter for larger sets, and for very small sets twelve or fourteen
-might be more convenient. The frame may be made of round iron rod, or
-of flat or bar iron, and should be of the shape shown in the sketch,
-and not semicircular, as is usually the case, which presses the cards
-together in the centre; almost flat at the bottom, with just enough
-of a slope to make the cards slide back, is much the best. Of course,
-for a few cards it does not matter much what shape it is. P (Fig.
-18) is the frame for the rollers over which the cards travel to the
-cylinder. They should be so sloped as to make the cards travel up
-nicely with sufficient drag on them, and not too much; on this depends
-a good deal the proper working of the cards, particularly when the
-machine is running at a high speed, and when springs are not used to
-steady them on the cylinder. It is usual to have a roller below the
-cylinder, attached to the frame which holds the cylinder, and the
-falling cards pass over it. Sometimes the cards, when falling, are
-shaken, so that some of the wires may not catch on the frame, but pass
-through it, or the ends of some of the wires may be bent and cause
-the same result; if the weaver neglects to put these up on the frame
-before the cards work round to those that have fallen, the wire may
-catch on it and prevent the cylinder from turning, or, perhaps, pull it
-out. Sometimes a crank or bend is made in the frame at the outer end,
-so that the wires can pass up through it without catching. The frame
-should just be sufficiently wide to enable the cards to pass freely
-through it with, say, one-eighth of an inch clearance at each side;
-then, if three or four inches at the outer end is cranked, or set out
-so as to be a little wider between the two bars than the length of
-the wires, they will pass up through without catching. Frames of the
-shape described are, of course, only suitable when the cards are to be
-wrought forwards--that is, with the cards falling between the cylinder
-and the machine; but if they require to be wrought both backwards and
-forwards, as is sometimes the case, the card frame must be made more
-of a semicircular shape, and the rollers must be set so as to give a
-sufficient fall to the cards, and keep them firm on the cylinder.
-
-As has already been said, the nature of the shedding of a single-acting
-jacquard is objectionable for speed in working, for ease on the yarn,
-and for heavy work, or for well-covered work. The jacquard harness
-is levelled so that the yarn is all sunk, and the shed is entirely a
-rising one; it can easily be understood that when the griffe rises to
-open one shed, it must again fall before it can begin to rise to form
-the next shed. Now, mostly all tappet motions, and a great many dobbies
-or shedding motions, either have the yarn springing up and down from
-the centre, or have one portion rising and the other portion falling
-at the same time, so that in them the second shed could be open at the
-same time that the griffe in the single-acting jacquard had fallen to
-begin to rise the second shed; but as this would be much too soon,
-they can take a greater time to accomplish the work, and thus have a
-much slower and steadier motion.
-
-It has been attempted to work the single-acting jacquard on the
-centre-shedding principle, and machines are at present being made in
-France of this class. It is only necessary to let the board on which
-the upright hooks rest fall at the same time that the griffe is rising
-in order to accomplish what is required, and the method of working is
-good, and would suit well in dobbies where the heddles can be taken
-firmly down. But in the jacquard the drawback is in the harness: the
-constant rising and falling causes a vibration in it, and does not
-admit of nearly so firm work as when the rising shed alone is used.
-
-[Illustration: Fig. 30]
-
-One of these machines is shown in Fig. 30; they are a very compact and
-neatly made machine, and contain a much greater number of hooks than
-one of the English machines. Fig. 26 gives one of the hooks in this
-machine, and the way in which it acts is there explained. It will be
-seen that the frame for the cylinder is inverted; F is the face-plate
-or needle board as it rests when the cylinder is not pressing against
-it, being held in this position by the spring H pressing on a stud on
-the bar I, which extends from the face-plate to the clap-board G. The
-cylinder frame is driven by a rod, C, connected with a lever. E, E^1
-are two racks on the ends of the hole board on which the hooks rest,
-and D, D are two levers with quadrant racks on each end, which work
-into the racks E and E^1, and also into the racks on the slide bar
-_a^1_. This slide bar is fastened to the griffe A A, which is raised by
-a connecting-rod from a horizontal lever to the stud _a_. As the griffe
-is raised one end of the racked levers, D, is also raised, and the
-other end sinks, taking down the hole board by pressing on the racks E
-and E^1. The hole board is fixed so that it will easily slide up and
-down. If the griffe is raised two inches, the hole board falls rather
-more than one inch.
-
-This is a very good motion, perhaps could not be surpassed for the
-purpose, but, as I said before, has the objection which all similar
-contrivances for the purpose must have--viz., causing too much
-vibration in the harness. All the cords constantly dancing up and down
-causes an unsteadiness and swinging that is not to be found in the
-ordinary jacquard harness. These machines have sixteen rows of needles
-in them, which are much closer set together than those in this country,
-and give a large number of hooks in a small-sized machine, which is a
-great advantage when extensive patterns are required. In this machine
-the half-card contains 440 holes, or 880 holes to the full or double
-card. The pitch is shown at A, Fig. 31, which represents the end of
-one of these cards, and a piece of one of the usual 8-row cards as
-here used is shown at B for contrast, the black dots in both cases
-representing holes.
-
-These machines have not been adopted here, nor is it likely that they
-will be, although they are said to work well in France. They have
-been tried here, and the difficulty lay in setting the cards properly
-so as to act correctly on the needles, and keeping them so for any
-length of time. The least contraction or expansion of the paper, or any
-irregularity in the cutting, any bend in the points of the needles, or,
-in fact, anything but perfect exactness, interferes with the working:
-there is too great compactness in the machine, and in the ordinary
-wear and tear of work a little allowance is necessary for success.
-Considering that these are working, it would appear that the pitch
-and size of the holes in our cards are unnecessarily large, except
-where small machines answer and saving of space is no consideration;
-in that case the extra paper required for the cards might be more than
-compensated for by the strength of the machine, and the saving of
-trouble in attending to it.
-
-[Illustration: Fig. 31]
-
-The method already mentioned of getting over the disadvantage of the
-single-acting jacquard is not likely to gain general favour, and is
-not required, as it is surpassed by the double-acting jacquard, or
-that in which there are two griffes, one rising when the other is
-falling, forming a counterpoise as well, making the shed more after
-the principle of ordinary tappet shedding. In a loom fitted with a
-single-acting jacquard, if there is much weight to be lifted, it will
-turn round the loom so that it will rest in no position but with the
-griffe down, and this is frequently of so much annoyance to the weaver
-as to necessitate a counterpoise being applied to balance it. Sometimes
-weights are used, and sometimes springs. With the double-acting lift
-nothing is required, and this was first used in Cross’s counterpoise
-harness (about 1816).
-
-[Illustration: Fig. 32]
-
-[Illustration: Fig. 33]
-
-In the double-lift machine there are double the number of hooks that
-there would be in a single-lift machine of the same size, but the same
-number of needles; each needle is connected with two hooks, as shown in
-Fig. 32, which gives one row of hooks and needles for an 8-row or 400
-machine. There are two griffes, one working above the other, as shown
-at A and B, Fig. 33. E, E is the top griffe in both; C, C is the bottom
-griffe, shown complete at A, but at B the side-bar of the frame is
-omitted, leaving only the knives to show how they fall in between those
-of the bottom griffe; D, D^1 are the two slide rods or spindles which
-keep the griffes steady in their traverse. There must be a sufficient
-space between the frame C of the lower griffe and that of the upper
-griffe, E, to allow of the required draw being given to form the sheds
-without them coming into contact. In these machines, although there
-are 16 hooks in the row, they only act as eight, so far as forming the
-pattern is concerned, as two hooks are governed by one needle; the
-additional hooks are solely for the purpose of obtaining a rising and
-falling shed. Each pair of hooks is connected together at the bottom
-by a piece of strong cotton cord, called the tail cord or tug cord, as
-shown in Fig. 35. The griffes are raised by two levers arranged side
-by side, and similar to the one shown in Fig. 17. These levers are
-wrought by rods connecting them to a double crank, or sometimes to a
-tappet, on the tappet shaft of the loom. The common form of crank is
-shown at A, Fig. 34. B is the tappet shaft, and on the end of it is
-fastened a disc. A second disc, which carries the double crank, G, is
-bolted against this one, and can be shifted to whatever position is
-required to give the tread at the correct time. The cylinder is driven
-from an eccentric on the crank-shaft as before described. One of the
-griffes rises for each shot, the other falling at the same time; but
-the cylinder must come in for every shot, and it is here that the
-principal fault in this machine lies. Not only has the cylinder to
-travel at a high speed, but when one griffe is at its highest position,
-it has to press against the needles, so as to clear away those hooks
-that are not to be lifted by the lower griffe, which should now be
-beginning to rise; and in consequence of the needles being attached
-to two hooks, one belonging to the upper griffe, and the other to
-the lower one, it follows that those needles that are pressed in by
-the cards have to spring back the hooks connected with them that are
-raised by the upper griffe, which is a severe strain on both needles
-and cards. To prevent the hooks being pushed off the upper griffe, they
-must have larger turns on them than would otherwise be necessary.
-
-[Illustration: Fig. 34]
-
-Fig. 35 shows how the raised hooks can be allowed to yield to the
-pressure of the needles. A, B, C, D are four hooks connected with two
-needles, 1 and 2. When the hook A is raised, if B, which raises the
-same warp--as will be seen by the connection of the tail cords with
-the harness at E--is not to be raised for the next shot, the needle 1
-is pressed back by the card, and presses the hook B back from its knife
-as shown, the dotted line being its original position; the A hook,
-being connected with the same needle, must also be sprung back, but
-its head cannot get back, as it is held on the blade of the griffe, so
-that the wire would require to spring, if some escape were not made for
-it. The lower ends of the hooks are made V-shape in the grating, so
-that when raised, if pressed on by the needles, they can move forward
-as shown, the dotted line showing the original position of the hook
-A. When the hooks fall, they fill the slots in the grating, and are
-thus kept steady. G shows the tail cords as connected with the harness
-when both hooks are down; E shows them when one hook is up and the
-other down, and if the hook B was raised for the next shot, the tail
-cord on it would be tightening up as that on A would be falling, and
-the harness attached to them would be caught up a second time from the
-middle position, thus forming centre shedding with any portion of the
-harness that is raised several times in succession. With plain-texture
-cards the upper and lower portions of the shed would pass each other in
-the centre when the sheds are being reversed, all the even numbers of
-hooks being on one griffe, and all the odd numbers on the other.
-
-[Illustration: Fig. 35]
-
-[Illustration: Fig. 36]
-
-The tail cord consists of two pieces of cotton cord, one fastened
-to each hook of a pair, then the two ends are together tied to the
-bunch of neck twines that are to hang from these hooks, as shown in
-Fig. 35, and at A, Fig. 36. When one hook is raised and the tail cord
-drawn up with it, the other portion of the tail cord, which is tied
-to the other hook, is slackened--as shown at A, Fig. 36--which causes
-a certain amount of friction on them. Also, when one hook of the pair
-is falling with the descending griffe, and the other hook rising, the
-pluck occasioned thereby on the cords, when the hooks are passing at
-the centre, has a tendency to wear and break them. Although this does
-not occur when the lingoes are of a moderate weight (18 to 25 per lb.),
-and when only a few neck twines are tied to each tail, yet when a large
-number of neck twines (say 20) are tied to each tail, with weighty
-lingoes, as may frequently be the case in weaving small patterns on
-woollen and worsted goods, the breakage of the tail cords is a common
-source of complaint, which not only gives the trouble of renewing
-them, but is liable to cause defects in the cloth, by the weaver not
-observing the breakage for some time, as one hook of the pair may be
-raising the neck twines--that is, in case of the tail cord to only one
-of the hooks breaking. To remedy this Messrs. Hancock, Rennie, and
-Hudson have this year (1890) introduced a patent link connection for
-joining the tail to the hooks, which only requires one cord, or double
-cord, to be used, instead of two as before. This is shown in Fig. 36
-at B. When one hook is raised and the other down, the link is in the
-position shown at C. The old method is shown at A. When one hook is
-rising and the other falling, the partial turning of the link causes
-a loss of time equal to about a quarter of an inch of lift, and this
-eases the sudden pluck on the tail cord. When both hooks are down there
-is also a loss of a quarter of an inch in the lift when one hook begins
-to rise, caused by the turning of the link.
-
-[Illustration: Fig. 37]
-
-[Illustration: Fig. 38]
-
-This patent works very well, but, except when heavy weights are on the
-hooks, is not likely to supersede the older methods. These links are
-fitted to machines by makers in Manchester and Bradford.
-
-Before the form of griffe shown in Fig. 33 was adopted the hooks were
-made of two heights, as shown in Fig. 37, and one griffe wrought
-above the other, instead of the one set of blades or knives passing
-through each other; but this method was given up on account of the
-vibration of the long hooks, which made it uncertain whether they would
-remain on the knives or keep clear of them when required. Fig. 37
-shows this arrangement of hooks for a double-cylinder machine; for a
-single-cylinder machine with two griffes the heights of the hooks would
-be similar, but the heads would all be turned in the same direction,
-and the knives sloped to suit this, as is done when the hooks are all
-of the one height; each needle would be connected to a short hook and a
-long one. The short hooks give much more certain work, and can have the
-cylinder set so as to press back the hooks only as much as is required,
-whereas with long and short hooks allowance had to be made for the
-uncertainty of the vibration and the difference in the length of the
-two sets of hooks.
-
-Fig. 38 is a view of one of the best makes of double-lift jacquards
-with a single cylinder.
-
-The machine is made by Devoge & Co., of Manchester, but is not here
-given as being specially recommended in preference to others; it is
-only given as an illustration. Those wanting to buy a machine had
-better see what are in the market, and select what they consider most
-suitable to their work and price. This applies to all the machinery
-given in these articles. There is rarely a best machine for all
-purposes.
-
-[Illustration: Fig. 39]
-
-These machines are much in use, and can be run at a high speed, say
-160, or even 180, and by many are preferred to the double-cylinder
-machines, as there is no danger of one cylinder getting before the
-other, and the cards are all laced in one set; besides, it may be
-more convenient for working, as some arrange their machines so that
-the cards for one loom hang to the back, and those of the next to
-the front. When these machines are to work at a high speed, the
-slide-motion cylinder will probably be found the most satisfactory.
-Fig. 39 illustrates one of these machines with slide cylinder motion
-and the levers for driving it, the connections being as before given.
-The levers for raising the griffes are also shown, but here go to the
-back, whereas they are usually at the side.
-
-The most perfect jacquard machine in the market is undoubtedly the
-
-
-DOUBLE-ACTING JACQUARD WITH TWO CYLINDERS
-
-[Illustration: Fig. 40]
-
-The only drawback to this machine is, except what may be said against
-the method of shedding, the liability of one cylinder to be turned out
-of time, or get a shot or two before the other, so as to put the cards
-off their proper rotation; but this is only a difficulty in the hands
-of inexperienced weavers; nevertheless it exists. The effect will be to
-spoil the pattern on the cloth, giving the twill a mixed or broken-up
-appearance. There are motions in use for stopping the loom, unless the
-cards come in rotation, but many prefer to work without them. Fig. 40
-is a view of a two-cylinder machine made by Messrs. Devoge & Co., with
-swing-motion cylinders, which are, perhaps, the best motions for these
-machines, as they do not require to travel quickly. A very good speed
-for the machines to work at is 160 to 180 or 200 picks per minute,
-and the cylinders would only travel at half this speed. The cylinders
-should be driven by an eccentric, same as given for the single-acting
-machines, but instead of being on the crank shaft, it should be on the
-tappet shaft, which runs at half the speed; and as the two cylinder
-frames are connected together, when the one is going out the other is
-coming in, so that one eccentric making a revolution for two beats of
-the slay will drive both cylinders. Sometimes the eccentric is on the
-tappet shaft, inside the framing of the loom, and is connected with the
-top lever, as shown in Fig. 34 (B). C is the eccentric, D the fulcrum
-of a short lever attached to it, and E the upright rod attached to
-an arm or lever on a horizontal shaft supported by the machine, or
-on the top of the loom. A lever from this shaft on each side of the
-machine drives the cylinders. The eccentric may be on the end of the
-tappet shaft, same as it is shown on the crank shaft in Fig. 18; but it
-might not always be convenient to have it here, and perhaps the most
-desirable way to have it at any time is to have a pinion on the crank
-shaft with, say, twenty teeth in it, and a stud wheel alongside with
-forty teeth gearing into it. On this stud the eccentric can be fixed,
-and will give a very steady and convenient method of driving. The
-griffes are raised in the same way as for the double-lift jacquard with
-one cylinder. (See Fig. 34 (A)).
-
-[Illustration: Fig. 41]
-
-[Illustration: Fig. 42]
-
-Fig. 41 shows the arrangement of a row of hooks and needles for a
-double-cylinder machine. The top needle of the upper set and the bottom
-needle of the under set are attached to two adjoining hooks, which
-are connected together with the same tail cord. This arrangement is
-to enable the cards when working at both sides to act on the correct
-hooks, which will be better understood by referring to the description
-of lacing cards for these machines. In Fig. 41 it will be observed that
-all the hooks are vertical. Sometimes the hooks are slanted a little,
-as in Fig. 42, to give more space between the hooks at the top, without
-increasing the width of the machine, and there is a slight difference
-in the arrangement of the hooks and needles, as is shown. Both work
-very well.
-
-Fig. 43 shows a two-cylinder machine, by Messrs. Devoge & Co., with a
-slide motion for the cylinders, which would be driven in the same way
-as the swing motion.
-
-It has been said that the shedding of a single-acting jacquard is of
-the worst description for general weaving. That of the double-acting
-machine is by no means perfect either; some prefer the single-to the
-double-acting for making fine damask. Jacquard shedding cannot be
-regulated in the same way as tappets or the best shedding motions can.
-In tappets the dwell can be regulated to suit the cloth required, and
-the time of the shedding can be made early or late as desired. In
-jacquards this cannot be done to anything like the same extent. The
-shed must always be open in time for the pick, and the pick should
-begin when the cranks are about the bottom centre, a little earlier or
-later, as desired. The jacquard must have the shed open at this time,
-and must keep it open till the shuttle passes through.
-
-It has been said that the usual method of raising the griffe or griffes
-is by a crank (or a stud in the wheel, which is practically a crank)
-on the crank shaft for a single-acting machine, and by a double crank
-on the tappet shaft for a double-acting machine. Now, a crank gives a
-continuous eccentric motion with a slight dwell when it is at both top
-and bottom centres. Sometimes a tappet is used to raise the griffes
-instead of a crank, and of course any required dwell can be made on a
-tappet; but then it must suit the jacquard, and the greater the dwell,
-the less time is occupied in the rising and falling of the harness. If
-the harness is plucked up or dropped down too quickly, the result is
-a dancing or unsteadiness of the cords, and in a double-lift machine
-there will be a considerable plucking when the hooks that are rising
-take up the cords that are falling. In order to keep the cords as
-steady and free from vibration as possible, if there is any swinging in
-the weights or lingoes, it is a common practice to put a frame round
-these, with wires run through it at whatever distance apart is thought
-desirable, so as to partition them off in bunches and keep them from
-swaying about.
-
-[Illustration: Fig. 43]
-
-The smoother and slower the harness can be raised and lowered, the
-better. Therefore, to get a high working speed, the time or the portion
-of a revolution of the crank shaft given to the rise and fall must be
-as great as possible, so that very little could be gained by using a
-tappet. If a tappet is to be used, a box tappet will be required, or
-is more satisfactory for a single-acting machine, in order to make the
-griffe in falling follow the tappet and avoid any plucking or jerking;
-sometimes a fork lever, with the tappet or wiper working between the
-prongs of the fork, is used for the same purpose. For a double-acting
-machine double wiper tappets, acting on levers or treadles, are
-sometimes used, the griffes falling of their own weight; the tappets
-are nearly round eccentrics, or like plain tappets with a very short
-dwell, not more than one-fourth of a revolution of the crank shaft. It
-may therefore be considered that the harness should always be moving
-either up or down, with a small pause when the griffes are at the top
-and bottom, to admit of an easy turn and to allow the shuttle time
-for its passage through the shed. With the crank drive the shed will
-require to be opened a little wider than if the dwell was as great as
-it should be, especially in wide looms, in order to let the shuttle get
-through freely; but it would be more desirable, and a saving of strain
-on the yarn, to have the dwell greater, and not open the shed any wider
-than is necessary to admit the shuttle.
-
-Speaking generally, the usual rule for the time of shedding may be said
-to be to let the shed be closed when the cranks of the loom are at the
-top centre, or perhaps one-sixteenth of a revolution farther forward,
-and let the shed be full open when the cranks are about the bottom
-centre. It therefore follows that the single-acting jacquard must open
-the shed in a little less than half a revolution of the crank shaft,
-and close it in the same time; but the double-acting machine takes
-nearly a full revolution (three-quarters, or a little more, should do)
-to either rise or let fall one of the griffes. It will be evident that
-there is a considerable difference in the nature of the shedding. A
-single-acting machine requires the weft to be beaten up on a closed
-shed (the time of the crank in coming from the top to the front centre
-being taken up with rising the griffe from the bottom up to catch the
-hooks), whereas in a double-acting machine the case is different;
-though the shed is closed at the same place, or in the same position
-of the cranks, the griffes are in an entirely different position. The
-closed shed with the single-acting jacquard is when the griffe is down,
-but with the double-acting machine it is when the two griffes are on
-a level--that is, halfway up. Of course, more or less of the yarn may
-be at the bottom position, so that there may be no closed shed, or
-in no position of the griffes may the yarn be all on a level, unless
-none of the hooks are on either of the griffes, or if one griffe has
-all the hooks on it. When the single-acting machine begins to open
-the shed, the driving-crank of the griffe is upright or at the top
-centre, and in the position to give the slowest motion to the griffe;
-whereas for the double machine the lifting cranks are horizontal
-when the shed is closed, and in the position to give the griffes the
-quickest motion; therefore, when the lay gets to the fell of the cloth
-in a single-acting machine, the shed is still close, whereas with a
-double-acting machine it is fully half open. From this it follows that,
-to get a close covered cloth, the double-acting machine is the better,
-as the weft is beaten up in a crossed shed; but to get a clean-surfaced
-fabric, with the weft lying straight between the two portions of the
-warp, the single-acting jacquard is better. It is for this reason that
-the single-acting machine is preferred by many workmen for making
-fine damask, which does not require much covering to give it a good
-appearance, and there is less chance of having cut weft and of looping
-when striking on the open shed. Of course the weft may be cut in a hard
-fabric by the reed having to strike too heavily against it, and in this
-case striking on a crossed shed might prevent the cutting, by the weft
-going on easier.
-
-In hand-loom linen damask the shot is struck up when the shed is about
-half closed; the warp is held so firm in the loom that there is no
-spring in it, and the weft does not rebound. A cleaner surface is thus
-made on the cloth than if the weft was struck up in a closed or cross
-shed.
-
-In a single-acting machine the faults in the cloth are more readily
-seen than with a double-acting one, as, in case of a hook missing the
-knife, in a single machine it would show in a short time, whereas in a
-double-lift machine one hook of the pair might be missing the knife and
-the other taking it, so that it might be some time before it would be
-observed. One of the tail cords breaking might have a similar effect.
-
-The foregoing gives a general description of working the jacquard; but
-no hard-and-fast lines can be laid down--a little variation may be
-necessary at any time, to suit circumstances and the class of work.
-
-
-JACQUARD STOP MOTION
-
-When working with two cylinders, one may happen to be turned at a
-time when it should not, and thus put the cards out of rotation.
-Many attempts have been made to overcome this difficulty by stopping
-the loom when the cards get out of the proper order, but none of the
-methods adopted have ever gained much favour. Recently a new motion has
-been patented, and is being applied to machines by Messrs. Devoge &
-Co., of Manchester. It is called the ‘Devoge jacquard stop motion.’
-
-[Illustration: Fig. 44]
-
-Fig. 44 shows how it may be applied to a machine. The hooks A and B
-and the needles E and F are those here used to work the motion. They
-may be at either side of the machine, but should be at the side of the
-belt handle. One hook must belong to the front cylinder needles, and
-the other to the back ones. The hook A requires a lingo attached to it
-to draw it down after being lifted. The hook B is attached to a lever
-connected to the side of the loom, so that when one end is raised a
-hammer on the other end pushes off the belt handle (a lever and bracket
-are supplied for the purpose). C C^1 is a wire bell-crank lever with a
-turn or loop on it at D to act as a spring. The fulcrum is at L, on a
-piece of iron bolted to the edge of the machine; the lower end of this
-lever passes through an eye in the hook A at C^1, and the upper end
-passes through an eye in the needle E. There is a spring on the point
-of the needle E, between the face-plate and the eye, which the lever
-goes through, and which holds the needle back as shown.
-
-Each time the hook A is raised the lever presses forward the needle E,
-and with it the hook B, which would then be raised by the lower griffe,
-unless the card pressed the needle back again and pushed it off. Thus,
-by having a hole cut in the cards for the needle F, and none for the
-needle E, the hook B would never be raised; but if a hole is cut for E
-in a card following one in which a hole was cut for F, the hook B would
-be raised and the loom stopped. It is, therefore, only necessary to
-arrange the cutting of the cards to allow the loom to work when they
-are following each other in rotation; but as soon as one card gets out
-of order the loom should be stopped, though, perhaps, not till it has
-run for a few shots. Thus--
-
-     Number of cards--
-
-    1    3    5    7    9    11
-    --   --   --   --   --   --
-    O    ·    ·    ·    O    O
-
-     Cut the large dots for the needle E.
-
-    2    4    6    8    10   12
-    --   --   --   --   --   --
-    O    O    O    ·    ·    ·
-
-     Cut the large dots for the needle F.
-
-This gives a repeat of twelve cards; but any number to suit may be
-used. Thus--
-
-     Number of cards--
-
-    1    3    5    7    9    11    13    15
-    --   --   --   --   --   --    --    --
-    O    ·    ·    ·    O    O     O     O
-
-     Cut the large dots for the needle E.
-
-Number of cards--
-
-    2    4    6    8    10   12   14   16
-    --   --   --   --   --   --   --   --
-    O    O    O    ·    ·    ·    ·    ·
-
-     Cut the large dots for the needle F.
-
-This gives a repeat of sixteen cards. The even numbers of cards go to
-the front or top cylinder, and the odd numbers to the low cylinder,
-and it may be seen that a hole in an even-numbered card following one
-in an odd-numbered card will not stop the loom; but a hole in an odd
-number following one in an even number will stop the loom, as it is the
-hook B rising after A that stops it; therefore any suitable rotation
-of cutting may be adopted, and the stoppage can take place either at
-short or long intervals, as desired, the principle being to raise the
-hook A two or three times, and push the hook B back again by having no
-hole cut for the needle E. Then leave A down for three or four shots,
-and cut holes for E, which have no effect unless the cards get out of
-rotation, and one of those with a hole cut to raise the hook A comes
-before one with a hole cut for the needle E, when B will be raised and
-the loom stopped. This is a good arrangement, and works very well.
-
-Another motion for a similar purpose, invented by the writer, is shown
-in Fig. 45. It is based on the following principle: Suppose a cord is
-taken from any two hooks of the jacquard, and passed round a pulley on
-the ‘hound tail’ or long lever of the weft fork motion; if the cord is
-left slack, so that raising one of the hooks will just tighten it, then
-raising both hooks together will lift the lever, and can be made to
-stop the loom. The difficulty to be got over is that one of the hooks
-must belong to one griffe, and the other to the other one, in order
-to make the motion act with the two sets of cards. As the two griffes
-pass each other at the centre, or at the half-lift, this must be taken
-as the full lift, the cord must be stopped here, and not drawn any
-farther; for the remaining portion of the lift the hooks must draw a
-spring. This can be easily arranged by having loops on the cord passing
-round wires in the cumber board, or by having the two ends of the cord
-passing through a small hole board, and having knots or beads on them,
-beneath it. Other methods may also be adopted.
-
-One of the most desirable arrangements is shown in the figure: A, A
-are the two hooks; B, B are two small springs by which the two levers,
-C, C are attached to the hooks with cords; D is the frame for holding
-the levers, and is fastened to the top rail of the loom, under the
-jacquard, or in any convenient place. It will be observed that the
-front bar of the frame passes above the levers, so that it will prevent
-them rising above the half-draw of the hooks, in which position they
-are shown. E, E are two cords connected with a jack or tumbler, F, on
-the end of a bell-crank lever, G H L, having its fulcrum at H, which
-may be on the same stud as the weft fork lever, or in any convenient
-place.
-
-[Illustration: Fig. 45]
-
-The weight of F and G keeps the cords in tension, and the point L of
-the lever is set behind the lever on the loom which carries the weft
-fork, at such a distance from it that when one of the cords E is drawn
-it does not act on it; but when both hooks are raised, drawing up the
-two cords, the point L of the lever presses against the weft fork
-lever, pushing off the belt handle and stopping the loom.
-
-The lever G H L may act directly on the belt handle, if desired; in
-this case it would be fixed outside the loom framing. The cards are cut
-on the same principle as for the last motion, but the same holes will
-do in both sets of cards, as the two needles are acted upon by the same
-number of holes in both back and front sets; that is, for two hooks
-coming beside each other.
-
-The following order of cutting will answer:--
-
-Number of cards--
-
-     1   3   5   7      2   4   6   8
-    --- --- --- ---    --- --- --- ---
-     O   O   ·   ·      ·   ·   O   O
-
-Cut the large dots on the number of cards given, and of course they
-must be cut to suit the needles connected with the hooks used.
-
-The above gives a continuous working of the motion, but it would be
-sufficient for it to work at intervals having 8 or 10 shots between
-them, as--
-
-Number of cards--
-
-   1  3  5  7  9  11  13  15  17  19  2  4  6  8  10 12  14  16  18  20
-  ---------------------------------------------------------------------
-   O  O  ·  ·  ·  ·   ·   ·   ·   ·   ·  ·  O  O  ·   ·   ·   O   O   ·
-
-This will not allow the loom to run for more than 20 shots after the
-cards get out of order.
-
-Some other motions are in use, but these are simpler.
-
-Before describing twilling machines or any special make of jacquards,
-it may perhaps be better to explain the mounting of ordinary machines,
-according to the usual methods adopted in some of the leading
-districts.
-
-
-
-
-CHAPTER III
-
-_FULL-HARNESS MOUNTINGS_
-
-
-The mountings that will be alluded to in this section are all intended
-for ‘full harness’; that is, the ordinary method of jacquard weaving
-when applied to such fabrics as damask, dress goods, and, in many
-cases, to double cloths, handkerchiefs, &c.
-
-_Full harness_, or, as it is termed in some hand-loom districts, shot
-and draft, to distinguish it from the ‘pressure harness’ system, holds
-the first place amongst mountings, as by it can be done what cannot be
-done by any other method, and everything can be done by it that can be
-done by any harness, or combination of harness or heddles; though it
-does not follow that it would be desirable to adopt it in every case.
-In a full harness each thread in any part of the tie can be lifted
-independently of the others; in wide fabrics, or in order to reduce
-expense in narrow ones, recourse is had to gathering or repeating the
-tie, and like threads in each repeat must be lifted together; but in a
-single tie any one thread can be lifted independently of any other. In
-full harness there is one thread of warp drawn into each mail or eye
-of the harness, and one shot is given to each change of card. Other
-descriptions of harnesses are known as ‘half harness,’ ‘split harness,’
-‘pressure harness,’ ‘gauze harness,’ double-cloth and quilt harnesses,
-&c.
-
-_Half harness_ is the term applied to that description of harness in
-which the half of the warp (every alternate thread) is drawn into the
-harness, and the other half passes through it loosely. This is mostly
-to be found in the manufacture of gauze or leno curtains, and is
-wrought with a shaft mounting in front of the harness.
-
-_Split harness_ is applied when two threads are governed by each hook
-of the jacquard, and the ground of the cloth is wrought by some other
-means, as shafts through the harness. This is to be found in the silk
-trade.
-
-_Pressure harness_ is when several threads of warp are drawn into each
-mail, and when the harness is drawn it remains stationary for several
-shots of ground texture, for which the sheds are sprung or pressed open
-by heddles.
-
-_Gauze harness_ is a harness fitted up with doups for weaving leno and
-gauze, and is mostly full harness.
-
-_Double-cloth and quilt harnesses_ are for weaving these fabrics.
-
-Mounting, or gaiting, is a term that may be taken to apply to the
-building of the harness and the preparing of everything in connection
-with it. The form of ‘tie’ to be adopted will depend to a great
-extent on the nature of the fabric to be made, and to the style of
-pattern which is to be applied to it. For instance, dress goods may
-be required, and the pattern may consist of small sprigs or objects
-repeated over the surface of the cloth, forming a simple repeating
-pattern. Again, handkerchiefs, napkins, or table-covers may be wanted,
-which will require a bordered ‘tie,’ and may have both single and
-double mounting in them. Sometimes the manufacturer mounts his looms
-to what he considers a desirable ‘tie’ (or arrangement of cords) to
-admit of having a good variety of patterns wrought on it for whatever
-class of goods he is likely to make, and then he has the patterns made
-to suit the tie or mounting. Sometimes patterns are procured which
-will give the best possible effect on the least possible machinery, or
-the least number of hooks of the jacquard, and the mounting is then
-arranged to suit the pattern. On this method often a very considerable
-saving of machinery can be effected by turning over or gathering the
-harness; or, by arranging a variety of turns over, or gathers, and
-repeats, a very diversified effect can be obtained with a small number
-of hooks, as those accustomed to the larger forms of shaft mountings
-will readily understand. Thus, if we take 100 hooks of the jacquard as
-equal to 100 shafts, it will easily be understood that a large variety
-of beautiful patterns can be produced with either a straight or zigzag
-draft, though they will be mostly of a set or conventional type.
-The objection to mounting a loom in this way is, that if a change of
-pattern to a free or running style is required, it is necessary to cut
-down the harness and remount it, probably requiring new machinery as
-well. It may, however, suit to adopt both methods; that is, to have a
-few looms for working conventional patterns on small jacquards, say 200
-hooks, and others mounted for free patterns requiring, say, 400 or 600
-hooks in the machine. Of course this entirely depends on the nature of
-the orders likely to be received, and manufacturers must use their own
-judgment, in which, however, they are more likely to err on the narrow
-than on the liberal side of the question, the result being cramped and
-stiff patterns, with a probable loss instead of gain. Two styles of
-mounting harness are in general use--one, known as the ‘London tie,’
-being used in Spitalfields by the silk weavers; the other is called the
-‘Norwich tie,’ as it was there adopted in the early days of weaving.
-About 1830 the Norwich style was adopted in London, as the weavers’
-houses were too low to admit of the jacquards being set high enough to
-suit the London method, which, having a quarter-twist in the harness,
-requires more height than is necessary for the Norwich system, in which
-the harness passes direct from the jacquard to the cumber board in flat
-rows without any twist.
-
-_The Harness._--When about to mount a loom the first process is to
-prepare the harness. A harness is built up of several parts, the
-methods of preparing and building varying in different districts. A few
-of the best methods will be given. Fig. 46, Nos. 1, 2, and 3, show a
-complete cord of the harness in three methods of preparing it--A (Nos.
-1 and 2) are the tail or tug cords looped to the hooks of the jacquard;
-these cords are only necessary on double-lift machines, and are usually
-put on by the machine-makers. They are made of twisted cotton, and
-are soft and pliable. L shows the knot, known as the ‘tug knot,’ by
-which the tail cords are looped on the hooks. B, B are two methods of
-knotting the neck or body of the harness to the tail cords; that in
-No. 1 is the usual method. C, C are the hecks, or guide reeds, through
-which the harness passes. G, G are the lingoes, or leads, formerly made
-of strips of lead, but now of wire. From the lingo to the mail or eye,
-F, through which the warp passes, is a double cord called the bottom
-piece, or hanger. From the mail, passing through the cumber board or
-harness reed E, is another piece of double cord, called the top or
-mid-piece, or the ‘sleeper’; to this is looped or tied the neck twine
-in various ways, two methods of which are shown at D _d_ _d_^1 (No. 1)
-and at D (No. 2); No. 3 shows levelling below the cumber board, with
-two methods for tying H and H^1. M is the snitch knot, which is much
-used for fastening cords that require careful adjusting. Sometimes it
-is a matter of choice to adopt any method of mounting, and sometimes
-one plan may suit circumstances better than another.
-
-[Illustration: Fig. 46]
-
-Preparing Lingoes.--A prepared lingo is shown at No. 4, Fig. 46, this
-work being generally done by little boys or girls, or by old women.
-One of the commonest methods of preparing them is as follows:--Having
-prepared the mails, which are small eyelets of brass, copper, or steel
-of the shape shown at F, sometimes with round holes in the centre and
-sometimes with elliptical or long shaped ones, they are put into a dish
-or pan; a boy takes a piece of wire and strings a number of them on it.
-The wire is then fastened on a rack, or in any convenient place, by
-both ends, in a horizontal position. A bunch of small pieces of twine
-is tied up in a convenient place; these are to form the hangers, or to
-connect the lingoes with the mails. Having the lingoes conveniently
-placed, and being provided with a pair of shears, the boy sets to work.
-Taking a piece of twine, and pulling it through an end hole of a mail,
-he doubles it evenly, and, lifting a lingo, puts both ends through the
-eye in it, and casts on a knot, as shown at N (No. 4). The loop on the
-twine there shown requires to be pushed up over the top of the lingo,
-then drawn tight, and the ends clipped off. This mail is then pushed
-along the wire, and the others proceeded with. The pieces of twine for
-forming the hangers, as well as the sleepers, are prepared by warping
-them off spools round two pins, and then cutting them across. Of course
-the pins must be set apart at such a distance as will suit the length
-of the sleepers and hangers required. The usual length of the hanger
-(when doubled) is 7 or 8 in., and that of the sleeper or mid-piece when
-it passes through the cumber board, as in Nos. 1 and 2, Fig. 46, and as
-shown at No. 4, is 15 or 16 in. When a quantity of lingoes are hung on
-the mails, the top cords or sleepers may be put through the top holes
-in the mails, and tied with a weaver’s knot, the ends being neatly
-clipped off.
-
-[Illustration: Fig. 47]
-
-A quicker method of preparing lingoes is as follows:--Two upright
-pieces of iron, as A, A, Fig. 47, are fastened on a board, or on a
-bench or table. A cut is made in each of these, so as to hold a piece
-of flat wire such as is used for coarse reeds. This wire is pointed
-at one end, so that by taking a handful of mails they can easily be
-gathered up on it. It is then placed in position, as shown at B; the
-mails, D, are shown on it, and C is a spool containing twine for the
-hangers. By rubbing the end of this twine with wax, so as to stiffen
-it, and gathering all the mails on the wire evenly together, the end
-of the twine may be run through the holes in all of them at once. This
-end is fastened, and with a hook, as shown at F, the twine can be drawn
-through the mails, beginning at the one farthest away from the spool,
-and passing from one to the other in succession, looping the twine
-round the pin E, which should be at such a distance from the mails as
-is required to make the hangers the proper length. If many mails are to
-be threaded at once there should be two or three pins as E, so as to
-avoid too much slope from them to the mails, which would increase the
-length of the hangers. The twine can be cut when the mails on the wire
-are completed, and the other ends of the mails turned round and treated
-similarly for the sleepers; but the pegs will require to be shifted, so
-as to get the required length of twine. When finished, these can be cut
-also, and the wire tied up in a convenient place, so that the lingoes
-may be hung on, as before described. The sleepers can then be knotted,
-if required to be.
-
-After the lingoes are thus prepared the twine is frequently varnished,
-and sometimes twisted so as to prevent that of the hangers from rising
-up through the hole of the mail and getting in between the two halves
-of the yarn when the shed is crossing. This frequently happens if
-anything prevents the lingo from dropping. A common method of twisting
-them is for a boy to give them a coat of flour-paste or a light coat of
-varnish, then, having them hung on a rod which passes through the loops
-of the sleepers, he takes a handful of the lingoes, and, placing them
-on his knee, rolls them round with his hand till they are sufficiently
-twisted, then lets them hang down, and proceeds with another handful.
-
-When the paste or varnish on these is set they can be well varnished.
-About two inches at the top of the sleepers must be left without
-varnish, to leave it soft and pliable for tying the neck to; the knots
-on all the sleepers must be brought up to about the point before they
-are twisted or varnished. When the lingoes are thus prepared and dry
-they can be tied in bunches, to be used as required.
-
-Some do not varnish the twines till the harness is all mounted, and
-then varnish it all over. Others do not varnish at all. In this case
-the hangers are not twisted, and for light open sets of harness they
-need not be twisted at any time.
-
-
-LINGOES OR LEADS
-
-For pressure harness work the weights for drawing down the harness
-were originally made of lead, about the length and thickness of a thin
-pencil, but tapering to the lower end. The weight varied with the
-number of ends to the mail, the strength of the yarn, and the weight
-of the cloth to be made, ranging from 10 to 18 per lb., or lighter if
-for fine hand-loom work. For a linen damask as formerly made, with 6
-or 8 threads in the mail, a very heavy lead was required, even in the
-hand loom, whilst a fine cotton two-thread harness would do with a
-comparatively light lingo. Strips of lead cut from sheets were used for
-lighter weights; these were then reduced to the proper size for drawing
-them through holes in steel plates. Now, lingoes for power looms are
-made of wire, and for ordinary damask or full harness work should range
-from 25 to 40 to the lb.; for heavier work, such as linen towels,
-worsteds, &c., 16 or 18 per lb., according to the weight of the fabric,
-are required. Lighter ones answer for hand looms: Murphy mentions as
-light as 110 per lb. for the centres of shawls, but 35 to 60 per lb.
-will be more frequently found. 25’s to 30’s are a good size for power
-looms; 12 in. long for 25’s or 30’s, 14 in. for 16’s or 18’s, and 16
-in. for 10’s or 12’s are good lengths.
-
-When there is a great slope in the border twines of a harness, it is
-often necessary to put heavier lingoes on it than on the centre, to
-keep the warp down. Of course, the less weight that has to be lifted
-is always a saving of power, and easier on the harness; therefore it
-is better to have two sizes of lingoes than to have them all weighty
-enough for the borders.
-
-
-HARNESS TWINE
-
-The size of harness twine used varies greatly; some prefer a fine, and
-others a heavy, twine. For the sleepers and hangers, 4 ply of 22’s or 5
-ply of 30’s linen yarn is a very good medium size, and 4 ply of 14’s or
-5 ply of 18’s or 20’s is a very good size for the neck or body of the
-harness.
-
-Sometimes, for heavy damask, cable cord is used for the body of the
-harness, and is a good wearing cord; it is especially suited when the
-neck cords are fastened to the sleepers below the cumber board. This
-cord is made of good flax yarn; 5 ply of 30’s are twisted together,
-and three of these cords are then twisted together, or 3 ply of 18’s
-afterwards made 3 ply. A better size for medium work is 5 ply of 35’s
-made 3 ply, or 3 ply of 20’s or 22’s made 3 ply. Heavy harness twine
-requires to have heavier lingoes, particularly on those parts of the
-harness that are much slanted, in order to have the same effect on them
-that they would have on light twine. Some go to the opposite extreme,
-and use very light twine, such as 4 ply of 30’s, which is only fit
-for very light work in a narrow loom, where there will be but little
-friction on the cumber board, and where no heck is required. Lighter
-twine will suit better for a hand loom than for a power loom; 4 ply of
-30’s for the harness of a hand loom, with lingoes of 50 or 60 to the
-lb., would do very well for a light cotton warp.
-
-
-SETTING THE JACQUARD
-
-The proper position for the jacquard, when only one is required on the
-loom, is so that the centre hook in it will be above the centre hole
-of the cumber board. This can easily be found by tying a plumb line to
-the centre hook of the machine and moving it, if necessary, till the
-plummet rests over the centre of the cumber board. In case the cumber
-board is not fixed in position, that of the jacquard may be found by
-having the plumb line to pass about half an inch more than the half
-breadth of the harness at the cumber board behind the top rail of the
-lay when it is full back, and it should also be at equal distances from
-each side of the loom. When more than one jacquard is required, they
-should be arranged evenly over the cumber board, and as close together
-as possible.
-
-Sometimes the jacquard may be set farther forward or back to suit
-circumstances, such as getting card space, the only disadvantage being
-that there will be more slanting of the cords at one side than the
-other, and more friction on them in the cumber board, also more drag
-on the hooks on this side if no heck is used, and if a heck is used
-the cords will have to bear the friction on it. The more direct the
-cords of the harness can be, the better, and the above setting of the
-jacquard should be adhered to when possible, but it is not absolutely
-necessary for working to have it so.
-
-It is always well to have the jacquards so arranged that they can be
-raised or lowered a little by having them resting on bars, which can be
-raised or lowered with screws. This is in case the harness is levelled
-higher or lower than might afterwards be desired; but if the breast
-beam of the loom, with the lay and back rail, can be raised or lowered,
-it will suit the same purpose, and it is better not to move the machine
-once it is fixed and the harness tied up.
-
-The height the jacquard is to be above the loom must in many cases be
-regulated by circumstances; for instance, the height of the roof, or
-if the beams of the roof interfere with the working of it; sometimes
-the machines rest on the framing of the loom--that is, if the loom
-is made for a jacquard--and sometimes plain looms are used, and the
-machines rest on beams supported from columns, or from the roof of the
-house. This latter is the best plan, as it keeps the jacquard free from
-the shaking of the loom, which is particularly useful in the case of
-looms fitted with the knock-off motion. A good height for a jacquard,
-independent of circumstances, is to have 8 ft. or 8 ft. 6 in. from
-the mails to the bottoms of the hooks for a 10/4 loom--that is, one
-with about 100 in. reed space; 7 ft. to 7 ft. 6 in. for an 8/4 (82 in.
-reed space), and 5 ft. 6 in. to 6 ft. for a 4/4 (40 in. or 42 in. reed
-space), are very good heights. 5 ft. 6 in. is about right for a narrow
-harness, say 20 in. to 27 in. wide; 6 ft. would do for 80 in. wide, and
-7 ft. or 7 ft. 6 in. for 90 in. wide, if necessary.
-
-
-HECKS OR GUIDE REEDS
-
-A heck is a frame of hard wood with wires across it, a wire for each
-row of hooks in the machine, from back to front. It should be made
-to suit the machine, so that when the harness passes from the hooks
-between the wires, it will go vertically down, and have no slant in it.
-In narrow hecks, there is usually one cross-stay to support the wires,
-but for broader machines there should be at least two. The wire should
-be iron, as brass soon cuts with the friction of the cords, and then in
-turn cuts the cords. For a single-acting machine the wires should be
-loose, so that they can roll with the cords; but for a double-acting
-machine this would be of no advantage, as a portion of the cords are
-falling when the remainder are rising. If the machine is very wide,
-or has to be set forward or back on the loom, there should be cross
-rollers of hard wood above the wires, at right angles to them, to
-prevent the bottoms of the hooks from being drawn either backwards or
-forwards, which might push their heads on or off the griffe knives.
-
-Sometimes glass rollers are used in the silk trade for this purpose,
-with mountings of the London tie, and while they are very smooth
-and polish the twines, they get too hot if used in warm power-loom
-factories working at a high speed. Hecks are not required for very
-narrow harnesses, as the cords do not diverge much from the vertical,
-and the friction on the heck being saved, the cords wear much longer.
-
-In a wide harness it is impossible to draw an even shed without a heck,
-although in some districts they are hardly known, and the more any
-portion of the harness diverges from the vertical, the more irregular
-will the shed be.
-
-[Illustration: Fig. 48]
-
-Suppose we take an extreme case of a loom having three or four
-jacquards on it, the harness to be 96 in. wide, and the pattern to
-be for a table-cover; then, if we deduct 2 ft. from the width of the
-harness, it is possible some of the border twines may have to slant
-across 6 ft., or 72 in. Now make a triangle as No. 1, Fig. 48. Let the
-base, A B, be 72 in., and take it as the level of the cumber board.
-Take the vertical side, A C, as the height of the harness to the heck,
-viz., 84 in. Now calculate the length of the hypotenuse B C by squaring
-84 and 72 and finding the square root of the sum, and it will be found
-to be 110·63 in. Again: Make another triangle, as No. 2, with base 72
-in.; vertical side 3-1/2 in. longer than that of the former triangles,
-viz., 87·5 in. (this 3-1/2 in. is to represent the draw or lift of the
-harness). Calculate the length of the hypotenuse as before, and it
-will be found to be 113·31 in. From this deduct 110·63 in., the length
-of B C in No. 1, and the remainder, 2·68 in., equals the height that
-the cord B C has been raised, while the cord A C, which is vertical,
-has been raised 3-1/2 in.; and if we take into consideration that
-the side draw of the sloping cords, as B C, will pull the tail cord a
-little to one side and rise the vertical cords a little higher, while
-the sloping ones remain proportionately lower, 1 in. may be safely
-taken as the difference of the height that the two cords, B C and A C,
-would be raised by the jacquard, and all the other cords in the harness
-would vary, being less than this in proportion to their divergence from
-the straight or vertical line. It can thus be seen how the shed would
-require to be opened to let the shuttle through, and the irregular
-strain that would be on the yarn; and for any cloth that requires a
-fine surface, any irregularity of strain on the warp has a deleterious
-effect, very well known by experienced overlookers.
-
-Some consider that the London style of harness is more suitable for
-working without a heck than the Norwich style, and adopt it to avoid
-using one, as it is severe on the harness twines. Some raise the
-machines very high to avoid using them, but for particular work with
-border ties they must be used to give a proper working harness. With
-the London mounting rollers should be, and are, used when there is
-no heck. These rollers are set as a coarse heck in a frame under the
-machine, and lie lengthways under it, just as they would do when used
-above a heck. The heck should be about 3 in. below the knots which
-fasten the tail cords to the neck twines. Some have the tugs, or tail
-cords, coming down through the heck; in this case the heck only takes
-the strain off the hooks of the machine, and has no effect on the shed,
-though sometimes this is mitigated by having more than one tug or tail
-cord, and the neck twines that slant in different directions are tied
-to different tail cords. The only point in favour of this is that it
-saves some trouble in tying broken harness twines when they begin to
-wear away by their friction on the heck.
-
-
-PREPARING THE NECK OF THE HARNESS
-
-The twine for the neck, as well as that for the other portions of
-the harness, is usually wound on spools, and when the neck is to be
-prepared it is warped from these spools to the length required, either
-on a hand warping mill or round two pins fastened in a wall or on a
-bench, as far apart as the length of the harness; three or four spools
-are put on pins, and the ends from them are taken and wound round the
-pins fixed for warping them on. When warped the twines may be cut at
-one end, and can either be tied in a bunch or stretched on a board and
-tied down on it, so that they may be kept straight and admit of any
-number of them being pulled out as they are wanted.
-
-In some methods of mounting the neck twines are first tied to the
-tail cords; perhaps this is the plan most commonly adopted with
-double-acting machines. Sometimes they are tied to the sleepers first,
-and fastening them to the tail cords is the last process. This is
-called ‘beeting’ the harness. When single-acting machines are made with
-the hooks resting on a perforated board, they have tugs on the hooks;
-but when the wire hooks pass down through a perforated grating, tugs
-are unnecessary, and the neck twines are fastened to the hooks. When
-fastened to the hooks, or even when fastened to the tail cords, and a
-heck is not to be used, the neck twines should be formed into heads,
-either before they are tied up or afterwards, as may be desired. The
-reason of this is, that when a number of neck twines are tied to a
-hook or tail cord, and the hook is raised by the machine when working,
-the twines will be slanting in different directions, and when coming
-down again would be liable to catch on the knots of those that were
-not raised; and the head is for the purpose of keeping them together,
-so that they cannot separate for a short way down. One method of doing
-this is, after the bunch of neck twines is tied to a tail cord or hook,
-to take one of the twines and knot it round the others about 3-1/2 in.
-below the tail cord, and the same may be done with a second twine, if
-there are many in the parcel.
-
-Sometimes the neck twines are all prepared in heads, and the following
-is a convenient method of doing so:--Fasten four flat pins of wood,
-as A, B, C, D, Fig. 49, on a board as F, or on the edge of a bench or
-table. C and D are firmly fastened, but A and B can be turned round to
-the position shown by the dotted lines when the screws holding them are
-slackened. The distance from C to D must be the length required for the
-neck twines. E is the twine coming from a spool on a wire. The pin A
-is pushed round to the position shown by the dotted line, and the twine
-is warped round C, B, D, passing over B and under C, so as to form a
-lease. When a sufficient quantity is warped, the crossing of the lease
-is pushed up towards C, and the pin A turned round into the centre of
-the twines, taking the place of B, which is turned back. The use of
-the two pins is to allow room for warping, C and A being too close
-together. The distance from the outside of C to that of A should be
-the length the head is required to be (about 3-1/2 in. or 4 in.). The
-twines may now be cut at D, and a piece of cord looped round them and
-tied to D, so as to hold them steady, but allow them to be drawn out as
-required. The number of twines for each head can now be drawn out and
-tied round the two pins C and A, and when a number are done they can
-be slipped off the pins and put on cords or rods; the lease keeps the
-heads in order, and the bunch can be hung up at the loom, and each head
-be taken in rotation by the mounter. The number of twines for each head
-is regulated by the tie of the harness.
-
-[Illustration: Fig. 49]
-
-Suppose a double-acting machine is to be mounted with the harness
-similar to that shown in No. 1, Fig. 46. The tail cords are usually put
-on the machine by the makers, but if they are worn out, or if new cords
-are required, putting them on is the first process. This can be done
-when the machine is on the ground, and the neck may also be tied to the
-tail cords before the machine is put on the loom. Some mounters prefer
-one method, and some the other, and the one which most conveniently
-suits the circumstances may be used. When the neck is attached to the
-machine before putting it on the loom, it is usual to turn it on its
-side on blocks or on a table. If the machine is on the loom, a board is
-tied up to make a seat for the mounter, and the bunch of neck twines
-is fixed convenient to his reach; or he may have a boy to draw them
-out for him, and hand him the number he requires. Beginning at the
-first hook, he takes a pair of tail cords, and having drawn them down
-straight and stretched them firmly, he loops the neck twines on them in
-the way shown in Fig. 46, and draws the knot fast. The distance from
-the bottom of the hooks to the neck twines should be 11 in. or 12 in.
-The first of these in each row is measured, and the mounter can then
-regulate the others so as to have all the knots in a line.
-
-The number of neck twines that are to be tied to each hook is regulated
-by the tie of the harness. For each time that any repeat or portion
-of a pattern is to be repeated on the cloth there must be a twine
-attached to those hooks of the machine that are to work this repeat.
-For instance, if a 400 machine is used, and the pattern consists of a
-simple repeat on these 400 hooks, and this has to be repeated six times
-on the cloth, then six neck twines must be tied to each hook of the
-machine. Again: The pattern might be made for a 400 machine, 200 hooks
-to be repeated six times, 100 four times, and 100 three times; then six
-twines would be tied to the first 200 hooks, four to the second set of
-hooks (100), and three to the third set (100), and any mounting would
-be regulated in a similar manner.
-
-Full particulars of ties will be given further on.
-
-If all the hooks in the machine are not required, any number of rows
-or portions of rows can be left idle at one end, or at both ends if
-desired, or even at the back or front.
-
-When all the neck twines are tied up, the next process is to draw them
-through the heck, which should be fastened firmly 2 in. or 3 in. below
-the knots connecting the tail cords and neck.
-
-The jacquard is supposed to have been levelled and set in its proper
-position on the loom, and firmly fastened there, and the same may now
-be done with the cumber board.
-
-
-CUMBER BOARDS AND HARNESS REEDS
-
-These are both for the same purpose--viz., that of regulating the space
-which the harness is to occupy--and both answer the purpose equally
-well, generally speaking. The reed being stronger is, perhaps, more
-suitable for coarse work; and the cumber board, giving a more evenly
-distributed harness, is perhaps preferable for fine work. Be that as
-it may, both suit for any medium work, though some workmen are all
-against the reeds, and others all against the boards. Harness reeds
-are strong-made reeds of cane or iron, of the depth and fineness to
-suit the harness. Bridges are fixed in them about 6 in. apart, with
-perforations for stiff wire to be run through; as many wires as are
-required to suit the number of rows of the harness. A wire should
-be outside the harness at both sides, to prevent it rubbing against
-the ribs of the reed. The wires are made straight, drawn tight, and
-fastened at each end to holes in the yoke of the reed. The reed is set
-in a frame of wood or iron, so that it can be bolted to brackets on the
-loom.
-
-Cumber or comber boards, also called hole boards, are made in various
-ways. Sometimes they are of wood about 3/4 in. thick, and bored in a
-piece. These boards are strong enough to bolt to brackets on the frame
-of the loom. Sometimes they are thin, about 1/4 in. thick, bored in the
-same way, and framed. The wood used is beech, sycamore, and sometimes
-walnut. The objection to these boards, particularly the thin ones, is
-that if the wood is not very well seasoned they are liable to warp and
-split. A great many prefer to use what are called ‘slips’--that is,
-small pieces of wood of the depth required for the harness, and about
-1-1/2 in. long or broad. The length, or long way of a cumber board
-or harness reed, is frequently called the width or breadth, same as
-weaver’s reeds, as this is the width of the loom. The cross-way, or
-from back to front, would, in the same way, be the depth. These slips
-are made of boxwood, beech, or other clean hard wood. Some prefer beech
-or sycamore to boxwood. The twines cut into them all in time, but the
-hardness of the boxwood causes a very fine cut to be made in it, which
-cuts the twine. The others will not cut the twine so readily, and by
-the time the wood is cut too much the harness would require to be
-renewed as well as the cumber board. These slips are made about 1/4
-in. or 5/16 in. thick, and are set in a grooved frame. The usual way
-of arranging the holes in a board is shown at A (Fig. 50), which is
-for an 8-row harness. B shows a patent method, devised for the purpose
-of giving more space between any two holes in each horizontal row. The
-arrangement of the holes is in 4-shaft satin order, and gives double
-the space between the holes of each horizontal line that A does, and
-of course it would take so much longer for the twines to cut through;
-but this would only be an advantage if the holes were set very close
-together, as otherwise the harness would be considerably off the level
-before the twines had cut from one hole into another. In any case,
-the irregularity of the holes will likely prevent it from ever taking
-the place of the older method shown at A, though it may be desirable
-sometimes.
-
-[Illustration: Fig. 50]
-
-The cumber board is fastened on two brackets--one at each side of the
-loom--and should be perfectly level and firm. It should be so far
-advanced as to allow the harness to pass within half an inch of the
-handrail of the lay when full back, and should be from 8 in. to 10 in.
-above the mails, the lower the better, as it keeps them steady; but
-the height may have to be regulated by the swords of the lay, as they
-must be clear of it, and in some looms they are higher than in others.
-When the cumber board is levelled and fastened, it should not be moved
-after the harness is tied up, as any change in its position must alter
-the level of some portion of the harness. This cannot in every case be
-adhered to, as in some cases it may be necessary to move it. In a small
-harness a good deal of shifting can be made that could not be attempted
-in a large or intricate one. In many places the harnesses are built in
-a separate room, or by the machine maker, and sent to the manufacturer;
-but practical experience with particular work will teach anyone that
-it is most desirable to have everything about the harness as level and
-true as possible, and it takes a good deal of care to effect this, even
-without any shifting.
-
-
-SLABSTOCKS AND LEVELLING FRAMES
-
-‘Slabstock’ is a name given to the board used for fastening the mails
-on before they are levelled. It is about 6 in. deep and 1 in. thick,
-and should be as long, or longer, than the loom is broad, according to
-the way it is to be fixed in the loom, which is usually by being bolted
-to brackets fastened on the sides of it.
-
-[Illustration: Fig. 51]
-
-There is a groove or rebate in the top edge of it for holding the
-mails, as shown in Fig. 51 at A and B. Sometimes the grooves are at
-both sides, as shown at A^1. All the mails required for the harness are
-put on the one slabstock, which is set directly under the cumber board
-when the harness is being levelled.
-
-[Illustration: Fig. 52]
-
-A levelling frame is better than a slabstock; it is for the same
-purpose--that of keeping the mails firm and level when being tied to
-the neck twines. It consists of two flat bars of iron, C, C (Fig.
-52), which can be bolted together in the form of a frame by the use
-of two stays, one at each end, and by the same screws be bolted
-to slotted brackets, A A, B B, fastened to the frame of the loom.
-Sometimes two hanging brackets, as D, are used, fastened from the top
-or heddle-bearer of the loom. The levelling bars, C, C, rest in these
-brackets, and can be fixed firm in them with a pin or cotter. If there
-is any yield or spring in the brackets, they can be stayed from the
-front of the loom as well, as the frame should be made very firm. The
-distance between the two bars should be 4 in. or 4-1/2 in., which will
-suit any harness; if only narrow harnesses, as 8-row, are required, it
-may be an inch narrower. The length of the frame must suit the breadth
-of the loom. It should be perfectly straight and level on the upper
-edges, and should have two rows of holes bored in it, about 2 in.
-apart, for pins and skewers to pass through above and below the wires
-on which the mails are strung, so as to keep them firm.
-
-
-LEVELLING THE SLABSTOCK OR FRAME
-
-Levelling a harness, or rather levelling the mails of the harness,
-is the most important part of the mounting, as, if the mails are not
-levelled as true as a straight-edge, good work need not be expected
-from the loom. The position in which they are levelled, in relation to
-the breast beam and back rail, will depend upon the nature of the cloth
-to be made, to a certain extent; but as a general rule, for ordinary
-work, the eyes of the mails should be half the depth of the shed
-required to be drawn below the level of the breast beam for hand loom
-work, and a little more than that for power-loom work. This is to have
-the top and bottom portions of the shed of an even tension, and to make
-both sides of the cloth equally good. The position of the back roll can
-be altered a little afterwards, if it is required to slacken either
-the top or bottom portions of the shed. Raising the back roll throws
-up the weft pattern to the under side of the cloth, and sinking the
-back roll gives the upper surface of the cloth a finer appearance, by
-tightening the top portion of the shed. A 3-1/2-in. draw of the harness
-is sufficient for power-loom work, and perhaps less would sometimes be
-preferable. Levelling the harness mails 1-3/4 in. for light work, and
-2 in. for heavy work, below the breast beam should be a good average
-standard for a 3-1/2 in. draft of harness. The levelling frame or
-slabstock is levelled to this height by means of a spirit level and
-straight-edge, making allowance for whatever spring there may be in the
-harness after it is tied, and the wires drawn out of the mails. This
-can only be ascertained by experience, and depends principally on the
-tension the mounter puts on the twines when tying them; it will also
-depend upon whether the harness twines have any spring in them or not,
-but they should be well stretched before being used, to avoid this. A
-mounter who ties slackly will generally make a more level harness than
-one who ties tightly. About 1/8 in. may be allowed for the mails to
-rise if the cords are slackly tied, and if tightly tied 1/4 in. may
-have to be allowed, and sometimes more than this.
-
-Sometimes the level is taken by placing a straight-edge on the race
-of the lay, when the cranks are at the back centre; then the under
-edge of the straight-edge should give the position for the tops of the
-mails on the slabstock, when it is fixed in its position in the loom.
-In levelling by this method the race must first be set at the proper
-height, and it must also be properly bevelled. From 1/2 in. to 3/4 in.
-below the breast beam is a good level at which to have the race, when
-the cranks are at the top centre, the latter for a low harness. The
-angle, or bevel, of the race may not at all times suit for levelling in
-this way. If not, the race should be made correct when possible; if it
-cannot be corrected, the harness must be levelled a little lower and
-the back rail kept down for working. A loom with the race bevelled for
-plain work is not suited for damask; the angle between the race and
-reed should, for damask, be about 93°, whereas for plain 87° would be
-more suitable.
-
-
-TYING UP THE HARNESS
-
-Having the neck attached to the tail cords and the levelling frame
-and cumber board fixed in position, the next operation is to get the
-prepared lingoes placed in the loom, whether on the levelling frame or
-slabstock. Suppose the levelling frame to be used. According to the
-number of rows in the harness or cumber board, pieces of reed wire are
-procured, one for each row, and as many lingoes are strung on each of
-these as will be required for each row of the harness, by running the
-wires through the mails. These wires are then placed in the frame and
-secured by skewers being put through the frame above and below them.
-The frame is then levelled and firmly bolted to the loom. The sleepers
-or mid-pieces of the lingoes are next drawn up through the cumber
-board, one through each hole required to be used, any surplus holes
-being previously marked out to suit the tie of the harness, which will
-be afterwards explained. When all are drawn through, the tying of the
-neck twines to the sleepers may be proceeded with.
-
-This must be done in accordance with the tie of the harness. Thus, if
-there are four cords tied on the first hook of the machine, these must
-be taken down to the lingoes in the proper place in the cumber board,
-which may be seen by examining the particulars of the mountings, to be
-given further on. One method of fastening the neck to the sleepers is
-shown in No. 1, Fig. 46, at D, _d_, _d_^1. The twine is put through
-the loop of the sleeper at _d_^1 (or better to have a snitch on the
-sleeper, unless the knots are to be varnished afterwards), then a loop
-is thrown on at _d_, and the end tied at D, and clipped close. This
-method suits very well when the harness is liable to be altered, for if
-the knots are brushed over with paste they hold sufficiently firm, and
-can be loosed again at any time, if necessary. If varnished, it also
-answers equally well for any coarse harness; but if it is fine and much
-crossed, especially if the twines are strong or coarse, the knots are
-liable to catch on each other and raise more warp than should be when
-the loom is working.
-
-A second plan is shown in No. 2, Fig. 46. In this case there are
-no sleepers on the lingoes; they are put on the levelling frame or
-slabstock without them, the mails and lingoes being connected by the
-hangers; the levelling frame is set in the loom as before, and the neck
-twines must be long enough to go down through the cumber board, through
-the top hole of the mail, and up again through the cumber board to
-where they are tied. The mounter, when about to tie them, takes one of
-the twines and casts a single knot on it, leaving the loop open, then
-puts the end of it through a hole in the cumber board and through a
-mail, and with a small wire hook draws it up again through the same
-hole in the cumber board, and through the open knot or loop he made on
-it, at the same time; then, turning round the awl or piercer in the
-other end of the handle of the hook, he puts it through the knot and
-runs it up about 6 in. above the cumber board, draws it tight, and
-casts another knot above it with the end of the twine, as shown at D,
-No. 2, Fig. 46. This makes a neat harness, and when a mounter gets
-accustomed to it he can proceed very expeditiously. This method is used
-in England; the former is Scotch. The instrument used for drawing the
-twines through the cumber board consists of a wooden handle, in one
-end of which is a hook or barbed wire, same as is used for drawing the
-warp through mails, and in the other end is a round awl or piece of
-steel wire, tapered to a blunt point, which is used for running up the
-loop or knots so as to have them all about the same distance above the
-cumber board.
-
-_Beeting_ is another Scotch method of mounting. The harness may be
-beeted either above or below the cumber board; beeting above it was the
-old method, and single slabstock was used, as shown in Fig. 51 at A.
-When preparing it for the loom, the lingoes and mails are connected by
-the hangers in the usual way, and hung on the slabstock with the mails
-in the groove in it, as shown at B, Fig. 51. A piece of flat wire (reed
-wire) is run through the eyes of the mails, as many as are required for
-the whole harness, and is then tied down by cords fastened round it
-and the slabstock, at short distances apart. The slabstock is now put
-into a frame, or rack, with a rail as high above it as is required for
-the length of the sleepers. A spool of twine is fixed on a wire pin at
-the side of the frame, and with a needle, or otherwise, the end of the
-twine is run through a number of the mails and fastened. With a hook
-the sleepers can be reeled up to pins in the rail above the slabstock,
-on the same principle that they are done in Fig. 47. When the sleepers
-are all finished they can be slipped off the pins and cut.
-
-The slabstock is next fixed in the loom and levelled with the upper
-edge of the rebate or groove touching the under edge of a straight-edge
-placed on the race of the lay when it is full back (for power looms).
-
-The sleepers are then drawn up through the cumber board without their
-ends being knotted; they should be long enough to reach about 8 in.
-above it, and say 7 in. below, making 15 in. for their entire length.
-
-Now, to beet the harness: Say there are two beeters, standing on the
-ground, with a supply of neck twines convenient to them; they pick up
-the sleepers from the first set of holes in the cumber board--that is,
-those that are to be connected with the first hook in the machine--and,
-having tied neck twines to them, hand them to the harness tyer, who is
-up at the machine. He takes the lot of twines and draws them all to an
-even tension, then, having drawn down the tail cords firmly and evenly,
-knots the neck twines to them.
-
-One method of knotting the neck to the tail is to have the tail cords
-tied together so as to form loops; then, having straightened both the
-neck and tail cords, lay the neck against the loop of the tail, and
-take both firmly between the finger and thumb of the left hand, being
-careful not to let them slip, and casting a knot, as at C or D, Fig.
-51, round the tail, with the ends of the neck draw it fast. In order
-to have all the tail cords plumb and the knots of a uniform height,
-the harness tyer sometimes has a cord tied across the top of the loom
-frame, at each end of the machine, at the height the knots are to be.
-On these he lays a straight-edge, marked as a guide for where the tail
-cords are to hang, so that he can regulate those of one row and have
-them plumb, and the knots even; when one row is finished, he moves
-the straight-edge to the next, and goes on with it. A newer method
-of beating is to prepare the lingoes with sleepers and hangers, the
-sleepers to be about 5-1/2 in. long. The slabstock A^1, Fig. 51, is
-used, or the other if preferred.
-
-The mails are put upon flat wires as before, but instead of all going
-on one wire, half the number is put on each of two wires, and one of
-them is placed at each side of the slabstock, where it can be fastened
-with small staples. To facilitate getting the mails on the wires, when
-reeling the sleepers on the pin, as in Fig. 47, a lease can be made on
-the loops by giving them a twist when putting them over the pin.
-
-A piece of twine can be fastened in this case, and the loops
-afterwards cut. The mails can then be taken off in order, and run on
-the wire for the slabstock. When the mails are fixed on the slabstock
-it may be laid on the ground, or set in a frame, and the neck twines
-tied to the sleepers; and when all are tied, they can be drawn through
-the cumber board or harness reed. Afterwards, all are taken and fixed
-in the loom. The cumber board must be set so high above the knots on
-the sleepers that they will not come into contact with it when the shed
-is opened (that would be 4 in. or 4-1/2 in. above it). The neck twines
-are then tied to the tail cords as before.
-
-This makes a very good harness, and has the advantage of having
-no knots on the neck twines above the cumber board, which is very
-important in an intricate harness with the cords close together, as the
-knots when varnished are liable to catch on each other, or on twines
-slanting across them, and lift them as they are being drawn up. When a
-harness is mounted in this way it is not easy to make any alteration
-on it, or to re-level any portion of it if necessary. If the sleepers
-are tied in loops, same as used in No 1, Fig. 46, they can be connected
-to the neck twines by having the latter double and putting both ends
-of the neck through a snitch on the sleeper, or the neck twines may be
-double and the two ends of the sleeper when untied may be put through a
-snitch on the looped end of the neck twine and tied; in this way they
-could be altered or adjusted afterwards if necessary, but if they had
-to be varnished the knots would be rather rough.
-
-The following method of mounting is adopted in the damask hand-loom
-districts of the North of Ireland, and is used for particular
-power-loom work as well. It is a slower process than the preceding, but
-cannot be surpassed for getting a level harness, and the mails can be
-regulated as desired--that is, to have the back rows getting gradually
-a little higher than the front ones, which can only be accomplished in
-the preceding methods by tying them a little tighter, or by having the
-frame sloped a little.
-
-The lingoes may be prepared as before, with the sleepers 5 in. long
-when tied and clipped. The neck twines are put down through the cumber
-board and knotted loosely in bunches underneath.
-
-The levelling frame is set in the loom, the top edge of it being at the
-level that the eyes of the mails in the front row are to be hung.
-
-No wires are required. The lingoes are taken in bunches and put astride
-on the frame as required, and boys fasten them up to the neck twines
-by throwing on a snitch and running them up to somewhere about the
-height they will be wanted when level; in doing so the knots on the
-sleepers must be kept up as close to the snitch as is convenient for
-tying them, as, if left too low, they would interfere with the warp in
-shedding. When all the lingoes are hung inside the levelling frame--or
-they may be hung first, and the levelling frame put up afterwards and
-levelled--the mounter may begin to level the mails.
-
-He uses a fine piece of waxed cord with a small weight at each end,
-which he lays across the levelling frame as a guide, and levels each
-row from back to front in succession. The front mail may hang with
-the top of its eye level with the cord, and the others rise a little
-higher, till the back one is perhaps, with the bottom hole, level with
-the levelling cord, or 1/8 in. higher than the front one. The levelling
-can easily be accomplished by sliding the snitch up or down the neck
-twines; and when the correct height for the mail is got, the neck twine
-is tied as at H, No. 3, Fig. 46, when it is to be varnished, or as at
-H^1 when it need not be varnished; in the latter case cable cord is
-used for the neck, and it is split at the end, when drawn through the
-snitch, and then knotted.
-
-
-VARNISHING A HARNESS
-
-Varnishing is for the twofold purpose of making the harness twines wear
-better, and keeping them from being affected by the atmosphere.
-
-Sometimes the harness is only partly varnished, particularly when it is
-liable to be changed in a short time, and then it can be loosed down
-and used again.
-
-If it is to remain for a length of time--that is, for steady work--it
-should be varnished all over, but care should be taken to get a good
-varnish, as some of them destroy the twines, and others come off and
-are useless.
-
-The common varnishes are made principally from shellac, beeswax,
-and turpentine, and can be procured at any heddle-maker’s. Sometimes
-white wax dissolved in turpentine is used to rub the twine at the
-cumber board, for fine harnesses for silk and other light work, the
-remainder being left unvarnished. Sometimes the neck of the harness and
-the sleepers are varnished, and the knots above the cumber board are
-brushed with paste, as each row is tied, to keep them from slipping.
-
-Perhaps the best varnish is boiled oil, which, when well dried, gets
-very smooth after working for some time, and keeps the twines soft and
-pliable. It takes some time to dry, and does not suit well for using
-in a dusty place, but answers very well when the harness is built in a
-room for the purpose, and is afterwards taken to the loom.
-
-Sometimes a very small quantity of beeswax or white wax is added to the
-oil to give it more firmness, and sometimes driers are used to make it
-dry more quickly; but it is better to do without driers, as they harden
-the twines and are injurious. Varnish should not be disturbed till
-quite dry, as, if the twines are separated and the loom started when it
-is soft, the outer surface will rub up and make a rough harness. The
-twines are separated by running a wire skewer between each cross-row.
-French chalk dusted down through the harness assists in smoothing it,
-and prevents too much friction when it is being started to work.
-
-
-TO ARRANGE THE TIE OF A HARNESS
-
-What is known as the tie of a harness is the arrangement or manner
-in which the harness twines are connected to the hooks of the
-jacquard--_i.e._ the number of twines that are tied to each hook, and
-the position they are to occupy in the cumber board. Ties for ordinary
-damask work may be divided into three classes--viz. straight, or
-single; lay over, or repeating; and gathered, or centred.
-
-_Straight or Single Tie._--This tie is only required when there is
-no repetition of any portion of the pattern, as in silk markers, and
-occasionally in handkerchiefs, d’oyleys, tablecloths, &c. Only one
-harness twine is tied to each hook of the jacquard, and there must be
-as many hooks as there are threads of warp. The twines are tied to the
-jacquard and taken down through the cumber board in regular order from
-first to last, and the warp is drawn into the mails in the same order.
-Any pattern that it is possible to put on the cloth can be wrought with
-this method of mounting.
-
-_Lay Over or Repeating Tie._--This is, perhaps, the commonest tie, and
-is used for all such patterns as Fig. 53, where one small portion, as
-that enclosed by the dotted lines, will, when repeated several times,
-cover the entire surface of the cloth.
-
-[Illustration: Fig. 53]
-
-_Gathered or Centred Tie._--This tie can be used when both halves of
-any figure or border, &c., are alike when turned over; it will only
-require half the number of hooks to work a figure or border, when
-gathered or centred, that would be required for a single pattern.
-
-All other ties are combinations of these.
-
-Fig. 53 shows a pattern for a lay over, or repeating tie, such as might
-be used for dress goods, handkerchiefs, &c. The complete extent of the
-pattern is enclosed by the dotted line; this is called one ‘repeat’
-of the pattern, because this portion repeated over the cloth makes
-up the entire figuring on it. To ascertain how this may be woven, or
-what number of hooks of the jacquard will be required to weave it, the
-number of threads contained in 1 in., or other given space, of the
-cloth required must be known. If the pattern is to be on the cloth say
-2 in. × 2-3/8 in., and there are to be 100 threads of warp and 120
-threads of weft per inch, then 200 hooks of the jacquard and 240 cards
-would be required to weave it, each hook representing one thread of
-warp, and each card representing one shot of weft.
-
-[Illustration: Fig. 54]
-
-Figs. 54 and 55 show mountings on jacquards with 208 hooks in each,
-the former tied on the Norwich principle, and the latter in the London
-style. In both cases only 200 hooks are used, the remaining eight
-hooks being left idle for selvages, if required. These mountings are
-made for four repeats of the pattern, which would only make 8 in. of
-cloth; but there may be any number of repeats, say 13, to make 27 in.
-of cloth or 28-1/2 in. of warp in the loom, with, say, 92 threads per
-inch. There must be a harness twine for each repeat of the pattern tied
-to each hook of the machine; when four repeats are used, four twines
-are tied to each hook, as in Figs. 54 and 55. The harness reed or
-cumber board, G, must be of the same set or fineness as the weaver’s
-reed (if finer, it can be used by passing over the surplus holes). It
-is divided into four portions, leaving 200 holes for each repeat, and
-the twines are, in Fig. 54, taken straight down from the hooks to the
-holes in it, as can easily be seen. In this figure the cross-rows of
-the cumber board at the first of each repeat are shown filled; but in
-mounting, the back row, taken from the hooks A to B, would be filled
-first. In Fig. 55 the reverse is the case, the cross-rows, as shown,
-being the first filled; this is owing to the twist in the harness, as
-the machine is sitting so that the cards will hang over the side of
-the loom. The letters A, B, C, and D in both figures denote the same
-corners of the machines, showing that in Fig. 55 there is a quarter
-twist in the harness. In Fig. 54, the dotted lines from the 200th hook
-show the last cord of each repeat; L is the first cord of the last
-cross-row, and E and F are the same in Fig. 55. In these figures only
-the skeleton of the mounting is given; it must, of course, be filled up
-as the first rows which are given.
-
-[Illustration: Fig. 55]
-
-For this description of mounting the yarn is drawn into the mails in
-regular order, beginning at No. 1, and proceeding with the numbers
-as given. In this case the back hook to the left-hand corner must be
-taken as the first hook of the machine, and the cards cut to suit this.
-Sometimes the first hook to the front left-hand corner is considered
-the first hook, but if so it must be remembered when cutting the cards.
-Sometimes the mounting is begun at the right-hand side, but in any case
-it is only necessary to see that the draft of the yarn and cutting of
-the cards correspond with the order of mounting; the result of the work
-should be the same in all cases.
-
-[Illustration: Fig. 56]
-
-Fig. 56 shows a pattern for a gathered border with a repeating centre,
-which is a very common style of design. It will be seen that the two
-halves of the border, A and B, are alike, if taken from the centre
-outwards; or if one-half of the border were traced on tracing paper, it
-would, if turned over, form the other half. For this reason it is also
-called a ‘turn-over’ border. In the same way, if two cords are tied
-to each hook of the jacquard for the border, and those to the first
-hook taken down to the cumber board for the two outside threads of the
-border (that is, one to the right and the other to the left), then
-those from the next hook taken to the two next outer holes, and so on,
-coming from the outsides to the centre, the first half of the pattern
-would be repeated by the mounting in exactly the same way as by turning
-over the tracing paper.
-
-[Illustration: Fig. 57]
-
-Fig. 57 shows a mounting for a gathered border and four repeats of
-the centre. Eighty hooks are taken for the border, which are repeated
-four times in the cumber board, as at 80_a_, 80_b_, 80_c_, and 80_d_,
-and 120 hooks are allowed for the centre repeat (see also Fig. 58).
-This mounting is made up for a 200 machine with 208 hooks, the extra
-eight hooks being left for working the selvages. Only the front row of
-the harness is shown, but they are all alike. By following the cords
-from the hooks to the cumber board, it can be easily seen how they are
-taken through it. The first eight hooks are left idle, for the selvage
-to be fixed to if required. The next ten rows = 80 hooks, are for the
-border; these 80 hooks, with one twine on each, taken down through the
-cumber board at 80_a_, would work the first half of the border, as A.
-The other half of the border, B, can be wrought by the same hooks, with
-another set of twines tied to them, and taken through the cumber board
-at 80_b_; but the twine from the first hook must be crossed over to
-the right-hand side of the border, being the 160th twine in the cumber
-board; the twine from the second hook is the 159th in the cumber
-board, and so on, coming in towards the centre to meet the first set of
-twines; hence the name, ‘centred tie.’
-
-[Illustration: Fig. 58]
-
-The border must also be repeated on the other side, and two more sets
-of twines must be tied to the same hooks (four to each hook in all),
-which are taken down through the cumber board at 80_c_ and 80_d_, to
-work the two halves of the border marked G and H, Fig. 58. The next 15
-rows of hooks = 120, work the repeat of the centre pattern, C, Figs.
-56 and 58; and as this is repeated four times, at C, D, E, and F, Fig.
-58, there must be four twines tied to each of the 120 hooks, which are
-taken down through the four divisions of the cumber board marked 120;
-one twine from each hook being taken through each division, beginning
-at the left and working to the right side, alike in them all, as this
-portion is a simple repeating tie. Fig. 58 gives a portion of the
-pattern in Fig. 56 completed across, as it would be on the cloth by the
-mounting in Fig. 57; the cumber board is laid across the top of the
-pattern and marked, showing, in conjunction with the mounting, Fig.
-57, how the harness repeats the pattern so that a large surface can be
-figured with a small machine by adopting a suitable tie.
-
-When drawing the warp into the harness, wherever there is a gather in
-the tie, or a turn in the harness, there must be a turn in the draft
-also; not that there is any real change in the draft, but when the
-harness is turned in the direction it is drawn through the cumber
-board, the draft must also be changed to follow the mails in regular
-order. Fig. 59 shows a draft for a gathered border, with 48 hooks for
-the border and three repeats of the centre. It will be seen that the
-first half of both borders A and B and the three repeats of the centre
-are drawn in the same direction, but that the two turned-over portions
-of the borders C and D are drawn in the reverse direction. The numbers
-on Figs. 62 and 62A may assist in explaining this, the border A in 62
-and B in 62A being taken; in these it will be seen from the numbers,
-which are those of the harness twines, that 1 to 8 in border A (Fig.
-62) run in the reverse direction of 1 to 8 in border A (62A), and both
-are from the same hooks.
-
-[Illustration: Fig. 59]
-
-[Illustration: Fig. 60]
-
-When two borders are to be woven on any piece of cloth, though the
-pattern for each border may be single in itself, as Fig. 60 (which is
-single except the two outlying lines, A and C), they will to each other
-form a gathered tie, provided they have to be turned in the same way
-to the centre of the cloth--that is, if the inside of one border on
-one side is to be the inside of the other border on the other side. In
-such a pattern as Fig. 60 it would not matter much if the inside of
-one border was the outside of the other, as the border is much alike
-either way, and if wrought in this way the twill on the cloth would not
-be reversed, as is always the case in a turned-over border. In many
-patterns this would not do, and it is therefore necessary to gather
-the tie and turn the twill. Fig. 61 shows how, in the London style of
-tying, the harness can be turned so that a turn in the draft is not
-necessary, but this will not alter the reverse twill on the cloth.
-It will be seen that one of each of the two cords tied to the eight
-hooks goes to one border, and the other to the opposite border, but
-instead of both going to the same row of the cumber board, the cord
-from the first hook goes to the back row in one border, and to the
-front row in the other. All the cords follow in this way, which has
-the same effect as turning the draft, as would require to be done in
-the Norwich mountings, and could also be done on this principle. Fig.
-62 shows the draft of the two borders for Fig. 61 mounting, A and B
-being a plan of the warp passing through the mails. The numbers refer
-to the hooks of the jacquard. C and D are the two innermost threads of
-the borders, both on the 48th hook of the machine. Fig. 62A shows how
-the draft would be if the cords were not brought from front to back of
-the cumber board, as the numbers will show. No. 1 shows where the cords
-from the first hook pass through the cumber board. Fig. 62A gives the
-right-hand border only, the left-hand one remaining the same as in Fig.
-62.
-
-[Illustration: Fig. 61]
-
-[Illustration: Fig. 62]
-
-[Illustration: Fig. 62A]
-
-In Fig. 60, the two bars A and C could be wrought from the same hooks,
-and, unless they might be required to be different from each other on
-another pattern to work on the same loom, it would be unnecessary to
-allow machinery for the two; either the outer or inner one could be
-tied up, and the other repeated from it, but the one that is tied up
-must be painted on the design paper.
-
-[Illustration: Fig. 63]
-
-Fig. 63 shows the front view of a mounting for weaving a pattern such
-as that given on Fig. 60, one machine being used for the border, and
-another for the centre. Usually the border machine would be to the
-left-hand side, to correspond with the pattern; but in Fig. 63 it will
-be observed that No. 1 machine is to the right-hand side, and that it
-works the borders. It does not matter which machine is used for border
-or centre; the mounter can use the one he considers most suitable for
-the borders, and the pattern may be painted and the cards cut without
-any consideration of this, it being only necessary to put the border
-cards to the border machine, and those for the centre to the centre
-machine. The only consideration is to avoid any unnecessary slanting
-of the harness twines, which the present arrangement does; and it
-also keeps the turned portion of the harness (that for the right-hand
-border) separate from the twines of the centre, thus avoiding any
-unnecessary friction.
-
-
-TO MARK OUT A CUMBER BOARD
-
-[Illustration: Fig. 64]
-
-Cumber boards may be either the exact fineness of the harness, or any
-set finer; they are better to be a little finer, to allow for any
-broken rows at the beginning or end of any of the repeats. When the
-cumber board is finer than the harness, the surplus rows are left idle.
-A convenient plan of marking off a cumber board is as follows:--Let
-the pattern be as Fig. 60--that is, with a border at each side and the
-centre to be repeated several times to make up the width of the cloth.
-Let 24 cords be required for the selvage, 172 cords for the border, and
-128 for a repeat of the centre; there are to be four repeats of the
-centre. Now mark off on the cumber board whatever width the harness
-is to stand, which should be the same or rather wider than the warp
-occupies in the reed, and let it be so as to have the harness in the
-centre of the loom. Suppose Fig. 64 to give the width of cumber board
-required. The selvages are wrought from 6 hooks, and there are 8 hooks
-in each row of a 400 jacquard; therefore 4 rows of the cumber board
-will be required for each selvage. Mark these off by drawing the lines
-A and B on the cumber board. Now find out the width the borders are
-each to occupy, by calculating how wide the yarn will be in the reed,
-and mark them off by the lines C and G; then mark off the width of each
-repeat by the lines D, E, and F. Counting the number of holes marked
-off for the margin, it will be found that there are 32; but as the
-selvage is on six hooks, the two back holes of each row of the cumber
-board are marked out, as shown, not being required. The portion marked
-off for the borders contains 23 rows on each side, whereas only 21-1/2
-are required for 172 cords. As the centre repeat is on even rows, and
-it is usual to leave broken rows to the left-hand side of the painting,
-the first 4 hooks of the border portion of the machine will be idle;
-therefore the 4 back holes of the cumber board for both borders are
-marked out; this still leaves a row too much, which may be marked out
-at any place. For the repeats, 128 cords, 16 rows are required, and the
-surplus rows are marked out, as shown. This mounting is supposed to
-be on a 400 machine, leaving 100 hooks idle to the left-hand side of
-the mounting, then using 1 row for the selvages, and the remaining 38
-rows for the pattern, all but the half of the first row, which is not
-required.
-
-[Illustration: Fig. 65]
-
-In marking out a cumber board for a lay-over, or repeating pattern--if,
-say, 108 hooks are required for each repeat, which makes 13-1/2 rows
-of an 8-row machine--if the broken row is to the left-hand side of the
-painting, and the harness mounted from left to right, then the first
-four holes of the first row of each repeat of the pattern are marked
-out in the cumber board to be left empty, as shown in Fig. 65. When
-mounting, no attention would be paid to the cords on the half-row of
-the machine till the first four rows along the cumber board have been
-filled, the mounter beginning with the back cord on the first full row
-of the machine, which is the fifth hook of the tie. Three rows for the
-selvage, which is on four hooks at the front of the harness, are shown
-at S, Fig. 65.
-
-The front of a jacquard is generally considered by workmen to be the
-cylinder side. Of course, when there is a cylinder on each side there
-is neither front nor back to it. Sometimes it is very confusing talking
-of the front and back, one considering it to mean the front of the
-harness, or front of the loom, and another taking it to be the front
-or cylinder side of the jacquard, which is usually at the back of the
-loom for Norwich ties. Of course, the front of the loom is where the
-weaver stands, or where the cloth is made, and the front of the harness
-is towards the front of the loom. It simplifies matters greatly by not
-minding the back or front of the machine, but speaking of every part of
-the harness, &c., towards the front of the loom as the front of it.
-
-[Illustration: Fig. 66]
-
-It frequently happens that figured stripes are required, running up
-plain or fancy textured goods, either forming borders to the outer
-edges, or merely ornamental stripes, say 3 or 4 inches from the edges
-of the cloth, as in towels, toilet-covers, &c. For this class of
-work it is generally most advisable to work the stripes with a small
-jacquard, and the plain or fancy texture of the body of the cloth with
-a shaft mounting. Fig. 66 shows a mounting of this class; the shafts
-can be wrought by tappets in the usual way, and small cumber boards,
-as A, A^1, are fastened to the top rail of the loom for the harness to
-pass through. It is usual to keep the harness behind the heddles, and
-it is levelled in the usual way. The yarn may or may not be on the same
-beam for both portions, according to whether the take-up, or shrinkage,
-will be the same for both portions or not. Sometimes the shrinkage may
-be regulated to be alike in both by using different counts of yarn, or
-drawing it thicker into the reed; but perhaps in most cases two beams
-would be desirable, unless the texture is much alike for both the
-stripes and body of the cloth.
-
-The lease rods for the yarn in the harness will not, probably, do to
-be the same as those for the body yarn, as the action of the heddles
-will be different from that of the harness. If the same rods will not
-suit, it is easy to have a pair for each warp, those for the harness
-being farthest back. Stripes of this description are frequently made
-in towels, glass-cloths, &c., for clubs or hotels, with the name of
-the company woven into them. A gathered tie is mostly used for these
-mountings, except when letters are required to be woven, in which case
-a gathered tie is not suitable. (See Letters and Monograms.)
-
-
-TO VARY THE SET OF THE HARNESS
-
-It may often be that in weaving figured piece-goods it would be an
-advantage to have a harness that would weave different degrees of
-fineness, so that the loom could be utilised for one when the other
-is not required. For weaving small quantities, for samples or special
-orders, this is often an advantage.
-
-The usual method of procedure is to draw the warp into a finer or
-coarser reed if only a slight difference is required, and to pay no
-attention to the strive in the warp between the harness and reed. The
-better the quality of the warp, the greater the strive may be, but from
-1 in. to 2 in. at each side is as far as it can safely be run when the
-harness is wider than the yarn in the reed; and if the reed is coarser
-than the harness, 1 in. at each side will probably be the maximum limit.
-
-When changes of this kind are liable to take place, the cumber board
-should not be too low down, nor should the mails hang too close to the
-back of the slay; with the cumber board high and the harness a little
-back the strive will not tell so severely on the warp. When the cumber
-board is made of boxwood slips, they can be spread out a little in the
-frame, but when there is much of a slant in the harness this would take
-the mails off the level; though this can sometimes be counteracted a
-little by raising the cumber board slightly higher at one end than at
-the other.
-
-The best plan when much of a change is required is to pass over the
-surplus rows of mails in the harness, as in harness work, as well as in
-shaft mountings, the mounting may be used for any coarser set of warp
-than it is built for--of course, if the width is suitable. This would
-necessitate the warp, or at least a part of it, being drawn out of the
-harness, and also requires a new set of cards for the new pattern, or
-for the same pattern on a new set of cloth. The surplus mails may be
-cast out in rows across the loom if many are to be rejected, or in
-rows across the harness (from back to front) if found more suitable,
-or when a small number of mails are to be left idle. Suppose for an
-8-row harness, 400 machine, with 6 repeats = 2400 mails on 30 in., or
-80 threads per inch, and it is required to weave a piece of cloth on
-this having 74 threads per inch. Drawing the yarn into a coarser reed,
-and, if only 30 in. wide is required, throwing off the surplus yarn
-at each side, would probably be the simplest method; but if the cloth
-to be woven is to have 60 threads per inch, every four throw of mails
-across the harness, or one-fourth of the harness, might be left idle,
-or the two back rows of the harness may be left empty. In the latter
-case the pattern could be painted on 6-row design paper as if for a
-6-row machine, and in the former case the number of designs across the
-painting would be reduced by one-fourth, the card-cutter taking care
-that he omitted those rows on the card that have been thrown idle on
-the machine.
-
-In order to reduce this trouble and expense to a minimum Messrs. Devoge
-& Co. have patented an expanding harness which is intended to admit of
-cloths of different degrees of fineness being woven without any trouble
-but a little setting of the cumber board and re-reeding the warp. The
-method of doing so is as follows:--There are two cumber-board frames,
-one above the other, as shown in the sketch Fig. 67; these frames are
-filled with slips which can be moved along when desired. The harness
-can be set for two degrees of fineness of warp, as is shown in the
-sketch. The slips in the upper frame, B, are set midway above the two
-positions for a slip in the lower frame indicated by the letters _a_
-and _a^1_. The black lines show the position of the cords when weaving
-the finer set. The only change required to be made is to shift the
-lower slip, _a_, to the position _a^1_, and to re-reed the warp; other
-changes can be made on the same principle, or by altering both sets
-of slips in relation to each other. When the slips are moved in the
-frames, they can be kept in position by interposing blank slips between
-them.
-
-[Illustration: Fig. 67]
-
-The same cards will suit in this case for several sets of cloth, if
-required. Of course it is plain that the friction on the harness twines
-working through the two cumber boards must be greatly increased from
-that of the ordinary method of working; but for light work, and when
-the harness is not required to last long, it may prove very serviceable
-when frequent changes are required, as it furnishes a ready means of
-accomplishing the desired object, which cannot be done without cost in
-some direction. For wide looms or intricate mountings it will not be
-of much service. In the Figure only one hook of the jacquard is given,
-for simplicity, but the harness would be filled up in the usual manner.
-If the harness is built with long mails having several eyes in them,
-the second cumber board is not required; the slips can be shifted and
-the warp levelled by drawing it through suitable holes in the mails.
-
-
-
-
-CHAPTER IV
-
-_DESIGNING AND DRAUGHTING_
-
-
-Designing is the composing, drawing, and colouring, if necessary, of
-the sketches for jacquard patterns, and in some cases planning the
-texture of the cloth; and draughting (or drafting) is the term usually
-applied to the painting of the patterns upon design paper.
-
-A designer should be a first-class draughtsman, and have a thorough
-knowledge of the various styles of ornament; he should also be well
-practised in drawing floral forms from Nature, without which there is
-generally a stiffness and want of freedom in his style of work. For
-coloured work, such as carpets, &c., skilful colouring is the most
-essential point. No drawing will atone for bad colouring; at the same
-time, good colouring should not be wasted on bad drawing.
-
-A designer may draught his own patterns, and if he is an experienced
-draughtsman with a good knowledge of weaving, perhaps this is the most
-successful method of working; but if the greater portion of his time
-is to be taken up with draughting, his talent as a designer will be,
-to a great extent, lost, and he will probably deteriorate; besides, he
-will not have the same opportunity for getting up a variety of designs
-that he would have if he had nothing else to attend to. A designer for
-any class of work should have a knowledge of the technicalities of the
-material for which he is designing a pattern; at the same time, a very
-slight knowledge is essentially requisite, provided the sketch be given
-into proper hands to be worked out. It must be remembered, however,
-that in this case a sketch may often have to be taken only as an idea
-for a pattern, and not be handed by the manufacturer to the draughtsman
-with directions to make a truthful reproduction of it on the cloth. A
-draughtsman may be a skilful designer as well, or he may be a skilful
-draughtsman and have very little powers of designing. When he is a
-designer, the most successful method of getting a variety of patterns
-would be for the manufacturer to purchase sketches for ideas and hand
-them over to his designer, who will be considered to have a thorough
-knowledge of the practical work, to prepare them to suit the fabrics
-for which they are intended, perhaps completely altering them, making
-two or three out of one, or combining two or more to make one pattern
-if necessary--in fact, using them as material to work from. They may
-then be handed over to the draughtsmen, or be sent to a designing
-establishment for draughting and cutting. In case the manufacturer has
-no designer in his place, but only a draughtsman, the sketches must be
-bought prepared to suit his fabrics, or it would be better to have the
-complete work done, in many cases, at a designing establishment. Of
-course, in draughting, as in all classes of work, a great deal of the
-less important portions may be done by junior hands, but a knowledge of
-drawing is required, if only to guide the eye, by them all, except the
-twillers.
-
-Sometimes designers accustomed to selling sketches get them up in
-a very deceptive manner in order to deceive manufacturers or their
-agents, who may have very little knowledge of the work; but this can
-easily be checked by submitting them to a practical designer before
-purchasing them.
-
-A design that may be very suitable for one class of cloth may be
-equally unsuitable for another class, and in many cases fashion
-regulates the suitability quite independently of its artistic merits.
-For coloured work, designs should be of such forms as lend themselves
-to the disposing of colours, no style being more suitable than Persian;
-whereas in plain work, as damask, the flow of line or the variation of
-the forms, assisted by portions of fancy shading or twilling, must give
-the complete effect. Again, different degrees of fineness of cloth will
-suit for different designs; of course, any pattern that can be put on a
-coarse cloth can also be put on a fine one, but many patterns are very
-suitable for fine work that could not be put on a very coarse fabric.
-When it comes to fine coloured silks, anything that the artist can
-paint can be fairly represented, as may be seen in the work from the
-Coventry silk marker looms, so that any design can be put upon cloth;
-but the question is, Is the cloth suitable for the design?
-
-[Illustration: Fig. 68]
-
-Fig. 68 shows a piece of 8 × 9 design or point paper; 8 × 9 meaning
-that each of the large squares, or designs, contains 72 small checks or
-squares, 8 in breadth and 9 in length, but the 9 should occupy the same
-space as the 8. Ten by ten appears to have been the standard design,
-as patterns are still counted by the 100 designs, each containing 100
-checks, or 100 checks in length and the same in breadth: and in some
-places machines are known as so-many-design machines; thus, a 400
-jacquard is called a 40-design machine.
-
-When each design contains as many checks in length as it does in
-breadth, the paper is intended for work that is to have equal
-quantities of warp and weft threads in it; thus 8 × 8, 10 × 10, 12 ×
-12 paper would all suit for cloth with, say, 80 threads of warp and 80
-picks of weft per inch, the difference being that 8 × 8 is intended for
-a jacquard with 8 needles in the row, and 10 × 10 and 12 × 12 for 10
-and 12 row machines respectively. It is not necessary to have different
-papers to suit, as one could be used for all, and after the pattern is
-painted it could be ruled in rows to suit the machine, but it is much
-more convenient to get the correct size of paper.
-
-If 80 threads of warp required to have 100 picks per inch, then to find
-the size of the paper state as 80: 100:: the number of needles in one
-row of the machine to the number of cards in each design, giving 8 ×
-10, 10 × 12-1/2, or 12 × 15; but 10 × 12, or 12 × 14 would have to be
-used for the last two, as a half could not be made, and 12 × 15 is an
-unusual size. Either would do by drawing out the design a little when
-enlarging it for the point paper. Square paper might also be used by
-counting off the number of checks required, and drawing an elongated
-pattern to cover them; but it is more desirable to have suitable paper
-for work that is at all particular, and in case of such as 12 × 15
-paper, 8 × 10 is the same proportion, and could be used for it, the
-squares afterwards being ruled in 12’s for the card-cutter.
-
-Each upright space on the design paper, between the lines, represents
-a thread of warp or one hook of the jacquard, and each space between
-the horizontal lines represents a pick, or shot, of weft, or one card
-of the pattern; so that a painted pattern is a magnified view of the
-texture of the cloth, in common jacquard work.
-
-[Illustration: Fig. 69]
-
-
-[Illustration: Fig. 70]
-
-Fig. 69 is a small sketch for a border with spot filling, which is
-shown on design or point paper in Fig. 70. The paper is 8 × 8; the
-first four checks are used for a selvage, and the pattern is on 12-1/2
-designs or 100 threads of warp, and 22 designs or 176 cards would be
-required for the weft, the pattern being made about three times the
-size on the design paper that it is on the sketch. The design paper
-has 16 checks per inch, consequently the cloth would have about 48
-threads to the inch to make the pattern appear as the sketch. If the
-cloth were finer, say with 72 threads per inch, then 150 checks on the
-design paper would be required for the pattern, which means that 150
-hooks of the jacquard would be required for working it. Whatever width
-the sketch occupies (one repeat of the pattern), multiply this by the
-number of threads of warp per inch to be in the cloth required, and
-the product will be the number of hooks required for the jacquard, and
-the number of checks or spaces required on the design for the warp.
-The number of cards is found similarly from the weft of the cloth. If,
-on the other hand, a pattern is to be made for a jacquard, and it
-is required to find what size of pattern will work on it, divide the
-number of hooks in the jacquard by the number of threads per inch in
-the cloth required, and the quotient will be the size of the pattern
-warp-ways, in inches. The length or weft-way of the pattern can then be
-arranged to suit the number of cards, or the pattern can be made any
-length to suit the style of design. Fig. 71 is a pattern of the same
-style as Fig. 69, and it might be wanted to use it instead of Fig. 69
-for cloth of the same make, say 40 to 45 threads per inch. This could
-not be done, as it could not be put on the design paper, but it would
-suit very well if intended for cloth with 80 to 100 threads per inch,
-which would admit of its being sufficiently enlarged (say four times
-the size of the sketch) to be correctly represented by the checks. Fig.
-69 would be better on cloth having 50 to 60 threads per inch, coarser
-sets requiring larger forms.
-
-[Illustration: Fig. 71]
-
-In preparing a design for point paper, the sketch is usually first
-made out and selected by competent judges as suitable for the fabric
-required, as well as for the taste of the market in which the goods
-are to be sold. When selected it has to be enlarged to suit the size
-it is to cover on the point paper. Sometimes the enlargement is made
-on another piece of paper, and is then transferred to the point paper;
-this is perhaps one of the best methods of proceeding, but it is not so
-quick as if the enlargement were made upon the point paper direct. It
-is usual to rule squares on both the sketch and design paper, which
-bear to each other the same proportion that the size of the sketch does
-to the size of the design paper required to be covered. This guides the
-draughtsman, as everything in the small squares on the sketch should
-be put into the corresponding large squares on the enlarging paper or
-point paper.
-
-A pantagraph is sometimes useful, and proportional compasses are a
-great assistance if very correct enlargements are required. When a
-careful outline of the pattern is made upon the design paper, it is
-then painted. Some painters dot round the outlines, and in large forms
-leave them to be filled in by assistants; others paint in solid as
-they go along. Vermilion and scarlet and crimson lakes are the paints
-mostly used. The first is easily washed out, but the lakes are more
-transparent, and admit of the checks on the paper being clearly seen
-through it, which is a benefit to both twiller and card-cutter. Scarlet
-lake, with from a half to a quarter its quantity of crimson lake mixed
-with it, makes a very good paint. The ordinary water-colour cakes are
-the best paints to use, but powdered colour is sometimes preferred on
-account of its cheapness. In Fig. 70 the painting is all black, with
-white twilling on the flowering.
-
-Simple flat ornamental forms, if of sufficient size, are not difficult
-to put on the design paper, but more intricate forms and shaded effects
-require a considerable amount of skill, and are tedious, unless to
-an experienced hand, the difficulty being to get the checks on the
-design paper to express the figures in the best possible manner, and
-frequently it is necessary to slightly alter the forms to make them
-come nicely on the paper.
-
-When the sketch has to be enlarged to, say, three or four times its
-size, a slight inaccuracy in the painting will have but little effect,
-as it will be reduced on the cloth. At the same time, advantage should
-not be taken of this to employ inferior hands at the work, as, the
-more correct the painting, the more correct will be the pattern on the
-cloth, although it be reduced in size; and a ragged-edged painting will
-never have a clear, defined appearance on the cloth. It is in coarse
-coloured work, such as carpets, that the accuracy of the painting is
-of the utmost importance, as the pattern on the cloth is as large as,
-or may be much larger than, it is on the design paper; therefore all
-inaccuracies are magnified, and no forms that do not come satisfactory
-on the squares of the paper will have a good appearance on the cloth,
-so that to a great extent the design must be made to suit the paper.
-When the pattern is all painted on the design paper, both the ground
-and pattern for ordinary full-harness work have to be dotted over
-with the texture of the cloth. This is called twilling. In Fig. 70
-the texture is a 5-end satin on both ground and flower. For twilling
-the ground the same colour is used as the flower or figured portion
-is painted with, and for the figured portion black is mostly used,
-sometimes white. The twilling dots on the figure mean blanks, as if
-these checks were left without any colour on them, or as the ground,
-and they are passed over by the card-cutter when the cards are being
-cut.
-
-In twilling care must be taken not to run the dots up against the
-edges of the flowering so as to injure the form of the figures. In
-some cases, as at any flat portion, such as a horizontal or vertical
-line, or any portion of one, this cannot be avoided, but the red
-dots on the ground should here fall in against the black dots on the
-figure. It is necessary to begin one set of dots against the other
-set to carry this out as far as possible, and in some cases, when
-they will not join, the dots are set out of their places to make them
-come together. The two dots coming together bind the threads and keep
-the last thread of the ground on one side, and of the figure on the
-opposite side--according as it is the weft or warp that is forming the
-line--from hanging loose or sliding out from the others. The direction
-of the twill on the ground or flower may vary so as to suit the twill
-used, and whether a satin or sateen effect is required. Various
-kinds of twills are frequently used to give effect, but too great an
-irregularity of texture should be avoided, though a plain ground, with
-an 8-or 10-end satin for the flowering, may be used for handkerchiefs
-with a good effect; for heavier work a 5-end satin ground and an 8-end
-satin figuring may be used, but for firm, strong cloth an 8-end satin
-for both ground and figure is much better, letting either warp or weft
-predominate largely in the cloth.
-
-Fig. 72 shows how a leaf or any piece of ornament may be shaded; care
-should always be taken not to let the texture be too close at any part
-in the shaded portion so as to make hard pieces in the cloth, as would
-be the case if a plain texture were used in a firm cloth.
-
-[Illustration: Fig. 72]
-
-Fig. 73 shows how a flower and bud should be painted so as to give a
-natural, or rather semi-natural, representation. The shading should be
-made to express the form as well as possible; a variety may also be
-made in the twilling on the flower, as may be seen on the front petal,
-where a straight twill is used; this makes the cloth richer and the
-petal come out fuller. This pattern is rather small on the design paper
-to come well on the cloth; it would be better twice as large, as it may
-be seen that in many cases single lines of the design paper have to be
-used for divisions, and for full-harness work it is generally better to
-have at least two lines, representing two threads.
-
-[Illustration: Fig. 73]
-
-This painting, omitting the twilling, would suit for a pressure
-harness, with each line of the design paper representing two or
-three threads of both warp and weft. No twilling is required on a
-pressure-harness pattern, as the texture is wrought by the front
-mounting; otherwise the pattern is the same, bearing in mind that as
-each check represents two or three threads, it will not be reduced on
-the cloth as a full-harness pattern would. The twilling of this pattern
-is the 8-leaf satin, which is generally used for fine damask, giving a
-much richer effect than the 5-leaf satin.
-
-It will perhaps be well to make some reference as to the desirability
-of using these natural forms for designs, though it would be useless to
-enter into the oft-disputed point of whether it is correct or in good
-taste to attempt to imitate natural forms upon cloth, or whether even
-shaded or rounded forms should be treated upon a flat surface. To the
-latter I would answer without hesitation, by all means do so, but make
-the appearance satisfactory and keep them in good taste; and this can
-be done if the subject treated is duly considered.
-
-The former, it must be admitted, is rather pandering to the popular
-taste than following the dictates of decorative art. One thing is
-certain, that the ‘million’ are better satisfied with floral forms than
-any other class of ornament, and the more loosely treated these are,
-or the further they are from ornament, the more pleasing they are to
-those uninitiated in the beauty of line, wanting which no ornamental
-forms can be pleasing to those educated in art. However, these natural
-forms suggest Nature, and their admirers have so little idea of
-Nature’s beauties that they do not see the defects in the attempted
-representations. At the same time, it must not be understood that a
-pleasing design, or one in good taste, cannot be composed of natural
-forms--quite the contrary; for small, simple patterns, principally for
-light fabrics, they are perhaps more suitable than any other ornament,
-giving lightness and gracefulness of appearance, as may frequently be
-seen from the designs on the better class of dress goods, whether woven
-or printed; but the natural treatment must be kept subservient to the
-flow of the design. Generally, a moderately flat treatment without any
-strong attempts at light and shade is most successful, the treatment
-consisting of a graceful arrangement of forms drawn from nature.
-Everyone knows the beauty and grace of the Japanese designs; but this
-is not simply because they are natural forms: it is the arrangement
-of the forms that gives the effect. Very effective patterns can be
-made for dadoes of coloured curtains from natural objects, as here
-they can have the upright forms suited to them; but for coloured work,
-generally speaking, and for carpets in particular, natural forms,
-unless treated flatly and conventionally, are rarely either pleasing or
-in good taste. With them it is difficult to obtain that intermingling
-of colours, be they bright or dull, that produces a neutral bloom and
-a satisfactory result. Another important point in a pattern, and often
-overlooked, or not understood, is that, unless the pattern, as a whole,
-is satisfactory, no variety or beauty of detail can make it a good
-design. The general character or lines of the pattern must first be
-made satisfactory, after which the detail may be made as interesting
-as possible, provided it does not injure the general effect, and
-is not incongruous to the nature of the design. As to whether flat
-surfaces should be treated with shaded ornament or not is a point that
-will always be in dispute, but it may be asked why should a designer
-be hampered with such restrictions? If he can produce a satisfactory
-pattern by using either flat or shaded ornament, or both, why not let
-him do so? The criterion should be whether the result is satisfactory
-or not. Of course such barbarous work as representing leopards or
-tigers prowling over carpets or hearthrugs, or even decorating them
-with the more homely duck or drake nestling, or waddling through
-water, cannot be too strongly condemned, highly though they were
-once appreciated, and though they still find favour with many: even
-shading forms or objects in such a manner as will produce a feeling of
-weakness, insecurity, or danger, can never be upheld--that is, such a
-practice as shading ribbons flowing over carpets or hearthrugs like
-snares, and buttoned down at certain points; or making the surface
-of the carpet appear very irregular, which has often been done, and
-is often seen in coloured tile pavements. Of course these remarks
-refer more or less to any fabric, but a little relief in a curtain
-would not be nearly so objectionable as on a carpet, so that almost
-everything turns upon whether the result produced is satisfactory or
-not--of course, to those competent to judge, and who are not overcome
-by biassed prejudices. Natural or semi-natural floral ornament will
-rarely be injured by a little shading, whether on a white or coloured
-fabric, but it should not be overdone--a moderate amount of shading
-or a half-flat treatment generally giving a more pleasing effect.
-Conventional floral ornament is, perhaps, best treated flatly, or with
-a very little shading on some portions that require a little relief. A
-richer and purer effect in colour can be got with flat than with shaded
-colours.
-
-[Illustration: Fig. 74]
-
-Fig. 74 is an example of a small floral pattern of a class much used
-for dress goods, either woven or printed, and gives a very pleasing
-effect. One repeat of the pattern is bounded by the lines _a b c d_, or
-the whole might be taken as one repeat, and instead of having a row of
-pears on a line, have a pear and some other fruit alternately, and the
-same with the apples. This pattern is a semi-natural floral treatment,
-and if on a larger scale a little more shading on the fruit and a few
-turned-over leaves or half-open flowers would not injure it, but would
-add to its richness.
-
-Fig. 75 is a sort of floral ornamental, or flatly and symmetrically
-treated floral pattern, somewhat after the Persian style, and though
-some would consider it stiff in comparison with the previous one,
-it has a very pleasing effect, and could be used the size indicated
-for dress goods, &c., or if enlarged to two or three times the size
-it would make a very good curtain pattern. Small sprigs of flowers,
-grasses, grain, &c., scattered about over the surface of the cloth make
-generally a favourite style of pattern.
-
-So far the patterns given are such as would require the designer to
-have a good knowledge of drawing and of ornamental and floral forms,
-and many consider that a designer must be a draughtsman; but such is
-not the case.
-
-[Illustration: Fig. 75]
-
-Large quantities of patterns are made that do not necessarily require
-the designer to have any knowledge of drawing; this is called ‘small
-pattern’ or ‘texture’ designing.
-
-A designer of this class should have a thorough knowledge of weaving
-and of the effect which the patterns on design paper will produce on
-the cloth. He must, of course, have a taste for the arrangement of
-forms, and can produce considerable variety by a judicious arrangement
-of fancy threads through the cloth, particularly in worsted or woollen
-goods. The following examples will show how great a variety of patterns
-can be produced without any knowledge of drawing. But a knowledge of
-drawing will be a great assistance, as it trains the eye to correctness
-of form. Fig. 76 is a pattern for dress goods; it may be made of cotton
-only, or with a cotton warp and worsted weft, and a good effect is
-produced by having the warp a different colour from the weft, say a
-gold cotton warp and a brown or giraffe worsted weft. Warp 60 to 80
-threads per inch, and weft about the same. This is a pattern of the
-bird-eye class, and a very large range can be made in this style, both
-bold and effective, or fine and neat, as may be desired. The smaller
-patterns may, of course, be woven with shafts, but larger ones require
-a jacquard.
-
-Fig. 77 is another pattern, of the flushed stripe class, also suited
-for dress goods; this is a silk handkerchief pattern for 90 threads
-and 96 picks per inch; 60/2 China silk for warp, and 60’s single China
-silk for weft. If the small dots on the pattern are cut on the cards,
-a finer and closer pattern will be produced than if the black squares
-only are cut, but of course it would be less effective unless on a
-coarser fabric.
-
-[Illustration: Fig. 76]
-
-[Illustration: Fig. 77]
-
-Fig. 78 is a pattern that would suit for dress goods if woven similarly
-to Fig. 76; and if woven much coarser, say 25 to 30 threads per inch,
-it is suited for quiltings. Great variety can be made in this style
-of quilts, particularly when floral and other forms are interspersed
-through the texture, and also when the honeycomb texture is employed,
-an example of which is given in Fig. 79 in combination with diaper
-or bird-eye figures; only a portion of this pattern is given, but
-it shows all that is required. In either pure white, or with a warp
-of one colour and a weft of another colour, these patterns are very
-effective when made from good twist yarn and coarsely set in the
-reed; the flushing might be over twice as many threads as is shown in
-the patterns, and then more threads of warp and weft be used. It is
-perhaps to the woollen and worsted trades we must turn to find the
-greatest variety of patterns of the description we are now dealing
-with. True, the greater portion of them can be wrought on shafts, and
-perhaps a greater number of shafts are used in these trades than in
-any other branch of textile work, as shafts produce a firmer cloth
-than a harness; but when large fancy patterns are required, recourse
-must be had to the jacquard. Fig. 80 is an example of a fancy twill
-stripe which could be wrought on 48 shafts if desired, but might
-also be wrought on a small jacquard with greater simplicity, unless
-very heavy cloth is required. Patterns of this description require
-considerable skill in designing, and are in some cases more difficult
-as they increase in size. It may be seen that the pattern or figure
-is composed of different textures, and to make a perfect cloth the
-various textures should all work together at an even tightness, or
-so that there will be an equal amount of take-up of shrinkage of the
-warp for each. When checks or large patterns are to be formed this is
-most essential, but in smaller patterns it can in a great measure be
-remedied by letting the various textures follow each other, so that
-if one tightens a little another will make a corresponding slackness,
-and all together will balance each other. Another important point is
-to join the edges of the various textures together so that there will
-be no break, or floats of warp and weft greater or less than in the
-textures themselves. In some cases tight and loose textures are wrought
-together to give a special effect, and figures may be formed by the
-close texture pressing the looser threads together.
-
-[Illustration: Fig. 78]
-
-[Illustration: Fig. 79]
-
-Another class of pattern by which a very good effect can be obtained
-by very simple means, is the hair line or tricot style. Fig. 81 is a
-dice pattern on this principle. The texture is plain cloth throughout,
-and the effect of pattern is obtained by using two colours of warp and
-weft, say black and white, and by arranging the draught and treading so
-that the black weft will pass over the black warp and the white weft
-over the white warp on one dice, and the reverse of this for the next
-one, a horizontal and vertical lined effect will be produced, giving
-a subdued pattern. The dark checks on the design paper are the tricot
-or horizontal line effect; the grey checks the vertical lines or hair
-line effect. It will be seen at the edge of each dice how the colours
-are changed in both warp and weft by the two dots coming together. The
-crosses along the bottom and to the left side of the design show the
-dark threads and dark picks coming alternately with the white ones.
-
-Fig. 82 is a small figure pattern arranged in this manner, the
-reversing of the colours being done by the jacquard, as may be seen
-from the dots on the design. Almost any figure may be treated in this
-manner, but simple patterns, not too irregular or broken in outline,
-will perhaps be found most successful.
-
-[Illustration: Fig. 80]
-
-These fabrics may be made in either woollen, worsted, or cotton for
-dress goods. About 36 threads of warp per inch of 2/30’s worsted, and
-32 threads of weft per inch, is a good setting for them; and in any
-mild contrasts of yarns, such as two shades of grey, they are very
-pleasing.
-
-[Illustration: Fig. 81]
-
-[Illustration: Fig. 82]
-
-Coming now a step further towards the damask or figure patterns, we
-have still great scope for variety, without much, if any, knowledge of
-drawing being required from the designer. This consists of spotting
-small geometrical figures over the cloth, the body or ground of which
-may be plain, twill, or any texture desired. Fig. 83 is a pattern of
-this description with a plain ground. The figures are arranged in
-satinette or 4-end satin order. Of course, the ground might be a twill
-if desired, and the figures may be of any form that ingenuity can
-suggest. They may be solid, and a twilled texture used to bind them
-if the flushes of warp or weft are too great, and part of the figure
-might be warp flush and part weft flush; in fact any variety that the
-designer can arrange to produce a good effect on the cloth, which, if
-the warp and weft are of different colours, may be made very effective.
-Any arrangement for the figures may be used if suited to the size of
-the figure and the space they have to occupy to suit the repeat of the
-pattern. The 4-end satin gives two figures on one diagonal, and two
-on the other diagonal alternately; one figure on each diagonal may be
-used, and also three figures on each with equally good effect, subject,
-of course, to some extent to the size and form of the figures. Five
-and eight-thread satin arrangements are two of the best that can be
-used if a greater number of figures are required in each repeat of
-the pattern. To arrange a pattern in satin order, the usual way is to
-rule the repeat into as many squares in length and breadth as there
-are threads in the satin to be used. Thus, for a 5-thread satin, rule
-the repeat into five squares in length and the same in breadth, or
-twenty-five squares in all, then place one of the figures into each of
-five of these squares, the order being that of the 5-end satin twill. A
-draughtsman would either sketch these figures on the design paper, or
-sketch one of them on a piece of plain paper, trace it, and transfer
-it to the different positions it would occupy on the design paper,
-and then paint each of them independently. But a designer, without a
-knowledge of drawing, would mark out the spaces on the design paper for
-each figure, and, having made one of the figures the required shape on
-the checks or small squares, would copy the others from this. In Fig.
-83 let 2A be the first figure formed, it being started in the second
-square upwards and first row. Now, the second figure can be similarly
-begun in 4-thread satin order, which would bring it to square No. 2,
-and it is begun in the same position in this square that the first
-one was begun in square No. 2A. The third figure falls to the third
-square from 3A and 3, but as this figure is turned round for variety,
-the point for beginning it at figures 1 and 2 must be marked, and an
-imaginary square run round it, and it must be kept in its position in
-the square, or the centre of the figure may be found by counting the
-checks in either of the first or second figures and this figure wrought
-from the centre; or, again, as the figure is six checks greater in
-length than in breadth, it must be set three checks to one side, and
-the top point should rise three checks higher up above the large square
-of the design paper on which it should be started; but with a plain
-ground it is sometimes necessary to move the figures one check out of
-position to allow the plain to fall in regularly all round them. This
-figure is set one check down. Fig. 4 is copied from Fig. 3, and is in
-the same position. With a twilled ground or irregular figures, it will
-not matter if the ground does not fall in quite regularly round them.
-
-[Illustration: Fig. 83]
-
-[Illustration: Fig. 84]
-
-If it was required to make a pattern similar to Fig. 83, but with five
-figures instead of four, and preserve the same density of ground
-structure round them, it could be calculated as follows:--Fig. 83 is on
-44 checks broad and 44 long. Now 44 × 44 = 1936, and on this there are
-four figures, then 1936 ÷ 4 = 484. As five figures are required 484 × 5
-= 2420 checks for design. If there are to be as many checks across the
-design as up it, find the square root of 2420 for the number of checks,
-as [sqrt]2420 = 50 nearly. If the pattern is not to be square, the
-proportion may be found for each side by making two calculations, one
-for the greater number of checks squared, and the other for the lesser
-number of checks squared, and extracting the square roots for the two
-sides of the required pattern; or, suppose the warp to be to the weft
-in the proportion of 10 to 12, then state, as 12 is to 10, so is 50 to
-42, the number of checks across the bottom of the pattern; and as 10:
-12:: 50 to 60, the number of checks in the length of the pattern, and
-42 x 60 = 2520, which is nearly the same as 50 squared = 2500 for a
-square pattern. But if this is for adding extra weft to the cloth, the
-size of the pattern would be reduced, which might bring the figures
-too close together and would alter the shape of them; in this case the
-addition should be made to the number of checks in length, making the
-pattern 50 broad and 60 long, or to contain 3000 checks, and the length
-of the figures should be increased in proportion. Of course this will
-produce a finer cloth. Fig. 84 is a pattern arranged with five figures
-on it.
-
-A great variety of patterns may also be formed by arranging dice or
-squares in various ways, some of which, as may be seen on the Indian
-fabrics, make very pretty patterns. It will thus be seen that there
-is plenty of scope for the ingenuity of a textile designer without
-his being of necessity a draughtsman; but a knowledge of drawing will
-generally be of assistance to him. For the more elaborate patterns, the
-designer does not require to have the same knowledge of manufacturing
-that is required for these small patterns.
-
-[Illustration: Fig. 85]
-
-_Twilling._--It has already been shown how the patterns are bound
-or twilled to form the texture of the cloth for ordinary repeating
-patterns on a straight over-tie; but when a turn-over or gathered tie
-is used, the twilling of one half of the gathered portion will, on the
-cloth, be the reverse, or run in the reverse direction to that of the
-other portion, and this is often a disadvantage to this description
-of tie, as one half of the border or pattern, whatever it may be, will
-look coarser than the other. It frequently happens that to avoid the
-stiffness of a clean turn-over pattern, which must always have a clear
-cutting line through the centre of it, so that, if cut up, one half
-would, if turned over, be exactly the same as the other, a portion of
-single, or a turning portion, is placed in between the two turned-over
-portions, which in many cases adds very considerably to the effect of
-the pattern, though it is often almost useless. Fig. 85 is a pattern of
-the turn-over type, and, but for the interlacing of the bands in the
-centre, might be wrought with a simple gathered tie. For this pattern
-the portion marked B would require to be single, and A turned over to
-C. Perhaps it is in floral patterns that this form of tie is of most
-service. When a single tie takes up too much machinery, and a double
-over or gathered tie would make the pattern too stiff, a small portion
-of single introduced, as at B, is of great service to the designer in
-making a pleasing pattern.
-
-[Illustration: Fig. 86]
-
-When twilling a pattern of this description, the portion marked A would
-be twilled straight across, and this twilling would be continued to
-the centre of B, as shown in Fig. 86, which gives the idea, the spots
-in the centre being taken as the single portion. The portion marked C
-is repeated from the first part A by the harness, and does not require
-to be put on the painting; in the figure it is shown (in different
-type) as it would fall on the cloth. It may be seen that the twilling
-dots on the last line of A and the first line of C are alike, and that
-every pair of lines corresponds, moving from these to the edges of the
-pattern. Now a turn must be made in the twill in the single portion so
-as to make it join correctly with C, and this should be done in such a
-manner as to prevent it from showing plainly on the cloth, or having
-too long floats on some of the threads while others are too closely
-bound. This must be done by setting the dots out of their places on
-a few lines in the centre, so as to make the join produce as even a
-texture as possible. Advantage should always be taken of any portions
-of the pattern that come on this part, such as the spots in Fig. 86,
-to turn the twill round the edges of them. By following the dots on
-the design paper, it will be seen how they are brought in at the join.
-Any twill may be broken similarly, but a different number of threads in
-the single will alter the arranging of the dots to join the two twills
-together; however, when the principle is understood, it can easily be
-worked out.
-
-
-LETTERS, MOTTOES, ETC.
-
-[Illustration]
-
-A turned-over mounting or gathered tie will reverse any ornament, but
-while for borders it makes the ornament come correctly, it prevents
-letters or words from falling in as they should be read. Thus, if the
-word CLUB were woven at one side of a cloth, as at A, and the harness
-mounted as a gathered repeat so as to turn over a similar border to the
-other side, the letters would fall as at B, making them read correctly
-to the under side of the cloth instead of to the upper side. Instead
-of making a gathered tie, it would be better to make a plain repeating
-tie for the second border, making the word CLUB on both borders as
-either A or B, according as they are to read correctly on the under
-or upper side of the cloth; but if it is desired to make the letters
-read correctly from both sides or edges of the cloth, as at C, it is
-plain that there must be hooks in the jacquard to work each border
-independently, as one is not a repeat of the other. Of course letters
-on damask will only read correctly on either the face or back of the
-cloth, not on both. The same principle holds good when putting names
-across the cloth, or for coats of arms and mottoes in the centre, as
-is frequently done in quilts, tablecloths, &c., but in this case it
-would be the cards that would do the work. Suppose the word HOTEL to
-be put across a cloth at one end, and it was required to have the same
-at the opposite end to read similarly from that end of the cloth, it
-would require to be painted thus, [Illustration: Inverted and reversed
-HOTEL], or the cards might be cut from the painting of the former,
-turned upside down. Provided it was required to make these words read
-correctly on the under side of the cloth in the loom instead of on
-the upper side, then the first border would be painted and cut as
-[Illustration: Mirrored HOTEL] and the second border as [Illustration:
-Inverted HOTEL] This will be best understood by printing the letters on
-tracing paper and turning it round into the position required. In case
-of a motto or coat of arms wanted for a large cloth with two centres
-in it, one centre to be correct from one end of the cloth, and the
-other from the opposite end, as shown by the girdles at A and B, Fig.
-87, the painting would be as in this figure if the upper side of the
-cloth is to be the right side, but if the under side is to be the right
-side, the first centre would require to be painted as shown in Fig. 88,
-and the second one would be as this turned round, the top where the
-bottom is, not turned over. It might be thought that the same painting
-would do for both; either that cutting the cards from top to bottom,
-or backwards, or lacing them backwards, or working them backwards on
-the loom, would do for the second centre; but it would not unless the
-cards were turned over as well--that is, to have the outsides of the
-cards turned inwards, and the right-hand end to the left. This would
-suit if it could be done, but could only be done when the jacquards are
-made with an equal number of needles to each side of the machine, as
-25 rows, or 200 needles, to each half of the card for a 400 machine,
-instead of 26 rows to one side and 25 to the other, making 408 needles,
-as is usually the case.
-
-[Illustration: Fig. 87]
-
-In hand-loom districts, where old makes of machines are used, it is
-common to have 400, 500, or 600 needles to the machine, and the cards
-can be turned on the cylinders if required, and are also wrought
-backwards or forwards to suit. By cutting the cards from the painting
-in the reverse order--that is, beginning at the end of the painting
-and reading and fingering backwards--cards from a painting of a first
-centre could be cut to suit for a second centre, as it has exactly
-the same effect as turning over the card; but all the rows of needles
-must be used except any left at the first, and these and any selvage
-must be brought to the end of the painting when cutting the second set
-of cards, so as to get them to the first end of the card. The cutting
-begins, as is usual, at the numbered end of the card. Repainting the
-centre to suit is the safest way to avoid mistakes.
-
-[Illustration: Fig. 88]
-
-When a name is running up the side of the cloth, lacing or working the
-cards backwards will reverse the reading of the letters from one side
-to the other, but not when they are running across the cloth. If the
-loom is mounted with the cards hanging to the front instead of to the
-back, the letters would also be turned from one side of the cloth to
-the other, and to be correct they would have to be painted or cut the
-reverse, unless the machine or mounting was built to suit.
-
-
-
-
-CHAPTER V
-
-_CARD-CUTTING AND LACING_
-
-
-The mountings which have been given are of two descriptions--the
-Norwich, with the straight harness, and the London or twisted harness,
-with the cards hanging to either side of the loom, as the machine
-can be turned either way to suit. For the Norwich ties the cards are
-supposed to hang to the back of the loom, but it often happens that
-there is not space between the looms to admit of all the cards being
-hung at the back, and it is usual for one loom to have the cards to
-the back and the next one to the front. When the cards hang to the
-front of the loom the mounting is tied up so that when finished it
-will be the same as if mounted for the cards to hang at the back; and
-afterwards turned round so that the back will be at the front. In case
-the back left-hand corner twine is the first cord of the harness with
-the cards at the back, the front right-hand twine would be the first
-if the cards are at the front, and the drawing in of the yarn must
-begin at it. If the loom is mounted in this way, and the yarn drawn in
-from the opposite side, as if the cards were to hang at the back, the
-result will be a toothed or broken-up appearance round the edges of the
-pattern. The same cards will do for either mounting, but the pattern
-and twill will be reversed on the cloth--that is, they will run from
-left to right on the one, and from right to left on the other. The
-effect produced on letters was mentioned when speaking of them.
-
-It was mentioned that jacquards are usually made with 51 rows of hooks
-or needles, of 8, 10, or 12 in the row, being for 4^{00}, 5^{00},
-and 6^{00} machines respectively, which are those most used; 2^{00}
-and 3^{00} machines are used for small mountings, but they may be
-considered as half 4^{00} and 6^{00} machines. Sometimes the machines
-are made of any size required--that is, with any desired number of
-rows of holes in the needle boards. The objection to this is that the
-cards cannot be copied on the ordinary repeating machines; but piano
-card-cutting machines can be made with the index to suit for cutting
-any length of card. When using 4^{00}, 5^{00}, or 6^{00} machines, or
-the double sizes, 8^{00}, 10^{00}, or 12^{00}, and more than one is
-required for the mounting, a second must be used, such as an 8 and a 4,
-or a 12 and a 6; a 12 and a 5 would not do so well, as the 12 has 12
-needles in the row and a 5 has but 10. It would be better to use a 12
-and a 6 and leave 100 hooks idle, if only 1700 are required. If a 12
-and a 5 is to be used it may be done by having the cumber board made 12
-in the row, but made finer in the proportion of 12 to 10; then, where
-the 12-row harness is to pass through it, every sixth row of holes can
-be left empty, and it will be all right for the 10-row harness from the
-5^{00} machine.
-
-Designs are painted upon the point paper for the purpose of enabling
-them to be transferred to the cards, which act on the needles of the
-jacquard, and cause the proper warp threads to be raised. The pattern
-is put upon the cards by punching holes in them, one hole being punched
-for each check on the design paper that is filled in with colour, or it
-may be the reverse of this, or otherwise, according to circumstances.
-The common method is to cut the red, and leave the ground or unpainted
-portion, and the black, which stands for ground. There is a card for
-each line of the design paper for damask patterns; the holes in the
-cards represent the dots on these lines, if each line was cut off and
-cut into separate designs or larger squares, then these squares set up
-lengthways and laid together. Take the pattern, Fig. 70, and cut the
-first line from left to right. The card is shown at Fig. 89 at A. Turn
-the pattern upside down and examine the first line to the right-hand
-side. The two first checks are empty; two holes in the card or two
-punches of the piano machine are passed over; the next three checks are
-painted, for these three holes are cut in the card, and the remaining
-three checks in the design being empty are passed over. The next design
-has the second and seventh checks filled and these are cut on the card,
-and so on with the others. The two small holes at each end of the card
-are for the lacing twine, and the large one at each end for the peg on
-the cylinder of the jacquard. The intersections of the fine lines on
-the card show where the holes fall when required to be cut.
-
-This card would be for a 200 machine, the empty or unused needles being
-left at the first half of the card; 26 rows of 8 needles to the card.
-The card B given in this figure is the first of the heavy cutting, No.
-17 on the pattern. Reading from the pattern as before, pass 2, cut 2,
-pass one which is black, cut 3, and so on, cutting the red and passing
-the black or twilling dots whether they be white, black, blue, yellow,
-or green; they are only there for convenience, to avoid the trouble of
-leaving the spaces empty when painting the pattern at first, it being
-simpler to dot them over afterwards.
-
-[Illustration: Fig. 89]
-
-The cards are numbered at the selvage end, which goes to the sneck
-side of the jacquard when working. The design may be read from left to
-right, but the usual method is to turn it upside down, and read from
-right to left, which comes to the same thing, beginning to cut from
-the numbered end of the card. Some begin to cut at the other end of
-the card, and read from right to left on the design without turning
-it, which is still the same. If the loom is mounted or the yarn drawn
-in, beginning with the front row of the harness instead of with the
-back row to the left-hand side, the cards should be read the reverse
-way from the design paper; or, what would be the same, turn them over
-after cutting them. This changes the top row of holes in the cards to
-the bottom, or from the back to the front of the cumber board. In case
-of the loom being mounted from back to front, and the yarn being drawn
-into the harness beginning with the front row in the cumber board, the
-cards, if cut in the ordinary way, would give the pattern a broken or
-toothed appearance. Turning the cards upside down would remedy this,
-but would only answer if each part of the mounting consisted of full
-rows of needles, for, if any part began or ended on a broken row,
-turning the card would take the holes in it for this part row away
-from the needles: that is, say if the harness was connected with four
-needles at the top of the row and the card cut for these, the holes
-would fall on the four needles at the bottom of the row, if the card
-was turned upside down. The cards should be numbered on the side which
-is uppermost when they are being cut, and this side should come against
-the needles if the work is properly carried out.
-
-[Illustration: Fig. 90]
-
-The old method of cutting cards was for one to take the pattern and
-call out the holes to be punched, and they were punched out by a second
-person, a perforated plate over the card being sometimes used as a
-guide to place the holes in their correct positions. A better method
-was found in the punching plates shown in Fig. 90. A and B are two
-plates hinged together. B No. 2 shows the full upper plate. The card is
-placed on the lower plate, and the upper one closed down on it. Punches
-are then filled by hand into the holes in the upper plate according as
-the pattern is read from the design; then the plates are passed through
-a roller press, which pushes the punches through the card. With small
-machines this suited very well; but the filling in of the punches was
-tedious for larger machines, and shortly after the introduction of the
-jacquard by Mr. S. Wilson, in 1821, he introduced a method for filling
-the plate with punches to correspond with each line of the design
-paper, as follows:--Over, or in front of, the design a set of upright
-cords is placed, as in reading the patterns on the simple of the
-draw-loom. On these cords the pattern is picked, and weft threads drawn
-in, one for each line of the design paper, for plain damask. When all
-the design is finished the threads compose one repeat of the pattern
-in a loosely-woven cloth. The upright cords or leashes pass through
-eyes in a set of needles, arranged like those in a jacquard machine and
-each weft thread put in, when picking the pattern, shows which of the
-leashes are to be drawn. As each set of leashes is drawn the needles
-connected with them come into contact with a set of punches arranged in
-a frame or plate, and push them into a punching plate, which is then
-placed over the card, as in Fig. 90, and passed through a roller press.
-This method of picking the pattern for card-cutting is still in use,
-and an improved method of using the plates and rollers is still found
-very convenient for many purposes, such as copying cards and small
-patterns, &c. (See Copying Machines.)
-
-[Illustration: Fig. 91]
-
-Card cutting is now almost entirely done by ‘piano machines.’ They take
-the name of piano from the pins or keys which are arranged for the
-cutter’s fingers, and to distinguish them from an older machine, which
-is similar in make, but in it the pins or keys which act as locks on
-the punches are wrought with cords instead of by the fingers. The cord
-machine is similar in make to the piano machine; but the cutter usually
-sits at one side, and has the board or stand for the pattern facing
-him. The treadles are also turned sideways; but the cord is put in
-at the end, as in the piano machine. Fig. 91 shows how the cords are
-arranged. AA are the cords, 12 in number, which the cutter draws. BB
-are another set from the former ones to the keys, passing under pulleys
-at C. D is the punch-box. The keys have springs on them, which press
-them in over the heads of the punches; but at the top of the cords are
-indiarubber springs, fastened to the crossbar E on the frame which
-supports the cords, and these springs are strong enough to draw out the
-keys. When any of the cords AA are drawn down the cords BB connected
-with them are slackened, and the keys spring in over the punches,
-locking them, and punching holes when the treadle is pressed down.
-
-The cords BB can be connected from the right-hand side of AA to the
-right-hand side of the punch keys, and run from right to left, or they
-may be the reverse of this, according to the way the cutter reads the
-pattern. Sometimes piano machines are fitted to work with cords to suit
-the cutter. In this case there is only one set of cords, as AA, set
-behind the punch block, and the cutter sits at the end of the machine.
-Instead of springs, weighted levers, or tumblers, may be used at the
-top of the cords on the bar E. When springs are used the bar should be
-lowered when the cutter is not working, by slackening the set screws
-at GG, so as to relieve the strain on the springs. When working the
-cord machine the cutter uses only one hand to draw the cords; but on
-the piano machine he uses both hands, and can proceed quicker with the
-cutting.
-
-Fig. 92 is a view of Devoge’s piano cutting machine. In these machines
-one cross row of the card is punched at each tread; the cutter sits
-in front of the machine, with the design fastened on the frame before
-him, as shown in the figure. The straight-edge, or ruler, across the
-design is for the purpose of guiding the cutter’s eye along the line
-of the design paper that he is cutting from, and he screws it up or
-down a line, as the case may be, for every card he cuts. He keeps one
-foot on each treadle and his fingers on the keys in the punch block,
-the arrangement of which is shown in Fig. 93, and presses in a key to
-correspond with each dot on the line of the design paper on one design,
-or large square, for each tramp.
-
-The numbered end of the card is put into the clip on the index
-carriage, and the guide for the card set to suit the width of the card
-used, so that the punch will cut the holes in the centre of the card.
-The lacing and cylinder peg holes are first cut, by pressing in the
-keys E for the peg hole, and for the lacing 2 and 7 for an 8-row card,
-1 and 8 for a 10-row, and _a_ and _c_ for a 12-row. Any blank designs,
-or rows of the card, are now passed over, by running back the index
-carriage, if the design does not occupy the full length of the card,
-it being the usual custom to leave all empty rows to the selvage or
-numbered end of the card, though it may in some cases be advisable to
-be otherwise. The selvage, if any, is usually cut first, and then the
-pattern.
-
-[Illustration: Fig. 92]
-
-Pressing down the right foot treadle, when any of the keys are pushed
-in, punches holes in the card with the punches locked, and the left
-foot treadle, which works alternately with the other, is for moving the
-index carriage, which shifts the card from one row of holes that have
-been punched to the next one, so as to place it in position for the
-punches. In Fig. 93 the black dots represent the heads of the punches,
-12 in number. The keys 1 to 8 are used for cutting an 8-row card; when
-any key is pressed in it passes over the head of its corresponding
-punch, and locks it, so that when the cutter presses down the treadle
-and the punch block is brought down on the card, the locked punch is
-pressed through it, while those not locked rise up. The keys _a_ and
-_c_ added to the 8 suit for cutting 10-row cards, and _b_ and _d_ added
-to these suit for 12-row cards. The four keys _a b_ and _c d_ can be
-pressed in with the two thumbs. E is the key for the peg hole.
-
-A good cutter can cut from 100 to 150 cards per hour, but this is
-laborious for constant work. Sometimes the cutting machines are driven
-by power, but as yet (1894) this is not general.
-
-[Illustration: Fig. 93]
-
-Messrs. Devoge & Co. can attach an arrangement to their machines so
-that they can be driven with a belt. The punch block is wrought by
-a lever driven by an eccentric, and is kept constantly rising and
-falling; the cutter fingers the pins so as to keep time with the punch
-block, and should he wish to stop, or should anything go wrong, he can
-stop the card at once by raising one treadle and pressing down the
-other, which throws the motion for shifting the index carriage out of
-gear, and the card stands stationary, and although the punch block
-continues to work it takes no effect when the punches are not locked
-by the keys. The machine works very smoothly, with very little noise,
-and with a little practice any boy or girl accustomed to card cutting
-can easily become acquainted with working it. The index of the piano
-machine is generally made for 51 rows of holes in the cards, 400, 500,
-and 600 machines being those generally employed: 51 rows of 8 = 408
-needles; 51 rows of 10 = 510 needles; and 51 rows of 12 = 612 needles,
-which, with a few odd needles on the 25-row side, represent the number
-of needles in a 4^{00}, 5^{00}, and 6^{00} machine. If larger machines
-with longer cords are required, the index of the cutting machine must
-be altered to suit them.
-
-Card paper should be of such a quality as will not be easily affected
-by the atmosphere. When cards are for small machines, and are only
-required to work for a short time, an inferior paper will do for
-them, and save expense; but for large patterns which are intended
-to work for years it will come cheaper in the end to get a good
-quality of paper--in fact, the best that can be made. Specially
-prepared oil-saturated paper is made for the purpose of preventing the
-atmosphere taking too much effect on it. For hand looms, sometimes the
-cards are painted with red lead, and sometimes with shellac varnish, or
-shellac (best red) dissolved in methylated spirits.
-
-Cards are made of different weights of paper; some prefer them thin,
-and others thick. A moderately thin, tough paper is the best. About 16
-to 18 cards to 1 lb., for 400 cards, is a good medium weight.
-
-After the cards are cut they have to be laced into a chain to revolve
-round the jacquard cylinder on the loom. The usual method of lacing is
-to have a frame with pegs or studs set in it at a distance apart to
-suit the size of the jacquard cylinder. The cards are spread on this
-frame as shown at A, Fig. 94, and laced with a steel needle, thicker in
-the centre than at the ends; it is about 2-1/2 in. long, and has an eye
-in the centre, through which a piece of fine twine is tied in a loop,
-and the lacing tape can easily be drawn through this. The cards at A
-are numbered 1, 3, 5, but all the numbers would follow in rotation if
-the jacquard had only one cylinder; if a double-cylinder machine, half
-the cards would be laced forward, as at A, and the other half (the even
-numbers) backward, as at B. The odd numbers usually go to the back of
-the loom, and the even ones to the front.
-
-Several kinds of cord and tape are used for lacing cards, but two
-plies of round cotton cord, well soaped or waxed, is usually the most
-satisfactory for wear.
-
-When lacing cards, the lacings should be crossed over, each one passing
-from left to right of the other in turn, at each hole and between the
-cards. This is important, to keep the cards straight.
-
-The cards should be tightly laced, as the lacing is almost certain
-to stretch a little; so that they are better for being rather tight
-for the cylinder at first, otherwise they are liable to become too
-slack after a little wear, and if such is the case they will not fall
-properly on the cylinder pegs. This and other causes--such as irregular
-expansion or contraction of the cards, badly cut cards, and a long draw
-on the cards--occasion considerable wear on the peg holes, and now
-eyelets are being tried in them to avoid the breaking-up of the holes;
-but it is probable that good paper and careful work will prove a more
-suitable remedy. The card should not be deeper than the face of the
-cylinder; better a trifle less, to allow for the lacing to pass between
-them, and then if laced as tightly as possible they will still be
-pliable and work freely. Cards are usually numbered with pen and ink,
-but the numbers may be stamped on with an indiarubber stamping machine
-similar to that used for paging books.
-
-[Illustration: Fig. 94]
-
-_Lacing Machines._--The Singer Sewing Machine Company brought out a
-machine some years ago for lacing cards, and it performs its work very
-well, though many object to it, as it stitches a lacing tape along the
-cards, instead of lacing them in the usual way. The machine is a 3-or
-4-head sewing machine, according as three or four rows of lacing are to
-be used on the cards. The lacing is a tape; one tape is laid below the
-cards at each row of lacing, and another above, and both are stitched
-together through the cards.
-
-Another machine was invented by Count Sparre more recently which laced
-or sewed the cards through the ordinary lacing holes, much in the same
-manner as hand lacing, except that the lacings are looped on each other
-through the holes instead of passing up and down through alternate
-holes.
-
-A still later one, by Messrs. Reid & Fisher, of Dunfermline, and Mr.
-Parkinson, of Bradford, has further improvements; this machine is now
-working very satisfactorily. Other machines have since followed.
-
-_Copying or Repeating Machines._--There are several varieties of
-machines for copying or repeating a set of cards after they have been
-cut by the piano machine, and it often happens that this is required in
-case of several looms being put on the same pattern; or it may be that
-a set of cards for one loom is made up of two or three parts repeated
-several times.
-
-One of the simplest of the repeaters is a small treadle machine in
-which the card is repeated by rows, the holes of the cut card acting
-upon needles that push in the pins above the punches, which are
-similar to those in the piano machine; and each row is punched by
-depressing a treadle. This is a slow method of repeating, but suits for
-small factories where it is not worth while having a more expensive
-machine. Any boy or girl can repeat the cards, instead of requiring a
-card-cutter to read them.
-
-A more useful machine is the railway press repeater; it is taken
-from the old method of cutting described on page 142. The cards to
-be repeated are placed on a cylinder the same as that used in the
-jacquard, and pass down over the ends of long needles similar to the
-jacquard needles, but arranged in a box, and with long helical springs
-on them. In a thick plate, or box, in front of the needles is a set
-of punches, and the stamping plate rests in front of the punch box,
-close up against it. By means of a treadle the needle box can be drawn
-forward, and where there are holes in the card to be copied the needles
-pass through them, and, pressing on the punches, push them from the box
-into the stamping plate. The punches have heads on them that will not
-pass through the stamping plate, but will go into the holes in the
-box or frame, and when they are pushed into the plate it can be drawn
-away and turned over so as to prevent them from falling out. The plate
-is then placed on a box-plate made to hold the card to be cut, and
-somewhat similar to that shown in Fig 90. The box or hinged plates are
-set on a slide frame with rollers to travel on, and at the end of the
-frame is a strong roller press. The plates can easily be run forward to
-the press, and the card punched by running them under the roller; it
-may then be taken out, and as many impressions from the plate cut as
-are required. When finished, the stamping plate is taken back to the
-punch box and placed against it as before; then, with a comb, or block
-of wood, set with pins, all the needles are pushed out of the plate
-into the punch box. Another card can be brought before the needles, and
-the plate filled as before.
-
-[Illustration: Fig. 95]
-
-[Illustration: Fig. 96]
-
-This machine is very useful for copying damaged cards, even when a
-repeater as those about to be described is at hand. A damaged card can
-be held between the needles and punches, and the plate filled, same as
-when copying a set.
-
-Figs. 95, 97, and 98 show the principle of working three of the
-best-known repeating machines, which will copy a set of cards at the
-rate of from 40 to 60 per minute. Fig. 95 shows the arrangement of the
-punches in Nuttall’s patent repeater. The punches are shown at A, and
-the stoppers or keys at B; the cards to be punched pass in between
-the blocks C and D. B^1 shows the shape of one of the stoppers which,
-when over a punch, locks it, and causes a hole to be cut in the card.
-The stoppers all stand over the punches when at rest; the cards to be
-copied are hung on a cylinder, and act on a set of horizontal needles,
-_g_ (Fig. 96); these needles have upright wires, _m_, _n_, passing
-through eyes in them, and also through eyes in the stoppers _b_. The
-upright wires act as levers, working on centres, _m_; and when one of
-the horizontal needles _g_ is pushed back by the card to be copied,
-the corresponding stopper _b_ is drawn from above the punch _a_, which
-allows it to rise when the card to be cut is raised up against it by
-the block D (Fig. 95), between which and the punch block _c_ the cards
-to be cut pass, so that no hole is punched in the card; but where there
-are holes in the card to be copied, the needles _g_ are not pressed
-back, and the stoppers are allowed to remain over the punches, locking
-them, and causing holes to be cut in the card pressed up against them.
-
-[Illustration: Fig. 97]
-
-This machine has been superseded by one in which upright rods act as
-stays on the punches. These rods stand on the punches, which have
-concave tops on them; the upper ends of the rods rest under the bars
-of a grid, or rebated plate, shown in section at P (Fig. 95). When
-in this position the punches are all locked. A set of needles are
-connected with these rods, and when the card to be copied presses on
-them, those that are pushed back move the top of the rods connected
-with them from under the bars to the spaces between them, which allows
-the rods to rise up with the punches when the card to be cut is pressed
-up.
-
-[Illustration: Fig. 98]
-
-The principle of a repeating machine made by Mr. McMurdo, of
-Manchester, is shown in Fig. 97. The cards to be copied hang on the
-card frame of a jacquard, as shown at C. From the hooks of the jacquard
-to the punches A are wires in the form of a single harness. The blank
-cards D pass in over the block B, which is stationary. Enlarged front
-and side views of a punch are given at G and H. At 1, 2, and 3 are
-shown the notches cut in the punch, through which the slide bars E
-and F pass. These slides are also shown at E^1 and F^1. The bar E is
-stationary, acting as a stay for keeping the punches in the box, and
-the notches in them, at 1, are long enough to let them slide up and
-down on the bar. The slide F is drawn out before the jacquard is drawn,
-and pushed in again afterwards; if any of the punches are raised by the
-jacquard, the notch 3 will be raised to the position of the notch 2,
-and the slide bar will pass through the lower notch, thus holding the
-punch up, and when the punch block is pressed down, holes will be cut
-in the card where the punches are locked in the upper notch. When the
-punch block is being sunk to punch the cards, it is necessary to have
-a spring in the wires that connect the punches to the jacquard hooks,
-and this is effected by having the wires made with a sliding joint and
-a small spiral spring on them, as shown at L.
-
-The principle of Devoge’s repeater is shown in Fig. 98. This is one of
-the oldest machines in the market, and there are various opinions as
-to whether it is excelled by any of the others, or not. It is somewhat
-on the principle of the French repeating machines, being wrought by a
-jacquard and harness, E, to which a second harness or set of cards, F,
-is attached, and passes over pulleys to the punches A. When the harness
-E is drawn by the jacquard, the cords F are slackened, allowing the
-punches to drop, and they are locked in the punch box by the slide bar,
-H. The cards to be copied are shown at D, and those to be cut pass
-through at C. The punch block is stationary, and the block B rises
-against the punches with the card on it.
-
-The blank cards require to be laced to make them ready for the
-repeaters, and also to have the peg holes cut in them; blocks are
-provided for the purpose of cutting the lace and peg holes. An enlarged
-view of a punch is shown at P.
-
-
-WIRING CARDS
-
-After the cards are laced, if intended to be wrought on power looms in
-the usual way, they require to be ‘wired’--that is, to have pieces of
-straight stiff wire, about 2 in. longer than the cards, tied across
-them to the lacing, so that they may be hung on the racks or frames
-prepared for them on the looms. The wires should project 1 in., or
-rather more, at each end of the cards; they should be tied to the under
-side of the cards, so as not to come against the jacquard cylinder, and
-it also bears them better, being under the lacing. A piece of waxed
-twine is mostly used for tying them on.
-
-The distance between the wires depends upon the number of cards, and
-the height they are when on the loom. For a small set, a wire to
-every fourteen or sixteen cards is a very good distance apart, but
-for a large set a wire to every twenty or twenty-four cards will be
-sufficient in order to give a longer drop and take up less lateral
-space.
-
-
-
-
-CHAPTER VI
-
-_SPECIAL JACQUARDS AND HARNESSES_
-
-
-CROSS-BORDER JACQUARDS
-
-A difficulty has always existed in working cross borders on
-handkerchiefs, cloths, &c., so as to avoid having to shift or change
-the cards, and also to do without the expense of getting a complete
-set of cards cut for the whole cloth. It may be also that different
-patterns are required on the cloth, such as cross bands of small
-figures, and if, say, twenty cards would make a repeat of one figure,
-and it was required to weave, say, 100 repeats of this, and then change
-to, say, fifty repeats of some other figure, the same difficulty would
-arise as with cross borders. When there is only a short distance
-between the changes of pattern, it will generally be found more
-profitable, all things considered, to have the complete set of cards
-cut, so as to require no changing, particularly if the pattern will
-run for a length of time; but when the patterns or cloths are long,
-the cards become very expensive, and even if it would be desirable to
-get a complete set for the full cloth, it may be that there would not
-be space on the looms to hold them, over 15,000 cards being sometimes
-required to weave a complete tablecloth.
-
-Many methods have been adopted to remedy the inconvenience and to
-save expense. A few of them will be given, but it must be left to
-manufacturers to judge whether they would prove an advantage to them or
-not.
-
-For weaving cloths or curtains it is a common practice to have the
-cross-border cards and one repeat of the centre pattern cut. The card
-rack is made as in No. 2 (Fig. 99).
-
-When either the border or centre cards are working, they are put into
-the hollow part of the rack or card frame, as at F, and the other set
-is hung on the flat rest of the frame, at either D or E. When a change
-is to be made, a card-shifter has to go up and change from one set to
-the other, lifting the set that had been working out of the hollow
-of the frame, and putting it back or forward on the rest D or E, and
-bringing the set which is to work down into the place of those removed.
-This, of course, is expensive, gives a great deal of trouble, and is
-severe on the cards; at the same time, in many cases it is found to
-answer as well as any method yet adopted, particularly where space is a
-consideration, and when two or more sets of cards are used, in case of
-two or more machines.
-
-[Illustration: Fig. 99]
-
-A better plan is to have a sliding-card frame, as shown in No. 1 of
-the same figure. A is the frame for the rollers over which the cards
-travel, B, B are two bars on which the card frame C, with the roller
-frame A attached, travels. The card frame is only shown in end view.
-Two of these must be for each set of cards, and the whole frame must
-be fastened together complete for all the cards required, so that it
-will all slide on the bars B, B. Suppose there are two machines working
-there must be four card racks; on two of these the centre cards are
-hung, and on the other two the border cards. Either set can be placed
-opposite the cylinders of the jacquard, and wrought as long as is
-required; then they must be taken off the cylinders, the card frame
-shifted till the other set of cards comes into their place, when they
-can be put on the cylinders and wrought over. This is a very good plan
-for working long cloths, but takes up a good deal of space, and for
-more than two machines might in many cases be unsuitable.
-
-[Illustration: Fig. 100]
-
-Another method is to have two sets of card irons, one above the other;
-the border cards are hung on the lower frame, and the centre cards on
-the upper one. The centre cards will work in the usual way, and when
-the border is to be wrought the cards for it are taken round the centre
-set, which, of course, are taken off the cylinder. The rollers must be
-made to shift so as to direct the cards properly into their respective
-frames; the top frame is smaller than the bottom one, and farther out
-from the machine. If hooks and eyes are sewn on the first and last
-cards of these sets, the weaver can hook them together when a fresh
-pattern is required, so that the one set will carry the other round the
-cylinder. Then, by drawing a cord, the rollers should change position
-so as to direct the falling cards into the proper frame. The card irons
-are of the usual shape, and the distance between the upper and lower
-ones may be regulated by circumstances.
-
-Another simple method is to have the card frame made with a double
-curve in it, as shown in Fig. 100. One set of cards hang in each of
-these curves, as at A and B. The set in the curve A can be wrought over
-as long as required; then these cards can be taken off the cylinder
-and the set at B put over it. One thing must be observed: that the
-frame and rollers be so placed that the cards can be guided into the
-receptacle B, and to do this there must be a considerable fall for
-the cards, so that for a loom with a low framing this might not be
-feasible. Otherwise, it is a simple method of arranging two small lots
-of cards, and if one lot is much larger than the other, let A be a
-narrow curve, and the small lot of cards hang in it, which will lessen
-the slant of the cards falling to B.
-
-Although such arrangements as the foregoing are required where there
-is much machinery used, it is evident that for frequent changes they
-would take up quite too much time. Several machines have been made
-for the purpose of changing from one set of cards to another without
-having to move the cards. The principle of these machines is to have
-two cylinders, one at each side; one set of cards is placed on one
-cylinder, and the other set on the other cylinder, so that by working
-one or other cylinder, as required, either border or centre may be
-woven. No. 1 (Fig. 101) shows a plan that was tried some time ago,
-but did not work satisfactorily. The needles passed through a needle
-board at each side of the machine, as at A and B, and had small spiral
-springs fastened on them inside the needle boards. The border cards
-could be put on the cylinder at A, and the centre cards on that at B.
-The cylinder at A could be wrought as a single-acting machine till
-a change of pattern was required; then the cylinder at B could be
-brought into action, and that at A remain stationary and clear of the
-needles. The heads of the hooks were made heart-shape, as shown, and
-the blades of the griffe could revolve into the position shown by the
-dotted lines, so as to suit the working of the cylinder at B; this was
-effected by the weaver pulling a cord. This machine was given up, as it
-was difficult to keep it in order.
-
-Another method is shown at No. 2 (Fig. 101), where there are two
-griffes--one at F, and the other at G; one cylinder works at E, and the
-other at D. Only one set of springs is required on the needles--behind
-the needle board E--as the spring of the hooks is sufficient to act in
-the opposite direction. When the cylinder D is working the lower griffe
-is stationary, and when the cylinder E is working the upper griffe
-is stationary. The cylinders and griffes are brought into action as
-required by suitable mechanism. This machine has not been considered
-sufficiently successful to make it worthy of being persevered with.
-
-[Illustration: Fig. 101]
-
-[Illustration: Fig. 102]
-
-The principle of Davenport & Crossley’s border jacquard is shown in
-Fig. 102. The upright hooks are as in an ordinary machine. Four of the
-needles are shown at _b_, and are made in the ordinary way, with the
-exception of the eyes in them for the small upright needles _d_ to
-pass through. These needles _d_ are connected with a set of horizontal
-ones, as shown at _a_, and act as levers between them and the needles
-_b_, the bars behind them serving as fulcrums; so that when the needles
-_a_ are pressed back by the cards, the needles _b_ are also drawn back
-through the medium of the uprights _d_. The cards least in action are
-put on the cylinder for the needles _a_, and the others act on the
-needles _b_. The cylinders can be brought in or out of action by the
-motion shown at A, B, C, D, E, F, G. A and B are the cylinders, working
-on swing motions; C A, D B, are connecting-rods for giving motion to
-the cylinders; either of these can be brought into action as required.
-G is a rocking lever carrying a stud on each end, which work in the
-slots C and D; these slots are shown at D^1 where the notch at one side
-of them will be clearly seen. When the stud on the bar G gets into
-this notch, the cylinder will be driven out and in, but when not in
-the notch the stud can slide along the slot, allowing the cylinder to
-remain stationary. By pulling the cord H either cylinder can be wrought
-as required through the connections shown, one of the connecting-rods
-being raised and the other lowered. F, E are the levers for driving the
-rocking bar G. This machine works very well, though the principle of
-its construction is not all that could be desired, and it requires a
-considerable space. It can be made a double-lift machine by having two
-hooks to each needle and two griffes as in the ordinary double-lift,
-single-cylinder machine.
-
-[Illustration: Fig. 103]
-
-The principle of Devoge’s border jacquard is shown in Fig. 103. C C is
-the rocking bar, for driving the cylinders, working on the centre D.
-It is driven by the levers F, G, and the connecting-rod E. The notches
-A and B fall over the studs on the cylinder frame, and can either be
-let down or raised, as required, by the cords K, L and the levers H, I.
-The machine is an ordinary double-cylinder one, and either griffe can
-be wrought to suit the cylinder that is in action. This machine can be
-used as an ordinary double-acting one, as a single-acting one raising
-both griffes together and bringing in both cylinders together, or as a
-border machine working one griffe and one cylinder at the same time.
-
-Another method, similar to the above, is to have a double-cylinder
-machine with the cylinders wrought by the griffes, then have a stud
-on the crank-shaft wheel for raising one griffe, as for an ordinary
-single-acting jacquard, and the two connecting-rods from the griffes
-made so that either will work on it. A hook or catch can be put in any
-convenient place, so that when one connecting-rod is on the stud the
-other can be hooked out of the way. The rods can be made to slide on
-to the stud easily, and be fastened with a pin, so that the weaver can
-readily change from one to the other.
-
-
-OPEN-SHED JACQUARDS
-
-To obviate the vibration of the harness as much as possible, as well as
-to economise the wear and tear of it and to minimise the friction on
-the warp threads, especially in weaving patterns requiring heavy lifts,
-such as warp-faced patterns, Messrs. Priestley & Co., of Bradford,
-patented an open-shed jacquard, the principle of which is shown in Fig.
-104. It did not, however, prove successful, as the tacklers found some
-difficulty in working it.
-
-The machine is an ordinary double-lift jacquard with one cylinder, and
-works in the ordinary way. The hooks are made as in Fig. 104, where
-it may be observed there is a turn or catch on the lower portion of
-the hook, at A. Above these catches is a set of bars, _b_, like a
-stationary griffe, and when the hooks are raised by the upper griffe,
-in the ordinary way, they spring over these lower bars and rest on them
-when the griffe begins to fall. All the hooks raised would thus remain
-up, were it not that the cylinder, pressing in for the second griffe
-(the machine being double-acting), which begins to rise as the upper
-one begins to fall, presses back those hooks that are not to be raised
-for the following shot, and as they are held by the griffe above, they
-spring back at the bottom, and, clearing the bars _b_, come down with
-the falling griffe. In this way the hooks, when once raised, remain up
-till pressed off by the card, so that in the case of working a warp
-stripe with an 8-leaf satin binding the hooks would only fall for every
-seventh pick.
-
-[Illustration: Fig. 104]
-
-[Illustration: Fig. 105]
-
-Another machine has since been tried, but did not work satisfactorily.
-In this machine the lifting hooks are formed with loops or hooks, in
-addition to the top hooks. The hooks are lifted in the ordinary way
-by the griffes; and upper knives, made to reciprocate horizontally,
-catch the raised hooks and support them. By suitably timing the motions
-of the card cylinder the hooks may be kept up as long as required by
-being transferred from one set of knives to the other. The shape of
-the hooks and needles is shown in Fig. 105. The needles may be as at
-_b_ or _b^1_. This machine acts as an ordinary double-lift jacquard,
-but has only one set of needles, which pass through needle boards at
-each side of the machine, and are acted upon by two card cylinders. No
-springs are required, the hooks acting as springs to keep the needles
-in position. The cylinders are driven by a tappet, and can be held
-against the needles as long as required; one cylinder must press on
-them when the griffes are passing, so as to prevent those hooks which
-are descending from being taken up by the ascending griffe. There are
-two griffes; three of the knives of the one are shown at 1, 3, 5, and
-three of the other at 2, 4, 6. When these knives lift the hooks by the
-lower loops or hooks on them, they deposit them on to a set of knives,
-_a_, _a_, _a_, _a_, in an upper grid or grating, which has a lateral or
-horizontal motion.
-
-The lower knives raise the tops of the hooks slightly above these upper
-knives, so as to clear them, and the upper grid is then moved sideways,
-taking the knives from under one set of heads of the hooks and placing
-them under another set. Each time the griffe rises all the hooks not
-acted upon by the cards will be deposited on the upper grating, and
-will be transferred from one knife to another at each lift, till the
-card acting upon the needles keeps them clear of the upper grating
-and allows them to fall with the descending griffe. In this machine
-the tugs or tail cords, as used with double-lift machines, are not
-required, the double hooks serving for two single ones. Other efforts
-have been made in this direction, but the plan of using small pulleys
-on the tail cords, between the pairs of hooks, to which the neck twines
-are hung, is the only one worth mention. The same principle will be
-found for working the shafts in Fig. 115, and is more suitable for a
-few shafts than for 400 to 600 hooks, or pairs of hooks.
-
-
-THE VERDÔL JACQUARD
-
-Everyone accustomed to work large patterns on jacquards, especially on
-power looms, must have found the inconvenience resulting from a large
-set of cards. The space taken up, the time and trouble required for
-changing them, to say nothing of the cost, have been sufficiently felt,
-but have hitherto had to be borne with as a matter of necessity.
-
-For working fine tablecloths with from 150 to 180 picks per inch, or
-for curtains where from 3 to 6 cards are required for each weft line of
-the design, and when from 2 to 4 jacquards are used, the inconvenience
-and cost of a set of cards ranging from 10,000 to 50,000 are very
-considerable. The small jacquards described at Fig. 30 make a great
-saving in the space taken up by the cards, as well as in the quantity
-of card paper used; but it has been thought that a still greater saving
-could be effected.
-
-[Illustration: Fig. 106]
-
-M. Verdôl, of Paris, has for a length of time been endeavouring to
-perfect a system of substituting a continuous roll of perforated
-paper for the cards, and has succeeded in doing so, though it is
-doubtful if he will be so far successful as to supersede our present
-method of working. These machines were taken up by Benson’s Patent
-Jacquard Company, of Belfast, in the year 1876, but did not then give
-satisfaction, the greatest obstacle in the way being the effect of
-the atmosphere on the paper; and as the needles are very closely set
-together, it was found impracticable to keep the paper set so as to act
-correctly on them. This difficulty is now claimed to be overcome by
-having procured paper which is said to be less liable to be affected by
-the atmosphere than the brass plates of the machine. Several of these
-machines have been tried in Scotland, but it will take some time to
-prove them thoroughly and get the workmen accustomed to them, as they
-are much finer than the jacquards in general use.
-
-The Verdôl machine consists of a small jacquard, the ordinary French
-make of machine, which is usually made with 440 and 880 hooks for the
-single and double machines respectively. In addition there is a frame
-or box attached to the front of the machine, against the needle board,
-containing another set of horizontal and vertical needles or wires,
-which act upon the ordinary needles of the jacquard, according as they
-are acted upon by the perforated paper. Fig. 106, Nos. 1, 2, and 3,
-shows the principle of the machine. B, B show the needles, and D, D
-the uprights or hooks of the ordinary jacquard; only four of each are
-given, but sixteen are used. N is the face-plate or needle board, and
-O is the clap-board used for bringing back the needles, which have no
-springs on them; but the hooks are turned up double, and the back or
-turned-up portion of them, coming against horizontal wires or bars,
-shown in section above the needles, acts as a spring to keep them
-steady. This portion of the machine is a complete jacquard of the
-ordinary French make. In addition to this there is the apparatus on
-which the perforated paper acts, and which communicates this action
-to the jacquard. It consists of a box or frame containing two sets of
-wires--one set horizontal, as A A, about 6 in. long, and terminated at
-one end by a small head, as shown separately at A^1, which are called
-hitting wires. The other set is vertical, as C C, of fine wire, having
-a loop on one end, by which they are suspended in a frame, and a loop
-in the centre, which passes round the horizontal wires. These are
-called the vertical needles or feelers; one of them is shown separately
-at C^1. The points or lower ends of these needles pass through a
-horizontal brass plate, G, called a guide-bar. The hitting wires pass
-through a guide-plate, M, placed so that their heads will come exactly
-against the points of the needles in the jacquard, as shown in the
-figure. The other ends of the hitting wires lie loosely in the loops
-of the vertical needles, C. Underneath the guide-bar G is the curved
-brass plate I, which is in lieu of a cylinder. Between the cylinder and
-the guide-bar G the perforated roll of paper I I passes; there is just
-sufficient room between them for it to pass freely through, as it is
-moved forward by the stud wheel K. The paper may pass from one cylinder
-or reel to another, or may hang in folds in the same way as cards
-usually hang. At the points of the hitting wires is a grid or pushing
-frame, H, with an iron angle-bar across above each row of wires, as
-shown in section in No. 1 at H. There is a clap-board above the small
-vertical needles, which is shown raised at E in No. 1, and down in No.
-2; this is raised and lowered with these needles, and serves to bring
-them all down when raised. E^1 shows the way in which these needles
-are hung in the frame that supports them. When the machine is working
-the frame H has a horizontal traverse coming against the ends of the
-hitting wires when they are pressed up by the card on the cylinder,
-and, pressing them against the needles of the jacquard, push them back
-as an ordinary card cylinder would. It may be seen in No. 1 that two
-of the feelers are down and two are pressed up, as they would be if
-two holes were cut in the paper and two uncut; the two that are up
-raise the hitting wires connected with them, and it will be observed
-that this raises the points of the hitting wires so as to come against
-the angle-iron of the grid H when it is coming forward; whereas the
-two hitting wires that are not raised will pass through, and not be
-pushed back. This enables the card paper to act on the needles of the
-jacquard in the same way as if coming directly on them, as cards do.
-The cylinder has a slight vertical motion, rising about 1/8 in. The
-needles, when the cylinder is down, do not pass through the plate G; it
-is perforated through and raised by the cylinder ascending. When the
-frame H is pressed forward the clap-board O is pressed back.
-
-The card paper is of a special make, thin and tough, and is
-strengthened along both sides and in the centre by strips of paper
-pasted along it where the stud holes fall. No. 3 shows the motion by
-which the clap board E is raised and lowered by the sliding of the
-cranked bar F between the two studs 2. No. 4 shows the size and pitch
-of the holes in the hard paper. These are traced from the paper,
-and lie diagonally, two rows of 8 making one row of 16 hooks in the
-jacquard.
-
-These machines are working in large numbers in France, and appear to
-give more satisfaction there than here, partly because they are better
-known, and the French workmen are better adapted to handle the small
-parts belonging to them. A coarser machine is more suited for the
-ordinary workmen to be found in the factories of this country. But it
-is strange if a machine of a pitch about half-way between the French
-jacquards and ours would not be better than either; not taking up so
-much room as ours, and not so minute as the French. However, in many
-cases the machines we have in use are none too large to give sufficient
-latitude for the errors often found cropping up in work, none of which
-should occur, of course, though they often do, through carelessness
-or otherwise. For instance, the card cylinder may be a little off the
-pitch, and the cards may be affected by damp, or may not be correctly
-cut to suit the cylinder; the points of the needles may be a little
-bent by the cylinder, or by the carelessness of the weaver when turning
-back her cards, and the cylinder may not be set quite fair for the
-needles. Mr. McMurdo, of Manchester, has made a very nice machine of
-the same pitch as the French ones, with 1,296 hooks, 16 row cards. It
-works as a double-acting machine with two cylinders and two griffes,
-but only one set of needles acting on the two sets of hooks. Two of the
-hooks are shown in Fig. 107; each needle clasps two hooks and passes
-through a needle board at each side of the machine. There is no spring
-on the needle, the hooks forming the spring, the tops of the hooks
-coming against the cross-rods at A A. Otherwise, this machine works in
-the usual way, and is very compact where a large number of hooks are
-required in a small space.
-
-[Illustration: Fig. 107]
-
-The card-cutting machine used for the French system of work is a very
-elaborate contrivance, being more like a jacquard loom than any of our
-card-cutting machines, at least in so far as the harness is concerned.
-The principle of it is seen in Fig. 108. a shows the set of cords by
-which the punches are wrought. The method of preparing the pattern
-to attach to these cords has been referred to before, but will be
-repeated again further on. These cords pass over the pulleys B and
-down through a reed to the lingoes C, which keep them in tension.
-Another set of cords pass from these over the pulleys D and down to the
-punches F. When any of the cords at A are drawn the punches connected
-with them are dropped, as raising the lingoes lets the cords pass over
-the pulleys D. When a punch is let fall, it is caught by one of the
-angle-irons of the grid G, which is pressed forwards when a card is to
-be cut. The card paper is on the roller JH, and passes down in front
-of the punches at I, which, when pressed forward, punch the paper
-between them and the block K. Any punches that are held up pass through
-the grid over the angle-iron bars. Only four punches are given, but
-sixteen are used in the machine; they are here drawn out of scale to
-show them more clearly. This portion constitutes the cutting machine;
-it is worked by two persons, one behind, to draw the cords, and another
-in front, to punch the paper by depressing a treadle each time a draw
-is made. In addition to cutting from the pattern the paper can be cut
-from other sets of cards, as in a repeating machine--cut either on
-the English or French system. N is the French machine, and a set of
-cards can be put on it and copied, the cords O acting on the punches;
-English-cut cards can be put on the machine at L and copied, the cords
-M acting on the punches. Of course, when one portion of the machine is
-working, the other parts remain idle, and it might be better to have
-them separate if much work is wanted.
-
-The pattern is prepared for this machine by hand, working one repeat
-of it as follows:--The design, painted on point paper, is placed on a
-frame in an upright position, and over each line on it is stretched a
-vertical cord, which is taken as warp. The picker then takes a bobbin
-of weft and inserts it under every cord that passes over a painted dot
-on the first weft line of the pattern, keeping it in front of all the
-cords that pass over blank spaces, just in the same order as a shuttle
-would pass through if the shed were to be opened by a jacquard. When
-this is done the next line of the design paper is picked similarly,
-and so on, till a complete repeat of the design is loosely woven with
-cords, which are made of well-twisted harness twine. This process is
-somewhat similar to reading the pattern for the draw loom, _which see_.
-For coloured work a shot would require to be worked in for each colour
-on any weft line, the same as it is to be woven. When this is prepared,
-it is taken to the cutting machine and the warp tied to the cords A,
-the weft showing the warp ends to be drawn for each card.
-
-[Illustration: Fig. 108]
-
-
-HALF HARNESS AND MUSLIN HARNESSES
-
-So far we have been speaking entirely of ‘full-harness’ work. Though
-the principle of mounting is much the same in all classes of harnesses,
-there are certain deviations peculiar to each.
-
-One drawback to the full harness is the amount of machinery required
-to give a large extent of pattern, an upright hook and a needle being
-required for each thread in one repeat of the pattern. In a half
-harness only half the amount of machinery is required on the same
-fineness of cloth to give an equal extent of pattern; but it is only
-for a few classes of goods that this method of working is suitable,
-leno curtains and muslins being the principal. Leno curtains will be
-mentioned under gauzework, as they are wrought with a gauze mounting,
-but on the half-harness principle. Figured muslin curtains, with a
-plain ground and coloured flowering, are called ‘crêtes,’ or ‘crête
-curtains’; these are now generally wrought in a full harness. Figured
-muslins are much of the same class of cloth, but are not figured with
-colour and tint for the half harness, known as the ‘common spotting
-harness,’ or ‘book harness.’ For working them the harness is mounted in
-the ordinary manner, but only half as many cords are required for it
-as there are threads of warp. Only half of the warp is drawn into the
-harness, the other half--every alternate end--passing through it, and
-being drawn into a plain leaf of heddles, which is hung close in front
-of the harness. In fine work two leaves of heddles may be used as one,
-to prevent crowding.
-
-The ground of the cloth is a plain texture, and was formerly wrought by
-having two leaves of long-eyed heddles in front of the harness, into
-which all the warp was drawn, this probably being more convenient for
-the hand-loom weaver; and besides, a more even plain ground can be made
-with the heddles than with the harness and one leaf of heddles. Two
-shots of ground, or fine weft, are given to one shot of figuring, or
-coarse weft, usually cotton rove; but to avoid using a pick-and-pick
-loom when working by power, the coarse shot may be made by throwing two
-finer ones into the same shed. In power looms the ground is wrought by
-raising the plain leaf of heddles and all the harness alternately, and
-the figuring shed is formed by drawing the harness with a card acting
-on the machine. The pattern is painted solid, without any twilling or
-binding on either ground or flower, so that the figuring shot will be
-in a plain shed for the flower, but will be loose or unbound over the
-ground, and is afterwards cut off in a cropping machine.
-
-[Illustration: Fig. 109]
-
-The plain shed, into which the thick weft is thrown, must also contain
-the shot of thin weft thrown in either before or after it, according as
-the figuring shed follows the plain shed made by raising the harness or
-the heddles; for supposing the heddle shaft to be raised and a ground
-shot thrown in, then the shed reversed by raising the harness and
-another ground shot thrown in, then the figure shed formed by raising
-50 or 100 hooks of the harness, this opens portion of the last shed,
-and the figure weft will be thrown in along with the last shot of
-ground. When both wefts are white this is of but little consequence,
-but when using coloured wefts for the figure the ground weft would
-be liable to show along with them and injure the pattern. This was
-originally overcome by adopting the ‘paper harness’ from the shaft
-mounting for weaving paper spots. In this mounting two sets of shafts
-and two harnesses are used, one behind the other. Half of the warp--all
-the odd numbers of threads--was drawn on the back harness, and the
-other half--all the even numbers--on the front harness; this would be
-sufficient to make the cloth, but a pair of leaves of long-eyed heddles
-were used for working the ground, acting as pressers. On this method
-of working, a ground and a figuring shot are thrown in alternately, as
-either half of the warp can be raised by the harness for the figuring
-shed, and a richer spot is thus given; but still, the rove or figuring
-shot would fall into the same shed as the ground shot, which may be
-seen by examining the two spots given in Fig. 109, A being wrought
-on the common spot or half-harness mounting, and B on the paper-spot
-mounting. The grey shots are the ground, and the black ones the figure.
-However, in the paper-spot mounting it is not necessary to throw the
-rove into a plain shed; any suitable twill may be used for binding the
-figure, and will give a much richer effect on one side of the cloth
-than plain, and tie down the ground shot, which will go into a plain
-shed.
-
-This principle of mounting is now done away with, as it has no
-advantage over the ordinary full-harness mounting, which can also have
-a pair of presser leaves of heddles in front for working the ground, if
-desired; but they are unnecessary in a power loom, except when a very
-level ground is required.
-
-A twilled or flushed figure may be formed with the common half harness,
-but only having half the warp for binding causes it to be loose and
-ragged round the edges.
-
-To work a large pattern, perhaps the most economical way, at least
-in the hand loom, is to use a pressure harness with two threads in
-the mail, and with four presser heddle leaves in front. The number
-of leaves regulates the twill on the figure. The cloth may be woven
-pick-and-pick, ground and figure, or 2 picks ground to 1 of figure.
-When the harness is drawn for the figure all the heddles must be
-sunk but one leaf, and sinking the two front and two back leaves
-alternately, raising the back ones when the front ones are sunk, and
-_vice versa_, will form plain cloth with the draft 1, 2, 3, and 4 over
-the leaves. A 4-leaf twilled figure can be made with this mounting, but
-still it will not have the advantage of the full harness, in which the
-figure can be varied in twill, and bound round the edges.
-
-
-SPLIT HARNESS
-
-The term ‘split harness’ is sometimes applied to the pressure harness
-when wrought with two threads in the mail, this constituting a splitful
-of warp, so that each cord of the harness controls a splitful of warp;
-but this is only the finest description of pressure harness.
-
-[Illustration: Fig. 110]
-
-The split harness, or ‘shaft monture,’ was invented in the silk
-district of Bethnal Green, shortly after the introduction of the
-jacquard, for weaving rich silks which have about 400 threads of warp
-per inch, but much less weft--perhaps about one-fifth of that number
-of threads. The harness is wrought with the ordinary jacquard, but
-there are two mails and lingoes attached to each neck cord, as shown in
-Fig. 110. A, A are the neck twines, B is the cumber board, and D the
-mails. If this mounting were wrought with the jacquard only, it would
-produce the same effect upon the cloth as if two threads were drawn
-into each mail of an ordinary harness. This would, of course, take away
-the fine appearance of the cloth. To avoid this a set of shafts, C, C,
-are passed through loops in the twine above the mails, and are attached
-to a set of hooks in front of the jacquard, or at each side of it, or
-may be wrought by a separate dobby. Twenty-four shafts are mostly used,
-and are usually flat enamelled iron bars. These shafts are for working
-the ground of the cloth, and can raise each row of mails separately,
-as shown at No. 1 leash, thus splitting the pairs of threads that are
-connected with each hook of the jacquard. One or more of these shafts,
-according to the texture required for the ground, are raised at the
-same time that the jacquard draws the figuring shed. No ground texture
-is put on the pattern for the cards, but the figure must be twilled,
-or have the binding marks cut on the cards for it. The binding of
-the figure will be in pairs of threads--that is, two threads of warp
-must sink together under a weft shot, though on the design these two
-threads will appear as one, as they are wrought by the same hook of the
-machine. On account of the number of warp threads, rising and sinking
-in pairs will not much affect the appearance of the figure; though it
-must be coarser than if the threads were bound separately, and will
-also have a rougher or more ragged outline; but to get a large figure
-with so much warp would necessitate a great amount of machinery if the
-threads were drawn into separate mails with one to each cord of the
-harness.
-
-This method of working is surpassed by the twilling machines now in use
-(see Twilling Jacquards), though they are more intricate, and would not
-suit well for a hand loom, as they are heavy to draw.
-
-
-PRESSURE HARNESS
-
-This is the old draw-loom system of working, and, old as it is,
-is still in use on our modern hand and power looms on the finest
-description of damasks, and is not likely to be surpassed for making
-a good piece of cloth. Much firmer than a harness, and producing the
-largest possible pattern with the least possible cards, mounting, and
-machinery it took up its position in the days of the drawboy, and has
-held its own, with the aid of the jacquard, against all the inventions
-of modern times. The principal advantage of this system of working
-is that a much larger pattern can be produced with the same quantity
-of cards, mounting, and machinery, than by any other means; but the
-pattern wrought by a pressure harness will not compare with one wrought
-by a full harness for fineness of outline or detail. When weaving large
-tablecloths with 100 or 120 threads of warp per inch, and from 50 to
-72, or even 90 in. in the single pattern--that is, when the pattern
-is all, or nearly all, single--the amount of machinery that would be
-required to work it on a full harness could not be crowded on a loom,
-the French system being the only one by which it might be attempted;
-and even then the difficulty of keeping the machinery and cards in
-perfect working order would be very great, not to mention the cost of
-mounting, patterns, cards, &c. The quantity of harness and machinery
-is reduced in a pressure harness by drawing two or more warp threads
-into each mail in the harness. Suppose we take 60 in. of cloth with
-100 threads per inch = 6,000 threads, and allow 3 threads to each mail
-in the harness, or each hook of the jacquard, 2,000 hooks, or four 500
-jacquards, would be required to work the pattern. As many as six 600
-jacquards are sometimes required on this description of work when very
-fine; but three or four 500 or 600 machines are more commonly used on
-either hand or power looms. To work one of these finest patterns in
-a full harness 10,800 hooks would be required--say, six 600 machines
-with 3 threads to each mail = 10,800; and almost double this number
-of cards, even with working them backwards and forwards, would be
-necessary.
-
-In early times, when the drawboy took the place of the jacquard, 6,
-8, or 10 threads were put to each mail, or went to what would now be
-one hook of the jacquard; and patterns were not usually so extensive
-as they are now, so that the cords of the harness were greatly reduced
-in number, but with a proportionately coarser effect of pattern. The
-difference between a pattern wrought with a full harness and one
-wrought with the pressure or any of the twilling harnesses, is that
-the outline is clear and defined in the full harness, and the detail
-and points of the figures can be turned on a single thread, whereas
-in the others the edges of the figures will be jagged or in steps,
-and the points must turn on whatever number of threads are lifted
-together. The pattern on the cloth must therefore have somewhat of the
-rough, square effect of the design on point paper, though, of course,
-reduced in size, but will be worse in this respect--viz. that whereas
-the edges of the figure on the point paper are clear and well defined,
-on the cloth they are not so, the rough edges to some extent blending
-the figure into the ground, and not giving the clean, sharp effect of
-a full-harness pattern. Shaded effects are also coarse on a pressure
-harness, but can be made effective if broadly treated. Cloth with 100
-or 120 threads per inch does very well to have three threads to the
-mail, and from 80 to 100 threads per inch suits very well for two to
-the mail. Any coarser set than 80 threads per inch requires to be woven
-in a full harness to produce good work, and for superior work nothing
-less than 100 threads per inch should have two threads to the mail,
-though 80 per inch does very well.
-
-When several threads are put to the mail, it is also usual to put
-several picks to each card. The fewer picks, the finer will be the
-pattern; but a good method of regulating this is to make the checks
-formed on the cloth square, a little more or less according to the
-fineness of the pattern required. Thus, if the cloth is wefted square,
-or a little over that--say, 100 warp by 100 to 110 weft threads per
-inch--paint the design on, say, 8 × 8 or 8 × 9 paper, and give as many
-shots to the cards as there are threads in the mail. If the cloth is
-to be wefted one-half over square (100 × 150) the same pattern will
-still do, but with half as many more shots to the card than there are
-threads in the mail. If there are two threads in the mail there will
-be three picks to the card, but if there are three threads to the mail
-there must be four picks to one card and five to the next one. This
-would be for a pattern on 8 × 8, or square paper. If painted on 8 × 9
-paper, which would give an extra card to every eight, and if the weft
-must not be increased, then four or five picks must be taken off the
-number given to the eight cards and put to the ninth one, for four
-cards with four picks to each and four with five picks to each = 36
-picks, and thirty-six picks put to nine cards would allow four picks
-to each. This would make the edges of the pattern a little finer; and
-if the design was painted on 8 × 10 paper it would be finer still, as
-there would be more cards to a given number of picks.
-
-In this way any alteration required can be made on the number of picks
-per inch given to cloth woven on a pressure or twilling harness,
-without distorting the pattern by varying the number of picks given to
-each card to suit the shotting. Neither is it necessary to have the
-same number of threads in each mail; the warp might be mailed 2’s and
-3’s or 3’s and 4’s, but the more regular they are, the better. If the
-fineness of the cloth requires to be altered, it may be woven in the
-same harness without any alteration by varying the number of threads
-in the mails. For instance, a warp of ninety threads per inch mailed
-3’s and one with 120 threads per inch mailed 4’s would work in the
-same harness. Similarly, the same set of cards would suit for making
-different widths of cloth by making the harness narrower in the cumber
-board and altering the mailing so as to keep the cloth the same set, or
-it may be made a finer set and not alter the mailing. In either case
-the pattern would be reduced in size.
-
-Fig. 111 shows a portion of a pressure-harness mounting which is
-similar to that of the draw loom. It is mounted in the same manner
-as described for full harness, only that the warp must be divided by
-the number of threads to be drawn into each mail in order to find
-the quantity of harness required. The kinds of mails used are shown
-at A and B, Fig. 111; it does not do to have more than two threads
-drawn into each eye of the mail, as they are liable to twist round
-each other; two will separate easily, but a greater number will not.
-Ordinary full-harness mails answer very well for a two-thread harness.
-The mails are levelled in the same position as for full-harness work,
-viz. about 1-1/2 in. below the level of the back and front beams for
-hand-loom work, and a little lower for power looms. The lingoes are
-heavier than those required for a full harness; the weight depends upon
-the strength of the yarn and the number of threads in the mail; 10 to
-12 to 1 lb. are used in power looms for linen damask with two threads
-in the mail, having about eighty to one hundred threads of warp per
-inch. For hand looms they are usually made of lead, thicker and shorter
-than the wire lingoes, and called ‘leads’; 11 to 15 per lb. suits for
-three- or four-thread harnesses. Light cotton work, such as muslin
-curtains, only requires lingoes of about sixty or seventy to 1 lb. for
-hand looms, but from twenty-five to thirty per lb. are used in power
-looms for two-thread harnesses.
-
-[Illustration: Fig. 111]
-
-The principle of working the pressure harness is best explained by the
-diaper mounting shown in Fig. 2, where a back set of heddles takes the
-place of the harness, and a set of ground leaves of long-eyed heddles
-stands in front of the back ones. After the yarn is drawn into the
-harness or back mounting in the usual way, it must be drawn into the
-front or presser heddles, using, generally, a straight draught for a
-satin ground. If Figs. 2 and 111 are examined, it will be seen that
-when the shed is opened by the harness or back mounting, the heddles in
-front sink part of the raised warp and raise part of the sunk warp. The
-mounting raises all the warp of the figuring portion on each card or
-line of the design paper, and leaves down all the ground warp, so that
-it is necessary to have the heddles in front to bind the warp and weft,
-or form the texture of the cloth. For an 8-leaf satin eight shafts are
-required; one of these must be raised and another sunk for each shot,
-so as to raise the binding threads of the sunk warp and sink those
-of the raised warp, the harness forming the outline of the pattern,
-or raising the warp of it in a mass. The other six leaves of heddles
-stand in a middle position, and the long eyes allow the warp drawn by
-the harness to rise. When the machine is drawn it is held up till as
-many shots as are to be given to the card are thrown in, but the shed
-formed by the heddles must be changed for each shot. In working bars
-up the cloth one card would be sufficient, and when the machine is
-drawn it would be held so, and the cloth wrought with the heddles; of
-course, no machine would be required in this case, one leaf of heddles
-with the stripes of warp drawn into it would be sufficient for the back
-mounting. For dices two leaves of heddles would be sufficient for the
-back mounting, the warp of one dice to be drawn on one leaf, and that
-of the other on the other leaf; then one leaf would be raised and held
-up till one dice was wrought, when it would be lowered, and the other
-one raised and held up for the other dice. For fancy dices and diapers
-the plan of mounting in Fig. 2 is very suitable and simple, but for a
-variety of figuring or flowering the jacquard is necessary.
-
-It will be seen that the presser heddles have three positions, viz. a
-sunk, a raised, and a middle position. The length of the eyes is to
-allow the harness to open the shed when the heddles are stationary,
-or in their middle position. They must be a little longer than is
-required to open the shed at the back leaf of the heddles; for a
-2-in. shed a 2-1/4-in. to 2-1/2-in. eye is used. When the heddles are
-stationary the lower loop of the eye should be fully 1/8 in. under
-the sunk warp, and there should be the same clearance at the top when
-the shed is drawn; some allow more. The shed for a pressure harness
-is usually very small in front of the reed, and requires a very small
-shuttle to be used, from 1/2 in. to 1 in. deep being the usual sizes.
-The depth of the shed that can be made depends principally on the
-elasticity of the yarn. With a linen warp a very small shed can be
-made, as the yarn has but little elasticity, and if overstrained will
-hang slack. For it the distance between the harness and the back shaft
-of the front mounting should be 10 in. to 12 in., and there should
-be a stretch of 27 in. to 34 in. behind the harness. The draw of the
-harness may then be 3 in. to 3-1/2 in., and the shed at the back shaft
-will be 1-3/4 in. to 2 in.; this will allow a shuttle of 3/4 in. to 7/8
-in. deep to be used. For hand looms the shed is about 1-1/4 in. at the
-back shaft, and a shuttle of 1/2 in. deep is employed. The shed must
-be made very clear and regular, and the smaller it can be kept, the
-better. With a good cotton warp 7 in. is a sufficient distance to have
-between the harness and heddles, and will admit of a larger shed being
-formed; but it is not desirable to have too large a shed, as there is
-a considerable strain on the yarn, and a small, clear shed is more
-satisfactory. This would be assisted by bringing the harness as close
-as possible to the heddles.
-
-One drawback to this method of working is the distance which separates
-the harness from the fell of the cloth, or even from the reed; and
-if there is any obstruction to the warp rising or falling, such as
-roughness in the heddles or reed, or lumps on the yarn, it will not,
-unless very tight, fall into its proper place, and the shuttle may pass
-over or under it when it should not do so, giving a picked or darned
-effect to the cloth; slack threads may cause the same.
-
-The warp must be kept as tight as possible, and all the threads should
-be at a uniform tension, the heddles straining each thread alike; the
-harness should be as close to the heddles as the yarn will permit it
-to be. The space occupied by the harness, heddles, and traverse of
-lay should be no greater than is necessary; then, with a small but
-clear shed satisfactory work can be produced. When drawing a warp
-into the harness, a boy or girl sits behind, and hands the threads to
-the drawer-in, who takes them into the mails with a wire hook, and
-then either hands them to a second drawer-in sitting in front of the
-heddles, to be drawn into them, or passes them over and under a pair of
-rods tied across the harness so as to form a lease as she draws them
-in; and when she has all drawn into the harness, she begins to draw
-them into the heddles, a straight draught being mostly used for a twill
-or satin.
-
-[Illustration: Fig. 112]
-
-The front mounting of a damask hand loom is shown in Fig. 112. A, A
-are the shafts, four in number, but eight are generally used for an
-8-leaf satin; B, B are the jacks; C the lams, which require to be one
-more in number than the leaves of heddles; D the treadles; E, E^1 the
-upper marches or jacks; F, F^1 two sets of coupers or levers, with
-their fulcrums at _f_, and loaded at the outer ends with the weights G.
-Under the ends of these levers is a bar N, to which the weights draw
-them, and keep the heddles up to their middle position. The cords I are
-not fastened to the heddles, but pass down through them to the lams
-C. The cords L connect the coupers with the heddle shafts. Each lam
-has two cords tied to it, except the two outer ones--_i.e._ the first
-and last one--which together act as one, to avoid crossing the cords.
-One of the cords I is tied to each lam, and also one from the jacks B;
-but the first and last lams have only one cord tied to each of them,
-one having the cord I, and the other that from B. Both these lams are
-connected with one treadle, and the others are each connected with a
-treadle. Of course, the cording is made in the usual way, agreeably to
-the pattern, two methods of twilling being shown in Fig. 113. When the
-weaver presses down a treadle, one leaf of heddles is raised by the
-cord I connected from one of the levers E, E^1 to one of the marches
-or lams C, and one leaf is at the same time sunk by the cord connected
-from one of the jacks B to the lam connected to the treadle. The other
-treadles act similarly when corded for a twill or satin.
-
-[Illustration: Fig. 113]
-
-The cording generally used for an 8-shaft satin is shown at A, Fig.
-113. Sometimes the twill is run in the reverse direction. In either
-case it will be observed that the twill on both ground and figure run
-in the same direction, which makes one a sateen, or coarse twill, and
-the other a satin, or fine twill. In order to have both twills alike
-they require to be run in the opposite direction on the cloth, as shown
-at B, which will give a fine twill on both ground and figure, on both
-sides of the cloth, with single yarn. This does not hold good with
-every twill. When weaving, the weaver presses down the treadle which is
-connected with the jacquard (another treadle being required for this
-purpose) with his left foot, then works over the twilling treadles with
-his right foot, holding down the machine treadle till he gives as many
-shots to the cards as are required. When the card is to be changed the
-weaver lets down the machine and draws another shed, striking up the
-weft again without throwing in a shot or taking his right foot off the
-treadle. This clears up the shed, and makes the yarn steady before he
-springs another shed with the presser leaves, giving a regularity and
-firmness to the work which it is impossible to get otherwise, but which
-has to be done without in the power loom. The weft is struck up on the
-open shot, or before the heddles have closed the shed. Sometimes a sort
-of dobby is used below the lams, which enables the weaver to work the
-heddles with one treadle. In power looms a similar principle of front
-mounting is sometimes adopted, substituting a wyper tappet for the
-weaver’s foot; but a better plan, as it avoids having the cords passing
-through the yarn and heddles, is to have a box tappet, on the Woodcroft
-style, made with solid plates, and struck to give the rising and
-falling motion. The connections from the tappet to the heddle shafts
-are made in the same way as the ordinary Woodcroft tappet. The jacquard
-may either be a single or double-lift one. Some prefer the one, some
-the other. The single-lift is more easily fitted up, especially if
-the number of shots to the card varies. When the shots on each card
-are alike, perhaps the steadiest method of lifting the machine is to
-have a box tappet struck one up and three down, or one up and two
-down, according to the number of shots on the card. This tappet acts
-on a bowl on a treadle, to which the rod for raising the machine is
-connected. For a double-acting machine there must be two treadles and
-tappets acting alternately. The cylinder can be driven from the rising
-and falling of the machine with a swan-neck or lever motion, or may be
-driven from an eccentric on the loom with a pinion on the crank shaft
-turning it one to three or four shots, as may be desired. When the
-shotting to the card is irregular there are several methods adopted for
-lifting the machine griffes, one of the best of which is shown in Fig.
-114 for a single-lift machine.
-
-A is the treadle to which the connecting-rod from the machine is
-fastened by a bolt through the slot at H, or the slot may be in any
-desirable place. B is a rack in which the end of the lever works, which
-keeps the treadle bowl steady to the tappet. E is the tappet on the
-tappet shaft of the loom, and is made so as to act at every shot. D
-is the fulcrum of the lever, and C is the stand, which is bolted to
-the ground and fastened to the side of the loom. This portion of the
-motion working alone would raise the griffe for every shot, the same
-as would be required for a full-harness, single-acting jacquard; but
-when the griffe is raised by the tappet E, it can be held up as long as
-is desired by letting the bell-crank catch F fall in over it as shown.
-When the treadle A is in this position the tappet merely touches the
-bowl, depressing it about 1/8 in., so as to clear it off the catch;
-this is to allow the catch to be easily pushed off when it is required
-to let the treadle up, or to drop the griffe. The catch is moved by the
-cam or tappet G acting on the bell-crank F. This tappet can be driven
-by a pinion on the crank shaft or by a catch on the slay. It may be a
-tappet struck to suit, or a barrel with a set of lags or pins on it, so
-that the machine griffe may be raised and lowered in any order that is
-desired.
-
-[Illustration: Fig. 114]
-
-An ingenious method of working the heddles of a pressure harness by the
-jacquard was invented in Bethnal Green shortly after the introduction
-of the original machine. It was used for weaving the richest silk
-damask, which had 400 threads of warp per inch and about one-fifth
-that number of weft shots, so that five threads of warp might be drawn
-into each mail without making the pattern appear any coarser in the
-warp than in the weft. A sketch of this mounting is given in Fig 115.
-A shows the hooks for working the heddles, and B those for working the
-harness. Eight hooks are given for working four leaves of heddles. It
-will be seen that a cord from two hooks passes round one of the pulleys
-C, and each of the heddle shafts is attached to one of these pulleys.
-These hooks may be raised by the griffe of the jacquard, which would
-require to rise and fall for every shot, or the griffe may be held
-up for the number of shots to the card, and the hooks for working the
-shafts may be wrought by a small dobby. When one of each pair of the
-hooks A is raised, the heddle shaft connected with it is raised to
-the middle position, as shown by the pulleys 1 and 2, and the leaves
-connected with them. If neither of the hooks is raised for any shaft,
-it will remain sunk, as shown in No. 3; and if both the hooks are
-raised, the leaf will be raised to its top position, as No. 4. The
-leaves are drawn down by weights or springs.
-
-[Illustration: Fig. 115]
-
-
-TWILLING JACQUARDS
-
-[Illustration: Fig. 116]
-
-As has been stated before, one of the drawbacks to a pressure harness
-is the strain which the warp has to undergo when forming the shed. This
-necessitates having a good warp, which adds to the cost of the cloth,
-and in low-class goods this consideration may hinder the sale. Many
-methods have been adopted for working the ground of the cloth without
-using a pressure mounting. Some of these are explained under ‘half
-harness’ and ‘split harness,’ but none of these methods would produce
-cloth like the pressure harness. A twilling jacquard to act similar
-to the pressure harness, but without using the front mounting, or by
-dispensing with the leaves of heddles, was patented by Mr. Shields,
-of Perth, in 1859. This machine underwent several improvements, and
-now there are two varieties of it in use, one known as the Irish or
-Bessbrook machine, being patented by Mr. Barcroft, of the Bessbrook
-Spinning Company Limited, county Armagh; the other as the Scotch
-machine, the improvements being made by Mr. Shields and others. The
-principal difference between the two machines is that the blades or
-knives of the griffe have a horizontal or sliding motion in the Scotch
-machine to enable them to get clear of the heads of the hooks, whereas
-in the Bessbrook machine they turn out of the way or partly revolve.
-A full description of the Bessbrook machine is here given. Fig. 116
-is a view of the framing of the machine. K is the cylinder, which may
-be wrought by the swan-neck motion, as shown, but it is better to be
-wrought by a separate motion from the loom. D is a cord attached to
-the handle of the shears for reversing the cylinder; E is a brass
-bushing through which a shaft passes for raising the griffe. The
-shedding of this machine is exactly the same as that of an ordinary
-single-acting jacquard. The griffe rises and falls for every shot;
-the cylinder travels out and in, but does not turn till two or three
-or whatever number of impressions required are given by each card. To
-prevent the cylinder turning it is only necessary to raise the shears
-so that they will not catch it. This is done by means of the tappet A,
-shown in Figs. 116 and 117. The roller H on the shears rests on the
-tappet, which is turned by means of the rack wheel, which is fast on
-it, and the lever L, which is loose on the stud. This lever is pushed
-backwards and drawn forwards by the rod I, which is connected to an
-arm, either on the shaft for raising the griffe, or on one for working
-the cylinder, and the catch on the lever takes a tooth of the ratchet
-wheel at each draw, so that with four divisions on the tappet, and 12
-teeth in the ratchet, three shots would be given to each card. If it is
-required to work the cylinder the reverse way, it is only necessary to
-tie the cord D on the end of the shears to a spiral spring made fast to
-any convenient part of the loom, then the roller C will be acted upon
-by the underside of the tappet, and the under hook of the shears will
-turn the cylinder when required. B is a spring acting as a pawl to keep
-the ratchet from moving backwards, and there is also a spring shown
-over the catch which moves it forward; both these springs serve to keep
-the tappet steady. There are two sets of hooks and needles in this
-machine--the ordinary set for working the harness, as shown at A (Fig.
-118), and a set of twilling hooks, one row at each side of the machine,
-which are much stronger than the others. The ends of the twilling hooks
-are hooked round bars, which pass through the loops at the lower ends
-of the ordinary hooks, as shown at C (Fig. 118). These bars are kept in
-their places by a grid D, which is between the ordinary hooks and the
-twilling hooks. Each of the needles of the jacquard is connected with
-two or more of the ordinary hooks, as shown at A. The twilling hooks
-have also needles on them, but they are only for the purpose of keeping
-them in their places, and are not acted upon by the cards. The springs
-of these needles are on the ends next the cards, or at the back of the
-faceplate or needle, as shown at E. The centre support for the knives
-of the griffe is shown at F, with an end view of two knives G G. The
-ends of the knives enter the griffe frame at each side, so as to allow
-them to oscillate or partly revolve. This motion is given to them by a
-set of bars or flat needles, as shown at A (Fig. 119). A single needle
-is given at A^1. These needles have each the notch in them over the
-top edge of two or more of the knives, and are acted upon by a barrel
-C with studs in it, set to the twill. This barrel rises and falls with
-the griffe, and is turned from one row of pegs or studs to the next one
-each time the griffe falls by the head or lantern on it coming down on
-a finger, as shown at A (Fig 120). B in the same figure is a strong
-spring to keep the barrel steady and make it turn the correct distance.
-
-[Illustration: Fig. 117]
-
-The number of knives in the griffe must be regulated to suit the twill
-to be put on the cloth; they must be a multiple of the twill, and this
-to some extent regulates the number of needles that must be in each
-upright row. For example, an 8-leaf twill may have 16 or 24 knives,
-which would be twice or three times over the twill. If there are 8 rows
-of needles to 16 knives, or 16 rows of hooks, that would be 2 hooks to
-each needle, or if there are 24 rows of hooks there must be 3 hooks to
-the needle; but if only 2 hooks to the needle are required, there must
-be 12 rows of needles to 24 rows of hooks. The same principle holds
-good for a 5-leaf, or any twill. Eight or 12 rows of needles would
-not be suitable for a 5-leaf twill, neither would 10 rows of needles
-be suitable for an 8-leaf twill, if the same number of hooks have to
-be connected with each needle; but 10 rows of needles with 20 rows of
-hooks or 20 knives will answer for a 5-leaf twill with 2 hooks to the
-needle, or would answer for an 8-leaf twill with 24 rows of hooks, 4 of
-the needles to have 3 hooks to each, and 6 of them to have 2 hooks to
-each.
-
-[Illustration: Fig. 118]
-
-Each of the twilling needles, A, Fig. 119, must be connected with as
-many of the knives as there are repeats of the twill; thus, for 24 with
-an 8-leaf twill, the 1st, 9th, and 17th knives would be acted upon by
-the one needle, and so on with the others.
-
-Now as to the action of the machine. When the pattern card presses upon
-the needles the griffe begins to rise, and when rising it must lift all
-the hooks required for the pattern except 1/8th part of them which
-must be left down (in an 8-leaf twill) to form the binding or texture
-of the cloth. In addition to this, 1/8th part of the ground warp must
-be raised for the weft to pass under it and form the ground texture.
-This is all accomplished by the one rising of the griffe. When the
-griffe is down, one of the twilling needles, A, Fig. 119, is pressed
-back by a peg or stud in the barrel, which causes the knives connected
-with this needle to turn out of the way of the heads of the hooks, so
-that when the griffe is rising these knives will pass clear of them,
-leaving every eighth row of hooks down to form the binding of the
-raised or pattern warp. In the Scotch machines the knives slide back
-instead of revolving. As shown at H, Fig. 118, there are projecting
-pieces of brass fastened on the knives between the twilling hooks.
-These hooks stand clear of the knives, but when the latter revolve the
-projections on them push the hooks forward to the next knife, which
-lifts them when the griffe is rising. The hooks draw up the bars to
-which their lower ends are looped, and raise the rows of ordinary
-hooks through which the bars pass, thus forming the twill on the ground
-in the same way, but in the reverse direction, that the knives passing
-clear of the adjoining rows of hooks form the twill on the figure.
-
-[Illustration: Fig. 119]
-
-[Illustration: Fig. 120]
-
-The working of the texture requires the griffe to fall for every shot,
-which would be otherwise unnecessary, and the card must come in against
-the needles each time to push off the hooks that are not to be raised.
-This causes wear and tear, which cannot be avoided with this machine,
-but they work very well, though they are not by any means perfect.
-There is a good deal of friction on the needles, which causes them to
-wear quickly; but being so much easier on the warp than the pressure
-harness, and more easily managed, they are extensively used for large
-patterns in the fine linen damask trade. They will not make so firm a
-cloth as the pressure harness, and have the objection that all twills
-formed with the harness have when there is a gathered tie--viz. that a
-portion of the cloth will have the twill running in one direction and a
-portion in the reverse direction.
-
-Like all single-acting jacquards, these machines have no counterpoise
-in themselves, and being very heavy require one added to assist the
-loom to raise them. Sometimes this is accomplished by means of a
-carriage spring placed on a beam or on the top rail of the loom frame;
-and an arm from the shaft, which raises the griffe resting on the
-spring, will form a sufficient counterpoise, the spring being made
-as strong as is required for the purpose. Unless the springs, which
-are made similar to those used for carriages, are nicely tempered,
-and the different pieces made so as to slide freely on each other,
-they are liable to snap when the loom is running quickly. The griffe
-is generally driven from the fly-wheel on the crankshaft in the same
-manner as for ordinary single-acting jacquards. It is, however, a
-better plan to drive it from a crank on a stud wheel gearing into
-the tappet-shaft wheel. This does away with the necessity for a
-counterpoise unless the machinery is very heavy, in which case a
-few strong spiral springs will suffice. The horizontal shaft for
-raising the griffe, or griffes if two or more machines are used, must
-be very strong, so as not to twist with the tortuous strain, which
-is very great. Three of these machines, with 500 or 600 needles to
-each, are required for tablecloth mountings when tied up for centred
-patterns--one machine to work the border, one the centre, and one the
-portion between the border and the centre; or two machines to work the
-double portion, and one the single portion. Fig. 121 gives a view of
-a mounting tied up in this way, Nos. 1 and 2 machines being double
-mounting and No. 3 single.
-
-[Illustration: Fig. 121]
-
-_The Karl Wein Jacquard._--This machine is a twilling jacquard on the
-same principle as that last described, but performs its work in a more
-scientific manner. It was patented by Messrs. J. Tschörner and K. Wein,
-Kesmark, Hungary, and was first introduced into this country at the
-Glasgow Exhibition of 1888.
-
-The following is a description of the machine exhibited there: The
-principal feature of this machine is perhaps that each knife acts
-independently in a grid, and is wrought by a tappet at the side of the
-loom, so that any row of hooks can be raised or lowered at pleasure,
-and this without any change of card. Fig. 122 gives an end view of
-the framing, showing the upper and lower grids in which the knives or
-lifters slide. An end view of four of the lifters is given at A, 1 and
-3 belonging to the top set, which work in the upper grid, and 2 and 4
-to the bottom set, which work in the lower grid.
-
-[Illustration: Fig. 122]
-
-A perspective view of eight of these lifters is given at B C, Fig.
-123, with upright slide bars D attached to them, which slide in the
-rack or frame E. These bars are for the purpose of making the lifters
-rise steadily and horizontally, as (which may be seen) they are not
-all lifted at their centre. Only one connection is fair in the centre,
-which would no doubt be an objection with a heavy harness to lift; but
-this arrangement is made to suit for the machine sitting across the
-loom, for a London tie, and some method of making vertical connections
-from the levers to the lifters is necessary. The above does very well
-for a narrow harness if light.
-
-[Illustration: Fig. 123]
-
-[Illustration: Fig. 124]
-
-If the machine was fixed on the loom for a Norwich tie, or with the
-cards to hang over the back, then the connections from the levers might
-all be at the centres of the lifters and the bars D would only be
-required to steady them. The levers for raising the lifters are shown
-at F, with their fulcrum at I. G is a spring, one of which is attached
-to each lever to keep it down, as the tappet has not a positive
-rising and sinking motion, only raising the levers and allowing their
-own weight and the draw of the springs to recover them. One of the
-connecting rods from the lever to the tappet is shown at I. Fig. 124
-gives the principle of this tappet. A is the lever or treadle with
-its fulcrum at A; the connecting rod B connects the point of it to
-one of the top levers F (Fig. 123), and C is a bowl at the other end
-of it which travels on the tappet plate D. The tappet is made up of
-17 plates struck to suit; 16 of these are for working the lifters and
-1 for the cylinder; it sits at the side of the loom like a Woodcroft
-tappet. For an 8-end satin twill 16 levers are required, 8 for the
-bottom set of lifters and 8 for the top set. Fig. 123A shows two
-lifters B^1 and C^1 with hooks and needles. A hook and a needle on a
-larger scale are shown in Fig. 125. The hooks are flat pieces of iron
-cut to the shape shown, with small projecting pieces, as _a_, riveted
-to them, by which they can rest on the bottom lifting knives, as at
-C^1 (Fig. 123A), so that when any of these knives are lifted a row of
-hooks will be raised by them. As before explained in reference to the
-Bessbrook machine, it is necessary when the pattern card presses on the
-needles for all the knives except one to act, and also for one of the
-bottom lifters to rise to form the texture of the cloth; the same must
-be in this machine, and can easily be regulated by the tappet, which
-should hold up the warp required for the pattern and work the ground
-texture as well. This is done in the following manner: Suppose there
-are 16 lifters, 8 top and 8 bottom ones. When the card presses on the
-needles, 7 of the top and 1 of the bottom lifters should be raised by
-the tappet, and the top lifter, which is left down, should be raised
-so far as to catch the heads of those hooks in the row belonging to it
-that are not pushed back by the card. For the next shot this lifter is
-raised and another one let down, but it is not let down far enough for
-the hooks to get off it, stopping at the same height that the first
-one was raised to, which is easily regulated by the tappet. If there
-are 3 shots to the card, another similar change takes place; then for
-the fourth shot all the lifters are dropped, the cylinder presses
-in, and all but one of the top lifters and one of the lower ones are
-again raised, and the twill proceeded with as before. It will thus
-be seen that the shedding for the twill acts as in a double-acting
-jacquard, but the lift at the change of card is similar to that of a
-single-acting jacquard. Of course the tappet must be struck to change
-the lifters according to the twill required on the cloth. In the
-Bessbrook machine there could be 16, 24, or 32 rows of hooks to 8 rows
-of needles by having 2, 3, or 4 hooks to each needle, or the number
-of hooks to each needle might vary and any number of needles might be
-used. There must be a knife for each row of hooks, but all the knives
-belong to the one griffe. In the Karl Wein machine there must be 2
-lifters for each row of hooks, and 16 of them are enough to have for
-convenience. In the machine exhibited, 16 hooks, or 2 rows of 8, were
-attached to 6 needles, 4 needles having 3 hooks to each and 2 needles
-2 hooks to each, as shown at B (Fig. 125), the thick vertical lines
-representing 1 row of hooks, and the thin lines the next row. There
-were 6 rows of needles in the needle board, and the point of each
-needle was cranked as shown at C; each row of holes for the needles in
-the needle board, or face-plate, stood between 2 rows of hooks: the
-first 3 needles were connected with 1 row of hooks and the second 3
-with the next row, the cranks of the first and second set of needles
-being turned in the opposite direction so as to enable them to fall in
-with the rows of hooks. Of course there might as well have been 8 rows
-of needles with 2 hooks to each, or 4 needles to each row of hooks.
-
-[Illustration: Fig. 125]
-
-If necessary to use more than one machine, some arrangement would
-require to be made for lifting them. It might be done by using a double
-set of levers with connecting rods similar to those used for twilling
-looms.
-
-The twilling of the ground might be wrought by a griffe and hooks as
-in the Bessbrook machine, thus doing away with seven treadles and
-seven tappet plates, but this would make the twilling a single-acting
-shedding motion.
-
-Since this was written the machine has been altered so as to make it
-more suitable to the requirements of the work in this country, but
-does not appear to gain favour, and this class of weaving is not very
-extensively used.
-
-
-
-
-CHAPTER VII
-
-_GAUZE_
-
-
-The principle of weaving gauze with shafts and healds applies equally
-to making it with a harness, though perhaps the latter is simpler,
-as there is not the same trouble in the arranging of drafts; and, in
-intricate work, the number of doup leaves required for shaft mountings
-adds considerably to the trouble of the weaver and tackler.
-
-The simplest, or in any case the most ready, method of weaving gauze in
-a harness, is to use an ordinary harness, and form the gauze by means
-of one or more doups and standards in front of it. Suppose we have have
-a 400 machine with the harness tied up in simple repeats of 400; any
-desired pattern can be put upon the cloth to the extent of 400 hooks of
-the jacquard as in ordinary harness work, but it cannot be made of any
-texture desired--it must be made to suit the working of the doups in
-front of the harness. If the open work is to be a plain gauze with one
-shot into each shed, then the pattern must be plain cloth, as the doup
-standard must be raised and sunk alternately for each shot; but any
-desired form or figure can be made in plain texture on the 400 hooks,
-and the cloth will consist of a plain figure on a gauze ground; or it
-might as well be a gauze figure on a plain ground.
-
-Those not acquainted with figured gauze work, have considerable
-difficulty in understanding how to make plain or gauze as required on
-the cloth.
-
-It is easy to understand that working the harness without the doups
-can make plain cloth, and also that working the doups and standards,
-and portion of the harness, for alternate shots, can make gauze; but
-the difficulty is to thoroughly comprehend how, when working gauze,
-to neutralise the crossing of that portion of the warp that is to
-form the plain figure. There are two ways of neutralising the crossing
-effect of the doups on any thread or number of threads that may be
-required for the figure: first, by not raising the mail or mails
-carrying the crossing threads, or threads in the doups, but forming
-the plain by raising the mails carrying the threads not in the doups,
-alternately with the doup standard; and, secondly, if the threads not
-in the doups are raised along with the doup standard, no crossing can
-take place; but this would not suit for working plain cloth, as these
-mails must be down when the doup standard is up in order to form plain
-cloth.
-
-[Illustration: Fig. 126]
-
-If a different gauze is required, say one with 2 shots into each shed,
-or between the crossings, then the solid texture might be a rib or mat;
-or if it suited the pattern, as in the case of dice work, two doups
-could be employed, so that one could rest when the other is working
-the gauze. Fig. 126 is a plain gauze and plain texture, common dice
-pattern, which could be wrought with shafts, but shows the principle
-of working with the harness as well. This could be wrought with one
-doup in front of the harness. To work the dice A the mails carrying
-the threads not in the doups would be raised alternately with the doup
-standard, and thus form plain cloth; and at the same time, to make
-the dice B a gauze, the mails carrying the threads in the doups would
-be wrought alternately with the doup standard. For the dices C and D,
-this would be reversed. In case of the gauze having to be made with,
-say, 3 shots into each shed, and 2 threads twisting round 2 to give
-openness of texture, it will be seen that it could only be wrought with
-one doup, provided 3 shots went to each shed of the solid dice, as the
-doup would require to be up for 3 shots in succession, and down for the
-same. If plain cloth were required it would be necessary to have a
-doup and standard for each dice, so that one could remain down when the
-other is raised for gauzing; this would allow the harness to work any
-texture on the solid dice, the doup of which is not gauzing. If it were
-required to work a diagonal stripe of plain and gauze, as shown in Fig.
-127, with 2 weft shots coming in between each crossing of the gauze,
-6 doups would be required in front of the harness, whereas if only
-one shot came between the crossings only one doup would be required.
-It will be seen that there are 6 splitfuls of warp to one repeat of
-the pattern, and that the change from the plain to the gauze is at a
-different time for each; therefore, on account of the doup standards
-having to be raised for 2 shots in succession when a portion of the
-cloth is plain texture, it is necessary for each splitful of warp to
-have its own doup so that it can be crossed without interfering with
-the plain texture in the other portion of the cloth.
-
-[Illustration: Fig. 127]
-
-This pattern would be better suited for a shaft mounting than for a
-harness with doups in front, but could be wrought with a gauze harness
-more easily than with either. The advantage of using a harness with
-doups in front, in this case, over a shaft mounting, would be that the
-plain stripe could be figured if desired, and the gauze stripe might go
-in steps of two or three splitfuls alike, which would give much bolder
-stripes.
-
-When more than one or two sets of doups would be required to be used in
-front of a harness, it is advisable to adopt a true gauze harness, as
-the doup shafts come in the way of the weaver. A gauze harness has the
-doups in the harness, so that they can be lifted independently, which
-admits of indiscriminate figuring on either the gauze or solid portion
-of the cloth.
-
-When using doups in front of the harness it is not necessary that the
-plain or solid cloth should be all a plain or unfigured texture; any
-suitable warp figure may be formed on the plain by the harness, but
-weft figures cannot be made on the upper side of the cloth, because,
-though the harness can be raised for any number of shots in succession
-to form a figure by the warp, having it sunk would not in the same way
-form a weft figure, as in crossing the gauze a portion of the yarn
-would be raised by the doup standard, which cannot be prevented, unless
-by having more doups than one. A harness with doups in front is better
-suited for working stripes than any other class of work, and it is in
-this class of work that gauze can be made most effective.
-
-When figuring with gauze, unless several shots are thrown into each
-shed, or between the crossings of the gauze threads, and 3 or more
-warp threads are twisted together, the openness of the texture is not
-sufficient to make a good contrast between the plain and gauze unless
-the fabric is very light; and even with 2 threads round 2, and throwing
-4 to 6 shots into each twist, the contrast is not so great as might
-be desired when the cloth is heavy. A portion of the weft, say every
-second or third shot, might be made to pass either over or under the
-gauzed texture and interwoven only with the solid portion of the cloth,
-the flushed or loose weft to be cropped off afterwards. In stripes, not
-only can this be done, but the warp may be set much thinner or wider
-in the reed for the gauze: say every second or third split may be left
-empty; or it may be of a different description of yarn--a fancy twist
-if desired, or in threads of different colours. A fancy stripe with
-three threads to the split in a reed, set 30 splits per inch, and every
-second split of the gauze portion left empty, makes a very effective
-pattern for fine work, with say 80 picks per inch; or 120 picks might
-be used, and every third or fourth one not wrought into the gauze, but
-flushed over to be cut off afterwards. There might be 2 thick threads
-or 4 finer ones to each split of the gauze, and 4 to 6 shots into each
-crossing, this, of course, to be regulated to suit circumstances and
-taste; one thing must, however, be remembered--viz. that when made too
-bold or open the warp ribs are liable to slide on the weft, and this
-is the chief defect in gauze when made open, especially when a smooth,
-clean yarn, as linen, is used.
-
-[Illustration: Fig. 128]
-
-[Illustration: Fig. 129]
-
-[Illustration: Fig. 130]
-
-When working stripes, any pattern, or any texture or style of cloth,
-whether single, double, or pile work, may be used for the solid
-stripes, or the whole cloth may consist of stripes made of combinations
-of gauze and solid textures. One set of stripes may be wrought quite
-independently of the other by having the yarn on separate beams, and
-when only one set of stripes is gauzed, the others are not drawn into
-the doup heddles, so are quite independent of them. The doup heddles
-may be spaced or otherwise as desired. When working with doups in front
-of the harness, there must be a slackener for the crossing threads for
-each doup standard, same as for heddle work. Figs. 128, 129, and 130
-show some of the methods of slackening in use. In Figs. 128 and 129,
-A is the yarn beam, B the back rail, C and D the vibrating bars or
-slackeners, C acts as a fulcrum; and in Fig. 128 the bar D presses the
-crossing yarn down and is raised by the tappet E, which may be either
-above or below a lever on the end of the bar C, a spring on the lever
-regulating it, to hold it against the tappet. In Fig. 129 the bar D is
-sunk to relieve the crossing yarn, by drawing up the cord G, which is
-attached to the jacquard or dobby, the spring H holding the lever E
-down when it is relieved. Fig. 130 is similar to Fig. 129, but for two
-doups; it is shown both in perspective and in end view, and will be
-clearly understood. C and D must be set at such a distance above each
-other as will permit of the traverse of D without C being moved. Two or
-more shafts of heddles might also be used which could hold the crossing
-yarn either up or down, same as the bars, till they are acted on by the
-jacquard or by a tappet.
-
-[Illustration: Fig. 131]
-
-[Illustration: Fig. 132]
-
-_Designing._--When designing a pattern for gauze, with doups in front
-of the harness, it is only necessary to set off a few hooks of the
-jacquard to work the doups and slackener, and design the fancy portion
-on the remaining hooks; or if the gauze and slackener are wrought
-with tappets the full jacquard will be available for the figured
-portion, the same as if no gauze were being made. If the doups and
-slackener are to be wrought by the jacquard the pattern can be painted
-on the remaining hooks, and the dots for working these can be added
-afterwards, agreeably to the texture of the gauze required. The doup
-standard and slackener should act together, and the doup or half leaf
-should rise when the harness carrying the crossing threads rises. If
-the doup standard is to be raised every second shot, as is required
-when plain cloth has to be wrought with one doup, it might be wrought
-by a tappet, and the doup or loose heald might be raised by the machine
-for every shot, as it must rise with its standard as well as when the
-harness raises any of the yarn drawn into the doup. The doup shaft is
-best held down by a light spring. Indiarubber about 3/16 or 1/4 in.
-in diameter suits very well. One spring at each side of either one or
-two ply of this should be sufficient. If the number of rows in the
-harness is such that it will correspond with the number of threads to
-be twisted together, or be a multiple of them, it will be all the more
-convenient, though it is not necessary for it to be so. For instance,
-if 1 thread is twisted round 1, =2, an 8-row harness would give 4
-repeats of this in each row; but if 1 thread were twisted round 2, =3,
-then 1 row of the harness would give 2 repeats, or hold 2 splitfuls of
-warp and 2 threads over, so that another thread would have to be taken
-from the back of the next row. For this a 6-row harness would be more
-convenient, which could be got by leaving 2 rows of the machine idle,
-and designing the pattern on 6-row paper, or ruling 8-row paper to
-6-row after the design is painted. To work fancy textures with gauze by
-means of a harness with doups in front, both must be arranged to suit
-each other, unless a large number of doups be employed. For instance,
-a 2-and-2 twill could be wrought with 1 doup leaf in front of the
-harness by making 1 thread of the gauze twist round 3, and throwing
-2 shots into each crossing, as shown in Fig. 131. If 1 thread were
-to be twisted round 1 with a 2-and-2 twill, and 2 shots to the gauze
-crossing, 2 doup leaves would be required, as shown in Fig. 132. A
-4-thread fancy twill can be wrought with 1 doup, as shown in Fig. 133,
-1 thread twisting round 3 and 4 shots into each crossing of the gauze.
-Satins or regular twills are more difficult to work, unless by making
-an irregular gauze. Take a 5-end satin, which has the threads over 4
-and under 1. The gauze might have 4 shots and 1 shot into each crossing
-alternately, and be easily wrought with 1 doup; but if 2 or 3 shots had
-to go to each crossing it would be different, as the doup would require
-to sink for 1 shot out of 5, in order to let the threads drawn into it
-bind in the twilled portion of the cloth, or otherwise the binding
-would have to take place on these threads when the doup is down, which
-it could do if it suited otherwise. But it must be remembered that
-when solid cloth and gauze are working together, the former is made
-by raising the doup standard and those mails which carry the threads
-that are not drawn into the doup, leaving stationary the mails carrying
-the crossing threads, except where gauze is being made; therefore, in
-working a 5-end satin, if the doup held up any of the threads for,
-say, 3 shots, and then sank for 3, there would be no way of holding up
-these threads in the twill portion to make them pass over 4 shots, as a
-5-end satin must do, for if the harness twines carrying these threads
-are raised, they will cause a cross to be made instead of completing
-the twill. Patterns of this description should all be wrought in a
-gauze harness. In the figures given the gauze crossings are represented
-by dotted lines where they are raised by the harness, for sake of
-distinction.
-
-[Illustration: Fig. 133]
-
-
-HAND-LOOM GAUZE HARNESS.
-
-[Illustration: Fig. 134]
-
-[Illustration: Fig. 134A]
-
-A large quantity of goods are still being made in the hand loom on
-the gauze principle. These are mostly for curtains known as Cretes
-or Madras muslins, and for antimacassars or chair backs. They are
-chiefly woven in and about Glasgow, and in Newtownards in the North
-of Ireland. These goods are made on the half-harness principle--that
-is, half the warp is drawn into the harness and the other half passes
-through the harness and is drawn into a set of heddles in front. This
-mounting is shown in Fig. 134. It will be seen that every alternate
-thread is drawn into one of the harness mails and all the threads are
-drawn through a pair of clasped leaves of heddles A B; those that are
-drawn into the mails are drawn through the under clasp of the leaf A,
-and those that are not in the mails through the upper clasp of the
-leaf B. The threads are next drawn through the doups as shown, those
-in the mails being in the back set, or upper doups. These doups are
-made different from those generally used, the doup or half-heald being
-connected with two standards; this is for the purpose of throwing less
-strain on the yarn. When the harness is drawn the shaft A is also
-raised, B being sunk, as well as the front set of doups. As the yarn
-in the harness is also drawn through the back set of doups, it follows
-that they must be relieved to allow the harness to raise the yarn. This
-might be done, and sometimes is done, by sinking the ordinary doup
-shaft and letting the yarn draw the doup through its standard; but in
-this case the standard C is raised, which allows the thread to rise
-in the doup, as shown at Fig. 134A, without having to draw it up, and
-at the same time all the doups are kept firm in their places by the
-standard D, thus preventing any entanglement in a fine set of doups.
-The distance between the harness and back leaves is 4 in., and between
-the back leaves and gauze mounting 3 in. The cloth is a plain gauze,
-and the figure is formed by throwing one or more shots of rove weft,
-either white or coloured, into the shed formed by the harness flushing
-over the ground and clipped off afterwards. To form the figure shed,
-draw the harness, raise the leaf A and the standard C, and sink the
-other leaves, making a rising and falling shed, or centre shedding. To
-form the gauze, for the open shed raise B C D and F, and to form the
-cross shed raise E and F, in both cases sinking the others. For these
-sheds fine or ground weft is thrown in, the flowering shots coming
-between them. The shafts A and B are for the purpose of keeping a clear
-shed, but might be done without. These goods are now largely made by
-power looms, principally with gauze reeds, which see.
-
-
-GAUZE HARNESS
-
-In a true gauze harness the doups are connected with the mails or
-leashes of the harness, the harness twines, or leashes, acting as
-standards for the doups, so that any splitful of warp may be crossed
-or twisted differently from the others, and any kind of texture can
-be wrought along with the gauze without having to consider the one in
-connection with the other, as in the previous harness. Figs. 135 and
-136 show how these harnesses are tied up; the letters refer to the same
-parts in both figures. The harness is shown with four cords in the row,
-for the back harness and the doup mail in front, and this could be
-repeated twice for an eight-row harness. It is better to have the rows
-of the harness regulated in this way to suit the gauze to be made, and
-have the doup leashes in one or two rows at the front, but it is not
-necessary for it to be so, as the doups could come on any of the mails
-through the harness, if desired, in case of a harness being tied up,
-and it being wanted to add the doup leashes for gauzing; but this is
-rather confusing. In any case, this method of working is now superseded.
-
-[Illustration: Fig. 135]
-
-[Illustration: Fig. 136]
-
-A is the doup or dead leash, B the doup standard, or what answers to
-the doup standard in heald work. C and D are the leashes carrying the
-plain or lying threads, and E the leash carrying the crossing thread,
-the crossing in this case being one thread round two. F is the doup.
-Fig. 136 shows the harness drawn for the open shed, and it will be
-observed that the dead leash A is connected with the back harness
-E, so that when this leash is raised to form the shed it draws up
-the dead leash, also relieving the doup. There was one trouble with
-these dead leashes--namely, that they were liable to twist round the
-standards when close to them in the cumber board, sometimes being put
-through the same hole or the next one; but by having them in front
-and a little distance off this could be avoided. Wires or cords were
-sometimes stretched across between the lingoes to prevent the twisting.
-Fig. 135 shows the harness drawn for the cross shed, the doup standard
-being drawn up, drawing the doup up with it. The doup was fastened
-into the mails as shown at No. 1, Fig. 135; but a better plan is to
-have double-eyed mails, and fasten the doup as at No. 2. This form of
-harness is now superseded by one having all the doups on a shaft in
-front of the harness, which consists of two parts--namely, the back
-harness and the douping harness (which is about 3/4 in. to 1-1/2 in.
-in front of the former); the doups are connected with this latter
-harness, and all the doups may be on one shaft, whether for one, two,
-or more rows of standards in the front harness. The doups on the shaft
-are known as a ‘slip heald’ or ‘slip.’ This is a much simpler and more
-convenient method of working than the preceding.
-
-Fig. 137 shows a simple and effective gauze mounting for a 4^{00}
-jacquard, the cords being carried up to the machine in the usual way. A
-is the breast beam of the loom, B the reed, C the back rail, and N the
-yarn beam. D is the slip heald, or doup, which is simply a half-leaf of
-ordinary clasped heddles, made of cotton or worsted, fine or coarse, as
-may be desired for the quality of work to be wrought. E is the front
-or doup mounting, connected with the two front rows of the machine,
-and passing through a small cumber board in front of that for the body
-of the harness; it is bolted so that it can be shifted to regulate
-the distance between the doup harness and that of the figuring. The
-distance between the two harnesses may range from 3/4 in. to 1-1/2 in.,
-or whatever is found most suitable to ease the strain on the yarn and
-make a clear shed. G is the cumber board, and F the body of the harness
-for working the figure.
-
-[Illustration: Fig. 137]
-
-The method of slackening the threads that are drawn into the doups
-is perhaps the principal feature of this mounting. When one or more
-slackening bars are used it is plain that all the threads that pass
-over the bar that is oscillated will be slackened at once, though for
-figured work it may be that only a very few of these threads should
-be slackened, and if the remainder or any portion of them are raised
-by the back leashes they should be kept tight at the back so as to
-enable them to draw up the slack doups. It follows, therefore, that for
-giving good work and keeping the threads at a regular tension, every
-thread in the doups should have its own independent slackener. It is
-not absolutely necessary that this should be so; strong twist cotton or
-worsted yarn will work very well in a harness with one slackening bar
-vibrating for each shot, though it must throw an irregular strain on
-the yarn, and it requires to be tightly paced.
-
-In Fig. 137 the slackening arrangement consists of a small back
-harness, as shown at I, through which all the whip threads are drawn;
-these threads then pass over one lease rod and under the next one,
-as shown, and then on to the harness to be drawn in according to the
-draught of the gauze. The harness consists of small mails attached
-to lingoes with twines in the same way as the lower portion of the
-ordinary harness is prepared, but the mails are rounded off above the
-eye or centre hole without having the top hole for threading the upper
-portion of the harness to. The cumber board of this harness must be
-nicely set, so that the lingoes will hang on the yarn without drawing
-the mails quite close on the cumber board, which soon would cut the
-twines. To regulate this the cumber board and back rail must be set in
-relation to each other and the mails of the harness so as to produce
-the desired effect. A medium position for working may be taken as
-follows:--Cumber board 12 in. behind harness and 6 in. in front of back
-rail. Back rail 2 in. above the level of the mails in the main harness,
-and cumber board of small back harness 3 in. below the level of the
-mails, or 5 in. lower than the top of the back rail. The back lease
-rod might then come in about 8 in. behind the harness. The weight of
-the lingoes on the back harness must be regulated to suit the strength
-of warp to be wrought; about 30 to 40 per lb. for, say, from 40/2 to
-80/2 cotton would suit. The mails for the body of the harness may be
-25’s or 30’s, or the same as for ordinary work, and those for the doup
-standards heavier, say 18’s or 20’s. In addition to this harness for
-slackening, or rather for keeping a yielding tension on the whip, there
-is a slackening bar supported by a lever K L M at both sides of the
-loom. This lever has its fulcrum at L, and is attached to the swords
-of the lay at M, and therefore vibrates at every beat up. The slackener
-acts as a positive motion, and keeps the threads from tightening up
-or being drawn forward by the twisting; it acts on the body of the
-threads, and the harness acts on them individually.
-
-This, when properly set, is an easy motion, and produces a good firm
-gauze. It is a Bradford patent. Now, in reference to the working of the
-gauze: The harness is levelled much in the same way as for ordinary
-work, the mails being 1-1/2 in. or 1-3/4 in. below the level of the
-breast beam. The doup mails should be a little lower than those for the
-harness, say 3/16 in. or 1/4 in.
-
-The shed should be closed, and begin to open again when the reed is
-at the fell of the cloth. Too large a shed should not be made with
-the doups, on account of the strain on the yarn: a small clear shed
-gives much more satisfactory work. The front cumber board, containing
-the doup leashes, may be shifted a little forward or back if thought
-desirable, so as to get the cross shed to spring as easily as possible,
-the amount of elasticity in the warp varying this considerably. The
-slip heald is raised for every shot by cording it to the brander
-or griffe of the jacquard, which for gauze work is generally a
-single-acting one. Springs are used for holding down the slip--a light
-wire spring, or, better, a piece of round indiarubber about 3/16 in.
-in diameter, doubled if necessary. Bridles should be attached from the
-shaft of the slip heald at each end and fastened to the cumber board so
-as to bear the draw of the springs when the harness is down; the cords
-connected with the jacquard for raising this shaft may then be left
-slack, and the size of shed may be regulated or made less than the draw
-of the machine, if required.
-
-It is very important to have the doups nicely adjusted; on this depends
-their lasting capacity, and sometimes a very short time is sufficient
-to cut them to pieces if badly set. But if correctly done they will
-generally last for a length of time, particularly if occasionally
-turned on the shaft, which is more essential in working with a linen
-than with a cotton warp.
-
-One of the doup standard mails with a doup through it is shown at No.
-1 (Fig. 138), where it may be seen that the doup is simply drawn
-through the eye of the mail, and not connected with it in any way. It
-is only held in this position by the warp thread passing through it,
-and whenever the thread breaks the doup falls out of the mail. This
-is a trouble to the weaver, at least till she gets accustomed to it,
-and mails, as shown at No. 2, have been made to hold up the doup. The
-remedy here is often worse than the evil. The mails wear the doups,
-particularly if the springs draw them tight down on the eyes of the
-mails; and besides, they have the disadvantage that the slip heald has
-to be built in them after the harness is mounted, whereas with the
-open mails the slips can be procured anywhere quite independent of the
-harness. The slip heald must be set so that when the harness is down
-the yarn will not be drawn through the eyes of the mails by the doup
-sinking too low. This may be guarded against by adjusting the bridles
-at each side, between the slip shaft and the cumber board. The loops
-of the doups should pass about 1/4 in. through the eyes of the mails
-when at the lowest or bottom position, and the front mails being about
-1/4 in. lower than the others allows the loops of the doups to be just
-bearing lightly on the warp, all being held up straight. The slackening
-bar must be arranged to work in time with the doup standards, and
-should not slacken the yarn too much nor too little, just keeping it
-at a uniform tension. The great point with tender or weak yarn is to
-reduce all friction to a minimum, no matter by what it is caused, and
-if this is done the yarn and doups, if they are of a fair quality to
-begin with, should both work well; but a very slight difference in
-setting the doup may make a great deal of difference in the working of
-it. A doup that may be cut to pieces in working 20 yards of cloth might
-work 400 or 500 yards with so little alteration as not to be noticeable
-to those not accustomed to the work. The slackening bar must not rise
-so high as to raise the yarn that is above it, nor must it sink so low
-as to press the whip down on the back harness board, and it must be so
-regulated that within these limits it will give the proper amount of
-slackening, and prevent the whip warp from getting tight and drawing up
-the small back harness.
-
-[Illustration: Fig. 138]
-
-Worsted makes the best weaving doups for strong work, but for lighter
-work cotton is mostly used, being finer and cheaper. Sometimes
-polished linen yarn is used and makes a very smooth doup, but does not
-give the wear.
-
-Small metallic rings are sometimes used on the loops of the doups, and
-the warp drawn through these rings; this suits for yarn with much fibre
-on it, as it keeps the fibre from getting twisted into the doups, but
-the rings cut the doups faster than ordinary yarn working in them would.
-
-Instead of a slip heald in front, doups with a lingo on each have been
-used, with the mails for the standards as shown at No. 2, Fig. 138, so
-that the doups cannot fall out of them, and the yarn when drawn up by
-the back harness in shedding raises the doups and lingoes up with it.
-The weight of the lingoes must be such as will suit the strength of the
-warp to be used--not too heavy for it to lift nor too light, so that
-in the cross shed the doups would be drawn through the mails. These
-doups being separate, are easily built in the harness and very easily
-repaired by the weaver when they break, but they break too frequently.
-It is, of course, only for a strong warp that this method of working is
-suitable, and even for it, although it works very well, the principle
-is not good.
-
-The gauze harness which will probably be most frequently met with, at
-least in the cotton trade, is shown in Fig. 138. It is an older harness
-than that described, having been patented in Macclesfield in 1876 in a
-somewhat different form. The difference between this and the preceding
-chiefly consists in the method adopted for slackening the yarn, and the
-jacquard may also be specially built to suit for this. In setting this
-loom the harness and mails are tied up and levelled as before, but when
-working the back rail is kept down, as it usually is for gauze work,
-say about 1/2 in. lower than the eyes of the mails. Each whip thread
-has its own slackener, the slackening apparatus consisting of a harness
-wrought either by the same jacquard that works the figure, or by an
-extra one, when much pattern is required.
-
-The connections of the needles with the hooks are shown at A, the
-two bottom needles being connected with the two front and two back
-hooks, the former for working the gauze and the latter for working the
-slackeners. This harness is intended for a 1-round 3-gauze, and is
-mounted on a 10-row machine with an 8-row cylinder on it. It is not
-necessary that the back harness for slackening should be raised so high
-as the figuring harness is, and for this reason, as well as that it
-makes the harness more direct and avoids friction, it is tied to two
-sets of levers as shown at G and G^1; they are made of brass and are
-fastened on two rods, one about 4 in. above the other, so as not to
-come into contact with each other when rising or falling. The points
-of the levers are fastened to the two back rows of hooks as shown, and
-the harness is tied to wire hooks on these levers; F is the neck of the
-harness, D the cumber board, and N the lingoes, which are much heavier
-than those used for the figuring harness, from 6 to 10 per pound being
-the weights frequently used, according to the class or weight of the
-work.
-
-The mails used on the back harness are similar to those used for the
-doups--that is, such as are shown at No. 1 (Fig. 138); but if these cut
-with the warp sawing through them, glass mails should be used. L L^1
-are two rods or bars which support the warp that is drawn down between
-them by the slackening harness. The closer these bars are set together
-the greater will be the amount of slackening given to the warp when the
-harness is drawn; therefore these bars should be made to slide either
-way so that the desired slackness is obtained by setting them. About 3
-in. to 4 in. apart is a good working width; the tops of the bars should
-be about 1 in. lower than the mails in the figuring harness, and the
-tops of the eyes of the mails in the back harness should be 1 in. or
-1-1/4 in. lower than the rods.
-
-Another method of arranging the needles in a jacquard for a gauze
-mounting is shown in Fig. 139, which is, perhaps, more convenient for
-the designer, as will afterwards be seen. In this harness there are 10
-rows of hooks, the same as before--6 for the figuring harness and 2 for
-the doup standards. The doup standards are here on the hooks connected
-with the fourth and eighth needles, and come after the threads that
-the whip in them twists round, and fall in this position on the design
-paper, instead of both being at the end of a design--that is, on the
-seventh and eighth checks. For any order of twisting, the arrangement
-of the hooks and needles might be made to suit on the same principle.
-
-It will be seen that in the leno jacquard, shown in Fig. 138, a number
-of levers and attachments are required to work the slackening harness.
-In order to simplify this, Messrs. Devoge & Co. have brought out a
-leno jacquard with which none of these levers, &c., are required, the
-slackening harness being tied to the two back rows of hooks in the
-machine. These two rows of hooks are lifted by a separate griffe, the
-lift of which is much less than that for working the body hooks of
-the machine, and which can be varied to suit the amount of slackening
-required. This machine is shown in Fig. 140, a view of the motion for
-raising the griffes of both back and body harness being given in Fig.
-140A. _c d_ (Fig. 140A) is the link connection between the bar of the
-griffe _a a_ and the top lever L (Fig. 140), somewhat similar to what
-is used for an ordinary jacquard. To raise the small griffe at the
-back, it will be seen that there is a cross lever _e_ from the links
-_d_, _c_ to its fulcrum _h_ on a bracket _g_ attached to the top of the
-machine. The small or back griffe _b_ is connected to this lever by the
-link _f_. The amount of lift given to the small griffe in proportion
-to that given to the large one will be as the length of the lever from
-the stud in _h_ to that in _f_ is to its length from the stud in _h_
-to that in _d_. The farther the fulcrum is pushed back in the slot in
-which it is fastened, the more the back griffe will be raised, the link
-_f_ being always vertical. The back griffe is arranged to commence
-lifting slightly in advance of the front one, in order to lessen the
-strain on the doups. The needles are connected with the back and front
-hooks in this machine similarly to those in Fig. 138.
-
-[Illustration: Fig. 139]
-
-The draft of a gauze in the harness is just the same as regards the
-doups as for shaft work; the crossing may be made from left to right,
-or the reverse, but the pattern must be made to suit. Some mount the
-harnesses and paint the patterns from right to left. About Bradford
-this appears to be the usual method, and it does not matter provided
-the mounting, drawing and designing be kept in accord; but here we
-shall keep to the same principle as is recognised all through--viz.
-mounting and designing from left to right, which is the correct method
-so far as drawing is concerned, and equally convenient in other
-respects.
-
-[Illustration: Fig. 140]
-
-[Illustration: Fig. 140A]
-
-To design a pattern for gauze: if it is to be a simple geometrical
-pattern it may be put direct on the design paper; but if to be a
-figured pattern, a sketch should be prepared for it in the same manner
-as for ordinary figured patterns, whether for dress goods, curtains,
-or any other material. Any desired figuring can be made, providing
-sufficient space be left between the figures to admit of the open work
-being made. The figuring should be treated as the ornamentation of a
-plain or short twill ground figure, which is woven on a gauze ground;
-the figure may be entirely plain or twill upon a gauze ground, in which
-case it must be sufficiently plain and solid to be effective, or it
-may be treated as damask figuring on ornamental patches of plain or
-twill on a gauze ground; or, again, the gauze may form the figure and
-the ground be plain or twill. Any variety may be made that ingenuity
-can suggest, and figuring with extra warp or weft may also be adopted
-if desired. When about to put the pattern on design paper, it may be
-observed that out of the 8 rows of needles in the machine only 6 are
-used for figuring, the other 2 being employed for gauzing; therefore,
-some means must be devised for getting the pattern on the paper so
-as to suit this. The simplest plan is that adopted in America--viz.
-instead of using two rows of hooks along the jacquard for the doup
-standards, to leave as many hooks at the first of the machine as will
-correspond with the number of doup standards required for one repeat of
-the pattern. Suppose for the same ties as those given--100 hooks for
-the doups and 300 for the figure--then the cords from the first or last
-100 hooks would be taken down through the two front rows of the cumber
-board, and those from the 300 hooks would make up the body of the
-harness. When mounting in this way, the jacquard would be better turned
-with the cards hanging over the side of the loom, as for the ‘London
-tie.’ This method of mounting enables the pattern to be designed for
-300 hooks and painted on the design paper independently of the gauze,
-which can be filled in afterwards.
-
-[Illustration: Fig. 141]
-
-Fig. 141 is an example of designing in this manner, using 6 rows of
-hooks, to suit the gauze. The pattern is put on the rows of designs
-numbered 4, 5, 6, 7, and 8. No. 3 is for the selvage, and the working
-of the doups is on Nos. 1 and 2. This is for a 1 round 2 gauze, 6
-checks, or 2 splitfuls of gauze to the design; there would be 10 doups
-required for the 5 designs in the repeat of the pattern, and for these
-10 checks are used of designs Nos. 1 and 2. The rising of the back
-leash of the harness to form the crossing is shown by the dots marked
-on the design, and as gauze is formed by raising this leash and the
-doup alternately, it is only necessary to take each line of the design
-paper for the doups, and, following up the markings for the back
-leashes, fill in for the doups to rise when the back leash is sunk for
-the gauze, taking care to keep clear of the figuring. In making gauze
-the doup should always rise immediately after the figuring ends, to
-form the first crossing, and it should also be up immediately before
-the next portion of the figuring begins, so that in an irregular
-figured pattern the gauze might frequently require to be broken to
-effect this, as may be seen in Fig. 141. Take the first upright line of
-the pattern, design No. 4: the back leash is raised for three, then the
-doup for three, and the figure follows. Passing on to the tenth line
-it will be seen that the doup rises for three after the figure, and is
-also up for three before the next figure begins; but, passing on to
-designs 7 and 8, it will be seen that the risings of the doup and back
-leash would not fall in regularly in threes against the figure, as it
-would be better if they did, and therefore the gauze is broken so as
-to fall in; but in small patterns of this description, when it is of
-importance to keep the outline of the figure as regular as possible,
-this can and should be remedied; instead of the outline of the figure
-running diagonally on the design paper in steps of one check, it should
-go in steps of as many checks as there are threads to the twist of the
-gauze in the warp and shots in each twist in the weft. This is shown in
-Fig. 142, where all the twisting falls in regularly with the figure.
-This may to a great extent be carried out with irregular figures by the
-designer exercising a little judgment, and when filling in the gauze
-make up the plain edging of the figuring to fall in with it--that is,
-only to break the gauze where there is room to do it effectively, and
-where there is not, a few dots can be added to the plain. If Figs. 141
-and 142 be compared, it may be seen how this could be done: examining
-designs 4 and 8 above the figures, the latter below as well; but
-Fig. 142 shows the proper method of treating these small geometrical
-figures. Another point to be observed is whether all the doup leashes
-are to be raised together to form the gauze, or whether it is to be
-formed by raising every alternate doup leash and every alternate back
-leash, as is done in these figures. The latter method is preferable
-for working, as it makes an even tension on every shed, whereas if one
-shed is a full cross shed formed by the doups, and the reverse of this
-an open shed with no crossing, the cross shed will be the tighter, and
-produce a certain amount of plucking, with a tendency to shire in some
-patterns; but in case of working dices or any pattern where the top and
-bottom of the figure extend some distance straight across the design
-paper, it would be impossible for the first shed of the gauze to be
-formed by the doup if only every alternate doup leash was raised. Some
-judgment must therefore be exercised in these matters, and the best
-effect obtained that will suit circumstances.
-
-[Illustration: Fig. 142]
-
-Now to put the patterns on design paper to suit the harness when the
-two front rows of the jacquard are used to work the doups, as in Fig.
-138, also when any other rows are used, as in Fig. 139: the simplest
-way to do this--at least, for those not well accustomed to the work--is
-to design them on 6-row paper, as Fig. 142, and afterwards transfer
-them to 8-row paper, leaving the lines for the doups empty, the doup
-lines being afterwards filled in, as in Figs. 143 and 144. Fig. 144
-has the advantage that each splitful of gauze stands alone, whereas
-when filling in the markings for the doups in Fig. 144, two splitfuls
-stand together; but a little practice makes one method as simple as the
-other. The dots represent the markings for the doups, and the shaded
-squares those for raising the back leashes to form the open shed of
-the gauze. The transferring of the designs from one sheet of design
-paper to another is, of course, a matter of trouble and expense, and
-may be avoided if an experienced card-cutter is to cut the cards. The
-design need not be transferred, but have the marks for raising the
-doups put on the same lines of the design paper as those for raising
-the back leashes for the open shed. This is shown in Fig. 145, the
-shaded squares being the same as in Figs. 143 and 144; but the dots,
-instead of being put on lines left for them, as in these figures, are
-put on the same lines as the shaded squares, and the card-cutter sees
-to their being cut on the correct lines, as in Figs. 143 and 144. In
-designing, different colours would be used. The shaded square should be
-the same colour as the figure, as they are to be cut for the lines they
-are on, but the dots should be of a different colour, to be cut for a
-different line of the card from that on which they are placed on the
-design--the dot on the first check of a design being the seventh hole
-in a row of the card, and that on the third check of a design being the
-last hole of a row on the card.
-
-[Illustration: Fig. 143]
-
-[Illustration: Fig. 144]
-
-[Illustration: Fig. 145]
-
-Fig. 146 shows a portion of an ornamental pattern as it would be
-designed for a gauze ground of two threads of warp twisting round two
-= 4 in the split and 4 picks into each crossing of the gauze. This
-would require a 10-row machine, eight rows for the figuring harness and
-two rows for the doup standards. When two threads are twisting round
-two, it is not necessary to have a doup for each, though it may be
-desirable; but it suits very well to have both threads drawn through
-the same doup. It will be necessary to have a stronger doup in this
-case, but if the warp is very light it would have so much more to do in
-drawing up the heavy doup than if each thread was drawn through a very
-light doup that the latter had better be adopted; otherwise a stronger
-doup, with both threads through one, is simpler. On the pattern, the
-doups are raised by the dots, which must be cut on the proper line
-of the card, as before; both lines are dotted as if each thread had
-its own doup, but only the front dots of each pair are necessary. The
-shaded squares are for raising the crossing threads with the leashes
-for the open shed of the gauze. In this pattern it is necessary that
-the outline of the figure should go in steps of four warp ways, as
-there are four threads to the twist; but it is not necessary that it
-should go in steps of four weft ways. A better outline can be given
-to the figure by not adhering to this, though the perforations in the
-gauze will be to some extent sacrificed by being irregular; but this
-would be so in any case in order to raise the doup standard after
-the figure when the doups and leashes are gauzing alternately; they
-might be regularly started at one side of the figure, but this would
-probably make them more irregular at the other side. By following
-round the edges of this figure it will be seen that by a little care
-no blemish of any consequence need be left, though it will not be so
-perfect as when calculated to fall in as Fig. 145.
-
-[Illustration: Fig. 146]
-
-Any variety of simple gauze texture may be used, as well as the plain
-and honeycomb gauze, but unless there is plenty of space and the
-figures are plain and large, no very intricate crossings should be
-attempted, unless for stripes, as they would probably mar the outline
-of the figure; but if not, they may be used where suitable.
-
-Another important point in designing for gauze is that if the texture
-of the solid cloth is loose and that of the gauze pretty firmly
-twisted, the take-up of the warp may be very different when weaving. To
-avoid this the gauze and figure should be well intermixed, and not be
-in too great quantities in any one part--in fact, the gauze and plain
-should be constantly interchanging, and when the pattern is such that
-this cannot be, the textures must be regulated so that there will be
-about an equal quantity of warp taken up for each. A little practice
-will soon show this.
-
-Nothing has been said about the description of jacquard used for
-working gauze, but the same principle holds good as for working with
-shafts. A gauze shed is taken to be a plain jacquard lift--that is, the
-shed formed by the single-lift jacquard raises the yarn and lets it
-down again before beginning to raise the following shed. This enables
-the doup and doup yarn to fall into their places before being drawn
-away to form a following shed. At the same time, we are not limited to
-a single-lift jacquard. If you have a double-lift jacquard, and want
-to work a small piece of gauze, do so; but do it correctly, or, in
-other words, take means to make a good job of it. Before explaining
-how to do this, it will be well to show where the difficulty exists.
-In a double-acting machine one griffe is rising when the other is
-falling, and in plain gauze the doup standard and leash carrying the
-crossing thread are raised alternately, one shot being thrown into the
-shed formed by each. Therefore, the same thread is up for every shot,
-and the thread round which it twists is always down. Now, when one
-griffe has raised the doup standard and the next one raises the leashes
-carrying the same threads, both will pass in the centre of the shed,
-and, as shown in Fig. 147, the crossing thread will be dragging up the
-lying thread from the position shown by the under dotted line, thereby
-causing considerable friction on the yarn, which must be detrimental to
-a fine or weak warp, and is inclined to drag the doup through the eyes
-of their standards; but as the harness in coming to the centre slackens
-the warp threads, and also as the slackener begins to act when the
-harness begins to rise, the threads will be further slackened in those
-sheds where the doups follow the back leashes, and this reduces the
-friction. It may, however, be entirely avoided by raising the lying
-threads to the mid position to meet the descending griffe, and then
-let down with it. A simple method of doing this is to have the leashes
-carrying the lying threads through a separate slip of cumber board at
-the back, and knots on them above it, so that when it is raised all the
-lying threads will be drawn up with it.
-
-The cumber board can be raised by a cam, or in any other suitable way.
-(See Journal Weaving for Scotch Carpets.)
-
-[Illustration: Fig. 147]
-
-These leashes might also be raised by means of a shaft through loops in
-them, or with bars under the jacquard hooks, in the same way as is done
-in twilling harnesses (which see), but with a special motion to raise
-and lower them. In Fig. 147, the dotted line A, B shows the middle
-position or centre of the traverse of the yarn in shedding.
-
-Although this is the proper means to adopt to work gauze satisfactorily
-with a double-acting jacquard, or with any double-acting shedding
-motion, it may be that small portions of gauze, such as a few stripes
-up a web, are wanted without the trouble of making any special
-arrangements for it. Good strong twist cotton yarn will work very well,
-if nicely tempered, in a double-acting machine. The slackeners can be
-arranged by leaving a few hooks apart to work them with, and cords
-tied to these hooks and let down at the back, in the same manner as in
-the gauze harness (Fig. 138), which will do very well. When three or
-more shots are thrown into each shed of the gauze--that is, between
-the crossings--there will be much less friction than when the crossing
-takes place at each shot, as it is only at the crossing the friction
-takes place.
-
-One source of annoyance in working gauze is the wear on the doups,
-which requires them to be changed frequently and adds cost to the
-production. It has often been attempted to work the gauze by other
-means, and for some classes of work this has proved successful. One
-of the best arrangements, and one that is largely used, is the gauze
-reed, which is almost entirely adopted about Glasgow for weaving leno
-curtains in the power loom; it is also employed for other classes of
-work, but is limited in its use. It will not supply the place of a
-gauze harness.
-
-
-THE GAUZE REED.
-
-This is principally used for working leno curtains or Madras muslins in
-power looms. The texture of these fabrics is a plain gauze ground, the
-figure being formed by one or more colours of thick soft weft, thrown
-in and bound for the figure, but flushed or floated over the ground,
-to be cut off afterwards. The reed is wrought in conjunction with a
-harness, the reed forming the ground of the fabric and the harness the
-figuring. The harness is mounted in the same way as a half-harness, or
-for half the warp, and the reed does the work of the doups. The gauze
-reed will suit for gauze up to 55 threads per inch in the reed, but
-is more used for fabrics ranging from 30 to 50 threads per inch. A
-portion of the reed is given in Fig. 148, in which it will be seen that
-it consists of the usual dents set in ribs, and a set of half-dents,
-perforated at the points which are set into the lower rib of the reed
-behind the others, and lie about half-way through the splits in a
-slightly slanting position. The gauze reed works behind the slay and in
-front of the harness. It should be about 1/2 in. behind the slay when
-the cranks are at the back centre, so as to leave sufficient room for
-clearance between them.
-
-[Illustration: Fig. 148]
-
-[Illustration: Fig. 149]
-
-[Illustration: Fig. 150]
-
-A good method of working the reed is shown in Fig. 149, which is a
-back view. A is a rocking shaft supported by brackets, as _a_, on
-the top rail of the loom; B is a lever projecting towards the front
-of the loom, and the rod _b_ from it supports one end of the reed; C
-is another lever on the shaft A, projecting backwards, and the rod
-D connects it with the tappet treadles, so that when the treadle is
-pressed down the reed rises; about 3-1/2 in. is the usual height for
-it to rise. F is the upper rib of the gauze reed, and F^1 the lower
-one. G is the yoke of the reed. On the yoke is fastened a bar P P,
-connected with the strap which passes round the top rib of the reed.
-I I are two projections on the bar P P, through which the slide rod E
-E^1 passes and is fastened at the top to a bracket C on the top of the
-loom, and at the bottom it fits into a socket or stand N fixed to the
-ground; the reed slides up and down on this rod. H is a tube round the
-slide rod between the projections I I, and is about 1/2 in. shorter
-than the distance between them; to the bottom of this tube is fixed
-the support H^1 for the dipping rod K, which, when the yarn under it
-is very tight, can yield 1/2 in., along with the tube H. The reed is
-not positive in falling, but when raised by the tappet it falls by its
-own weight and that of the weight-box L, which slides on the rod E E^1.
-The weight-box is fastened by a rod M to the crank on the bar which
-supports the dipping rod, and weights it as well as the reed. Small
-weights, as R, about 1/4 lb. weight, can be placed in the weight-box
-till as much weight as is required is put on. Fig. 151 gives a view
-of the gauze reed mounting, with the gauze or cross-shed open. Every
-alternate thread of the warp is drawn into one of the gauze dents, and
-every other one into the harness, as shown. The harness is levelled 2
-in. or 2-1/2 in. below the level of the breast beam; or, having the
-slay levelled with the race 1/2 in. below the breast beam when the
-cranks are at the top centre, push back the slay till the cranks are
-at the back centre, and place a straight-edge across the race, and the
-under edge of the straight-edge where it passes the front row of the
-harness will give the height for the eyes of the mails. The back shell
-E should be set 1/2 in. below the level of the breast beam, and should
-be made to vibrate with a tappet, which should lower it when the gauze
-shed is opened, and keep it raised for the figuring shots. A shows the
-position of the weaver’s reed, B is the gauze reed, C the dipping rod,
-D the heck or ravel which is on the harness under the harness reed or
-cumber board F; the ravel should be about 6 in. above the yarn and 3
-in. below the cumber board, making the latter 9 in. or 10 in. above the
-yarn. The ravel is like a small harness reed with only one rib on it,
-which is placed behind the harness, being covered with an iron tube to
-strengthen it; in front a flat iron rod is fastened above the ends of
-the dents and serves as the second rib. Three wires are stretched along
-the ravel to keep the harness steady, in the same way that they are
-stretched along a harness reed, but three are sufficient, instead of
-having one for each row of harness. The ravel is shown in full in Fig.
-150; it is about 1-1/2 in. deep (or across it), and the cumber board 3
-in. deep; it is for the purpose of drawing the yarn in the harness to
-either side, so that when the gauze reed is rising the half dents may
-pass to the right and left of the threads in the harness alternately;
-it is this which gives the gauze twist. Two bars A A^1 (Fig. 150)
-extend from the ends of the frame of the heck; these slide in brackets
-C C^1 fastened to the sides of the loom. The lateral motion is given to
-it by a lever B B^1 with its fulcrum at B^1; this lever has a bowl D
-on its lower end, which is acted on by a wheel E driven at the proper
-speed to suit the shedding. E^1 is a face view of this wheel, which has
-a projection on it for shifting the lever.
-
-Sometimes the motion is imparted to the lever so as to shift the ravel
-just when it is required--that is, before the gauze reed has risen to
-form the shed; and sometimes the ravel is shifted a part of the way
-at each shot of figuring, and has completed its traverse before the
-gauze reed has risen; this latter makes a more gradual pressure on the
-harness, and avoids any sudden plucking. When the wheel E acts upon the
-lever the ravel is drawn to the right, and when released the spring F,
-fastened from the side of the loom to the end of the ravel, draws it
-back again. The traverse of the ravel should be about 3/4 in. C^2 is a
-separate view of the brackets C and C^1.
-
-Sometimes the heck is on the yarn between the reed and the harness,
-instead of being on the harness; in this case there must be about 8
-in. between the reed and the harness, and the heck or ravel rests
-about half-way between them. The harness is wrought with a double-lift
-machine and three tappets. One tappet which is much like a plain wyper
-tappet, but with less dwell on it, acts on one of the treadles, which
-is connected by a rod and lever to one of the griffes: this raises
-the flowering shed, the lift being about 3-1/2 in., and the flowering
-shot is thrown in as in ordinary work, the sheds being close when the
-cranks are at the top centre or a little over it. As soon as this shot
-is thrown in, when the cranks are a little over the back centre, the
-second griffe is raised by another tappet. As this takes place before
-the cylinder is in against the needles, all the yarn in the harness is
-raised; the reason for raising it is to get all the harness yarn clear
-of the half dents of the reed, so that it can be shifted over them by
-the ravel. The gauze reed is raised by the third tappet; it begins to
-rise shortly after the second griffe, or when the cranks are a little
-past the top centre during the same revolution. The yarn raised by the
-first griffe begins to fall at the same time that the reed begins to
-rise; the second griffe raises the bottom yarn till it meets the top
-yarn of the first shed descending, at which time the ravel should be
-fully shifted, and the points of the half dents rising should be 3/4
-in. below the harness yarn. As the harness falls and the reed rises,
-the yarn in the former will pass down at the opposite sides of the
-half-dents to which it was before being raised; a ground shot is then
-thrown in (this is the second ground shot), and the reed descends,
-taking the yarn in it down level with that in the harness. The harness
-is again raised as before for the next flowering shot.
-
-When the reed is raised to form the shed for the ground shot no card
-is required to pass over the cylinder of the jacquard, and to prevent
-one passing the sneck or shears is raised for this shot, so that the
-cylinder is not turned. The reed must be raised in time to have the
-shed open for the passage of the shuttle, but keeping it a little late
-requires less lift to be given to the second shed which is being raised
-to get the bottom yarn clear of the half dents of the reed. The above
-description is intended for weaving fabrics with one cover, or one
-colour of flowering shot, as when the pattern is in white or a single
-colour, as it often is; but when two or more colours of figuring weft
-are used, the flowering sheds might be opened with one griffe working
-the machine single-acting, and constructing and timing the tappets to
-suit. One tappet would then open two or more sheds for the flowering;
-the second and third tappets would act on the bottom yarn and reed as
-before. It is, however, usual to work the machine double-acting, and to
-construct the tappets to raise the griffes alternately for two covers.
-No. 1 tappet would raise one griffe, No. 2 tappet would raise the
-other griffe; then a small wing on No. 1 tappet would lift the bottom
-yarn, and No. 3 tappet would raise the reed, the sneck being lifted at
-the last beat of the cylinder to prevent it from turning. For three
-or more covers the tappets would require to be arranged to suit in a
-similar manner. Fig. 151A is a front view of the position of the yarn
-in the reed when the flowering shed is drawn. Only a portion of the
-harness would be raised for each shot, as, say, the threads 1, 1, the
-remainder 2, 2, being sunk. After the flowering shots are thrown in,
-the bottom yarn in the harness 2, 2 has to be shifted to the other
-side of the half dents for the gauze shed. It is therefore raised up to
-meet the threads 1, 1 coming down. All are then shifted together, and
-when the reed is raised the position of the harness yarn is shown at
-the crosses; 0000 shows the position it was in at the previous ground
-shot. The dots on the half dents show the position of the yarn in them
-in relation to that in the harness 2, 2 when the reed is at rest, the
-yarn in both reed and harness being on a level. The reed could be
-wrought turned upside down with a harness, but all the loose flowering
-weft would require to be below. In this case there is no necessity for
-getting the under shed clear of the gauze dents for changing it with
-the ravel to form the ground shed; but this is an objectionable method
-of working, particularly with a light pattern, on account of the heavy
-shed that has to be raised. If the flushed yarn was thrown to the top
-and the reed turned upside down, the only way to work the heck would be
-on the harness below the mails, which would require it to be as deep
-as a reed or cumber board, in order to let the lingoes fall, and this
-would not answer very well.
-
-[Illustration: Fig. 151]
-
-[Illustration: Fig. 151A]
-
-
-
-
-CHAPTER VIII
-
-_DOUBLE CLOTH_
-
-
-DOUBLE CLOTH AND QUILTING HARNESSES
-
-A very great variety of cloths come under the heading of double cloth;
-in fact, almost every description of coloured cloth figured in the
-loom, excepting coloured damasks and the commoner descriptions of dress
-goods, as well as many uncoloured fabrics, are generally woven more or
-less on this principle. Quiltings are mostly made on the double-cloth
-principle, and have nothing to specially distinguish them, except
-that some makes of cloth appear to be more suitable for goods of this
-description, though frequently other fabrics of a much more costly
-nature are woven in the same way; as, for instance, matelasses may be
-made in the richest silk and worsted for jackets, as well as in coarse
-cotton for quilts. One of the largest sections of double cloth is
-carpetings, but these will be described in a separate section.
-
-For figuring double cloths the same principles of the structure of the
-cloth, &c., hold good as when weaving them plain, or in fancy texture.
-Any suitable pattern can be put upon any description of double cloth
-with a full harness mounting mounted in the ordinary manner; but the
-pattern must be spread over the design paper to suit the description
-of cloth to be made, which often necessitates its being in a very
-distorted form, unless it can be arranged in different colours so that
-the card-cutter can cut several cards from each line of the design
-paper. For instance, if three colours are required to form one complete
-weft line, then three lines of the design paper would be taken up with
-these, unless the colours could be arranged that the three cards could
-be cut from the one line, as frequently can be done; and the same for
-the warp when there is a face and back warp, or several colours to be
-brought up for one warp line. When there are two warp threads, one for
-the face and one for the back, two hooks of the jacquard are required
-to weave them, and two lines on the design paper are also required,
-unless two colours are painted on one line to guide the card-cutter in
-cutting the cards.
-
-It is a great saving of work to the designer when the pattern has
-not to be spread over the paper so as to give each line separately,
-as doing so generally puts the pattern so much out of shape that it
-requires first to be designed square, or of the proper dimensions, on
-suitable design paper, and afterwards transferred to the working design
-for the card-cutter. When goods are being largely made this can often
-be avoided by special mechanism or mounting, to act instead of the
-cards, it being then worth the trouble of having a specially prepared
-mounting, and it is in these cases where double-cloth mountings are
-used. Perhaps the simplest class of the double-cloth range, though
-not really a double cloth, is figuring with extra weft. The figuring
-weft may be thrown in as a spotting intermittently, or may be every
-alternate shot, a ground shot following each figure shot.
-
-Suppose the cloth to be a plain ground and a twill figure, and that 500
-cards would be required to weave the figure if it were plain damask; it
-is then evident that 1,000 cards would be required if every alternate
-shot is ground, and the others for figure, and that the 500 plain cards
-for the ground would be two cards repeated 250 times. Now, instead of
-this, if we use a double-cylinder jacquard, and put the figuring cards
-on one side and four plain cards on the other side, we can save 496
-cards, as the four cards on the cylinder will work the plain at every
-alternate shot. Or suppose a single-cylinder machine to be used, then
-shafts might be put through loops in the harness; or the cumber board
-might be made in sections, with knots on the harness twines above it,
-so that in either case the harness could be raised in rows to form
-plain cloth.
-
-The plain shed could be formed with a tappet and levers, as in journal
-weaving, and the griffe would only be raised for every figuring shot.
-Plain cloth might also be wrought with a twilling motion on the
-machine, such as is used on twilling jacquards. A pair of pressure
-heddles in front of the harness is a common method of accomplishing
-this in the hand loom. The harness is drawn for one shot, then let
-down, and one of the pressure heddles sunk and the other raised for the
-second shot. For the third shot the harness is again drawn, and for the
-fourth shot the plain shed is crossed with the heddles. A twill or any
-figure may be used, as well as a plain ground.
-
-The next step in double cloth is perhaps double-weft-faced cloth--that
-is, when the surface of the cloth on both sides is formed by weft, the
-warp lying in the centre, and merely acting as binders to bind the two
-wefts together. The warp may occasionally be brought to the surface to
-give additional effect, or to add a third colour; or the body of the
-weft may be kept on one side, the warp forming the ground on the other
-side, with a weft figure on it, producing a one-sided cloth.
-
-This class of work is best wrought in a pick-and-pick loom; but a check
-loom--that is, one with extra boxes at one side only--can frequently be
-used, and gives much less trouble. For a check loom two fine shots may
-be used as one, having each pair of cards alike, except at the selvage,
-and throwing two shots into each shed. Of course this takes twice the
-number of picks and cards (unless two picks be given to each card), but
-in some cases, as for borders, this may be an advantage in comparison
-with working pick-and-pick. Often two succeeding cards of the pattern
-for the same colour are made to follow each other, as may be found in
-tapestries, &c., and the weft knocks up into its place without showing
-any defect; but in a heavy cloth, with a thick or stiff warp, the weft
-could not be knocked close together on this principle. With a fine
-binding, warp of cotton and a thicker weft of woollen or worsted, there
-is no difficulty in this working.
-
-For double-weft-faced patterns the simplest method of designing is to
-paint the pattern as if for plain damask, and then cut two cards for
-each line of the design paper, one card being cut exactly the reverse
-of the other; that is, the cutter cuts the painted squares for one card
-and the ground squares for the next card. In lacing these two cards
-are kept together, a ground and a flowering card coming alternately.
-There is, however, an objection to this method of binding the texture
-of the cloth, though in many cases it works very well. The objection is
-that the warp has to be brought from the face of one side through to
-the face of the other side for the succeeding shot to form the binding,
-instead of being brought from the centre only to the face as it should
-be.
-
-[Illustration: Fig. 152]
-
-Fig. 152 shows a portion of a stripe pattern designed to produce 8-end
-twilled stripes. If a black and a white weft are used pick-and-pick,
-the white pick coming first, A would be a solid black stripe and B a
-solid white stripe, or the appearance would be as on the design paper,
-but much reduced in size. On the under side of the cloth the colours
-would be reversed.
-
-[Illustration: Fig. 153]
-
-The first card would be cut as the painting, cutting black, and the
-second card would be exactly the reverse of this, cutting the white or
-ground squares on the same line of the design paper. The texture formed
-on the cloth by these cards is shown in Fig. 153, each line of the
-design paper representing one card.
-
-[Illustration: Fig. 154]
-
-The correct method of binding is shown in Fig. 154, where it will be
-observed that the binding of two succeeding weft shots does not fall
-on the same warp thread, and that the binding dot will be covered by
-the floats of the preceding and succeeding weft shots when the weft is
-knocked up close. There are other squares on which the binding dots
-might be placed as well as those in Fig. 154, one check to the left of
-where they are being frequently used. A stripe pattern, as Fig. 152,
-can be put upon design paper with each line representing two cards,
-and be twilled to give the texture in Fig. 154, as is shown in Fig. 155.
-
-When cutting this the cutter cuts the shaded squares and black dots
-for the first card, and for the second card he cuts white and crossed
-squares on the stripe B, and the solid black squares on the stripe A,
-which it will be seen is exactly the same as cutting the black for the
-first two lines of Fig. 154.
-
-[Illustration: Fig. 155]
-
-When painting the design the shaded squares may be red, the black
-ones black, the black dots yellow or white, and the crosses green;
-or any other convenient colours may be adopted. It will be observed
-that in Figs. 152 and 155, where the raised and sunk twills come
-together at the junction of the two stripes, there are no binding
-dots on the two threads lying beside each other. It is not necessary
-to have any binding for these threads, as the two wefts crossing bind
-them sufficiently. Any desired figure may be woven on cloth on this
-principle, which is a very convenient one, as the colours can be so
-readily changed, and three or more colours may be used as well as two;
-but in this case there is generally a right and a wrong side to the
-cloth, the body of the wefts being at the back and each colour brought
-through to the face to form the figure. Instead of the body of the
-weft, or that portion not required for the figure, being at the back
-of the cloth, it may be in the centre of the warp, and an equally good
-face made on both sides of the cloth; but this requires more wefting,
-makes a thicker and harder cloth, and is more expensive and more
-troublesome to weave. Warp figuring may be done in exactly the same way
-as described for weft figuring, and the pattern turned sideways shows
-how it would be for warp; the only difference in the work all through
-is to treat the warp as explained for weft. Of course, in the designing
-and card-cutting, cutting two cards, one the reverse of the other, from
-a design painted as if for a damask, would not fall in, but the designs
-that are wrought fully out on the design paper would be all right. A
-contraction of the work similar to cutting two cards from one line of
-the design paper would have to be sought for in the mounting in the
-first place, and in the card-cutting, to suit it.
-
-[Illustration: Fig. 156]
-
-Suppose the design to be as in Figs. 152 and 155, and to be painted
-for a 200-jacquard, then to allow for double the quantity of warp a
-400-jacquard would be required, the machinery being increased instead
-of the number of cards. Now, to mount a loom for this class of work
-the simplest plan is to divide the machine and cumber board into two
-divisions, one half being used for one warp, which may be called the
-face warp, and the other half for the other warp, which we may call
-the back warp. A mounting of this description is shown in Fig. 156, in
-which the machine is divided into two portions, 1 and 2, with 200 hooks
-in each; the cumber board is also divided into two sections, marked A
-and B. Here only four rows of needles are given, but any number can
-be used. The cords from the hooks 1 to 200 are taken through the back
-cumber board A, and those from the hooks 201 to 400 through the front
-cumber board B.
-
-When entering the yarn, one thread is taken from the back warp and
-drawn into the first mail of the back harness, and the next thread is
-taken from the face warp and drawn through the first mail of the front
-mounting. Now, in reference to the card-cutting: instead of cutting two
-cards one the reverse of the other, one half of the card must be cut
-the reverse of the other half, the card-cutter cutting the coloured
-squares of the design (200 checks) on the first half of the card, and
-going back again and cutting the blank squares on the second half of
-the card; or, when there is any variation in the twill, the pattern for
-the face may be painted on 200 checks, and that for the back on 200
-checks, and when cut on the card the threads of the warp will be raised
-in proper order by the mounting.
-
-Fig. 157 shows this principle of mounting with a straight or Norwich
-tie, for which it is not so suitable as for the London tie (Fig. 156)
-on account of the crossing over of the harness, though it is not very
-objectionable if a narrow cumber board be used. Instead of having two
-separate cumber boards with four or eight rows in each, one broad board
-with eight or sixteen rows is better for the Norwich tie; then let the
-first row of the back harness pass down through the back row of the
-cumber board, and the first row of the front harness pass through the
-second row of the cumber board, and so on, the back harness filling the
-odd rows and the front the even rows; and when drawing in the yarn,
-taking an end from the back and face warps alternately and drawing
-them regularly over the harness causes them to fall correctly on their
-respective mountings. Instead of dividing the card in this way and
-reducing the machine to half its figuring capacity, a double-cylinder
-machine might be used, the hooks from one set of needles being used for
-one mounting, and those from the other set of needles for the other
-mounting; then cutting the face pattern on one set of cards and hanging
-them on one cylinder, and using a second set of cards containing the
-back pattern for the other cylinder, should attain the same results,
-and give double the extent of pattern on the same size of machine, both
-griffes being raised and sunk together, and both cylinders being also
-brought in and out together.
-
-[Illustration: Fig. 157]
-
-[Illustration: Fig. 158]
-
-A modification of cutting the back and face pattern on its own half
-of the card is to be found in the double-cloth quilting mounting
-common about Paisley. These quilts are generally of a plain texture,
-and the figuring is formed by passing one cloth up and down through
-the other. The machine generally used is an improvement on the old
-French draw loom, and is shown in Fig. 158 as it is made, principally
-of wood, for hand looms. In this sketch the needles and cords in lieu
-of hooks are not shown, but one row of them is shown in Fig. 159 with
-only four hooks to each section instead of eight. H and K are the two
-lifting levers for raising the griffes or trap-boards A and A^1 (Fig.
-159). Nos. 1, 2, 3, and 4, and 1_a_, 2_a_, 3_a_, and 4_a_ are the cords
-in lieu of hooks to which the harness is connected. A and A^1 are
-two perforated boards with the slotted holes through which the cords
-pass, turned in the reverse direction in one from what they are in the
-other. Each needle is connected to two of these cords--one through each
-hole-board--and the knots on the cords above the holes stand over the
-slots or saw-cuts of the holes in the board A and over the round or
-open portion of the holes in the board A^1, clearly shown at F (Fig.
-159), so that if the lever H (Fig. 158) were pressed down and the board
-A raised without any card acting upon the needles, all the harness tied
-to this portion of the machine would be lifted, and if the board A^1
-were raised by the lever K, none of the harness tied to this portion of
-the machine would be lifted. Now, if a blank card were placed on the
-cylinder, the reverse of this would be the case, and anything between
-these two extremes can be got by cutting the cards.
-
-[Illustration: Fig. 159]
-
-The cylinder is connected with the back griffe only, and remains in
-for two shots. The griffe A is first raised, and a shot thrown in;
-it is then lowered, and the griffe A^1 raised, which presses out the
-cylinder and changes the card; a second shot is thrown in, and so on. E
-and F (Fig. 158) are two slide rods or spindles to steady the griffes
-or trap-boards when rising: G and G^1 are bottom hole-boards to steady
-the cords; L is a clap-board for pressing back the needles instead of
-springs (it is fastened on springs I I, which hold it out a little from
-the needles, and these springs are fastened from the top by cords to
-the cylinder frame, which slides out with the cylinder, and draws in
-the clap-board, pressing forward all the needles). Now to mount this
-machine for double cloth. Suppose each frame to have 400 cords, and
-that there are 400 needles, the same as an ordinary 400-machine. Let
-the texture of the cloth be plain, and to work this 80 needles may be
-set off, leaving 320 for figuring. These 80 needles will be connected
-to 80 upright cords in the trap-board A, and the same in A^1. The
-harness for the face cloth is tied to the remaining 320 cords in the
-trap-board a, and that for the back cloth to the 320 cords in the
-trap-board A^1, and this portion of the harness works the figuring
-only without the texture. The texture is wrought by the 80 cords in
-each board connected to the first 80 needles. To each of these upright
-cords a number of harness twines are tied, one of which is fastened to
-each twine of the harness from the 320 cords, just above the cumber
-board; but in doing so the twines from the 80 hooks on the cords in
-the trap-board A must be connected with the twines of the harness from
-the trap-board A^1, and the reverse for the other set. In this way
-all the back harness could be raised with either griffe, and the same
-with the front harness. Either griffe could raise one warp with the
-plain harness, and the other with the figuring harness. When cutting
-the cards plain texture is cut on each card for the first 80 needles,
-and the figuring portion without any texture is cut on the remainder
-of the card. The 80 cords open the texture or plain shed, and the 320
-cords keep the two warps in their proper places, raising what should be
-above the weft, and leaving down what should be below it for each shot
-according to the pattern. In these mountings the cards hang over the
-side of the loom.
-
-The same method of working can be applied to a jacquard with upright
-hooks, by having the heads of the hooks for each machine or set turned
-in opposite directions, as shown in Fig. 160. One set of hooks stand
-with their heads over the knives in the usual way, as at A, and the
-others require to be pushed back by the card to bring them over the
-knives, as shown at B, so that pushing any needle back pushes the
-front hook connected with it off the knife and the back one over the
-knife. The mounting may be made up as before, or a twill or any smaller
-texture may be used instead of plain; or a different texture may be
-made on face and back cloths.
-
-[Illustration: Fig. 160]
-
-[Illustration: Fig. 161]
-
-[Illustration: Fig. 162]
-
-This description of cloth is much used for other makes of goods as
-well as quilts. Kidderminster or Scotch carpets are woven on the same
-principle, and curtains, cotton vestings, &c., are frequently woven
-with the same texture. It can always be woven with a full harness
-mounting by preparing the design to suit it. Fig. 161 is a pattern for
-a diagonal figure in plain texture for this class of work. The black
-squares represent the face warp raised to the face of the cloth, and
-the shaded squares represent the back warp raised to the face also.
-The blank squares represent weft on the face of the cloth. This would
-give a magnified view of the face of the cloth if it were woven with a
-black face warp, a grey back warp, and a white or light-coloured weft.
-If each warp had a weft of its own colour the effect would be as shown
-in Fig. 162, which would be the way the pattern would be painted on
-the design paper if intended for weaving on looms specially mounted,
-or with special machines as described; but if a full harness is to be
-used, then the pattern must be spread over the design paper so as to
-give a line of the paper for each thread of warp and pick of weft.
-Fig. 163 is the same pattern arranged in this way. The black and grey
-squares represent the face and back warp raised for the pattern. The
-crosses show where the back warp is raised for the texture of the back
-cloth at the back of the face cloth, and the dots represent the face
-warp raised for the texture where the face cloth goes behind the back
-cloth, or where the back cloth comes to the face. Of course, on a cloth
-of this kind the warps are alike, face and back.
-
-[Illustration: Fig. 163]
-
-[Illustration: Fig. 164]
-
-It will be understood that, when the threads of the back cloth are
-being raised to form a shed, all the face threads of the corresponding
-portions must also be raised to clear them out of the way of the
-shuttle, and the raising marks for these are the short dashes on the
-painting. Fig. 164 is the same pattern arranged for two threads face to
-one of back, which admits of a heavy backing with a fine face, and is
-suitable for quilts, &c. The markings are similar to those in Fig. 163,
-but the number of threads is not such as to admit of the plain texture
-repeating on the back cloth. It is therefore broken round the edges of
-the figure where it would least show.
-
-Instead of having the extra harness for working the plain texture as
-explained in connection with the quilt harness, Fig. 159, it might be
-done with four leaves of long-eyed heddles in front of the harness,
-or by having shafts through loops in the harness to act as heddles,
-or by having the cumber board divided into strips for each row of the
-harness, and knots on the harness twines above them, so that raising
-any strip will raise a row of the harness, or the machine may act as a
-twilling machine to work the texture.
-
-A Marseilles quilt is a double cloth with a fine face and a coarse
-back, both stitched together round the edges of the pattern, and a
-wadding shot thrown in between them, which causes the pattern to be
-embossed or to rise up full and rich. The face is usually a plain
-texture, and the back the same; but the face has double the number
-of threads in it that the back has, and the yarn for the face is
-proportionately finer than that for the back. Two picks of fine and two
-of coarse weft are thrown in alternately--one pick of the fine goes
-into the face cloth only, and the other, also a face pick, stitches
-the face to the back. One of the coarse picks is thrown in between the
-two fabrics, and is called the wadding, and the other pick goes into
-the back cloth. In these fabrics a very fine effect can be produced by
-covering the ground with a small bird-eye pattern, stitching the back
-and front closely together, then having a bold floral pattern for the
-figuring, which, being only bound round the edges of the pattern and
-along veins, &c., is comparatively loose and produces a rich embossed
-effect. These fabrics may be woven with a twilled as well as a plain
-ground.
-
-Matelasses are a similar description of fabric, but usually more
-ornamented, the face fabric being any fancy texture. When used for
-ladies’ jackets or mantles they are made of fine worsted or silk for
-the face, with perhaps a woollen back and a woollen or cotton wadding.
-The binding of the face and back cloths together takes place round the
-edges of the figure, and in any other portion, such as veins of leaves,
-&c., that may be thought desirable. The binding may be effected either
-by leaving down a portion of the face warp when the back pick is being
-thrown in, or by raising a portion of the back warp when the face pick
-is being thrown in, this depending upon the pattern and the counts
-of yarn used. The finer threads should be used for stitching, so as
-not to injure the face by bringing any coarse threads through to it.
-If the face of the cloth is a warp pattern it will be best to stitch
-by raising a back thread over a face pick, but if the face is a weft
-pattern then sinking the face warp for the back picks will probably
-be more satisfactory. If the cloth is made, as is frequently done,
-with a mohair or lustre worsted warp face with a cotton weft, and a
-cotton warp back with a woollen weft, and a woollen wadding, then the
-binding would be effected by raising some of the back warp thread over
-the face picks. One pick (woollen) for wadding would be thrown into a
-shed formed by raising all the face warp; the next pick would be for
-the back, thrown into a shed formed by raising all the face warp and
-that portion of the back warp required to form the texture of the back
-cloth; the third pick would be for the face, thrown into a shed formed
-by raising the portion of face warp required for the pattern, as well
-as those ends of the back warp that are to form the stitchings.
-
-_Quiltings._--A great variety of the cheaper description of quiltings,
-toilet covers, &c., consist of a face cloth with an additional thick
-weft. This thick weft is woven into the ground, which may be a twill,
-mat, &c., but flushed loosely at the back of the figure, which is a
-plain texture. Sometimes there is a small quantity of thin warp for
-binding the thick weft loosely at the back of the figure, making a
-double cloth in this portion, but all working together for the ground,
-making it a solid cloth.
-
-Of more recent origin are the satin quilts made by Messrs. Barlow and
-Jones, of Bolton, and some other firms. They consist of two plain
-cloths, intimately bound together; one cloth has a fine warp and a
-very coarse weft, and the other has a fine weft and a coarser warp.
-When binding, the fine warp is made to catch on the fine weft, and
-the thick warp and weft cover the bindings. Suppose the fine warp to
-be white and the thicker warp to be blue, and let the warping be two
-threads blue and one white. Let the white warp be wefted with a thick
-twist weft--say four times as thick as the warp--and this coarse weft
-will form the figure. Let the blue warp be wefted with a blue weft
-perhaps double the count of its warp, and in binding this weft catches
-on the fine white warp. The thick white weft, which is fully double
-the thickness of the thick warp, effectually covers the tie, and when
-the yarns are properly proportioned the pattern stands out, producing
-a clear stamped or embossed effect. These cloths may be made with a
-twilled ground, and either all white or white and coloured. They are
-a good firm fabric and wear well, but are liable to have a coarser
-appearance after being washed. (See also Terry-Pile Quilts.)
-
-_Woollens and Worsteds._--Weaving woollen and worsted cloths in the
-jacquard loom is merely an extension of the patterns produced with
-shaft mountings, or sometimes the same patterns are woven on small
-jacquards by those who prefer the jacquard to working a larger number
-of healds when the cloth is not so heavy as to require the latter to
-be used, healds as a rule making a firmer and heavier cloth than a
-jacquard will. Light worsted goods for dress fabrics, &c., are figured
-like damask, or as double weft or double warp-faced cloths, or may be
-as double cloths.
-
-_Curtains and Tapestries._--These, though sometimes of damask, are
-usually made on some principle of double cloth, as indeed all cloths
-must be when a rich brilliant effect of colours is required. One of
-the simplest methods of making these fabrics, and which produces a
-very good effect, is to employ a fine binding warp of twist cotton
-and produce the pattern on it with two, three, or more coloured wefts
-of worsted, mohair, or silk--say a spun silk ground weft and a mohair
-or fine worsted figure. A small portion of a diamond pattern, greatly
-reduced for want of space, is given in Fig. 165. It is intended for
-three colours of weft--one for the ground and two for the figure. The
-ground weft might be black or gold, and the figure wefts olive green
-and dull red, or claret, the warp to be black or a deep navy blue.
-
-For this pattern three cards must be cut from each line of the design
-paper--one for the ground weft and one for each colour of the figure.
-The design is painted in various colours, which are here represented
-by different markings on the squares. Let the black squares represent
-the olive and the dotted squares the red of the figure. The white
-squares represent the ground weft, and the shaded squares on it are
-for binding the face weft down, while the crosses are for binding up
-the weft at the back. The cutting of the cards is as follows:--For the
-ground shuttle cut all the shaded, black, and dotted squares--that is,
-the shaded squares on the ground and all the figure. For the first
-figure shuttle (olive) cut all the ground except the crosses (that is,
-the white and shaded squares) and the dotted squares of the figure. For
-the second figure shuttle (red) cut all the ground except the crosses,
-as before, and the black squares of the figure.
-
-[Illustration: Fig. 165]
-
-In this example the figure is so small as not to require binding dots
-over it, but for a large figure the ground weft threads would require
-to be bound up at the back of the figure in the same way that the
-figure threads are bound up at the back of the ground in the design
-given. The figure wefts might also require to be bound at both face and
-back. On the design these binding marks would be dotted over the figure
-in the same way as they are dotted over the ground on the design given,
-using any suitable texture that may be desired.
-
-To make the cutting clear, five lines of the pattern (Fig. 165) are
-put upon design paper in Fig. 165A, as they would be cut on the cards,
-beginning with the ground weft, olive and red following, in all making
-15 lines or 15 cards. This cutting would make the upper side of the
-cloth in the loom the right side or face; but it may, in some cases, be
-desirable to weave the cloth with the face down to avoid heavy lifts in
-the harness. This pattern would suit for a warp of about 50 threads of
-warp per inch, and say 60 to 80 shots per inch of each colour.
-
-[Illustration: Fig. 165A]
-
-For the convenience of the designer and card-cutter, a much better plan
-of working this class of fabric is to have an additional binding warp,
-which may be in heddles or in a front row of the harness. This warp
-can work plain twill or satin as required, and, being light and openly
-set, can bind the back weft up and the face weft down, or the face may
-be bound by the warp in the harness and the back bound by the binding
-weft; but in this case there should be a fine thread of weft thrown in
-every fourth pick, which should pass over the warp in the harness, or a
-portion of it, and under that in the heddles, so as to bind both warps
-together. In this case the twilling dots on the design are omitted,
-which simplifies the cutting and designing of the pattern. If the face
-is to be twilled with the harness warp, the dots for binding must, of
-course, be put on the design, or the figure only may be twilled on the
-design, and let the ground be bound by the binders. Shafts mounted in
-this way may be wrought from tappets if the loom is mounted with them,
-or may be wrought by strong hooks at each side of the jacquard and sunk
-with springs. The principle of working fabrics of this description has
-been given in detail, as from it many other varieties can be wrought
-out, and any number of shuttles used to suit the colours wanted.
-
-Figuring with two warps and one weft is a common method of working, and
-gives three colours on the face of the cloth. An extra warp of fine
-yarn may be used for binding the wefts, admitting of the coloured weft
-being more used for figuring. Extra warps cannot be used to so great
-an extent as extra wefts, as they crowd up the reed and prevent proper
-shedding, particularly when soft or hairy yarns are used; but when
-properly suited to the reed they make a firmer and more regular cloth
-than a weft cloth, and on account of less picking the weaver gets over
-the work much faster. Two warps, each having its own weft, are a good
-method of figuring, but unless for goods with a large number of threads
-and picks per inch, so that fine yarn can be used, it makes a heavy
-cloth. Two warps and two wefts, all of different colours, with a fine
-binding warp in addition, to admit of the colours of the wefts being
-kept comparatively pure, gives a still richer effect. In this case
-the binding warp may be of fine black cotton, the two figure warps of
-thicker cotton, and two threads drawn into each mail; the colours may
-be, say, dark blue and dark citrine, or clear sage. The wefts are soft
-wool or worsted, say light gold and deep dull red. In this method of
-weaving, pure red and pure gold can be got from the wefts, as the black
-binders show but little. Pure blue and pure citrine can be got in small
-quantities by floating the warps, and an admixture of the warps and
-wefts can be got in any place desired.
-
-A very handsome curtain fabric can be made as follows:--There are 120
-to 140 threads of warp per inch; every second or every fourth thread of
-the warp is used for binding the ground, which may be a plain texture
-or a three-shaft twill. The binders may be an extra warp, wrought with
-heddles, forming plain all over the cloth, or may be in the harness
-and be portion of the ordinary warp working plain for the ground, but
-rising to assist in forming the figure, which may be bound as desired,
-say 8-or 10-end satin. The warp is of fine silk yarn loosely twisted,
-and may be one or more ply, of a rich olive-green or deep scarlet
-colour. There are two wefts, one a rich silk, say a golden colour, of
-twist yarn; the other is a backing weft of the same colour as the
-warp, and of cotton yarn, about the same thickness as the silk weft.
-There are from 50 to 60 threads of weft per inch of each colour. The
-gold weft forms the ground of the pattern, and the warp the figure,
-which is bound with an 8-end satin binding. The cotton weft goes to
-the back when the silk weft is on the face, forming the ground of the
-pattern, the warp lying between them; but when the warp is on the face
-for figuring, the gold weft goes to the back and the cotton weft lies
-under the warp face, binding it and giving an embossed effect to the
-figure. The gold weft is bound up by sinking a portion of the warp. The
-ground may be formed with the warp, and the figure with the weft, if
-desired, producing a sunk figure on a raised ground; but this is just
-a reversal of the process, or making the ground in this case as the
-figure in the previous case. This makes a light, close, and very rich
-fabric.
-
-_Figured Poplins_ are among the richest description of curtain fabrics;
-they may be made of all silk, or silk and fine wool, the latter forming
-the weft. The ground is a clean, sharp cord running across the cloth,
-and the figure is formed by flushing the warp over the cords, binding
-it with a long twill or satin binding. The weft may also be used for
-figuring; but in this case it should be a silk weft put in for the
-purpose of figuring.
-
-Two portions of patterns of good makes of figured poplins or repps are
-given in Figs. 166 and 167. Fig. 166 is warped two threads of rich
-crimson silk and one thread of rich golden yellow silk, 180 threads per
-inch. The weft is pick-and-pick, 50 picks per inch, one thread a round,
-firm cord of firmly twisted worsted of the same colour as the warp, and
-the other yellow silk, the same as the warp. This thread passes over
-the crimson warp and under the yellow, the crimson cord reversing this,
-thus producing a very fine yellow line between each pair of cords.
-The method of forming the figure can easily be seen from the pattern.
-Instead of a thick cord being put in for the weft to form the rib,
-several fine shots could be thrown in as one, as in repp figuring, and
-these threads could be brought out for figuring as well as the warp;
-but they would in this case require to be of silk, which would make the
-cloth very expensive.
-
-[Illustration: Fig. 166]
-
-[Illustration: Fig. 167]
-
-Fig. 167 makes a very rich and handsome fabric. It is warped all a rich
-purplish-brown silk, 180 threads per inch. There are four weft picks
-in the pattern. The first is a clear olive-green silk about double the
-thickness of the warp silk, the second shot is a round, firmly twisted
-worsted cord of the same colour as the warp, the third is the same as
-the first, and the fourth is silk of the same colour as the warp. There
-are 100 picks per inch, but the two green silks go along with the cord
-to form the complete cord or ridge. These silk picks can be brought
-out to the surface for figuring, as shown by the shaded squares in the
-pattern, which are not cut on the cards. The black squares are the warp
-figuring, the dots the warp raised for the ground, and the crosses the
-warp of the binding threads raised. These binding threads rise over the
-brown silk pick, and are similar to the yellow warp in the previous
-pattern.
-
-For richer fabrics than these we must go to pile work, which is,
-perhaps, the most exquisite production of the loom. Curtains or
-hangings can be made extremely rich by figuring a rich corded silk
-ground with a pile of different lengths and colours. The long pile can
-be cut to form a plush or velvet pile, and the shorter pile may be left
-uncut to form a looped or terry pile. By a judicious arrangement of
-colours and length of pile, fabrics of extreme beauty can be made (see
-Pile Work). For curtains of a heavy description chenille is much used,
-and makes a very rich, warm-looking fabric; but it is too heavy and of
-too coarse a nature for small rooms unless they are very well lighted.
-It is very suitable for screens, or curtains dividing two portions of a
-room (see Chenille).
-
-
-
-
-CHAPTER IX
-
-_TAPESTRY AND PILE WORK_
-
-
-_Tapestry._--What are generally known in trade as tapestries, are
-figured fabrics for curtains, hangings, &c., not damask, which is
-distinct, being woven with only one warp and weft. Real tapestry is
-a hand-made fabric of very ancient origin, being in use since the
-days of the ancient Egyptians, who wove or worked it in a manner very
-similar to that employed at the present time. It does not belong to
-‘jacquard weaving,’ but being the first in point of the excellence of
-its patterns amongst figured fabrics, a short description of it may
-not be out of place. Henry VIII. tried to establish tapestry weaving
-in this country, but failed, but James I. had a flourishing factory at
-Mortlake. Tapestry weaving appears to have been introduced into France
-about the ninth century. The Flemish were celebrated for it from the
-twelfth century. Arras work surpassed all the others, and tapestry
-was commonly known as arras work. The sixteenth century gave a new
-impulse to the trade in France. Francis I. founded the manufactory of
-Fontainebleau, and Henry IV. re-established tapestry making in Paris
-in the years 1595 to 1606. About the year 1666 Louis XIV. bought the
-Gobelins Works (which take their name from the original owners, a rich
-family of wool dyers), and established the Royal Gobelins Tapestry
-Manufactory, which is now one of the sights of Paris.
-
-There were two methods of working tapestries--one known as ‘basse
-lisse,’ or low warp, the threads of warp being placed in a horizontal
-position in the loom; the other was called ‘haute lisse,’ or high warp,
-as the threads of warp were placed in an upright or vertical position.
-It is the latter method of working that is now adopted.
-
-The loom consists of an upright frame of wood of a size to suit the
-cloth to be made. There is a strong roller at the top, which acts as
-a warp beam, and another at the bottom for the cloth beam. Both these
-rollers have ratchet wheels on one end, and are held with pawls or
-catches so as to allow the warp to be wound off and the cloth to be
-wound up when required, and then hold the stretch of warp steady to
-be woven. The warp is coarse, but a clean, regular thread of twist,
-cotton, or linen, about 12 to 18 threads per inch (more or less, as
-desired,) and of such a thickness that the spaces between the threads
-are somewhat less than the diameter of the threads. The weft is usually
-of fine wool but a fairly thick thread, say 4’s or 6’s worsted. This
-is generally used alone, of whatever shade of colour is required,
-and there is no end to the shades used; but in some places, to give
-brilliancy and richness of effect, silk is used along with the wool,
-and sometimes tinsel or gold cord. These are put in separate threads
-along with the woollen or worsted weft. The silk is much finer than the
-worsted, say about equal to 12’s or 16’s cotton, and, of course, can be
-regulated to give the effect required. The gold is sufficient to give
-sparkle to the portion it is employed in.
-
-After leaving the warp beam the warp is divided by two thick glass
-lease rods. Then every alternate thread, those to the front of the
-frame, is drawn through a doup of a half-leaf of heddles which is fixed
-in a horizontal position above the weaver’s head. This enables a plain
-shed to be formed, as the thick lease rod divides the threads and forms
-one shed. Then, when the weaver, sitting at the back of the loom, draws
-back the half-leaf of heddles, all the front threads or any portion of
-them can be drawn back past the back set, and form a cross shed. As
-the doups of the heddles are long and strong, the weaver can take any
-number of them he requires and draw the front warp back; then putting
-his fingers into the shed thus formed, clear it down to the fell of the
-cloth and insert his bobbin.
-
-[Illustration: Fig. 168]
-
-The pattern is painted on design paper, shaded in the way it is to
-appear on the cloth, and the weaver must have a bobbin of weft to
-suit each tint or shade of colour on the design. The outline of the
-pattern is traced on the warp to guide the weaver, and the painted
-pattern is fastened up either before him or to one side of him, so as
-to be convenient to read the stitches off it. When ready for work he
-looks at the pattern and finds perhaps 20 stitches of blue; then he
-selects a bobbin of the correct shade and passes it through the open
-shed of the warp round 10 threads; then he draws the 10 doups of the
-heddles that are round the 10 threads intermediate with and in front of
-these, pulling them back through the others and forming a cross shed.
-The same bobbin is now passed through this shed, and the weft pressed
-down with a pin or comb, both of which articles the weaver uses for
-straightening and beating up the weft. This covers 20 threads of warp
-with blue weft. The texture of the cloth is plain throughout, the weft
-being bent round the warp and pressed close together, forming a rib.
-Now, instead of completing this weft line all along the cloth, as is
-usual in coloured weaving, the weaver goes on working with the bobbin
-he has taken up, following the colouring on the pattern, and may change
-his bobbin when required for a new shade or colour, and go on working
-this portion for some distance upwards, and then begin an adjoining
-portion and work it up in the same way. This will come all right when
-the outlines of the portion he is working run obliquely; but if they
-should run upright for any distance in the same direction as the warp,
-it is plain there would be two selvages coming together without any
-connection between these portions of the cloth, as shown in Fig. 168.
-When the pattern runs in a diagonal direction, the weft threads passing
-across from one warp thread to the next one make a sufficient binding
-or connecting link between the two colours, as may be seen at the upper
-portion of this figure, which would be quite sufficiently connected
-when it is considered that the weft threads are pressed so closely
-together as to entirely cover the warp. To remedy the objection of a
-slit or division between the two portions of a pattern in the case of
-a vertical line, it is customary to tack the bobbin of one colour of
-weft round the first warp thread of the adjoining colour, at intervals
-of, say 3/16 in. This produces a toothed appearance, but is not very
-remarkable. The only other remedy would be to link the two wefts on
-each other occasionally. In many of the old tapestries it may be seen
-that this was neglected, even when the distance was as much as 3 in.
-or 4 in. Sometimes they were stitched afterwards in these places with
-a needle and thread. When there are many long straight lines running
-in one direction, as in architectural subjects, it is best to work the
-pattern so that these will run in the direction of the weft, to avoid
-any joining being required. Patterns can be wrought sideways or upright
-on the cloth as desired to suit the size, subject, &c.
-
-[Illustration: Fig. 169]
-
-As the weaver sits at the back of his frame or loom when working,
-he has to come round occasionally to examine the face of his work.
-Sometimes he keeps a looking-glass in front to show him how he is
-getting on. He has also a rough pattern on the back of the cloth
-similar to that on the front, as the nature of the weave must give him
-the same on both sides were it not for the loose ends at each change
-of bobbin, which have to be tacked up at the back. Tapestry weaving is
-a very tedious process of working, but in skilful hands very beautiful,
-and artistic results can be produced.
-
-_Figured Pile Fabrics._--When we come to pile work we have a great
-scope for the ornamentation of fabrics, but the nature of the work is
-such that it is only suited to heavy or moderately heavy cloth, and a
-large number of either threads or picks per inch are required.
-
-Forming stripes of plain or figured pile alternately with twilled
-or figured stripes can easily be accomplished with either a weft or
-warp pile, but when we come to figure indiscriminately over the cloth
-there is more trouble. For a length of time there was a difficulty in
-cutting weft-pile figured fabrics, as the knife or cutter would not
-always enter the proper ‘race’ round the edges of the figure, and the
-floats were cut irregularly. This has now been overcome by arranging
-the design to suit. Fig. 169 is a common velveteen designed for a weft
-pile figure. Only a portion of the pattern is given, but enough to show
-the method of arranging the design. It will be seen that the figuring
-is produced by flushing the weft on one side of the cloth, and for the
-ground it passes to the other side. The edges of the pattern are moved
-across the design paper in steps of two, and no flush or float is less
-than over four threads. In addition to this the figure should be turned
-in the centre on an odd number of ends, which in cutting keeps the race
-end on the inside of the step into which the knife enters. The knife is
-run up on all the odd numbers of ends moving across in steps of two,
-and, leaving no flushes of less than four, gives it a better chance of
-entering in the proper place along the edges of the pattern.
-
-Fig. 170 is another make of velvet for a heavier fabric, with 60
-threads of warp per inch, and from 350 to 400 picks. It makes a good
-firm cloth, suitable for curtains or furniture coverings. The principle
-of designing is the same as for Fig. 169. Both these patterns are
-portions of a diamond figure.
-
-When the figure is produced with a warp pile, it is only necessary to
-raise the proper warp threads with the jacquard for the insertion
-of each wire, but the difficulty to contend with is that there will
-be an irregular take-up of the warp pile threads, and this can only
-be remedied by having a number of small warp beams. In some cases a
-separate spool for each warp thread may be required, which, of course,
-for a fine velvet means a very intricate arrangement, though it suits
-very well for pile carpets. Different heights of pile can be formed
-through a pattern in this way--say, a short pile to be left looped, and
-a longer pile to be cut, which, in suitable colours of pile and ground,
-forms a very beautiful though costly fabric.
-
-[Illustration: Fig. 170]
-
-Another method of warp pile weaving, more easily accomplished, is
-that known as terry, or Turkish towel weaving. It is largely used for
-quilts, toilet covers, towels, &c., and any bold figure can be woven on
-it with almost as much ease as on ordinary damask work.
-
-There are two methods of forming figures on the cloth in this style of
-weaving, one by having two colours of pile warp and changing them from
-one side to the other to form the figure or ground--that is, supposing
-the one pile warp to be red and the other white--pile would be thrown
-up on both sides of the cloth at the same time; on one side the figure
-would be formed by the red pile and the ground by the white pile, and
-the other side would be the reverse of this. Fig. 171 is a portion of
-a pattern of this style. The black squares represent, say, the red
-warp-forming loops on the face of the cloth, and the shaded squares the
-same for the white warp. The crosses are the ground or binding threads;
-and the dots represent the pile threads of the colours they are on,
-raised to bind with the weft, when these threads are forming pile on
-the underside of the cloth.
-
-[Illustration: Fig. 171]
-
-The other method is to have only one colour of pile warp--in fact,
-to have only one pile warp, it might be said, instead of two, as in
-the previous case. The cloth consists of a pile figure and a plain or
-solid ground on one side, and the reverse of this on the other side.
-The pile and ground may be of the same colour, or of different tints
-if desired--say a rich cream ground and a white pile. This style of
-working is very suitable for quiltings, toilet covers, &c. Fig. 172
-is a portion of a pattern for weaving in this way. The black squares
-represent the pile-warp raised to form loops, and the round dots are
-also pile-warp raised, but only for binding when the loops are being
-formed at the other side of the cloth. The shaded squares show the
-ground warp raised to form the body texture. This cloth has about 60
-threads of warp per inch, and the same or a little more weft.
-
-[Illustration: Fig. 172]
-
-Figs. 173 and 174 are two examples of six-shot pile cloth for quilts;
-it is made with 50 to 60 threads of warp per inch, and double that
-quantity of weft. The same method of marking the design paper is used
-as that for 172 pattern. It will be seen that in Fig. 173 the loops or
-flushes of pile are over five and under one, and in Fig. 174 they are
-over two, under one, over one, and under one, thus making a fast pile
-fabric, whereas the floats of five in Fig. 173 would be rather loose
-unless the cloth is over-wefted. Both these piles may be used in the
-one cloth, one for the face and the other for the back, as is given in
-the figures; the light portion of Fig. 173 being of the same texture as
-the dark portion of Fig. 174. One pattern may be taken as the face of
-the cloth and the other as the back. Of course they may also be used
-separately if desired. Any full-harness mounting that will suit the
-pattern will answer for these fabrics, the loops being thrown up in the
-usual way, by leaving a few shots standing out from the fell and then
-knocking all up, drawing forward the pile warp, which is slackened at
-this beat, but sliding on the ground warp, which is held firm.
-
-[Illustration: Fig. 174]
-
-[Illustration: Fig. 173]
-
-Another method of forming figure pile is to weave a plain pile, and
-when cut press or stamp a pattern on it with heated blocks cut to the
-pattern; the standing pile is then shorn off, and afterwards that which
-was pressed down is brushed up again, forming a full-pile figure on a
-shorn-pile ground.
-
-
-
-
-CHAPTER X
-
-_CARPETS_
-
-
-The manufacture of carpets has been in existence since the days of
-the ancient Egyptians, who made rugs and carpets of various kinds and
-ornamented them with animals and various devices. The manufacture
-passed on to the East, and we find India, Turkey and Persia celebrated
-for the richness of their carpets in early times. The Moors of Spain
-introduced the Oriental floor coverings into Western Europe, and the
-Belgians and French took up the manufacture and produced excellent
-imitations of them. Even in the Middle Ages carpets were only used
-as a luxury by the rich. Queen Elizabeth had a carpet spread upon
-rushes, while Queen Mary had rushes only. These rushes were the _Acorus
-Calamus_ (sweet reed of Norfolk), which were the usual floor coverings
-down to about this time.
-
-Tapestry weaving was started in this country in the beginning of the
-seventeenth century, but the first we hear of carpet manufacturing in
-England was at Kidderminster about 1735, the carpets then made being,
-no doubt, the Kidderminster or Scotch carpet. The making of Brussels
-carpet was introduced about 1750; they were first made in this country
-at Wilton, near Salisbury.
-
-The Axminster carpets take their name from being first made in the
-town of Axminster about 1755. They rivalled the work of the Eastern
-looms for beauty, durability, and colour; but owing to the cost of
-their manufacture, and the introduction of the cheaper Brussels and
-patent tapestry carpets, the demand became very small, and the work was
-removed to Wilton in 1835. The patent Axminster or chenille carpet was
-brought out by Messrs. Templeton, of Glasgow, in 1839.
-
-In the early ages carpets or rugs were used for spreading on the floor
-or grass to lounge upon. It is recorded that in Babylon the guests of
-despotic sovereigns lounged on rich carpets, and walked over priceless
-works of textile art; also how figured carpets made of the finest wool
-were strewed under golden couches, and rugs richly embroidered with
-figures were spread over daïs, stool, and table.
-
-The Egyptian carpets may have been tapestries and embroidered fabrics.
-They also had a method of making tufted carpets by drawing a portion
-of the weft threads out of a piece of coarse linen and sewing tufts of
-coloured worsted to the warp threads, enough of the weft being left in
-to bind the warp threads together.
-
-[Illustration: Fig. 175]
-
-Persian and Indian carpets were made of wool; the latter were
-occasionally made of silk, and sometimes an inferior description of
-carpet was made of cotton. These, as well as Turkey carpets, are made
-on a very simple loom consisting of two posts fitted at a suitable
-distance apart to form a vertical frame. There is a roller at the top
-and another at the bottom between which the warp threads are stretched,
-much in the same manner as in tapestry weaving. The weaver sits in
-front of the loom with a design before him, and is provided with a
-quantity of bobbins of the colours required for the pattern; he looks
-to the design for the colour, and, taking a bobbin of the colour
-required, forms a loop round two of the warp threads with the weft,
-cutting it off as shown in Fig. 175. After having completed a row along
-the cloth forming one weft line of the design, he opens a shed and
-inserts a ground shot all across the web, each ground shot going into a
-shed the reverse of the preceding one, forming a plain texture ground
-with a row of tufts between the ground shots. The ground shots are
-beaten down with a comb. Instead of going across in even rows of tufts,
-where there is a patch of colour several rows of tufts may be put in at
-this place with a ground thread between the rows, leaving the ends of
-these threads projecting so that they can be carried across when the
-remaining portions of the rows are completed. The ends of the tufts
-are cut off roughly at first, and afterwards shorn level with a pair
-of shears. Persian carpets are sometimes very costly, a small-sized
-carpet, when made of fine cashmere wool, costing 500_l._ or 600_l._
-
-Axminster carpets are made on the same principle, and other art carpets
-are being made similarly. There are about sixteen or twenty warp
-threads per inch of strong cotton or linen thread; the weft is of fine
-wool, three or four ply being put into each tuft; the ground weft is
-soft hemp or flax, eight ply of yarn going to each shot. This makes
-a full soft cloth. These carpets are about three-quarters of an inch
-thick, and, like tapestries, there is no end to the variety of pattern
-or colour that can be introduced.
-
-_Kidderminster or Scotch Carpet._--This carpet, also called ingrain
-carpet, is the oldest machine-made carpet in this country; it was
-originally made at Kidderminster, but the chief centre now is Scotland.
-Originally it was a two-ply cloth, the pattern being formed by passing
-the two cloths, which were of different colours, through each other.
-Mr. Morton, of Kilmarnock, improved on this by making it a three-ply
-cloth, which enabled it to be made a thicker cloth with a richer
-pattern. It is now made both two-and three-ply, and when made of
-all-wool is a rich and durable article, taking a position between the
-jute and felt carpets and the tapestry and Brussels; it is, however,
-sometimes made with cotton warps and woollen wefts, and is in this case
-an inferior article.
-
-Both two-and three-ply carpets may be woven with only one colour of
-weft, in which case the pattern is formed by the warp threads, which
-must be much thicker so as to close in over the weft and hide it as
-much as possible; on the other hand, there may be two warps and four
-colours of weft, two of which are the same colours as the warp, and in
-this case the weft is much thicker than the warp. The best of these
-carpets are made with as many colours of weft as warp, as, in order to
-get a pure effect, it is necessary to have wefts traversing warps of
-their own colour; but a variety of effects can be produced by using
-additional colours in both warp and weft.
-
-One advantage in this style of carpet is that it is reversible; for
-when one cloth rises to the face the other passes to the back, making
-the pattern on both back and face alike, but of different colours. This
-is the case when the carpet is two-ply cloth woven in the ordinary way,
-but sometimes the back has to a certain extent to be sacrificed to
-give more ornamentation to the face, at least in the ordinary method
-of weaving. Whether woven two- or three-ply, the principle of working
-is the same. Take a two-ply carpet. The fabric is a double or two-ply
-plain cloth, figured in the usual way by passing the two cloths through
-each other, there being no binding between the cloths except what is
-formed by the one passing through.
-
-The warps are of different colours--as, say, scarlet and black,
-green and black, &c.--and each warp should have a weft of its own
-colour if pure effects in the cloth are required. Usually four sets
-of warp threads are employed instead of two--that is, two colours,
-end-and-end, for each warp--and each colour of warp has its own colour
-of weft. Say we take red and black for the face or figuring warp,
-and white and olive for the back or ground warp. Various effects can
-be produced from this arrangement--viz. the effect of the figuring
-cloth, formed by weaving the red and black warps and wefts together,
-which in plain texture with one weft will produce a rich brown effect;
-the ground cloth produced by the white and olive warps and the weft
-will be of a light olive colour; then lined, or what are known as
-‘shot-about’ effects can be produced by throwing in a light and a dark
-shot alternately--as white and black, olive and red--and binding them
-on the face by warps of the same colour. All the weft on the face of
-the cloth should be bound by warp of its own colour in order to give
-pure effects. When a thread of one cloth is raised, the corresponding
-thread of the other cloth goes to the back (white and red and olive
-and black correspond in this case), but the red weft will be bound
-with black warp on the under side of the cloth, and the black weft
-will be bound with red warp, and the same with the others, as in the
-system of working the harness with journals to form the texture, all
-the black warp is controlled by one of the journals and must all rise
-with it. Therefore when the black shot is being thrown in, the black
-warp must be raised to make the pattern correct on the face of the
-cloth, and this will also cause it to be raised for that portion of
-the cloth that goes to the back, and when the black is up the red is
-down; therefore the black weft must be bound by red warp on the under
-side of the cloth, and the same with the other colours. It is easy to
-understand that if an end-and-end warp--black and red--be wrought plain
-on two shafts or leaves of heddles, and shot pick and pick of the same
-colours, when the black weft is bound with the black warp on one side
-it must be bound with red (which is the other half of the warp) on the
-other side, and if the red is bound with red on one side it must also
-be bound with black on the reverse side. To apply this to the double
-cloth or carpet weave it is only necessary to consider this piece of
-cloth as passing up and down through another one of a different colour.
-Had we the power of raising any portion of the black or red warps
-required, we could bind a portion of the black weft with black on one
-side, and any other portion of it with black on the other side; to do
-this we require a full or thread harness.
-
-[Illustration: Fig. 176]
-
-A section through the weft of a piece of two-ply carpeting is given
-in Fig. 176, showing the position of the threads when arranged to
-give the different effects of face cloth up as at A, back cloth up
-as at B, shot-about effect of red and olive on the face as at C, and
-shot-about effect of white and black on face as at D. The warp threads
-are marked W, O, R, B, the initial letters of the colours; and the
-numbers 1 to 32 give the order of picking. The shot-about effect is
-here produced with the opposite threads--that is, the first thread of
-one warp and the second thread of the other warp--as white and black;
-but it might be preferred to produce the effect the corresponding or
-mate threads (white and red, or olive and black) would give. In working
-with journals, two picks face and two picks back would be required to
-obtain this, and the needles of the jacquards would require to be acted
-upon by the cards for each shot, thus requiring double the number of
-cards. With a full harness any effect desired can be produced. Extra
-colours of weft may also be used (as drab) in addition to the white
-and olive--to work, say, white, olive, drab, olive, &c.; and dark
-green or blue in addition to the red and black, which would come in as
-red, green, black, green, &c., a shot of the light and one of the dark
-colours following each other in succession. Stripes of a bright colour
-may be introduced into the warp or weft and kept in the back cloth,
-only being brought to the face in small portions, at intervals, to
-sparkle up the centres of flowers, &c.
-
-Ingrain carpets are made 36 in. wide, and with, say, 832 or 1088
-threads of warp, according to quality. The former can be woven on a 200
-jacquard (say 208=416), as the machine is double; and as there are two
-repeats of the pattern in the width of the cloth, 416 × 2 = 832 threads
-of warp. For the latter 272 needles are required = 544 × 2 = 1088 hooks.
-
-When woven with journals, the jacquards used for figuring these carpets
-are similar to those explained under ‘Quilt Weaving’--that is, double
-machines with trapboards and knot cords; and when the card is pressed
-against the needles it is held in for two shots, one trapboard raising
-the harness for the first shot, and the other reversing the shed for
-the second shot. The journals are four sections of the cumber board,
-as shown in Fig. 177; each section contains two rows of the harness
-and one colour of warp. No. 1 journal controls the white warp, No. 2
-the olive, No. 3 the red, and No. 4 the black; the draft is shown by
-the numbers 1 to 8 alongside the harness cords. These eight cords only
-represent half a row from each machine, as there are eight rows of
-hooks to the machine. One row of the two machines fills two rows across
-the journals, or 16 holes. A represents the trapboard of the machine
-for the ground or dark warp, and B that of the machine for the figuring
-or light warp.
-
-The harness twines are furnished with large knots above the cumber
-board or journals, so that when one of the journals is raised the
-harness will be lifted with it. The journals may be raised by strong
-cords or wires from the machine, or by a tappet or shedding motion
-working either above or below them. If the machine is divided into two
-parts, four hooks in succession going to each colour of warp for each
-cloth, the cords from these four hooks making two rows of the journal,
-there will be no crossing of the harness in a straight or Norwich tie.
-
-[Illustration: Fig. 177]
-
-The order of working for the section Fig. 176 would be as follows:--For
-the first pick, which is white, raise the trapboard B and the first
-journal; for the second pick, which is red, raise the trapboard A and
-the third journal; for the third pick, raise the trapboard B and the
-second journal; for the fourth pick, raise the trapboard A and the
-fourth journal. This is the general order of lifting for a pattern; but
-a simple lined effect across the cloth as the section could be wrought
-with the journals without the machine, using them as heddle shafts.
-It could also be wrought by the machine without the journals. The use
-of the journals in conjunction with the machine is to pass the cloths
-through each other and make a pattern. For figure work, when a card
-is pressed in against the needles, all the warp for the figure on the
-design paper is raised by the trapboard B, which clears this portion
-of the red and black warps out of the way of the ground shed; and as
-the first pick of the ground is white, the white journal is raised to
-bind the white pick, leaving the olive warp down to bind it at the
-back. For the next shot the same card acts, and the trapboard A is
-raised, which lifts all the white and olive warp corresponding with
-the portion of the red and black that was left down at the last shot,
-so as to clear this portion out of the way of the face shed. As a red
-pick follows white, the red journal (No. 3) is raised to bind the red
-on the face, leaving the black warp down to bind it on the back. The
-other picks follow similarly. This shows the defective binding common
-to journal weaving, the white being bound with olive and the red with
-black at the under side of the cloth. To have pure binding, instead of
-all the white or red being raised by a journal as above, only as much
-of either should be raised as is required to bind its own colour of
-weft on the face of the cloth. The olive or black in respective cases
-should be raised for the remainder of the shed, leaving the white and
-red down to bind their own wefts where these colours come out on the
-back or under side of the cloth, thus giving pure colours on both sides
-of the cloth, and letting the mixed or impure binding be in the centre
-between the two cloths. This, however, is beyond the range of journals,
-and requires a harness.
-
-[Illustration: Fig. 178]
-
-Fig. 178 gives a neat pattern on a small scale for a two-ply cloth
-with, say, a red and a pale olive warp for ground and figure cloths
-respectively, the shaded squares being red and the ground or white
-squares olive; the weft for each cloth to be the same colour as the
-warp, or sometimes a tint one or two shades lighter and brighter,
-or deeper and duller, according to the colours or shades of colours
-used, gives a good effect. A further effect in this can be produced by
-having the 6th to 10th and 18th to 22nd threads black, brown, or dark
-green, end-and-end with pale olive, for the back warp, and picking
-similarly on the 5th to the 9th picks for the ground cloth. This would,
-of course, make a striped effect on the under side of the cloth, as
-where the additional colours do not show above they must appear below.
-A still better effect can be produced by having an additional weft
-lying between the two cloths which can be flushed on the face in spots
-as at picks 12, 13, and 14, and of course a three-ply cloth will be a
-step farther in advance; lined effects can then be produced anywhere
-desirable, in portions to suit the nature of the design, to vary and
-enrich it, at the same time the breadth of effect is maintained by
-working the greater portion of the pattern in masses of pure colour,
-whether they be large or small. For full-harness work the harness is
-divided into two sections, four rows for the back cloth and four rows
-for the face cloth, on an 8-row machine; no journals are used, the
-machine doing all the work. The harness is tied up in the usual way,
-the cord from the first hook passing through the first hole of the
-cumber board, and the cord from the second hook passing through the
-second hole, and so on.
-
-The harness is nominally divided into two sections, the front four rows
-being for the face cloth and the back four for the back cloth; when
-drawing the warp into the harness the mails are taken in the following
-order: 1, 5, 2, 6, 3, 7, 4, 8, the back or ground warp coming on 1, 2,
-3, 4 mails, and the face or figure warp on 5, 6, 7, 8.
-
-Suppose the pattern to be a dice, as Fig. 179, the warps to be white
-and olive, and red and black, with the same colours of weft. Each
-upright line of the design represents two threads of warp, one of which
-will be drawn on the front half of the harness and the other on the
-back half; and each horizontal line of the design represents two weft
-shots, for which there must be two cards cut. Let the order of drawing
-the warp into the harness be as Fig. 180. The white is on the odd and
-the olive on the even numbers of the four back rows of the harness, and
-the red is on the odd and the black on the even numbers of the four
-front rows.
-
-Now to cut the cards:--Take the first line of the design Fig. 179, cut
-the odd numbers of holes (that is, the first and third) on the first
-half, or first four holes, of the card, and cut the white and olive on
-the second half of the card. For the second card, from the same line of
-the design cut red and black on the first half of the card, and the
-odd numbers of holes on the second half of the card. For the third
-card, take the second line of the design and cut even numbers of holes
-on the first half of the card, and white and olive on the second half
-of the card. For the fourth card, from the second line of the design
-cut red and black on the first half of the card, and the even numbers
-of holes on the second half of the card. Of course when there is none
-of a colour raised, as in the first line there is no black, no notice
-is taken of it. For the pattern in Fig. 178 the cutting would be the
-same, except that there are only two colours of warp to be dealt with
-instead of four. No. 1 card: cut odd numbers of holes on the first half
-of the card, and olive on the second half of the card. No. 2: cut red
-on the first half of the card, and odd numbers of holes on the second
-half of the card, &c.
-
-[Illustration: Fig. 179]
-
-[Illustration: Fig. 180]
-
-[Illustration: Fig. 181]
-
-The cutting of four cards is given is Fig. 181. The crosses indicate
-the cutting of the odd and even holes in the cards, and the dots are
-the figure. It will be seen that the crosses in No. 3 card would
-reverse the shed formed by those in No. 1 card, thus working plain
-texture on the back cloth, and the same would take place with Nos.
-2 and 4 cards for the face cloth. This is simply the action of the
-journals included in the harness, which it will be seen requires double
-the number of needles in the machine, and double the quantity of cards;
-but an ordinary machine and mounting will answer, instead of having to
-get a double machine and journals.
-
-The above cutting acts the same as journals, and is all right in both
-cases when one warp with its own weft is used for each cloth; but it
-has been pointed out that when each warp is end-and-end of different
-colours with wefts to match, the under side of the cloth is defective
-when wrought with journals, and so it would be with the full harness
-if the cards were cut as above. To get each colour of weft bound with
-its own colour of warp on both sides of the cloth, the following change
-must be made:--Take the small piece of pattern given in Fig. 182, and
-let the warps be as before--white and olive, red and black. The card
-cutting for this pattern will be as follows, the warp being drawn
-through the harness as before:
-
-For the first card, cut odd numbers of red and even numbers of white on
-the first half, or first four holes, of the card, and white solid on
-the second half. This will form a shed for the red shot.
-
-Second card: Cut from same line of the design red solid on the first
-half of the card, and even numbers of white and odd numbers of red on
-the second half of the card. This is for the white shot.
-
-[Illustration: Fig. 182]
-
-Third card, for black shot: Cut from the second line of the design even
-numbers of black and odd numbers of olive on the first half of the
-card, and olive solid on the second half of the card.
-
-Fourth card, for olive shot: From the same line cut black solid on the
-first half, and odd numbers of olive and even numbers of black on the
-second half of the card.
-
-These four cards are shown in Fig. 182, from which the cutting may be
-traced. It must not be supposed, however, that cutting odd numbers of
-red and even numbers of white as on the first card, means that these
-colours of threads are to be raised; the colour has no reference to the
-threads--only to the coloured checks on the design paper.
-
-For the first card the white checks on the design paper are cut solid
-on the second half of the card; this raises the white and olive warp
-corresponding to the white portion of the design. Then, to form the
-plain shed in the other warp, the even numbers of the white checks and
-the odd numbers of the red checks are cut on the first half of the
-card, which acts on the other warp. As the black warp is drawn on the
-even numbers of harness twines it will be raised for that portion of
-the design that is white, and the red will remain down to bind the red
-weft; but passing along the design till the red weft is above, it will
-be seen that the red warp should here be up to bind it, and the black
-should therefore be down, so, as the red warp is on the odd numbers of
-the harness and on the second half of the card, the odd numbers must be
-cut on the card for the red portion of the design. This gives a pure
-binding on both sides: and the same applies to the other colours. It
-will be seen that the first halves of the 1st and 3rd cards together
-work a broken plain texture, and the second halves of the 2nd and 4th
-cards do the same.
-
-In case the card-cutter cannot follow this method of cutting, and if
-the design is so varied in order of weaving that a gamut or index for
-cutting cannot be arranged, then it will be necessary to paint the
-full texture of the pattern on the design paper in the same manner
-as is done for double cloth. The first row of designs of the pattern
-given in Fig. 178 is painted out in full in Fig. 183. The shaded lines
-underneath represent the back warp, and the white lines the face warp.
-The black squares are the figure, and the large crosses the ground,
-or the white squares in Fig. 178. The dots are the rising marks for
-the texture of the back cloth, as would be formed by the back warp
-journals, and the small crosses are the same for the face warp.
-
-This method of weaving is not confined to carpets, but is equally
-applicable to quilts, curtains, &c., and a plain texture need not be
-adhered to; a twill or any simple fancy texture may be used. With 80 to
-a 100 threads per inch, one warp peacock green in satin texture for the
-figure, and the other warp gold for the ground in a crêpe or mottled
-texture, all shot peacock, a handsome curtain can be made.
-
-[Illustration: Fig. 183]
-
-_Brussels Carpets._--Brussels carpets, with their less expensive
-allies, the tapestries, are the commonest of the better class of
-carpets. They are a loop-pile fabric, the pile being formed by the
-figuring warp, which is wool, the ground warp and weft being hemp or
-flax. As the pattern is formed by raising the figuring warp threads of
-the required colours, and as any thread of any colour may require to be
-raised, it follows that all the threads must be on separate spools or
-small warp rolls, so that any one thread can be drawn forward without
-slackening any of the others. Large frames are therefore made to hold
-the number of spools of each colour, and these are placed one above the
-other in a slanting position, at the back of the loom, and when filled
-with spools the whole set of threads are brought forward to the harness
-as if from a warping creel or bank. According to the number of these
-frames used the carpet is styled a 3, 4, or 5-frame carpet, the greater
-the number of frames the richer the carpet both in colour (generally
-speaking) and in body of warp. Sometimes 6 frames are used; but 4 or 5
-are more frequent, 3 and 4 frame being the lower qualities.
-
-The texture of a Brussels carpet is shown in Fig. 184, which is a
-section through the weft. A and B are two of the ground warp threads,
-a pair of these coming between the rows of pile loops, a portion of
-one row being shown in the section. The weft threads are shown in
-section coming under the loops of the ground warp at the top, and above
-them below. Both this warp and weft are of coarse hemp, about 3’s: the
-weft is steeped in glue size before being thrown into the cloth, which
-makes it stiff and firm when dry. The pile warp threads are numbered,
-1, 2, 3, 4, and 5; they are of soft-spun worsted, about 2/24’s, 2
-and sometimes 3 threads being drawn in together as one through the
-mails and reed. These five warp threads go to form one line of loops,
-being raised over the wires as is required for the pattern, and lying
-straight between the weft threads when not raised. By considering this
-it will easily be understood that each thread must be on a separate
-bobbin so as to admit of being drawn forward independently of any
-of the others. In low qualities of these carpets one or two threads
-of hemp warp are used to each splitful or row of pile threads; the
-hemp thread lies in a straight line below the worsted threads in the
-same way that No. 5 thread is shown in the section. These stuffing
-threads add to the weight and thickness when the worsted is reduced in
-quantity, but make a harsher and stiffer carpet. This warp, when used,
-is put on a beam or warp roll, as is also the ground warp of the carpet.
-
-[Illustration: Fig. 184]
-
-[Illustration: Fig. 185]
-
-Fig. 185 is the plan of drawing-in and weaving a carpet similar to
-that shown in section in Fig. 184. The draft is given at A, and the
-treading and cording for a hand loom at B. A 10-row jacquard should be
-used for a 5-frame carpet, as twice over the 5 threads makes one row
-of the cumber board. Five threads are drawn into the harness, one from
-each frame, then two ground warp threads are brought through and drawn
-on two leaves of heddles. In weaving, one ground thread is raised and a
-shot thrown in; then all the pile warp and the same ground thread are
-raised for the next shot; the third tread raises the harness and a wire
-is inserted to draw up the pile; the fourth tread crosses the ground
-warp threads; the fifth tread raises this thread again, as well as all
-the pile warp, and the sixth tread raises the harness for the insertion
-of the second wire; this completes, the order of treading. For the
-second and fifth treads it will be observed that all the warp in the
-harness must be raised; this was usually done by having shafts through
-the harness or by raising the cumber board to act as a journal in the
-manner explained for Scotch carpet weaving; but now jacquards are made
-with bottom boards or gratings that can be raised or lowered to form
-these sheds.
-
-The pile wires are now commonly inserted at the time the adjoining pick
-is being thrown in, a double shed being formed, and both the wire and
-shuttle passed across at the same time, the former being uppermost; in
-power looms the wires are both inserted and withdrawn by machinery;
-about twenty-five are inserted before any are drawn out, to prevent
-the loops from slipping. Jacquard machines are made specially for the
-purpose of forming this double shed, the grating raising the hooks from
-the bottom to the centre position, thus raising the worsted or figuring
-warp above the shuttle, while the griffe carries the figuring hooks on
-to the top, making a second or upper shed for the wire. The old method
-was to form the lower shed by raising the cumber board, and the upper
-one by the griffe. Jacquards with cords instead of hooks are frequently
-used.
-
-Brussels carpets are made 27 in. wide, with nominally 260 loops or rows
-of pile in the width; but 256 rows are commonly used instead of 260 for
-the better classes of goods, and a further reduction of 30 or 40 loops
-is made for lower classes, the reduction going to cheapen the goods
-or to the credit of the manufacturer. Although only 256 loops are on
-the surface of the cloth, it must be remembered that for a 5-frame
-carpet there are 5 times this number of threads, and that 1,280 cords
-will be required for the harness, and an equal number of needles in
-the jacquard when the pattern is single, or not repeated on the cloth;
-but the design only covers 256 spaces on the point paper, each space
-or check across it representing 5 threads. In Scotland a reed with 350
-splits on 37 in. is used, one row of pile warp with its ground warp
-going into each split. A carpet known as Axminster Brussels is made in
-Scotland. It is similar in structure to the common Brussels, but has
-in addition a woollen weft, which is thrown in pick-and-pick with the
-usual hemp weft. The addition of the wool weft adds to the softness and
-thickness of the carpet, giving more elasticity or spring to it, and
-making it wear better.
-
-Designs for Brussels carpets are sketched out and coloured in the
-usual way; the method of repeating the patterns is much the same as
-is adopted for wall papers. Usually there is one repeat in the width
-of the cloth (27 in.), and the length of the repeat may be shorter
-or longer to suit the pattern, expense, &c.; 256 checks, = 3/4ths of
-a yard, is a common length, and 1-1/2 yard for bolder effects. The
-number of colours must be regulated to suit the frames to be employed
-in the weaving, unless the frames can be made to suit the pattern. Say
-five frames are to be used, this would suggest five colours; but it
-does not follow that only five colours can be used. A clever designer
-may work out most patterns so that six or more colours may be used on
-five frames, by arranging the design so that two colours may be put to
-one or more of the frames, which process is called ‘planting.’ But it
-may be that an extra number of colours will not improve the design,
-in which case they should not be used. The process of ‘planting’ or
-striping the warp--which is on the same principle as ‘chintzing’ by
-striping the weft in other makes of goods--will be best understood by
-referring to Fig. 186, which is a Brussels carpet pattern on a small
-scale for working with five frames. The colours are indicated by
-different markings on the squares of the design-paper, as shown by the
-index or gamut below the design. On the first line of the gamut there
-are two varieties of markings, and as this line indicates reds, there
-are two colours of red used on this frame. Following up the design
-above these markings, it will be seen that one colour of red is used in
-one of the sets or rows of octagonal figures, and the other colour on
-the intermediate rows, and that the two colours of red are not required
-in the same portions of the design, the gamut showing where each is
-required. It is only necessary to arrange the spools on the frame in
-the loom and draw the threads through the harness, as shown by the
-gamut, to make this fall in correctly.
-
-[Illustration: Fig. 186]
-
-What the designer must guard against is giving the pattern a striped
-appearance, which would be the case if the planted colours were
-brought to the surface too frequently; but if they are judiciously
-brought up at intervals, the effect of a 5-frame can be made almost
-as good as that of a 6-frame pattern, and this can be carried still
-further if desired; every frame may contain two colours, or one frame
-may contain several colours.
-
-Carpet patterns are sometimes painted on small-sized design paper--that
-is, the ordinary paper with, say, two designs per inch; but before
-working it is more satisfactory to have them put on large-sized paper,
-so as to show the exact effect they will have on the cloth, the
-design-paper giving the pattern full-cloth size.
-
-When painting patterns that are as large or larger on the cloth
-than they are on the design-paper, much more care and skill are
-necessary than when the pattern is one that is much larger on the
-design-paper than it will be on the cloth, as is usually the case;
-and in consequence of the large size of the checks required for
-carpet design-paper, it is evident that representations of any small
-objects--unless those of a very simple nature--cannot be put on it
-without being greatly enlarged. After the sketch is made the forms
-should be carefully adapted to suit the paper, so as to give a
-satisfactory effect on it, rather than be a rigid adherence to the
-sketch. Natural floral forms should not be attempted unless to satisfy
-the demands of trade, and when they must be used they should be made
-on so large a scale as to be fairly represented in a semi-conventional
-manner. Large wild-floral patterns are frequently to be seen on
-carpets, but they are rarely, if ever, satisfactory. Persian, Indian,
-and other geometric or conventional forms that lend themselves readily
-to a harmonious admixture of colours so that the carpet will, when on
-the floor, present a rich glow of colour instead of obtrusive masses
-of floral misrepresentations, are much to be preferred. Dull colouring
-is not essential to good taste--rather the reverse; but it is less
-obtrusive and more easily managed, particularly in the hands of an
-inferior artist. No matter how brilliant the colours are, if properly
-blended and broken up into masses in proportion to their intensities
-in the spectrum scale they need not be in the least offensive; but it
-requires skilful hands to do this.
-
-The pattern given in our last figure (186) is a simple repeating
-pattern, so that two pieces of the carpet laid side by side will join
-correctly together. Another method of arranging patterns so that they
-will repeat is shown in Fig. 187. In this figure it will be seen that
-the two sides will not join as an ordinary repeat, but if two pieces
-are taken the right-hand side of one will, if turned round, join
-against the left-hand side of the other, and two pieces thus joined
-will form a repeat. This is objectionable in the case of cut pile,
-which usually has a slope in one direction; and when two pieces are
-joined, one running one way and the other the reverse, the effect will
-be that of shaded stripes, somewhat similar to that of a grass field
-when rolled. Another method of forming repeating patterns is by making
-what is known as a ‘drop repeat,’ which is shown in Fig. 188; though
-the two sides will not join in against each other, as in an ordinary
-repeat, if two pieces of the carpet be laid side by side, and one of
-them drawn a little down, the point A in the figure of one piece will
-fall in against B and B^1 of the other piece, and repeat.
-
-[Illustration: Fig. 187]
-
-These show the usual principles on which repeats are based, and of
-course it is for the ingenuity of the designer to form the best
-arrangements of pattern he can to suit them, or any other method he may
-think of.
-
-When cutting cards for carpet patterns the usual method of picking
-out the various colours for each cutting must be adopted by the
-card-cutter. Refer to Fig. 186 for the pattern, and to Fig. 185 for the
-draft. The order of drawing is green, blue, black, yellow, reds, which
-gives five rows of holes on the card, and this twice over makes the ten
-rows; therefore, green would be cut on the first and sixth rows; blue
-on the second and seventh; black on the third and eighth; yellow on the
-fourth and ninth; and reds on the fifth and tenth rows. These may be
-all cut when passing the card once along the cutting machine, giving
-more than one tramp, if necessary, to each shift of the card index; or
-the cutter, if not accustomed to this, may pass the card along once for
-each colour, working two of the punches at each passage of the card,
-and of course remembering to select the punches which correspond to the
-colour being read.
-
-[Illustration: Fig. 188]
-
-It must be remembered that two checks on the design-paper correspond
-with a row of ten holes on the cards, as each check may have any of
-five colours on it in the case of a 5-frame carpet pattern, and there
-must be a space for a hole in the card for any of these colours;
-therefore the designs or large squares on the design-paper would
-consist of two checks each. Suppose one of these checks--the first
-one--to be green, the first hole in the card would be cut for it; if
-the second check is also green, the sixth hole on the card would be
-cut; but if it is black, the eighth hole in the card would be cut, not
-the third hole, as it, being the second check, comes on the second half
-of the card. The first check stands against the first five rows of
-holes in the card, and the second check against the second five rows,
-each check on the design-paper representing five threads, five mails
-and five needles, or five spaces on the card; but only one hole is cut
-on the card for it, and that must suit the colour the check is painted.
-
-[Illustration: Fig. 189]
-
-_Wilton Carpets._--These carpets are made much in the same manner as
-Brussels, but the pile is cut, and they are of a better quality of wool
-with a longer pile, and altogether a superior article. As the pile is
-cut, the method of binding it into the ground is somewhat different
-from that adopted for Brussels, in order to secure a firmer binding. A
-section of the cloth through the weft is given in Fig. 189, showing two
-pile loops cut and one uncut, and also the method of binding the pile
-warp threads Nos. 1, 2, 3, 4, and 5, with the ground warp A and B, and
-the weft is shown in section, or end view.
-
-[Illustration: Fig. 190]
-
-The warp or pile threads are cut similarly to velvet by drawing the
-wires out of the loops and having each wire furnished at its end with a
-cutting edge. Fig. 190 shows the draft and treading of a Wilton carpet
-arranged for a hand loom. The back is the harness, and Nos. 1, 2, and
-3 the shafts. No 2 shaft is only required when an extra or silent warp
-is used for the purpose of giving weight and thickening the fabric.
-This warp, if used, lies straight between the weft, and must be on a
-separate beam from the ground warp.
-
-_Tapestry Carpets._--These carpets, though they do not require a
-jacquard to weave them, are so closely allied to Brussels, and patterns
-so similar can be produced on them, that it is thought desirable to
-give a short description of them. Though figured weaving, they are
-not so in the strict sense of the term, as the pattern is printed on
-the warp instead of being formed by various coloured warps; they are
-simply an imitation of figured weaving in colours. Any pattern that can
-be put on a Brussels carpet can also be put on a tapestry, and with
-further variation if desired. The effect is not so sharp and rich on
-the tapestry, as the colours, being printed on the warp, run into each
-other more or less, and produce a slight blurring round the edges of
-the pattern; whereas the pattern on the Brussels is so sharp and clear
-round the edges as to make it harsh if two very contrasting colours
-come together, so that in some cases the tapestry patterns are softer
-and more pleasing.
-
-[Illustration: Fig. 191]
-
-Fig. 191 shows the texture of a tapestry carpet. A and B are the ground
-warp threads which bind the weft, the same as in Brussels; these
-threads go on one warp roll. 1, 2, and 3 are the lying or filling warp
-threads of linen, hemp, or jute, used for giving weight and thickness
-to the cloth; these threads go on a second roll. P is the pile, which,
-it will be observed, is of various colours and looped all along the
-cloth, or passes over every wire that is inserted, and the pattern is
-formed entirely by the colours that these threads are printed. The pile
-goes on a third warp roll. All the pile can go on the one roll, as
-every thread is looped alike by each wire inserted. A pair of shafts
-for the ground warp--one for the lying warp and one for the pile--is
-all that is required for weaving the cloth. The pile consists of two or
-three ends of two-fold worsted yarn, according to the quality of the
-carpet. As the fabric is made up to a great extent with the three lying
-ends of stiffened hemp or flax to each row of pile loops, the carpet
-is of a harder and less pliable nature, with less spring in it than a
-Brussels (which has the five pile worsted threads in it), and it is
-also less durable. The number of pile loops in the width of the cloth
-is the same as for a low-class Brussels carpet, say 216 to 225, and the
-width of the cloth is the same--about 27 in. Five threads go to each
-split of the reed--viz. one pile, two ground warp, and the three lying
-or filling ends.
-
-In these carpets, as well as in Brussels, it will be seen from the
-sections that one weft thread is above a lower one, with a straight
-tightly-stretched warp between them. A method of weaving has been
-adopted on the Continent in which both sheds are formed and both
-wefts picked at the same time. One shed is raised above the centre
-warp, and one is sunk below it, and both shuttles are driven through
-simultaneously; then a pile shed is raised and a wire inserted; and
-this repeated, reversing the ground sheds, makes the order of weaving
-for tapestry carpets. Another method is to have double mails, one
-mail above the other on the same harness cord or heald; the wool warp
-goes to the upper mail, and the lying warp to the lower one. When the
-mails are raised a double shed is formed, and a pile wire and a pick
-can be inserted at the same time. The ground or binding warp is in
-two additional leaves of healds. To apply the former method to Wilton
-carpets, two picks are put in below to balance with the two above,
-instead of one pick below, as shown in Fig. 189.
-
-For tapestry carpets the pattern is prepared in the same way as for
-Brussels. The repeat of the pattern may be of any length, but 27, 36,
-or 54 in. are usual lengths. The pattern, though prepared as if for the
-jacquard, is only a guide for the printer when printing the colours on
-the warp.
-
-The pattern is printed on the warp in an elongated form, the amount of
-elongation coinciding exactly with the reduction the pile loops make in
-the length of the warp when it is woven.
-
-The pattern was originally printed on the woven cloth by means of
-blocks; next it was printed on the warp in an elongated form in the
-same manner; now it is printed by means of small rollers. The yarn for
-each thread of the warp, or of a number of warps, is wound separately
-on a large reel or drum, of such a size as will hold a suitable
-quantity of yarn (about 18-3/4 feet in circumference). Six or eight
-threads are wound on together, so as to lie closely together side by
-side and not overlap each other, till the drum is full, or the required
-length is wound on it. This has now to be printed with the pattern in
-an elongated form.
-
-The right-hand edge of the drum is divided into as many divisions as a
-length of yarn equal to the circumference of the drum will make loops
-on the cloth. This is called the index, and 648 is a common number
-of divisions for it to have, or 864 for a larger size. Of course the
-number of loops any length of yarn will make depends upon the size of
-them, and the reduction in length from the yarn to the cloth depends
-upon the height of the pile and the number of loops in a given space.
-The number of loops per inch varies with the quality of the cloth; 7
-or 8 is usual for loop pile, and 9 or 10 for cut or velvet pile. The
-design must contain such a number of checks in length as will divide
-evenly into the index number, such as 108, 162, 216, 324. When painted
-the design is cut into strips in the direction of its length, one line
-or row of checks in each strip. When the yarn is wound on the drum,
-and the printer is ready to begin work, he takes one of these strips
-and pins it up before him to guide him in the colours he is to print.
-The printing is done by means of a trough of colour with a roller in
-it, set on a carriage beneath the drum, so that when passed across
-the roller will press firmly on the yarn. The printer finds the first
-colour on the design, and setting the drum to the first tooth of the
-rack or index, he passes a trough of the proper colour across the drum
-and back again; if the second check on the design is the same colour,
-he turns the drum round a tooth of the index and passes the same
-colour across; if the third check is a different colour, this requires
-a second colour trough, and passing another tooth on the index this
-colour is passed, and so on with the remainder; or, all one colour is
-printed first, then the drum revolved again with the second colour,
-and so on. When this is all printed the yarn is taken off the drum and
-marked No. 1 thread, and the beginning and end of the thread should
-be marked in some way as a guide for the setters. A fresh lot of yarn
-is wound on for the second thread, which is printed according to the
-second strip of the design. This must be continued for all the threads
-in the warp. After being printed, the colours are fixed by a steaming
-process, and afterwards wound on bobbins and marked to their numbers.
-The design may be cut into strips of two checks each, instead of one
-check, which will be less liable to get torn. One side of the strip can
-then be printed first, and the other after.
-
-The warp is made up by ‘setters,’ who arrange the threads together
-in proper order in a frame for the purpose, and set them so that the
-colours of each thread come together at the proper place to form on the
-warp a correct elongated copy of the pattern; when correct it is wound
-on the beam for the loom.
-
-In printing and steaming, the colours are liable to run into each
-other; some colours are worse in this respect than others, but it
-is reduced to a minimum by the use of an absorbent in steaming; and
-sometimes the designer makes a little allowance on the design-paper for
-such colours as he knows will be liable to run and injure the pattern.
-The pile of tapestry carpets is usually left uncut; but sometimes it is
-cut, forming a velvet pile. In this case the carpet is made of a better
-quality, and the pile is longer.
-
-The present method of preparing tapestry warps was invented by Richard
-Whytock, of Edinburgh, in 1832, and perfected by Messrs. Crossley, of
-Halifax.
-
-_Axminster Carpets._--Real Axminster carpets, as already said, are
-made by hand much in the same manner as Turkish or Persian carpets,
-and attempts have also been made to produce them by machinery, several
-patents having been taken out for the protection of the inventions.
-These carpets, with other art carpets now being made, may be classed
-with tapestry as works of art.
-
-The Axminster carpets of commerce are the Royal Axminster or Moquette
-carpets, and the patent Axminster or chenille carpets.
-
-Royal Axminster carpets are made by a peculiar process of weaving and
-tufting on a loom made specially for the purpose. A number of little
-funnels carrying from spools threads of the different colours of yarn
-required for the pattern are fixed on the loom above the reed, and
-these threads, by suitable mechanism, are brought down and bound into
-the backing cloth by the weft. These threads, which form the pile, are
-cut off, and afterwards the surface of the carpet is shorn level.
-
-[Illustration: Fig. 192]
-
-The texture of Moquette carpets is shown in section in Fig. 192, two
-varieties of texture being given, one at A, the other at B. In both
-these textures the pattern shows through on the back of the cloth.
-
-Another variety is given in Fig. 193. A is the section through the
-weft, B the texture, C D E F shows the interlacing of each of the
-four warp threads in the pattern with the weft, and G shows the pile.
-Similar numbers in these figures represent the same threads in the
-cloth.
-
-[Illustration: Fig. 193]
-
-_Patent Axminster Carpets._--These were invented by Mr. Jas. Templeton,
-of Glasgow, about 1839, and are a description of chenille weaving. They
-do not require to be wrought by a jacquard any more than the other
-Axminster carpets, but as the figures formed on them are so similar to
-those produced by the jacquard, and as the method of designing the
-patterns is the same for both them and other classes of chenille as it
-is for jacquard work, it may not be considered out of place to give a
-full description of chenille here.
-
-_Chenille_ is made by a double process of weaving. First the weft or
-chenille thread is woven, if for a figured pattern in various colours,
-which corresponds to the printing of the warp in tapestry carpet
-weaving, which gives a warp figure, whereas chenille gives a weft
-figure. When the weft is woven in a piece it is cut up into strips
-and twisted, if for curtains or any fabric on which the chenille weft
-is to show on both sides; but for carpets, where all the pile is
-raised to one side, the weft is doubled up, bringing all the pile in
-one direction. Twisting machines are now in use for making the weft
-for plain chenille fabrics, but for figured ones it is still woven.
-If twisted for figured work it would afterwards have to be printed
-somewhat similar to tapestry carpet warps, but without elongating the
-pattern, and the uneven surface is a difficulty in the way.
-
-The method of weaving chenille weft is as follows:--A loom fixed for
-working gauze is supplied with a thinly laid warp, which, according to
-the class of chenille required, is drawn through the heddles either as
-plain gauze, two threads working plain with one crossing them, or this
-doubled, as is shown in Fig. 194. The two, three, or six threads of the
-draft are drawn into one split of the reed, which is finer or coarser
-to suit the fabric required. For shawls or curtains there would be six
-to eight full splits of the reed per inch; say in a reed of thirty to
-forty splits per inch, four splits empty to one full. For carpets there
-would be two or three full splits per inch; say in a reed of ten to
-fifteen splits per inch, four empty and one full, coarser or finer to
-suit the length of pile required.
-
-For plain work this is tied up and woven as gauze, the warp being
-cotton of a dark colour, and the weft woollen, noil silk, or other
-fibre if desired; but it should consist of several ends and be of such
-a nature as will divide easily to form a rich pile. If for figured
-work, the pattern must be woven in stripes across the piece, which will
-be explained after the designing.
-
-[Illustration: Fig. 194]
-
-When the piece is woven it will be as shown at A, B, or C (Fig. 194)
-and must next be cut into strips midway between the ribs. Sometimes
-this is done in the loom as the cloth is being woven, by having cutting
-knives arranged to divide it as it passes over the breast beam; but it
-is usually taken off in the piece and cut afterwards in a machine for
-the purpose. The piece is fed through rollers in the cutting machine
-over a grooved roller, shown at B (Fig. 195), the grooves being at such
-a distance apart that the ribs of the piece will fall into them. Above
-this roller is a set of cutting blades fixed in a spiral form round a
-roller; one of these blades is shown at A (Fig. 195), with a section
-of the roller. The blades are set at such a distance apart that when
-revolving they fall into the cuts in the roller B, and running at a
-high speed they sever the piece into strips as it passes through the
-machine.
-
-So far the process is alike for all classes of chenille work. The weft
-is now in strips similar to that shown at A (Fig. 196) if for carpets,
-and much smaller if for curtains or shawls. For ordinary chenille the
-weft is next twisted so as to make the projecting fibres stand out
-round the rib or core, and when finished it has the appearance shown
-at B (Fig. 196). If for carpets, the fibres are turned up so that all
-will project in one direction, as shown at C and in the cross-section
-at _d_. This is done by running the strips over a grooved roller, as
-C (Fig. 195), which is heated with steam, and as the projecting ends
-are doubled up by the grooves in the roller the heat sets them in this
-position. The weft is now prepared, and is wound on bobbins and woven
-in large shuttles.
-
-The texture for chenille is the same as for plain cloth. A fine black
-warp of cotton is used, with twenty to twenty-five threads per inch
-(more or less, to suit the fabric required), and twelve to sixteen
-shots per inch of the chenille weft are used, which must also be varied
-to suit circumstances and the thickness of the weft used. The fibres
-or points of the thread of weft project through the warp, and a pile
-fabric is produced which should entirely conceal the warp on both sides
-of the cloth. For carpets the pile is, as a rule, only allowed to
-project on one side, though some rugs are made with a twisted chenille
-weft, and the colours on it are shown partly through the backing as
-the fibres of the thread get mixed up with the ground or backing in
-weaving, but usually all the pile projects through to the face.
-
-[Illustration: Fig. 195]
-
-[Illustration: Fig. 196]
-
-[Illustration: Fig. 197]
-
-The texture for patent Axminster carpets is shown at A (Fig. 197),
-and sections of the cloth through the weft are shown at B and C in the
-same figure, B is a section of the texture A with two picks between the
-pile or chenille picks, and C is for a coarser description of work with
-four ground picks between the pile picks. In A only the ground texture
-is given complete; the pile weft P lies over the picks _f f_, and is
-bound down by a fine black stitching thread C, which passes over it and
-under the picks _g g_. The different thicknesses of the threads are
-represented in the drawing: C are cotton, and the others hemp, flax, or
-jute. There are about ten thick and ten fine warp threads per inch, and
-five binding threads, and about seven chenille picks per inch, with two
-ground picks between these. When there are four ground picks between
-the pile picks the pile is coarse, and only about four picks per inch
-are used. The chenille weft is wound on large wooden needles like huge
-netting needles, about 4 ft. long, so that it may come off without any
-twist in it, and the weaver pushes these through the shed, laying the
-weft nicely in and combing it forward so as to get it straight and even
-and have all the pile standing upright; he then knocks in two ground
-picks and puts in another pile thread, as before.
-
-This is all hand-loom work, but power looms are sometimes used for the
-purpose. The ground of the fabric can be woven with heddles, as before,
-but the binding warp threads are through needles, somewhat like gauze
-dents inverted, and not through the heddles; and the beam or spools
-containing them is above the loom in front. The chenille weft is wound
-on a reel, and is through a guide or carrier. When the chenille weft
-is to be laid in, the needles carrying the binders are raised and the
-guide passed along, laying in the weft. The loom stands stationary
-for a short time to give the weaver time to comb up the pile, and
-then moves on and throws in the ground picks. Everything is done
-automatically but the combing up of the pile.
-
-The foregoing is a description of chenille weaving provided no pattern
-has to be attended to; we must now consider the pattern.
-
-The design paper used is the same as for ordinary work, with a greater
-number of warp than weft threads, but it is ruled on a large scale so
-that the pattern will be exactly cloth size. Fig. 198 is a sample of
-this design-paper for seven picks per inch. The small checks, or what
-in ordinary weaving would represent the warp threads, have here no
-reference to them, nor do the warp threads require any consideration
-when preparing the pattern. The narrow way of the checks is a guide to
-the weaving of the weft threads. This paper might have been square,
-seven by seven, and would thus suit for such a pattern as is shown
-in Fig. 199--supposing seven shots of chenille weft per inch to be
-correct; but there is an advantage in many cases to have it as it is,
-or even more off the square, say seven by twenty, which is one of the
-papers used. This will be most readily understood by following the
-working out of the pattern.
-
-The pattern given (Fig. 199) is necessarily very simple for want of
-space. The different markings on the squares are to indicate different
-colours. Here nine are used, but there may be any number--say from
-eight to twenty--the only restriction on the number of colours employed
-is that so many shades of yarn are required to match them, and that the
-weaver has a greater number of shuttles to pass over when weaving the
-weft. When the pattern is painted it is cut cross-ways into strips, as
-A, B, two rows of checks in each strip; one row of checks may be in
-each strip if desired; but this is unnecessary, and besides, they are
-more easily torn. These strips are a guide to the weaving of the weft,
-just in the same way as the pattern in tapestry carpet work is a guide
-to the printer.
-
-[Illustration: Fig. 198]
-
-[Illustration: Fig. 199]
-
-The weaver takes a strip of the pattern and puts it through a widened
-split in the reed and pins one end of it to the cloth; to the other end
-he attaches a cord and light weight, which he hangs over the back rail
-of the loom so that the strip of design will be held steady and move
-forward as the cloth is drawn up. The strip must be pinned to the cloth
-so that the first check of the design projects over the fell of the
-cloth. Suppose the strip to be A, Fig. 199: C is the first check; the
-weaver sees that this is black, and proceeds to weave the gauze with
-black weft for the length of this check (one-seventh of an inch). The
-next check, moving along the strip in the loom, or from left to right
-on the design, is a different colour, say scarlet; the weaver changes
-his shuttle and weaves as many checks as there are of this colour,
-which in this case is only one. Another change of shuttle is made,
-and so on till the end of the strip is reached; it is then turned, the
-other end of it being brought to the fell of the cloth, and the checks
-on the second line of the design are woven in order as before, only
-they must run from right to left on the design instead of from left
-to right, as the first line did, which will be caused by the turning
-of the strip of paper; for it must be borne in mind that if the first
-shot of chenille weft is put into the carpet from left to right, the
-next one will be put in from the reverse side or from right to left, so
-that all the odd numbers of lines on the design-paper should be begun
-by the weft weaver at the left-hand side, and all the even numbers at
-the right-hand side, provided the weaver works in this way; in any
-case one must be the reverse of the other. When all the strips of the
-pattern are woven, each rib of the piece of weft will be long enough to
-weave as many shots as are in one repeat of the pattern, and if there
-be 40 ribs in the piece, it would, when cut up, furnish weft for 40
-repeats of the pattern. For weaving this weft large needles are used,
-somewhat similar to netting needles, which are about 4 ft. long for
-wide looms; the chenille is wound on these, free from twist, and must
-be put on so that it will come off correctly to suit the pattern. The
-strips of chenille are marked to show which end is to be put on the
-needle first. These needles are pushed through the shed by the weaver
-when weaving the carpet--put in at one side and drawn out at the other.
-He lays in the weft as correctly as possible, combing it up to the fell
-of the cloth, and makes the colours fall in nicely together, drawing
-it tighter or leaving it slacker as is necessary. Now the advantage of
-using the special design-paper will be more readily understood. It is
-plain that if 14 by 7 design-paper be used, instead of 7 by 7, any of
-the colours may be changed in 1/14 in. on the design; and also in the
-chenille weaving, when it is desirable to do so, instead of in each
-1/7 in. when 7 by 7 paper is used. And if 20 by 7 paper were used, the
-changes might be still more frequent; besides, in flowing patterns the
-advantage also comes in to assist in getting the forms more correct,
-in the same way as paper over square in either warp or weft assists
-in getting the form of the figure in damask designing over that where
-only the coarser way of the paper square is used; though the effect is
-not by any means so satisfactory as if the paper were finer both ways,
-and square. Yet when one way is fixed by circumstances it is in many
-cases preferable to alter it in the other way than to leave both alike
-coarse; but not always so, as, for example, the pattern given in Fig.
-199. When these carpets are woven they are passed through a shearing
-machine, which makes the surface of the pile quite level. They are rich
-handsome carpets, as well as very durable.
-
-
-
-
-CHAPTER XI
-
-_LAPPETS AND SWIVELS_
-
-
-_Lappet and Swivel Weaving._--The only classes of figured weaving of
-any importance not already mentioned are lappet and swivel work, both
-of which are very limited, but produce good effects. With lappets,
-figures can be put on light fabrics without requiring any cutting off
-of the surplus yarn. It is principally in the muslin trade that they
-are used, for figuring Indian fabrics with gay colours. The principal
-seat of the manufacture in this country is about Glasgow. The figure
-is formed by an extra warp drawn through one or more frames of gauzing
-needles set in the lay in front of the reed, which can be moved to
-either side as desired. The pattern is cut on a large wooden wheel
-or disc, in the face of which a groove is cut to form the pattern,
-and a traveller working in this groove, and connected with the needle
-frame, slides the needles to either side and stitches the figuring warp
-into the cloth, the needles rising and falling as the cloth is being
-woven. The figure is rather loose and only suited for simple effects.
-A description of the process of working can be found in Murphy’s or
-Gilroy’s works on weaving, and is interesting, though rather out of
-date. Swivel work is of a much better class, though not so suitable for
-getting small figures, as spots short distances apart. But it gives a
-much better bound figure--in fact, it may be bound in any way--and is
-very suitable when a few are required on the fabric, such as crests, or
-any figures in the corners or centres of handkerchiefs, napkins, etc.
-These are weft figures and usually of a different colour to the ground
-of the fabric, which may be either plain or figured. These figures
-could be formed with an ordinary box loom, cutting off the loose weft
-or binding it up to the ground cloth; but the latter is useless for
-light fabrics, and the former leaves the figure unbound round the
-edges. If the figure is large enough it can be made in an ordinary
-check or pick-and-pick loom, and bound as with swivels. The swivels are
-small shuttles similar to those used for weaving silk book-markers and
-such like fabrics, and are usually attached to the hand rail of the
-lay of the loom. The swivel attachment is fixed so that when a shed is
-opened the shuttle falls to pass through it, or a second high shed may
-be opened for the swivel shuttle. The shuttle is driven by means of a
-rack and pinion, the former being in the shuttle, and the pinions fixed
-to revolve in the frame. When the pinions are revolved the shuttle is
-drawn across. The breadth of the figures must be considerably less than
-the length of the shuttle, so that for large-sized figures this method
-of working is not suited.
-
-
-CONCLUSION
-
-Since the foregoing was written up to the present time (Sept. 1894)
-nothing new worth describing has made its appearance. A few card lacing
-machines have been brought out and several patents have appeared in
-print, but most of these disappear shortly after.
-
-No mention has been made in this work of Count Sparres’ patent
-card-cutting machine, which was to have done away with the necessity
-of putting patterns on point paper by cutting the cards direct from
-the sketch embossed on a metallic plate. This was a highly ingenious
-machine, and under suitable conditions produced very fair work, but so
-far it has proved rather expensive to the company that took it up.
-
-Another process to obtain similar results, patented by Messrs. Dawson
-and Adams of Macclesfield, was described in the ‘Textile Manufacturer’
-in 1893. In this process a perforated plate is filled with small
-pins; a piece of strong paper is laid over this, and over the paper
-another plate. The pattern is formed by pushing the pins through the
-paper between the plates. A large portion of this work can be done
-by mechanical means. When all the pins required for the pattern are
-pressed through the paper, the top plate with the sheet of paper is
-turned upside down, the pins sticking in the paper. By running a
-roller over the paper the pins can be pressed out of it and into the
-plate. This plate is then put into a reading and punching machine,
-and by suitable mechanism the pins can be brought to act on either a
-card-punching apparatus or on the harness of a pattern loom; so the
-manufacturer can have a sample of the cloth woven without any cards and
-can have the cards cut for the factory loom afterwards if he requires
-them. The cards can be punched at the rate of 2000 per hour.
-
-By means of a pattern cut out of a plate of wax, and a reading in
-machine, the filling of the pins into the plate, or the hand reading as
-it is called, can be dispensed with.
-
-It has since been stated that this firm are now trying to perfect a
-process which was tried thirty years ago, viz. to paint the pattern
-with electric paint which is to act on needles charged with electricity.
-
-These are all highly ingenious inventions, and are interesting to those
-who do not lose too much by them; but it will require a nice machine to
-produce all the variations in a pattern that an experienced designer
-can, though in many patterns this could be dispensed with, and suitable
-mechanical means may yet be devised to take a share of the work.
-
-
-
-
-INDEX
-
-
-    Axminster carpets, 266, 288
-
-    Barrel or cylinder loom, 17
-    Beeting a harness, 89
-    Bessrook machine, 185
-    Border design, 97, 100, 115, 134
-    -- mountings, 105
-    Bouchon’s loom, 18
-    Brussels carpets, 27
-
-    Cards, 51, 147
-    Card cutting, 139
-    -- -- machines, 143
-    -- -- -- (Count Sparres’), 299
-    -- -- -- (French), 167
-    -- frames, 47, 156
-    -- lacing, 139
-    -- -- machines, 148
-    -- repeating machines, 149
-    Carpets, 264
-    -- chenille, 290
-    -- Axminster, 266, 288
-    -- Brussels, 276
-    -- Indian, 265
-    -- Ingrain, 269
-    -- Kidderminster, 266
-    -- patent Axminster, 289
-    -- Persian, 265
-    -- royal Axminster, 288
-    -- Scotch, 266
-    -- tapestry, 285
-    -- Turkish, 265
-    -- Wilton, 284
-    Centred tie, 97
-    Chenille, 290
-    Comb draw loom, 16
-    Comber boards, 82, 103
-    Cross-border jacquard, 155
-    Cross’s counterpoise harness, 14
-    Cumber boards, 82, 103
-    Curtains and tapestries, 248
-    Cylinder motions (horizontal), 44
-    -- (self-acting), 36
-    -- (slide), 43, 57, 61
-    -- (swing), 33, 56, 58
-    -- to set a, 40, 43
-
-    Designing and draughting, 110
-    -- hints on, 120
-    Design paper, 112
-    -- to prepare a, 115
-    Designs, 94, 97, 100
-    -- for dress goods, 122
-    -- for gathered borders, 97
-    -- for single borders, 100
-    -- (repeating), 94, 122
-    -- (texture), 124
-    Double cloth, 233
-    -- -- jacquard, 241
-    -- warp faced cloth, 237
-    -- weft faced cloth, 235
-    Draughting a pattern, 115
-    Draw loom, 3
-    -- -- French, 24
-    Drawing in a warp, 99
-
-    Falcon’s loom, 19
-    French card, 51
-    -- -- cutting machine, 167
-    -- draw loom, 24
-    -- jacquard, 49
-    Full harness, 69
-    -- -- mountings, 69
-
-    Gathered tie, 97
-    Gauze, 196
-    -- to design a pattern, 215
-    -- harness (hand-loom), 203
-    -- -- (power-loom), 205
-    Gauze, jacquard, 214, 223
-    -- patterns, 197, 198, 217
-    -- reed, 225
-    Griffes, 37, 52
-
-    Hair-line patterns, 129
-    Half-harness, 69, 169
-    Harness, drawing warp into, 99
-    -- illustrations of, 96, 98, 102, 191
-    -- to prepare a, 71
-    -- to tie up a, 87
-    -- (double cloth), 233
-    -- (full), 69
-    -- (gauze), 203, 205
-    -- (half), 69, 169
-    -- (muslin), 169
-    -- (pressure), 70, 174
-    -- (quilting), 233
-    -- reeds, 82
-    -- (split), 62, 172
-    -- twine, 75
-    Hecks, 77
-    Hole board, 83
-    Hooks for jacquard, 38, 39, 52, 59
-    -- in double-acting jacquard, 55, 59
-
-    Indian carpets, 265
-    Ingrain carpets, 269
-    Introduction, 1
-
-    Jacquard’s machine, 23
-    Jacquard machines, 27
-    -- (cross-border), 155
-    -- (double-acting), 52
-    -- (double cloth), 241
-    -- (double-acting with two cylinders), 58
-    -- (French), 49
-    -- (gauze), 214
-    -- (Karl Wein), 192
-    -- (leno), 214
-    -- (open-shed), 161
-    -- (quilting), 241
-    -- (twilling), 185
-    -- (Verdôl), 163
-    -- cards, 50
-    -- cylinder, to set a, 40, 43
-    -- hooks, 38, 39, 52, 59
-    -- interior of, 38
-    -- needles, 38, 39, 52, 59
-    -- shedding, 60, 62
-    -- stop motion, 64
-    -- to set a, 43, 46, 76
-
-    Karl Wein jacquard, 192
-    Kidderminster carpet, 266
-
-    Lacing cards, 139
-    -- machine, 148
-    -- twine, 147
-    Lappet weaving, 298
-    Lashing a pattern, 9
-    Leno jacquard, 214
-    Letters, mottoes, &c., 136
-    Levelling frames, 85
-    -- the mails, 86
-    Lingoes, 72, 74
-    London tie, 96
-
-    Marking off a cumber board, 103
-    Marseilles quilt, 246
-    Matelasses, 246
-    Mottoes and letters, 136
-    Mountings, 69
-    Muslin harness, 169
-
-    Neck of harness, 79
-    Needles, 38
-    Norwich tie, 95
-
-    Open-shed jacquard, 161
-
-    Paints for patterns, 116
-    Parrot machine, 11
-    Patent Axminster carpet, 289
-    Pattern, to draught a, 115
-    Patterns (carpet), 280, 282-3
-    -- (gauze), 197, 217
-    -- (hair-line), 129
-    -- (spot), 130
-    -- (texture), 124
-    Persian carpets, 265
-    Piano machine, 145
-    Pile work, 259
-    Point paper, 112
-    Poplins, 252
-    Pressure harness, 174
-
-    Quilting, 247
-    Quilting harness, 233
-
-    Reading a pattern, 9
-    Repeat of a pattern, 94
-    Repeating machines, 149
-    Reversing motions, 45
-    Royal Axminster carpets, 28
-
-    Scotch carpets, 266
-    Set of harness (to vary), 106
-    Setting a jacquard, 43, 46, 76
-    Shading floral forms, 118
-    Shedding of jacquards, 62
-    Simple (draw loom), 3
-    Slabstock, 85
-    Sleepers, 73
-    Slips (comber board), 83
-    Split harness, 172
-    Spot patterns, 131
-    Spring box, 42
-    Stop motion, 64
-    Suggestions on design, 120
-    Swivel weaving, 298
-
-    Tail cords, 54
-    Tapestry (real), 255
-    -- carpets, 285
-    -- curtains, 248
-    Terry pile, 260
-    Texture patterns, 124
-    Tie of a harness, 93
-    Trap board, 15
-    Turkey carpets, 265
-    Turkish towels, 260
-    Twilling designs, 117, 133
-    -- jacquards, 185
-    Twills for damask, 181
-    Tying up a harness, 87
-
-    Varnishing a harness, 92
-    Varying the set of a harness, 106
-    Vaucanson’s loom, 22
-    Verdôl jacquard, 49, 163
-
-    Wilton carpets, 284
-    Wiring cards, 153
-    Woollens and worsteds, 248
-
-
-                              PRINTED BY
-                SPOTTISWOODE AND CO., NEW-STREET SQUARE
-                                LONDON
-
-
-Transcriber's notes:
-
-In the text version, italics are represented by _underscores_, and bold
-and black letter text by =equals= symbols. Superscripts are represented
-by ^{} and subscripts by _{}.
-
-Missing or incorrect punctuation has been repaired. Inconsistent
-spelling and hyphenation have been left as printed.
-
-The following mistakes have been noted:
-
-p. 15. boars has been changed to bars. Misaligned typeface has half
-duplicated the first letter of each line on this page.
-
-p. 26. Both trapboard and trap board have been used in the text and
-have been left as printed.
-
-p. 35. cyiinder has been changed to cylinder.
-
-p. 65. 2 4 6 8 13 12 changed to 2 4 6 8 10 12.
-
-p. 134. coarses has been changed to coarser.
-
-p. 132. fig. 3 has been changed to Fig. 3 as used in all other cases.
-
-p. 141. cyclinder has been changed to cylinder
-
-p. 208. tightly paced should probably read spaced or placed, but has
-been left as printed.
-
-
-
-
-
-End of Project Gutenberg's Jacquard Weaving and Designing, by T. F. Bell
-
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-The Project Gutenberg EBook of Jacquard Weaving and Designing, by T. F. Bell
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-
-Title: Jacquard Weaving and Designing
-
-Author: T. F. Bell
-
-Release Date: October 19, 2016 [EBook #53318]
-
-Language: English
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-Character set encoding: UTF-8
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-*** START OF THIS PROJECT GUTENBERG EBOOK JACQUARD WEAVING AND DESIGNING ***
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-
-<h1 class="faux">                               JACQUARD
-                         WEAVING AND DESIGNING</h1>
-
-
-
-
-
-<p class="ph1 center">                               JACQUARD<br />
-                         WEAVING AND DESIGNING</p>
-
-
-<p class="center f90">                                  BY</p>
-<p class="center f150">          T. F. BELL</p>
-
-<p class="center f75">               NATIONAL SCHOLAR IN DESIGN (1875-8) AND
-                 THIRD GRADE CERTIFICATED ART MASTER,
-      SCIENCE AND ART DEPARTMENT, S. K.: MEDALLIST IN HONOURS AND
-        CERTIFICATED TEACHER IN ‘LINEN MANUFACTURING,’ AND IN
- ‘WEAVING AND PATTERN DESIGNING,’ CITY AND GUILDS OF LONDON INSTITUTE</p>
-
-
-<p class="center mt4">                                LONDON<br />
-  <span class="f120"> LONGMANS, GREEN, AND CO.</span><br />
-                 AND NEW YORK: 15 EAST 16<sup>th</sup> STREET<br />
-                                 1895</p>
-
-<p class="center f75 mt2">                      <i>All rights reserved</i>
-</p>
-
-<hr class="chapter" />
-
-
-<div class="chapter">
-
-<h2><a name="PREFACE" id="PREFACE"></a>PREFACE</h2>
-
-<div class="figcenter" style="width: 200px;">
-<img src="images/i_001.jpg" width="200" height="22" alt="Decorated line" />
-</div>
-
-<p><span class="smcap">The</span> contents of the following pages have been derived from a long
-course of art and technical training, together with a lengthened practical
-experience in textile manufacturing and designing; during which time
-I received much valuable assistance from many kind friends&mdash;especially
-Mr. B. Ashenhurst, when master of the Belfast Technical School, and
-his brother, of Bradford; also Mr. John Mitchell, of Belfast and
-Glasgow&mdash;which I thankfully acknowledge.</p>
-
-<p>To supply a treatise that would be alike suitable to the manufacturer,
-the workman, and the student would be a difficult matter. To
-explain each point so fully that it would be clear to every person would
-make it wearisome to those having a knowledge of the subject. I have
-therefore endeavoured to keep the descriptions as concise as is compatible
-with a fairly clear explanation, which I hope will be considered
-the wisest plan to adopt; and, while quite aware of the many shortcomings
-of the work, I venture to hope that it will prove a valuable
-assistance to those wishing to improve their knowledge of jacquard
-weaving and designing.</p>
-
-<p class="mt2">
-<span class="in2right">T. F. BELL.</span>
-<span class="in2left"><span class="smcap">Belfast</span>, 1894.</span>
-</p>
-
-<p class="mt2">It affords me much satisfaction to add a few words of introduction
-to this work of my friend Mr. Bell. I cannot pretend to criticise his<span class="pagenum"><a name="Page_vi" id="Page_vi">[vi]</a></span>
-explanation of technical processes, but, from an examination of the
-proof-sheets, I am convinced that the book will be found an invaluable
-aid to students of both art and technical schools. We already
-possess numerous text-books on designing as an art, as also on the technical
-processes of weaving, &amp;c., and on the materials of manufacture.
-Mr. Bell has aimed at bringing the technical and artistic sides of the
-subject together in a practical form, and has thus provided us with a
-valuable handbook.</p>
-
-<p>Though we have a Government Department of Science and Art, a
-knowledge of both branches is seldom united in the same individual.
-The artist is too often deficient in the science of his craft; while the
-man of science not unfrequently shows contempt for art. The author
-of this volume is peculiarly qualified for the task he has set himself,
-being a practical manufacturer as well as a designer of long experience,
-and thoroughly learned in the science of his subject. His book will
-supply a long-felt need.</p>
-
-<p class="mt2"><span class="in4right"> GEORGE TROWBRIDGE,</span></p>
-<p class="mt1">  <span class="in2right"><i>Head-Master Government School of Art, Belfast</i>.</span>
-</p>
-
-<hr class="chap" />
-
-</div>
-<div class="chapter">
-
-
-<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2>
-
-<div class="figcenter" style="width: 200px;">
-<img src="images/i_001.jpg" width="200" height="22" alt="Decorated line" />
-</div>
-
-<div class="center">
-<table border="0" cellpadding="2" cellspacing="0" summary="TOC">
-<tr><td class="tdc f75">CHAPTER</td><td>&nbsp;</td><td class="f75 tocpg">PAGE</td></tr>
-
-<tr><td class="tocchp">I.</td><td class="tocdesc">INTRODUCTION </td>
-<td class="tocpg"> <a href="#CHAPTER_I">1</a></td></tr>
-
-<tr><td class="tocchp">  II. </td><td class="tocdesc">JACQUARD MACHINES </td>
-<td class="tocpg"> <a href="#CHAPTER_II">27</a></td></tr>
-
-<tr><td class="tocchp"> III. </td><td class="tocdesc">FULL-HARNESS MOUNTINGS </td>
-<td class="tocpg"> <a href="#CHAPTER_III">69</a></td></tr>
-
-<tr><td class="tocchp">  IV. </td><td class="tocdesc">DESIGNING AND DRAUGHTING </td>
-<td class="tocpg"> <a href="#CHAPTER_IV">110</a></td></tr>
-
-<tr><td class="tocchp">   V. </td><td class="tocdesc">CARD-CUTTING AND LACING </td>
-<td class="tocpg"> <a href="#CHAPTER_V">139</a></td></tr>
-
-<tr><td class="tocchp">  VI. </td><td class="tocdesc">SPECIAL JACQUARDS AND HARNESSES  </td>
-<td class="tocpg"> <a href="#CHAPTER_VI">155</a></td></tr>
-
-<tr><td class="tocchp"> VII. </td><td class="tocdesc">GAUZE </td>
-<td class="tocpg"> <a href="#CHAPTER_VII">196</a></td></tr>
-
-<tr><td class="tocchp">VIII. </td><td class="tocdesc">DOUBLE CLOTH  </td>
-<td class="tocpg"> <a href="#CHAPTER_VIII">233</a></td></tr>
-
-<tr><td class="tocchp">  IX.</td><td class="tocdesc"> TAPESTRY AND PILE WORK </td>
-<td class="tocpg"> <a href="#CHAPTER_IX">255</a></td></tr>
-
-<tr><td class="tocchp">   X. </td><td class="tocdesc">CARPETS  </td>
-<td class="tocpg"> <a href="#CHAPTER_X">264</a></td></tr>
-
-<tr><td class="tocchp">  XI. </td><td class="tocdesc">LAPPETS AND SWIVELS </td>
-<td class="tocpg"> <a href="#CHAPTER_XI">294</a></td></tr>
-
-<tr><td class="tocchp">&nbsp; </td><td class="tocdesc"> INDEX  </td>
-<td class="tocpg"> <a href="#INDEX">301</a></td></tr>
-</table></div>
-
-<hr class="chap" />
-
-<div class="chapter">
-<p><span class="pagenum"><a name="Page_1" id="Page_1">[1]</a></span></p>
-
-
-
-
-<p class="ph1">JACQUARD WEAVING AND DESIGNING</p>
-
-
-
-<div class="figcenter" style="width: 200px;">
-<img src="images/i_001.jpg" width="200" height="22" alt="Decorated line" />
-</div>
-
-<h2><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I<br />
-<span class="f75"><i>INTRODUCTION</i></span></h2>
-
-
-<p><span class="smcap">Though</span> the term ‘jacquard weaving’ is properly applied to work
-done by the jacquard machine, it will here be taken to apply to all
-harness weaving, or work that extends beyond the range of shafts, or
-leaves of heddles.</p>
-
-<p>The question arises, When is the limit to the number of shafts that
-ought to be used reached? It apparently used to be when no more
-could be got into the loom, as up to ninety-six shafts were used; and
-this seems to be quite enough for any weaver to get the yarn through,
-or for any loom to hold, but it must be remembered that at present the
-appliances are much more suited to the work than they formerly were;
-and now, except in woollen or worsted goods, where it is desirable to
-use shafts on account of their firmness in comparison with that of a
-harness, from twelve to sixteen shafts are as many as it is generally
-thought desirable to have in a power loom. I have seen thirty-five
-shafts, all in one tier or set, working diaper very conveniently in a
-hand loom, and more than double that number of leaves working
-worsted in a power loom; but whether the latter was desirable, or not, I
-must leave to the judgment of the manufacturer who possessed it.</p>
-
-<p>Many ingenious inventions have been made for the purpose of
-simplifying the working of a large number of shafts, but as a description
-of them would be out of place here, we may pass on to the draw
-loom, which appears to be the first form of harness of which we have<span class="pagenum"><a name="Page_2" id="Page_2">[2]</a></span>
-an accurate description. How the cloths of Babylon were woven, in
-which</p>
-
-<div class="poetry-container"><div class="poetry"><div class="stanza">
-<div class="verse">Men’s figured counterfeits so like have been</div>
-<div class="verse">That if the party’s self had been in place,</div>
-<div class="verse">Yet Art would vie with Nature for the grace&mdash;</div>
-</div></div></div>
-
-<p>is not known, though in Gilroy’s report of Arphaxad’s description of
-his loom to Deioces, king of the Medes, it is stated to have been
-accomplished by means of carved blocks of wood acting on needles,
-which wrought the harness or heddles and thus formed the pattern;
-but as Gilroy has admitted that the introduction to his work on weaving
-is a pure invention of his own, for the purpose of making it appear
-that the Ancients were acquainted with motions
-similar to those on our modern looms, or as a ‘take-off
-on those who angle hourly to surprise, and bait
-their hooks with prejudice and lies,’ we need not
-dwell further on the subject. In any case, figured
-cloths must have attained considerable excellence
-in very early ages. The curtains of the Tabernacle
-were embroidered with figures, and the veil of the
-Temple was, according to Josephus, embroidered with all sorts of
-flowers, and interwoven with various ornamental figures, the door
-curtain being embroidered with blue and purple and scarlet. The
-ephod of the High Priest was similarly embroidered.</p>
-
-<div class="figleft" style="width: 200px;">
-<a name="FIG1" id="FIG1"></a><img src="images/i_002.jpg" width="200" height="232" alt="" />
-<div class="caption"><span class="smcap">Fig. 1</span></div>
-</div>
-
-<p>The Egyptians worked coloured patterns in the loom so rich that
-they vied with the Babylonian cloths, which were embroidered with
-the needle. The method of working is unknown, but cloths taken from
-the tombs in Egypt, which may be seen in South Kensington Museum
-and in the Gobelins tapestry manufactory, Paris, appear to be made on
-a principle similar to that of the Gobelins tapestry; the warp is of flax
-and the weft of coloured wool: and the looms depicted on the catacombs
-in Egypt are very similar in appearance to tapestry looms.</p>
-
-<p>Embroidering was practised in Egypt prior to the Exodus of the
-Israelites; and gold and silver threads or wires were used both for
-embroidering and weaving, being known nearly 4,000 years.</p>
-
-<p>The Babylonish garment taken by Achan, whose sin brought much<span class="pagenum"><a name="Page_3" id="Page_3">[3]</a></span>
-woe upon the Israelites, is said, by Josephus, to have been a Royal
-garment woven entirely of gold; but it might only have been embroidered
-with gold, and was probably wrought in the plain of Shinar,
-as it was not till long after that Babylon was celebrated for its manufactures.</p>
-
-<p>Pliny says that weaving cloth with gold thread was invented by
-Attalus, an Asiatic king, and that the Babylonians were most noted for
-their skill in weaving coloured cloths. This was in Homer’s time,
-about 900 <span class="smcap">B.C.</span>, when weaving and embroidering appear to have attained
-great excellence, and to have been very gorgeous. At that time the
-labour of the loom was considered an accomplishment, which ladies
-and even princesses tried to excel in.</p>
-
-<p>As before stated, the draw loom is the first form of machine for
-figured weaving of which we have any record. It is not known where
-it was invented, but it probably passed from China to Western Asia with
-the silk manufacture. The ancient Egyptians, Greeks, and Romans
-do not appear to have known it. The Chinese have still in use a draw
-loom in which the drawboy stands on the top and draws up the parcels
-of twines which have been previously arranged for him. After
-being established in Damascus (hence the name damask), the draw
-loom passed on to Europe, where the Chinese method of working was
-used till 1604, when M. Simblot, in France, connected to the neck a
-separate series of cords, called the ‘Simple’ (perhaps a corruption of
-his name), so that the drawboy could work when standing at the side
-of the loom. It is said to have been introduced into England in 1567.
-The next improvement was to dispense with the drawboy’s services,
-and for this purpose a patent was taken out in 1687, by Joseph Mason,
-for ‘a draw boy engine by which a weaver may performe the whole
-worke of weaving such stuffe as the greatest weaving trade in Norwich
-doth now depend upon without the help of a draught boy.’ In 1779
-William Cheape patented a plan to dispense with the drawboy by
-having the ‘simple’ above his head, and drawing it down with knots
-which were held in notches, as described in <a href="#FIG2">Fig. 2</a>.</p>
-
-<p>Before beginning to describe the draw loom it may be better first to
-describe what it is required to do.</p>
-
-<p><span class="pagenum"><a name="Page_4" id="Page_4">[4]</a></span></p>
-
-<p>Its principal use appears to have been for the weaving of damask,
-which is one of the simplest forms of figured weaving. Reduce a
-damask texture to its elementary form, and it consists of twilling, or,
-more correctly, turned or reversed twilling. If we take a common dice
-pattern woven with shafts, it will easily be seen that one dice is formed
-by a warp twill, and the next one by a weft twill, or that the dices are
-formed by warp and weft twills alternately.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG2" id="FIG2"></a><img src="images/i_004.jpg" width="600" height="395" alt="" />
-<div class="caption"><span class="smcap">Fig. 2</span></div>
-</div>
-
-<p>Now, what forms the pattern? The yarn may be all of one colour,
-the threads may be so closely set together as to make them individually
-invisible, or to appear as a plain surface, and yet the dices come out
-distinctly in two shades of colour. The play of light on the longitudinal
-and latitudinal threads produces this effect. The dices formed
-by the latitudinal or horizontal threads will always appear darker than
-the yarn in the cloth when the latter is placed between the observer
-and the light, whether these threads be warp or weft, as there is a
-certain amount of shade on each of them, and of shadow cast by them,
-whereas the longitudinal or vertical threads are illuminated, without
-any shade or shadow, and appear lighter than the yarn did before being
-woven; and this is the reason why a good side light is the best for
-showing up the pattern on damask, it developing the above to the
-utmost. In a good material the difference of shade between the
-ground and figure is very considerable, but in some thin, coarse goods<span class="pagenum"><a name="Page_5" id="Page_5">[5]</a></span>
-it is hardly visible, requiring them to be held in a favourable light to
-show the distinction: the pattern will appear light on a darker ground,
-or the reverse of this, according as the surface threads forming it run
-across the light or in the direction of it.</p>
-
-<p>This is the reason of the pattern appearing on the cloth; then it
-is the business of the designer to regulate what form it is to partake
-of, by preparing a suitable design; and according to instructions
-furnished to him by the design, it is the duty of the drawboy to raise
-the warp by regulating the cording of his harness, and drawing it so
-as to reverse the twill from a weft one to a warp one wherever the
-figure is to be formed on the cloth, and to do so in such order as to
-produce the pattern required.</p>
-
-<p>The draw-loom mounting consists of two parts&mdash;the drawboy
-mounting, or the harness with its tail and simples, to be wrought by
-the drawboy; and the shaft mounting, which is required to form the
-texture of the cloth, or to interlace the warp and weft through both
-ground and figures; the harness only interlaces them at the edges of
-the pattern, or causes either warp or weft to be above, to form the figure
-<i>en bloc</i>, but without interlacing them together.</p>
-
-<p>It is therefore a ‘compound mounting,’ and is known as a ‘presser’
-or ‘pressure’ harness. For simplicity’s sake let us suppose the
-principle of the drawboy to be applied to shafts or healds, and take
-a simple figure, as <a href="#FIG1">Fig. 1</a>.</p>
-
-<p>For it there are 5 parts, or it could be wrought with 5 leaves of
-heddles with a straight draught. <a href="#FIG2">Fig. 2</a> shows the mounting; <span class="smcap">A A</span>
-is the back mounting, which in this case is a shaft mounting, but
-would be a harness for a more extensive pattern. <span class="smcap">B, B</span> are the pressure
-heddles or front mounting. These are 5 in number, as the ground or
-texture is taken as a 5-end satin or twill, <span class="smcap">C</span> is the pulley box with the
-tail cords, <span class="smcap">D, D</span>, passing over the pulleys, and tied to the wall or to the
-loom framing as at <span class="smcap">E</span>. The knobs <span class="smcap">F</span> hang over the weaver’s head,
-and are attached by cords <span class="smcap">H</span>, passing through a hole board <span class="smcap">G</span>, to the
-tail cords, <span class="smcap">D, D</span>. There are heads on the cords <span class="smcap">H</span>, and the holes in the
-hole board are made thus <img class="scaled" src="images/i_005.jpg" alt="keyhole" />; so that when the weaver pulls down
-a knob the bead can pass through the round hole, and the shaft or<span class="pagenum"><a name="Page_6" id="Page_6">[6]</a></span>
-shafts of the back mounting attached to it will be raised, and can be
-kept in this position by drawing the cord into the notch or narrow
-part of the hole, which the bead will not pass through. Any number
-of shafts can be raised that are required to form the pattern, either by
-pulling down the knob for each shaft, or by having the knots corded
-to the shafts, so that each one will raise the proper number of shafts.
-Thus, in the figure, each knob is only tied to one of the tail cords;
-therefore a knob must be pulled down for each leaf of heddles to be
-raised, but each knob might be attached to any number of the tail
-cords according to the number of leaves of heddles it is required to
-raise, so that pulling down each knob in succession will complete the
-pattern. It might require too many knobs to do this, and then the
-former method would have to be adopted. When the weaver begins
-to work he draws the first figure shed with the back mounting by
-pulling down one or more of the knobs as is required; he then works
-over the ground treadles, b, b, till a change of pattern is required. Next
-he releases the drawn shed by pulling the cord out of the notch in the
-hole board; draws another shed, and works over the ground treadles as
-before. This gives the principle of how the draw loom works, but
-the principle of forming the texture with the back and front mountings
-combined will be fully explained under ‘Pressure Harness.’</p>
-
-<p><a href="#FIG3">Fig. 3</a> gives the draw-loom harness; <span class="smcap">A, A</span> is the carriage, or the
-rails that support the harness, which rests on the capes or side rails
-of the loom. Supported by the carriage is the pulley box <span class="smcap">P</span>, which is
-a frame fitted with small pulleys, and must be sloped at such an angle
-as will allow the tail cords to sink when opening the sheds without
-obstructing the pulleys underneath them. The neck twines extend
-from the figures 1 to 8 to the knots above the hole board <span class="smcap">D D</span>. The
-cords which connect the neck twines to the mails <span class="smcap">E, E</span> are called
-sleepers, and those which connect the mails with the leads <span class="smcap">F, F</span> are
-called hangers. The hole board is made of hardwood perforated with
-holes, which run from front to back in diagonal rows from right to
-left; it should be a little finer than the set of the reed, to allow for
-empty holes that are sometimes caused by the tie of the harness ending
-with broken rows of hooks in some or all of the repeats. In Scotland,<span class="pagenum"><a name="Page_8" id="Page_8">[8]</a></span>
-for this reason, when the reed is set on 37 in., the cumber board, or
-hole board, is set on 36 in.</p>
-
-<p class="faux"><a name="Page_7" id="Page_7"></a></p>
-<div class="figcenter" style="width: 600px;">
-<a name="FIG3" id="FIG3"></a><img src="images/i_007.jpg" width="600" height="334" alt="" />
-<div class="caption"><span class="smcap">Fig. 3</span></div>
-</div>
-
-<p><span class="smcap">B, B</span> are the tail cords, attached to the neck of the harness at one
-end, and at the other end all of them are fastened to the tail stick <span class="smcap">M</span>,
-by means of which they are secured to the roof of the house. There
-must be a tail cord for each part of the harness; here only eight are
-shown for the front row of the harness, and if there were eights rows
-of harness in the hole board, 64 tail cords would be required, and the
-complete harness would be made up of several repetitions of the 64
-neck twines; four of these repetitions are here given for the first row
-of the hole board. Of course there might be 400 to 600 tail cords in a
-full mounting.</p>
-
-<p>From each tail cord descends a vertical cord to the ground, as
-shown at <span class="smcap">G, G</span>. These are the simple cords, which, taken collectively, are
-termed the ‘Simple.’ It is on these cords that the pattern is read, or,
-rather, tied up. The simple cords are gathered together, according to
-the pattern, by passing twines round them and forming the twines
-into lashes or leashes, as shown at <span class="smcap">I, I</span>. Heads of stronger cord, to
-which the lashes are attached, are shown at <span class="smcap">N, N</span>. The leashes or
-lashes are made of cotton yarn No. 48, from six to eighteen plies of
-which are moderately twisted together so that the twine will not curl;
-the heavy twine is used for coarse work, where only a small number of
-lashes is necessary. The length of the lashes is from 8 to 12 in.,
-according to the breadth of the simple. The heads are about 4-1/2 in.
-long, of good cord, as foot twine, which is used finer or coarser according
-as more or less heads are required. The heads are made with a
-noose on them that will run up or down on the gut cord <span class="smcap">L</span>, which is a
-strong cord, generally extending from the ground to the roof of the
-house. <span class="smcap">K, K</span> are the bridles connected with the lashes, and used to
-draw them down in succession as they are wanted by the drawboy.
-When there are a great number of lashes, two gut cords are used, as
-shown at No. 1 (<a href="#FIG3">Fig. 3</a>), and the lashes are looped alternately on each
-and bridled accordingly. In coloured work, where three or four draws
-are required for each weft line of the pattern&mdash;that is, one draw for
-each colour&mdash;it is usual to have two gut cords with cross bridles from<span class="pagenum"><a name="Page_9" id="Page_9">[9]</a></span>
-the one to the other which will slide up and down on them. On these,
-cross bridles the heads of the lashes are fastened, about 1 in. apart, so
-that the drawboy can take them in succession and draw the shed for
-each colour.</p>
-
-<p>The method of preparing and mounting the draw-loom harness is
-much the same as that now in use for jacquard harnesses, and, as it is
-entirely out of use, it is unnecessary to describe it.</p>
-
-<p>In order to make the neck twines draw evenly, rollers are placed
-between each set of cords at the points 1, 2, 3, &amp;c.; these rollers keep
-the cords straight and make them all rise the same height at the mails,
-which they would not do unless they all sloped to the hole board at
-the same angle.</p>
-
-<div class="forcebreak">
-<h3>READING OR LASHING THE PATTERN</h3>
-
-<div class="figcenter" style="width: 508px;">
-<a name="FIG4" id="FIG4"></a><img src="images/i_010.jpg" width="508" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 4</span></div>
-</div>
-
-<p>The pattern, painted on design paper, same as for pressure-harness
-damask, is fixed upon a lashing frame, as shown in <a href="#FIG4">Fig. 4</a>, and the
-lower ends of the simples are passed over it and fastened to the crossbar
-<span class="smcap">B</span>. The simple cords are held in position over the design by the
-comb <span class="smcap">C, C</span>, which must be of such a fineness as to make each simple
-cord stand directly opposite that space of the pattern to which it corresponds,
-one simple cord being placed between each pair of teeth of
-the comb. It will thus be seen that there must be a simple cord for
-each vertical line on the pattern, or rather for each vertical space between
-the black lines. In the same way, there must be a head of lashes
-for each horizontal space, or line, as it is usually called, and which
-would answer to a card for the jacquard or dobby. The straight-edge
-<span class="smcap">E E</span> is made so that it will slide up and down in the frame, to mark
-the line on the design paper that is to be next read by the lasher. Now
-refer to the line of the pattern above the straight-edge, and it will be
-seen that the first square or check to the left is blank, and it is accordingly
-passed over by the lasher; the second and third checks are
-painted, and as the simple cords corresponding to them have to be
-drawn to form the pattern, the lasher twists one end of his lash over
-the pin <span class="smcap">G</span>, and takes a turn of it round the second and third simples,<span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span>
-again passing it round the pin <span class="smcap">G</span>. The fourth check, being blank, is
-passed over, and a turn or tack of the lash twine is taken round the
-fifth, sixth, and seventh simples, as the checks on the design paper
-opposite these are painted. The reading and lashing proceeds in this
-way till the line is finished, as shown in the figure; then the two ends
-of the lash twine are tied together round the pin <span class="smcap">G</span>, which is then taken
-out, and the loop made round it by the lash twine is twisted round
-and formed into a snitch for the purpose of fastening it to the head.
-The lash is now pushed down behind the board <span class="smcap">H</span>, to make room
-for another; the straight-edge is then shifted to the next line, and the
-lashing proceeded with as before. If too many painted squares of the
-design paper come together, all the simple cords corresponding to them
-must not be looped or lashed together, but can be taken in two or more<span class="pagenum"><a name="Page_11" id="Page_11">[11]</a></span>
-loops or tacks, never taking more than six or seven simple cords into
-one tack of the lash twine.</p>
-
-<p>It will be observed that the board <span class="smcap">H</span> is rounded at the back;
-this is for the purpose of having all the simples at an equal distance
-from the pin <span class="smcap">G</span> when they are tacked up by the lash twine, and consequently
-a more regular shed will be produced when they are drawn in
-the process of weaving.</p>
-
-<p>The method of fastening the head to the lash is to loop the cord
-for the head, which should be double, round the gut cord, then knot
-the two ends of it together, and take this knot through the snitch formed
-on the end of the lash, and when the snitch is drawn tight the knot
-prevents the head from slipping out.</p>
-
-<p>In weaving with the draw loom two persons are required&mdash;the
-weaver, who works over the ground treadles, throws the shuttle, beats
-up the weft, &amp;c.; and the drawboy, who takes the lashes in succession
-as he draws them down by the bridle, and by pulling out the simples
-raises the harness and holds it in this position till the weaver has
-worked as many shots as are required to be given to each draught.</p>
-
-<p>When some thousands of twines were required for the harness, and
-with a simple of three or four hundred cords, the weight and friction
-made it very severe work for the drawboy. To assist him a fork, as
-shown at <span class="smcap">V</span>, No. 2, <a href="#FIG3">Fig. 3</a>, was used. It was made to run to and fro
-on a carriage, so that when the simples were drawn forward by the
-lashes, one spike of the fork could be run in behind those drawn forward,
-while the other spike was in front of them. When the fork was depressed,
-till the handle <span class="smcap">T</span> came to the position shown by the dotted
-lines, it drew down the simple cords, and they could easily be held in
-that position till a change of draught was required.</p>
-
-<div class="figcenter" style="width: 513px;">
-<a name="FIG5" id="FIG5"></a><img src="images/i_012.jpg" width="513" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 5</span></div>
-</div>
-
-<p>When the mounting of the draw loom was very extensive, it was
-necessary to employ from two to ten pulley-boxes and as many drawboys,
-so that it is not surprising that many endeavours were made to
-work without the aid of a drawboy. One of these machines, known
-as the ‘Parrot’ or ‘Pecker,’ is shown in <a href="#FIG5">Fig. 5</a>. It is wrought by the
-treadles <span class="smcap">T</span>, which are attached to the marches <span class="smcap">M</span>, and these are connected
-by the pulley <span class="smcap">P</span>, on the rocking shaft <span class="smcap">R</span>, by a cord which passes<span class="pagenum"><a name="Page_12" id="Page_12">[12]</a></span>
-over and is fastened to it. When one of the treadles is pressed down
-the pulley rocks and turns the shaft to one side, and when the other
-treadle is pressed down the shaft will rock to the other side. The
-parrot or pecker <span class="smcap">K</span> is movable on the rocking shaft&mdash;that is, it can
-slide along it&mdash;but it must rock from one side to the other with the
-shaft. The cords <span class="smcap">C, C</span> are passed through holes in the boards <span class="smcap">B, B</span>, for
-the purpose of keeping them in position, and they have knots or beads
-on them at <i>m, m</i>, and weights, <span class="smcap">W, W</span>, at their ends to keep them in<span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span>
-tension. Fastened to the cords <span class="smcap">C, C</span> is another set of cords, <span class="smcap">S</span>, connected
-with the tail cords of the draw-loom harness, and so corded or arranged
-as to draw those tail cords required to be sunk to raise the harness to
-form the pattern. As the shaft <span class="smcap">R</span> is rocked from side to side by depressing
-the treadles in succession, it carries with it the pecker <span class="smcap">K</span>, and
-the groove or notch at the point of the pecker, shown clearly in Nos. 2
-and 6, coming into contact with the knots or beads on the cords,
-draws them down alternately, first at one side of the machine and then
-at the other, until the pecker, as it slides along the rocking shaft, has
-passed over all the cords; it is then released and drawn back to its
-original position by means of the weight <span class="smcap">D</span>, attached to it by the cord <i>e</i>.
-At the end of the rocking shaft is a ratchet wheel, <span class="smcap">N</span>. The cord <i>e</i> passes
-from the pecker through the segmental hole in the pulley <span class="smcap">P</span>, as shown in
-No. 4, and is fastened to a boss, <span class="smcap">O</span>, on the inner side of the ratchet
-wheel. This wheel receives its motion from a catch, as shown at <span class="smcap">E</span>,
-No. 5, which is simply a pin fixed in a slotted piece of wood. The pin
-<i>y</i> forms the catch, and the slot acts as a guide, which passes over the
-edge of the ratchet wheel, and keeps the catch in position. The catch
-is attached to the marches and works vertically. It is raised by the
-treadles, and when released is drawn down by the weight attached to
-it, the wire <i>y</i> catching one of the teeth of the ratchet and moving it
-round. There are two pins, <i>z</i> and <i>t</i>, in the ratchet, as shown in No. 3,
-and it is according to their distance apart that the length of traverse
-of the pecker is determined. The bar <i>q</i>, shown in No. 3 attached to
-the pulley <span class="smcap">V</span>, which is loose on the axle, is raised by the stud <i>t</i>, as the
-ratchet wheel is advanced tooth by tooth, till it comes into contact
-with the catch <span class="smcap">S</span>, and raises it; this allows the ratchet wheel to be
-reversed by the weight <span class="smcap">D</span> on the end of the cord <i>e</i> till the stud <i>z</i> comes
-round and draws away the bar, which allows the catch to fall into
-position again and stops the pecker where the pattern is to begin.
-Thus, the distance between the studs <i>z</i> and <i>t</i> must be arranged to suit
-the number of cords the pecker has to pass, or to give the number of
-threads in the pattern. The teeth of the ratchet wheel and traverse of
-the catch must be of such a pitch that as each tooth is moved round
-the pulley will be turned the exact distance required to move the<span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span>
-pecker from one cord to the next one. No. 2, <a href="#FIG5">Fig. 5</a>, is an elevation of
-a ‘parrot’ arranged for a single row of cords, as these machines were
-first made. There was only one treadle, as shown in section at <span class="smcap">M</span>, No.
-2, and the pecker only rocked to one side. Either this or the double
-machine could be used for a shaft mounting where a large number of
-treads are necessary. The cords <span class="smcap">C</span> pass over pulleys, and are fastened
-to long coupers or levers with their fulcrum at the side of the loom,
-and to these the shafts are hung from jacks or otherwise. These
-machines were made to work very exactly. In the double machine
-the pecker would travel over three or four hundred cords in consecutive
-order.</p>
-
-<p>To avoid confusion the beads are not shown on the front cords in
-No. 1.</p>
-
-</div>
-<div class="forcebreak">
-<h3>CROSS’S COUNTERPOISE HARNESS</h3>
-
-<p>About the year 1816 Mr. James Cross, of Paisley, invented a
-machine to do away with the drawboys.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG6" id="FIG6"></a><img src="images/i_015.jpg" width="600" height="318" alt="" />
-<div class="caption"><span class="smcap">Fig. 6</span></div>
-</div>
-
-<p>This machine is fully described by Murphy and Gilroy in their
-works on weaving. Only the general principle of it will be given here,
-as an introduction to the jacquard. The detail of drawing the lashes
-and treading, though ingenious, is not of any practical importance
-now, and it requires rather a lengthy description to explain it. The
-harness <span class="smcap">F</span> is the same as in the common draw loom till it reaches the
-tail cords, where the counterpoise apparatus commences. The framing
-<span class="smcap">B B</span> (<a href="#FIG6">Fig. 6</a>) of this machine is supported by the carriage <span class="smcap">A A</span>, which
-rests on the capes or top rails of the loom. In this frame are two
-boards, <span class="smcap">C</span> and <span class="smcap">D</span>, perforated with holes corresponding in number with
-the tie of the harness or cords in the simple. The top board is called
-the suspension board, and is mortised into the bar <span class="smcap">E</span>. From this
-board the harness hangs, the neck being taken up through the holes
-in it, and fastened above them. The lower board, <span class="smcap">D</span>, which is mortised
-into the bar <span class="smcap">G</span>, is called the neck board, or directing board, as it keeps
-the harness in its proper place. <span class="smcap">H</span> and <span class="smcap">K</span> are two other boards, perforated
-as shown in <a href="#FIG7">Fig. 7</a>, mortised into the sliding bars <span class="smcap">I</span> and <span class="smcap">L</span> respectively;
-these are called the trap boards, <span class="smcap">M, M</span> and <span class="smcap">N, M</span> are four<span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span>
-bars, called pushers, which are fastened to the sliding bars <span class="smcap">I</span> and <span class="smcap">L</span> as
-well as to the pulleys <span class="smcap">P, P</span>, and when the pulleys are oscillated by
-means of a treadle the sliding bars will be moved up and down. The
-knot cords or tail cords <span class="smcap">O, O</span> are fastened to the suspension board <span class="smcap">C</span>,
-and pass through the two trap boards, then through the neck board,
-and are tied to the harness. Only two of these cords are shown tied
-to the harness, to avoid confusion. These knot cords have knots or
-beads on them as shown, and the round
-holes in the trap boards <span class="smcap">H</span> and <span class="smcap">K</span>, as
-shown in <a href="#FIG7">Fig. 7</a>, must be sufficiently large
-(about 1/4 in. in diameter) to allow the knots
-or beads to pass freely through. There
-are notches or saw-cuts at the sides of
-the holes to admit the cords, but support
-the knots. <span class="smcap">T, T<sup>1</sup></span> is the simple, extending
-horizontally through the knot cords. It is
-fastened to the ceiling beyond <span class="smcap">T</span>, and to
-the frame of the machine beyond <span class="smcap">T<sup>1</sup></span>. S is a half-leaf of heddles for the
-purpose of supporting the simple cords. Each simple cord is tied to a
-knot cord, and beyond <span class="smcap">T<sup>1</sup></span> the simple is lashed according to the pattern.
-In working the machine the lashes are drawn by means of hooked<span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span>
-levers, wrought by a treadle connected with the pulley <span class="smcap">V</span>, and those
-simple cords that are drawn down pull the knot cords into the notches or
-saw-cuts in the trap boards, so that when the trap board is raised the
-harness fastened to those knot cords that are drawn into the saw-cuts
-will also be raised. <span class="smcap">R</span> is a set of cords with weights on their ends for
-the purpose of drawing the knot cords out of the saw-cuts as soon as
-the simple is released by the lashes. The two trap boards rise and
-fall alternately, and this is why the machine is called a counterpoise.</p>
-
-<div class="figright" style="width: 200px;">
-<a name="FIG7" id="FIG7"></a><img src="images/i_015a.jpg" width="200" height="199" alt="" />
-<div class="caption"><span class="smcap">Fig. 7</span></div>
-</div>
-
-<p>Some time after an improvement was made upon this machine
-which was known as</p>
-
-</div>
-<div class="forcebreak">
-<h3>THE COMB DRAW LOOM</h3>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG8" id="FIG8"></a><img src="images/i_016.jpg" width="600" height="393" alt="" />
-<div class="caption"><span class="smcap">Fig. 8</span></div>
-</div>
-
-<p>This machine appears to have been invented in both Scotland and
-Ireland, as Gilroy describes it as an invention of Dr. McLaughlin, of
-Ballyshannon, County Donegal; and Murphy describes a similar machine
-invented by Mr. Bonnar, of Dunfermline. The machine is shown in Fig.
-8. <span class="smcap">A, A</span> are the posts of the loom, and <span class="smcap">B B</span> the top rail; <span class="smcap">C C</span> is the
-framing of the machine. The harness <span class="smcap">G, G</span> is suspended from the
-suspension board <span class="smcap">D</span>, and passes through the guide board <span class="smcap">E</span> and the
-cumber board <span class="smcap">F</span>. The upper portion of the harness is composed of tail
-or knot cords, as in Cross’s machine. From each of the tail cords a
-simple cord, <span class="smcap">H</span>, extends horizontally over the weaver’s head, and is
-fastened to the board <span class="smcap">I</span>. The lashes <span class="smcap">K</span> hang from the simples over the<span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span>
-weaver’s head, and have a knob on the end of each, so that the weaver
-can catch them and draw his own draught.</p>
-
-<div class="figright" style="width: 200px;">
-<a name="FIG9" id="FIG9"></a><img src="images/i_017.jpg" width="200" height="163" alt="" />
-<div class="caption"><span class="smcap">Fig. 9</span></div>
-</div>
-
-<p>The lash cords have a knot or bead on them, so that when drawn
-they can be held in the cuts of the board <span class="smcap">L</span>, also shown in plan at <span class="smcap">L</span>
-(<a href="#FIG9">Fig. 9</a>). <span class="smcap">M, N</span> (<a href="#FIG8">Fig. 8</a>) is a side view of the comb and handle, or
-lever, shown in plan at <span class="smcap">M, N</span> (<a href="#FIG9">Fig. 9</a>). <span class="smcap">S</span> is a cord or chain attached to
-the end of the lever <span class="smcap">M</span>, and passing down to a treadle. When the
-weaver draws one of the knobs, the tail cords connected with the
-simples in this lash are drawn between the teeth of the comb, as
-shown by the dotted lines in
-<a href="#FIG8">Fig. 8</a>. He then depresses the
-treadle, which raises the comb,
-and the harness along with it;
-he holds the treadle down with
-his left foot, and works over the
-ground treadles with his right
-one. The comb is recovered or
-counterbalanced by the cord <span class="smcap">O</span>,
-which passes from the comb
-through the board <span class="smcap">P</span>, and has
-a weight, <span class="smcap">R</span>, suspended on it. <span class="smcap">D</span> (<a href="#FIG9">Fig. 9</a>) is a plan of the boards <span class="smcap">D</span>, <span class="smcap">E</span>,
-<span class="smcap">F</span> and <span class="smcap">I</span> (<a href="#FIG8">Fig. 8</a>).</p>
-
-
-</div>
-<div class="subdiv">
-<h3>THE BARREL OR CYLINDER LOOM</h3>
-
-<p>This machine was introduced by Mr. Thomas Morton, of Kilmarnock.
-The harness and tail or knot cords are arranged similarly to
-those in the comb draw loom; but instead of the simple cords for
-drawing out the tail cords, each tail cord in the barrel loom passes
-through a slide, or horizontal wire. The points of these slides are
-acted upon by the pattern cylinder or barrel, and those held back press
-out their tail cords from the others, and the knots on these tail cords
-are caught by the teeth on the comb or roller, and the harness
-raised.</p>
-
-<p>The pattern is arranged upon the barrel much in the same way as
-a tune is arranged on the cylinder of a barrel organ or musical box.<span class="pagenum"><a name="Page_18" id="Page_18">[18]</a></span>
-A section of the barrel is shown at <span class="smcap">A</span> (<a href="#FIG10">Fig. 10</a>), with wire staples driven
-into it to form the pattern.</p>
-
-<div class="figleft" style="width: 200px;">
-<a name="FIG10" id="FIG10"></a><img src="images/i_018.jpg" width="200" height="107" alt="" />
-<div class="caption"><span class="smcap">Fig. 10</span></div>
-</div>
-
-<p>Each of these staples represents so many lines of the design paper,
-or so many lashes or draughts. The pattern is ruled out and painted
-on the barrel, and staples are driven into it so as to cover the painted
-squares of the pattern. The barrel is so
-arranged on the loom that exactly the
-space of one line of the design paper is
-turned round for each draught, and the
-slides are drawn back by cords attached
-from their ends to a roller when the shift
-of the barrel is being made. <span class="smcap">B</span> is a section of the comb; it is a cylinder
-with teeth, <span class="smcap">C</span>, like a parrot’s beak fixed to it. The teeth are made of
-this shape to hold the knot cords when they are caught by them, and
-they rise or fall as the roller is rocked upwards or downwards by a
-treadle.</p>
-
-<p>Whilst these improvements on the draw loom were being made in
-this country for the purpose of producing a convenient method of
-harness weaving, the French were endeavouring to obtain the same
-result, but on a different principle, and their method has proved successful.</p>
-
-<p>In 1725 M. Bouchon employed a band of pierced paper, pressed by
-hand against a row of horizontal needles, so as to push back those
-which were opposite the blank spaces, and thus bring loops on the
-extremities of vertical wires into connection with a comb-like rack
-below, which, being depressed, drew down the wires, pushed on the pins
-in it, and raised the harness.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG11" id="FIG11"></a><img src="images/i_019.jpg" width="600" height="591" alt="" />
-<div class="caption"><span class="smcap">Fig. 11</span></div>
-</div>
-
-<p><a href="#FIG11">Fig. 11</a> is a sketch of a model of this loom in the Conservatoire des
-Arts, Paris. <span class="smcap">A</span> is the pulley-box with two rows of pulleys in it; <span class="smcap">B</span> the
-tail cords; <span class="smcap">C</span> the simples, tied to rings on their upper ends, which run
-on the tail cords at <span class="smcap">B</span>; the other ends of the simples pass over a small
-roller at <span class="smcap">D</span> to prevent them rubbing against the side of the loom, then
-down through the hole board <span class="smcap">F</span>, under which they are tied to wire
-hooks or loops, as shown under <span class="smcap">A</span> (<a href="#FIG11A">Fig. 11<span class="smcap">a</span></a>). Next these wires pass
-through the needle box <span class="smcap">G</span>, also shown at <span class="smcap">B</span>, <a href="#FIG11A">Fig. 11<span class="smcap">a</span></a>, and down to the<span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span>
-comb <span class="smcap">H</span> (<a href="#FIG11">Fig. 11</a>), and <span class="smcap">C</span> (<a href="#FIG11A">Fig. 11<span class="smcap">a</span></a>). The perforated paper is rolled on
-the roller <span class="smcap">E</span>, and passing downwards, is pressed against the needles with
-a hand bar, as shown at <span class="smcap">L</span>, <a href="#FIG11B">Fig. 11<span class="smcap">b</span></a>. The roller <span class="smcap">K</span> is for rolling up
-the paper as it passes down from the upper roller.</p>
-
-<p><a href="#FIG11B">Fig. 11<span class="smcap">b</span></a> is a back view of the mounting. <span class="smcap">A</span> shows where the
-simples are connected with the tail cords <span class="smcap">P</span>; <span class="smcap">B</span> shows the connection
-of the tail cords with the harness; <span class="smcap">C</span> is the cumber board; <span class="smcap">D</span> the mails
-and <span class="smcap">E</span> the leads. <span class="smcap">F</span> and <span class="smcap">K</span> are the two rollers for the paper, <span class="smcap">H</span> the
-needle box, and <span class="smcap">I</span> the comb. This was the first attempt at forming the
-pattern by means of perforated paper acting upon needles and wires.</p>
-
-<p>In 1728 M. Falcon adopted a chain of perforated cards in lieu of
-the perforated paper, and placed his horizontal wires or needles in
-several rows or ranks, thereby admitting the use of a greater number<span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span>
-of them in a moderate space. He also used a square prism or cylinder,
-as it is called, for the cards to pass over.</p>
-
-<div class="figleft0" style="width: 171px;">
-<a name="FIG11A" id="FIG11A"></a><img src="images/i_020.jpg" width="171" height="250" alt="" />
-<div class="caption"><span class="smcap">Fig. 11a</span></div>
-</div>
-
-<div class="figright0" style="width: 300px;">
-<a name="FIG11B" id="FIG11B"></a><img src="images/i_020a.jpg" width="300" height="373" alt="" />
-<div class="caption"><span class="smcap">Fig. 11b</span></div>
-</div>
-
-<p class="nofloat"><a href="#FIG12">Fig. 12</a> is a sketch from a model of his loom, also in the Conservatoire
-des Arts. The principle of it is much the same as the preceding.
-<span class="smcap">A</span> is the pulley box for four rows of pulleys, <span class="smcap">B</span> the connection of the
-simple with the tail cords, <span class="smcap">C</span> the hole board for the simple to pass
-through and also the support for the cylinder <span class="smcap">H</span>, <span class="smcap">D</span> is the needle box,
-<span class="smcap">E</span> the comb or griffe, <span class="smcap">F</span> the levers for drawing down the griffe, and <span class="smcap">G</span>
-the treadle. The cards are laced in a chain and pass over the cylinders
-<span class="smcap">I</span> and <span class="smcap">H</span>, but they are pressed against the needles by a hand bar, similar
-to that used by Bouchon. There are two racks or receptacles for
-holding the cards, as shown. The cylinders <span class="smcap">H</span> and <span class="smcap">I</span> are simply used as
-rollers to support the cards, and not for pressing them against the
-needles, as in the jacquard.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG12" id="FIG12"></a><img src="images/i_021.jpg" width="600" height="461" alt="" />
-<div class="caption"><span class="smcap">Fig. 12</span></div>
-</div>
-
-<p>Figs. <span class="smcap">12a</span> and <span class="smcap">12b</span> give detailed views of the hooks, etc., for drawing
-the harness: the letters in both refer to the same parts as are marked
-with similar letters in <a href="#FIG12">Fig. 12</a>. The simples <span class="smcap">B</span> are tied to loops on the
-hooks under the hole board <span class="smcap">C</span>. In Fig. <span class="smcap">12b</span> it will be clearly seen how<span class="pagenum"><a name="Page_21" id="Page_21">[21]</a></span>
-the needles in four rows act upon the hooks. The griffe consists of
-four round iron rods or wires set in the frame <span class="smcap">E</span>, Fig. <span class="smcap">12a</span>, which can
-be drawn down by the treadle <span class="smcap">G</span>, connected with the levers <span class="smcap">F</span> by the
-cords 3 and 4. One of the levers has its fulcrum at one side and the
-other has it at the opposite side, and the points of the levers are tied
-to the griffe frame by the cords 1 and 2. The griffe, when sunk, is
-brought back to its place again by weights hanging on cords running
-over pulleys. It may be seen that the hooks hang in front of the rods
-or bars of the griffe; therefore, those hooks will be pushed on the griffe
-whose needles come against the solid portions of the cards, thus acting
-similarly to Bouchon’s machine. The hand bar for pressing the cards
-against the needles is shown at <span class="smcap">F</span>. The needles can pass through the
-slot in it, and, when a card is pressed against the needles, the bar can
-be fastened with hooks for the purpose, so that the operator is free to
-depress the treadle. There are no springs on the needles, but a clap
-board comes behind them, which is pressed in by means of a cord
-passing over each end of it and fastened to a spiral spring. There are<span class="pagenum"><a name="Page_22" id="Page_22">[22]</a></span>
-ten leaves of heddles in front of the harness. They are plain clasped
-heddles, and apparently act as five, the front five being raised by the
-top levers connected with the treadles, as shown in <a href="#FIG11">Fig. 11</a>, and the
-back five are held up by a set of levers at each side, with weights on
-the ends of them, similarly to those now used for hand-loom damasks,
-and tied to the treadles below, so that sinking a treadle would cause
-one of the back leaves to sink and one of the front ones to rise. Only
-the harness mechanism of Falcon’s loom is given in <a href="#FIG12">Fig. 12</a>, the front
-portion being similar to that of Bouchon, or to any hand loom.</p>
-
-<div class="figleft0" style="width: 225px;">
-<a name="FIG12A" id="FIG12A"></a><img src="images/i_022.jpg" width="225" height="426" alt="" />
-<div class="caption"><span class="smcap">Fig. 12a</span></div>
-</div>
-
-<div class="figright0" style="width: 225px;">
-<a name="FIG12B" id="FIG12B"></a><img src="images/i_022a.jpg" width="225" height="254" alt="" />
-<div class="caption"><span class="smcap">Fig. 12b</span></div>
-</div>
-
-<p class="nofloat">In 1746 the accomplished mechanician, Vaucanson, altogether dispensed
-with the cumbrous tail cords and simple of the draw loom, and
-made the draw-boy machine completely self-acting by placing the
-hooks upright on the top of the loom, and hanging the harness from
-them. This loom may be seen in the Conservatoire des Arts, as well<span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span>
-as a model of it on the same scale as those already mentioned&mdash;viz.,
-one-third the size. The machine for drawing the harness is exactly
-like a small jacquard, with two rows of hooks and two rows of needles,
-as shown in <a href="#FIG13">Fig. 13</a>. Instead of a square cylinder and cards, the
-pattern is punched on a band of paper, which passes over a round or
-true cylinder. This cylinder is fitted with a rack wheel, so that a tooth
-can be passed for each change of pattern, the cylinder moving out and
-turning one tooth, then pressing in against the cards again. The diameter
-of the cylinder is about twelve inches. The hooks are raised
-with a griffe, similar to that in a jacquard, which is fastened to a lever
-connected to a treadle below. This treadle, and four others for working
-the heddles, is wrought by tappets, made of wood, on a shaft
-running along the side of the loom and turned by a wince handle in
-front. Altogether, the loom is a nice mechanical
-contrivance, and a great step in advance of
-its predecessors.</p>
-
-<div class="figright" style="width: 200px;">
-<a name="FIG13" id="FIG13"></a><img src="images/i_023.jpg" width="200" height="175" alt="" />
-<div class="caption"><span class="smcap">Fig. 13</span></div>
-</div>
-
-<p>Joseph Marie Jacquard, a working mechanic
-of Lyons, having invented a fishing net loom,
-turned his attention to improving the means
-of drawing the harness in looms for figured
-weaving, about 1790. A model of a machine
-by him, dated 1790, to dispense with the drawing of the harness, is
-in the Conservatoire des Arts. It is made with cords and rollers,
-and has no resemblance to the machine bearing his name. He
-was brought to Paris to repair Vaucanson’s loom about 1804, and
-it appears to be then that he combined the best qualities of the
-machines of his predecessors, and produced the jacquard, a model
-of which, dated 1804, is in the Conservatoire des Arts. This is very
-much like our present jacquard, but with four rows of hooks and
-needles made similar to those of Vaucanson, <a href="#FIG13">Fig. 13</a>. He dispensed
-with Vaucanson’s cylinder and band of paper, and used instead a
-square prism with a chain of cards passing over it. The cylinder (or
-prism) he set in a frame or carriage, made to run on four wheels or
-pulleys on the top of the frame of the loom. The carriage is drawn
-out by depressing a treadle, and brought back again to press the<span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span>
-cylinder against the needles, by means of weights tied to cords running
-over pulleys. The griffe is raised by means of two levers, one at each
-side; one end of each is connected with the griffe, and the others to a
-crossbar at the bottom of the loom, and this crossbar is fastened from
-its centre to a treadle. In all these looms the cards or paper hang at
-the side of the loom, the mounting being on the principle known as
-the London tie. Jacquard was born in 1752, and died in 1834.
-Vaucanson died in 1782.</p>
-
-</div>
-<div class="subdiv">
-
-<h3>FRENCH DRAW LOOM</h3>
-
-<p>Shortly after the introduction of Cross’s counterpoise harness, a
-machine was imported from France, which is shown in <a href="#FIG14">Fig. 14</a>, and
-described in Murphy’s ‘Art of Weaving’ as a French draw loom. This
-machine far surpassed any attempts at the improvements at the draw
-loom that had hitherto appeared, in simplicity of construction and
-operation. From the neck upwards the harness is similar in construction
-to Cross’s counterpoise, having the knot cords arranged in the
-same manner, but with only one trap board. Instead of the cumbrous
-tail, the knot cords are acted upon by wires or needles, on each of which
-is a loop, through which one of the knot cords passes. <span class="smcap">D</span> is the cylinder
-or barrel, perforated with holes, as in the common jacquard cylinder,
-and <span class="smcap">C, C</span> shows the chain of cards for forming the pattern; <span class="smcap">E</span> is the
-lever for raising the trap board, to which it is connected by means of
-pieces of iron at each side, with a bar across between them, to the centre
-of which the lever is connected with a piece of wire. <span class="smcap">O O</span> are crossbars
-of wood, with holes in their centres, through which run pieces of strong
-iron wire, which are fixed into the trap board at each end to keep it
-steady while in operation. There is no spring box for the needles as is
-now used in the jacquard, but into the crossbar or frame <span class="smcap">F</span> is inserted
-a flat piece of wood moving on springs, which yields to the pressure of
-the needles that are forced back by the barrel, and recovers them again
-when the barrel is withdrawn. The lever <span class="smcap">E</span> is drawn down by the cord
-<span class="smcap">H</span>, attached to a treadle, when the trap board is to be raised, and the
-barrel is drawn back by the cord <span class="smcap">G</span>, which is attached to another treadle.
-The barrel is pressed against the needles by springs, and when it is<span class="pagenum"><a name="Page_25" id="Page_25">[25]</a></span>
-relieved by the treadle and is moving inwards, it is turned by one of
-the catches shown in Fig. <span class="smcap">14a</span>. Either of these catches can be brought
-into action, so as to turn the barrel either way, by raising or lowering
-them with a cord. When at rest the knot cords stand in the notches
-or saw cuts of the trap board, but when the cards are pressed against
-the needles, except where there are holes in the cards, the needles are
-pressed back and the cords are pushed out of the notches so that the
-knots stand above the holes in the trap board, and pass through them
-when the board is raised by depressing the treadle connected with the
-lever <span class="smcap">E</span>. The trap board is shown in <a href="#FIG7">Fig. 7</a>.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG14" id="FIG14"></a><img src="images/i_025.jpg" width="600" height="455" alt="" />
-<div class="caption"><span class="smcap">Fig. 14</span></div>
-</div>
-
-<div class="figcenter" style="width: 154px;">
-<a name="FIG14A" id="FIG14A"></a><img src="images/i_025a.jpg" width="154" height="136" alt="" />
-<div class="caption"><span class="smcap">Fig. 14a</span></div>
-</div>
-
-<p>Whether this machine was Jacquard’s invention or not, I have not
-been able to ascertain; but Gilroy states that Jacquard’s first machines
-were made with cords and trap boards, like Cross’s counterpoise
-machine. It is also recorded that William Jennings, of Bethnal Green,
-invented a machine, similar to the above, about 1830, as an improvement
-on the jacquard, on account of its simplicity, as the latter appears
-to have given the weavers some trouble, and notice was taken of his
-machine by the Society of Arts.</p>
-
-<div class="figleft" style="width: 300px;">
-<a name="FIG15" id="FIG15"></a><img src="images/i_026.jpg" width="300" height="172" alt="" />
-<div class="caption"><span class="smcap">Fig. 15</span></div>
-</div>
-
-<p>Machines similar to the above are still in use for hand-loom work,
-and answer very well. They have also been used for power looms, but<span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span>
-the cords do not stand the friction long. As at present made about
-Glasgow, the cylinders of these machines work on slide rods, and
-receive their motion from the rising of the trap board, same as the
-cylinders in jacquards are sometimes wrought by the rising of the griffe
-with what is known as the ‘swan neck’ motion. The spring board
-at the ends of the needles is held back by a spring and drawn in by the
-cylinder frame as it moves outwards,
-which brings all the needles forward,
-and the cords into the saw cuts in the
-trap board, or comb as it is frequently
-called. The knots on the cords for
-these machines are made as at <span class="smcap">B</span>,
-<a href="#FIG15">Fig. 15</a>, which, when drawn tight, are
-as shown at <span class="smcap">A</span>. The cord is a good twisted cord, such as whipcord, and
-the holes in the trapboard are about 3/16 in. in diameter, which the
-knots on the cords must pass freely through. The upper ends of the
-cords pass through a perforated board on the top of the machine, and
-another cord is drawn through loops on their ends, which prevents
-them from being drawn through the holes.</p>
-
-<hr class="chap" />
-</div>
-</div>
-
-<div class="chapter">
-<p><span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span></p>
-
-
-<h2><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II<br />
-
-<span class="f75"><i>JACQUARD MACHINES</i></span></h2>
-
-
-<p><span class="smcap">The</span> jacquard machine was introduced into England about 1818 and
-came into general use from 1824 to 1832. It was introduced into
-Scotland about 1824. <a href="#FIG16">Fig. 16</a> is a representation of the early form of
-jacquard, and of course intended for hand-loom work. Although the
-present machines for power-loom work are very different in make,
-nearly all the working parts as here used are to be found in different
-machines at present working, or still being made, though the best
-machine makers have adopted newer and better principles for fast working
-and withstanding wear and tear. Fig. <span class="smcap">16a</span> is a view of the interior
-of the machine. The working of the machine will be explained further
-on; only those parts that will not be given in the new machines will
-now be noticed. The griffe or frame for raising the hooks is lifted by
-the straps <span class="smcap">A, A</span>, <a href="#FIG16">Fig. 16</a>, which are attached to the pulleys <span class="smcap">B, B</span>, and a
-cord <span class="smcap">C</span> over a pulley on the same shaft as <span class="smcap">B, B</span>, is attached to a treadle
-beneath the loom. As the weaver presses down this treadle the griffe
-is raised, and when the treadle is released the griffe falls of its own
-weight. The cylinder is moved out and in by the pulley <span class="smcap">E</span>, fastened on
-the bent iron bar, attached to the frame which carries the cylinder,
-when the griffe rises and falls. <span class="smcap">D, D</span> is a frame which lies in the
-turned-up portion of the hooks; only a few hooks are shown, and the
-outer bars of the frame. There should be a bar in the frame for each
-row of hooks. This frame rises up and down with the hooks, the turn
-on the ends of which must be of such length that when the frame is
-raised by the hooks lifted by the griffe, it will not be raised out of the
-turns on those that are left down. This frame is for the purpose of
-preventing the hooks from turning round, so that the turns on the<span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span>
-upper end of them, as shown at <span class="smcap">A, A</span>, Fig. <span class="smcap">16a</span>, cannot get out of
-position to be caught by the blades or crossbars of the griffe. The
-lower ends of the hooks rest on a perforated board as shown in
-Fig. <span class="smcap">16a</span>, and tail cords are looped on them and pass through the
-perforated board as shown. To these cords is fastened the neck of the
-harness. Machines with these perforated boards and frames to keep
-the hooks in position are still (1890) being made in Yorkshire. In
-Fig. <span class="smcap">16a</span> is shown a section through the spring box <span class="smcap">B</span>. This box contains
-a spiral spring for each of the horizontal needles, the ends of
-which press against the springs, which allow them to yield or move
-back as the cards press on their points; but recover them again
-when the card is moved away by the cylinder. Similar spring-boxes
-are now used.</p>
-
-<div class="figcenter" style="width: 484px;">
-<a name="FIG16" id="FIG16"></a><img src="images/i_028.jpg" width="484" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 16</span></div>
-</div>
-
-<p>It might be interesting to describe the various changes and attempted
-improvements that have been made on the original jacquard, but it
-would take up too much space, and many of them are of more historical<span class="pagenum"><a name="Page_29" id="Page_29">[29]</a></span>
-than practical importance; some of them will be mentioned that
-may be interesting from a mechanical point of view, in connection with
-the descriptions of the machines, even though they have only been
-partially successful. Though a very different machine from what it
-originally was, the principle of the jacquard remains the same, and is
-not likely to be altered or superseded till a revolution takes place in the
-process of weaving.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG16A" id="FIG16A"></a><img src="images/i_029.jpg" width="600" height="446" alt="" />
-<div class="caption"><span class="smcap">Fig. 16a</span></div>
-</div>
-
-<p>A jacquard machine is simply a shedding motion by which a great
-variety of sheds can be formed; the larger the machine, or the greater
-the number of hooks it contains, the greater is the variety of shedding
-that can be produced by it.</p>
-
-<p>If a jacquard is made small, with, say, from 16 to 48 hooks, it is
-called a dobby or shedding motion, and is used for working shaft
-mountings; but the ordinary jacquard machines have from 200 to 600
-hooks, which have long cords, called the harness, connected to them,
-no shafts being required, as each hook has only a few cords tied to it,
-which can be raised independently of the others. The fewer the cords
-that are tied to each hook, the greater is the variety of shedding that
-can be made on the same number of warp threads, till, when there is
-but one cord to the hook, any thread or any number of threads can be
-raised independently of any of the others.</p>
-
-<p><span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span></p>
-
-<p>Jacquards may be divided into four classes&mdash;viz. single-acting,
-double-acting lift, double acting with double cylinders, and twilling
-jacquards; and besides these there are several other varieties made for
-special purposes. The single-acting is the real jacquard, and much
-the simplest machine. It has the disadvantage which all single-acting
-shedding motions have&mdash;viz. that one shed must be closed before the
-following one begins to open. This is on account of the same lifter
-having to open each shed; it must bring down the set of hooks that
-are raised, and then raise the next set.</p>
-
-<p>This constitutes the true jacquard lift; and while it makes a clear
-shed, and is desirable for some purposes, it is generally considered the
-most imperfect form of shedding&mdash;that is, so far as the making of a
-good cloth is concerned. It is not suitable for making a heavy, well-covered
-cloth, nor for working at a high speed, 120 to 140 picks per
-minute being a very good speed to drive it.</p>
-
-<p>A single-acting jacquard is a very simple machine, and when
-properly made should give very little trouble in working, particularly
-if the motions are properly set in relation to each other, and if such
-methods of working are adopted as will cause the least wear and tear
-on it.</p>
-
-<p>In whatever way jacquards are made, the principle of working is
-much the same. There are a number of upright hooks set in a frame;
-attached to each hook is a horizontal wire or needle, one end of which
-is pressed upon by a spring, which keeps both it and the hook steady
-and in position, while the other end, or point, passes through a perforated
-plate, beyond which it projects about half an inch (see Fig. <span class="smcap">16a</span>).
-To lift the hooks there is a set of bars or knives arranged in a frame,
-just below the heads of the hooks; this frame is called the ‘griffe’ or
-‘brander,’ and if raised would draw all the hooks up with it. What
-hooks will be lifted for each shed is regulated by perforated cards being
-pressed against the points of the needles. A perforation in the card
-allows the point of a needle to pass through and the hook to be raised;
-but where there is no perforation the card comes against the point of
-the needle, pressing it back, and holding the head of the hook clear of
-the blade of the griffe, so that the griffe will pass without raising the<span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span>
-hook. It will thus be seen that any variety of shedding can be made
-by punching the cards to suit it. <a href="#FIG17">Fig. 17</a> shows one of the best makes
-of single-acting jacquards. One of the best methods of driving is shown
-in this and the following figure. The griffe is raised by means of the
-lever <span class="smcap">G</span>, which is sometimes supported on a beam fastened to the roof
-or pillars of the shed, or it may be supported by an upright fastened
-on the frame of the loom. A portion of this upright is shown in Fig.
-17, and as well as being fastened to the loom frame, it should be stayed
-to the top of the machine. One end of the lever is fastened by a link
-connection to the centre of the bar across the griffe frame, care being
-taken that the connection is so made as to draw up the griffe vertically,
-and not have any strain on the slide rods or spindles that are used for
-keeping the griffe horizontal when rising.</p>
-
-<div class="figcenter" style="width: 528px;">
-<a name="FIG17" id="FIG17"></a><img src="images/i_031.jpg" width="528" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 17</span></div>
-</div>
-
-<p>The other end of the lever is connected to a crank on the crank-shaft<span class="pagenum"><a name="Page_32" id="Page_32">[32]</a></span>
-of the loom by a rod, <span class="smcap">E</span> (<a href="#FIG17">Fig. 17</a>); also shown at <span class="smcap">A</span> (<a href="#FIG18">Fig. 18</a>), where
-the crank is also given.</p>
-
-<div class="figleft" style="width: 300px;">
-<a name="FIG18" id="FIG18"></a><img src="images/i_032.jpg" width="300" height="477" alt="" />
-<div class="caption"><span class="smcap">Fig. 18</span></div>
-</div>
-
-<p>In hand-loom machines the griffe is frequently pushed up from
-below instead of being drawn up from the top as is shown in <a href="#FIG17">Fig. 17</a>.
-The method of doing this
-is similar to that given
-for lifting the griffes of
-twilling jacquards.</p>
-
-<p><span class="smcap">F</span> (<a href="#FIG17">Fig. 17</a>) is called
-the cylinder or barrel,
-evidently taking its name
-from the round cylinders
-or barrels used in the old
-machines, but is in reality
-a square prism. It is
-made of wood, and perforated
-on each side with
-a set of holes&mdash;a hole for
-each needle in the machine;
-its use is to draw
-round the chain of cards
-and press each one against
-the needles, or horizontal
-wires, in the machine. In
-order to keep the cards
-firmly on the cylinder,
-flat steel springs are sometimes
-used, as shown,
-attached to the top rail of the frame which holds the cylinder; and
-there are also steel wires which pass down in front of the cylinder over
-the ends of the cards. These springs are useful when only a small
-number of cards is used and the machine driven quickly; with a
-large set of cards, where there is plenty of drag on them from their
-own weight, they are not necessary, and but seldom used; but they
-are in common use in the Yorkshire districts.</p>
-
-<p><span class="pagenum"><a name="Page_33" id="Page_33">[33]</a></span></p>
-
-<p>It will be seen from the illustrations (Figs. 17 and 18) that the
-cylinder hangs in a frame suspended from the top of the machine; this
-is called the swing or batten motion, to distinguish it from the horizontal
-or sliding motion which is shown at <a href="#FIG20">Fig. 20</a> (No. 1) and in Fig.
-27. The swing motion is the simpler of the two, and is cleaner,
-requiring less oil; but the sliding motion is steadier, and does not
-swing the cards so much, consequently is more suitable when the
-cylinder has to travel quickly. The swing motion also requires the
-machine to be higher; with a slide motion the frame is usually cut off
-a little above the griffe.</p>
-
-<p>The cylinder has to travel out and in when the machine is working,
-so that it may be turned round and bring a fresh card against the
-needles for each shot. There are many methods of accomplishing this,
-which may be divided into two classes&mdash;viz. independent motions, or
-those which are driven from the loom independently of the machine;
-and self acting motions, or those which drive the cylinder out and in
-through the rising and falling of the griffe. The latter are the simpler,
-but the former are much better, causing less wear and tear on
-both the cards and machine, as will be explained further on.</p>
-
-<p>It will be seen in <a href="#FIG18">Fig. 18</a> that as the cylinder travels out it will be
-caught by the hook <span class="smcap">K<sup>1</sup></span>, and turned round; the head or lantern of the
-cylinder is made of iron, as shown, so that the hook, or shears, will
-take a firm catch on it. To prevent the cylinder from turning more
-than one card at once, and to keep it steady so that it will always come
-in fair against the needles, it is held firm by a hammer pressed on it
-by a spring. This pressure is applied in different ways, one of which
-may be clearly seen in <a href="#FIG17">Fig. 17</a>, and another in <a href="#FIG2567">Fig. 27</a>. When taking
-out the cylinder, or wanting to run it round quickly to draw over a
-number of cards, the hammers can be held up by a hook or sliding
-catch, which should be fitted to the machine for the purpose.</p>
-
-<p>One of the best independent motions for driving the cylinder is
-shown in <a href="#FIG17">Fig. 17</a>; and that shown in <a href="#FIG18">Fig. 18</a> is also a very good one for
-small machines, perhaps the most convenient that is made; but the
-former is much stronger. In <a href="#FIG17">Fig. 17</a> a connecting-arm from the frame
-of the cylinder is attached to the lever <span class="smcap">B</span>. The connecting-arm should<span class="pagenum"><a name="Page_34" id="Page_34">[34]</a></span>
-have a slotted joint, so that it can be made shorter or longer, if required,
-for the purpose of regulating the pressure of the cylinder on
-the needles.</p>
-
-<p>The lever <span class="smcap">B</span> is on a horizontal shaft, bracketed to the frame of the
-loom, or to the beams on which the machine rests; or some machines
-have bearings attached to their framing for it. There is, of course, a
-lever, as <span class="smcap">B</span>, and a connecting-arm at each side of the machine. There
-is another lever on the end of the shaft, at right angles to <span class="smcap">B</span>, which is
-connected with an eccentric on the crank-shaft of the loom by a rod, <span class="smcap">C</span>,
-in the same way as the rod <span class="smcap">C</span> is connected with the eccentric in <a href="#FIG18">Fig. 18</a>.
-The eccentric can be set to bring the cylinder against the needles at
-any required time, independent of the lifting motion of the machine,
-which cannot be done when the self-acting motions are used. The
-larger the eccentric, the greater dwell the cylinder will have against
-needles. The method of working the cylinder in <a href="#FIG18">Fig. 18</a> is somewhat
-similar, and can easily be seen; but it will be observed that a good deal
-of pressure will be put upon the studs on which the cylinder frame, or
-batten, hangs, particularly when the cylinder is being pressed in, as
-this is effected by drawing down the lever <span class="smcap">L</span>; however, in a light
-machine this does not matter much.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG19" id="FIG19"></a><img src="images/i_034.jpg" width="600" height="323" alt="" />
-<div class="caption"><span class="smcap">Fig. 19</span></div>
-</div>
-
-<p>The principal feature in this motion is the escapement apparatus
-for the purpose of disengaging the cylinder from its connection with
-the driving eccentric when it is required to turn some of the cards back.
-<a href="#FIG19">Fig. 19</a> (Nos. 1 and 2) shows this arrangement. The motion is not quite
-the same as that given in <a href="#FIG18">Fig. 18</a>, but is on the same principle, and
-one may be easily understood from the other. In <a href="#FIG18">Fig. 18</a> the latch <span class="smcap">G<span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span></span>
-comes out of the notch in the quadrant <span class="smcap">F</span>, when the handle <span class="smcap">E</span> is pressed
-close; the handle is on the lever <span class="smcap">D</span>, having its fulcrum on the shaft <span class="smcap">N</span>,
-and the quadrant <span class="smcap">F</span> is connected to the eccentric rod <span class="smcap">C</span>. The quadrant
-is loose on the shaft, and the lever is fast on it. <a href="#FIG19">Fig. 19</a> is a more
-convenient motion. The two halves of the handle <span class="smcap">A</span> are held apart by
-the spring <span class="smcap">H</span>, and this, through the hook <span class="smcap">B</span> on the inner end of the
-handle, presses the latch or catch on the slide <span class="smcap">D</span> into the notch on the
-quadrant <span class="smcap">C</span>. The quadrant and handle are one piece, and are fast on
-the shaft <span class="smcap">E</span>, and a lever <span class="smcap">F</span> on this shaft is connected to the batten of
-the machine, in the same manner as shown by <span class="smcap">D</span> and <span class="smcap">B</span> in <a href="#FIG18">Fig. 18</a>.
-When there are two or more machines, one of these levers would be
-required for each. The lever <span class="smcap">K</span> is loose on the shaft <span class="smcap">E</span>, and the rod <span class="smcap">G</span>
-connects it with the eccentric, same as is shown by the rod <span class="smcap">C</span> in <a href="#FIG18">Fig. 18</a>.
-In No. 2, <a href="#FIG19">Fig. 19</a>, the quadrant is left out to show clearly how the hook
-<span class="smcap">B</span> acts on the slide <span class="smcap">D</span>, and also to show the lever <span class="smcap">K</span> on the shaft. The
-two halves of the handle, being pressed out by the spring, keep <span class="smcap">D</span> in
-position, firmly pressed inwards; but when the handle is pressed the
-hook <span class="smcap">B</span> presses the slide <span class="smcap">D</span> outwards, leaving the quadrant free to pass
-up or down; and by pulling down the cord <span class="smcap">H</span> (<a href="#FIG18">Fig. 18</a>), which raises the
-shears <span class="smcap">K</span> and <span class="smcap">K<sup>1</sup></span>, the cards can easily be turned back by working the
-handle up and down, as the under shears will catch the cylinder and
-turn it the reverse way. The weaver must be careful not to jerk the
-motion and throw the cards off the cylinder or damage them; but a
-very little practice will enable anyone to turn them back quite easily
-and quickly. This motion answers very well for one, or perhaps two,
-small machines; for a 400 or 600 machine, or any smaller size working
-spottings, &amp;c., it is very convenient, but when large mountings are
-required, as in 800 to 2400 machines, it is quite too weak for the
-work; even if made strong enough it would not be satisfactory, as the
-strength of spring that would be required to bear the strain and keep
-the catch in the notch would make it a very difficult matter to use the
-motion for reversing the cylinder. For heavy machinery the method
-of working the cylinder shown in <a href="#FIG17">Fig. 17</a> is far preferable, and separate
-motions for turning back the cards can be fixed on the machine.
-These will be explained further on.</p>
-
-<p><span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span></p>
-
-<p>Instead of the eccentric and crank for driving the cylinder and
-raising the griffe being as they are shown in <a href="#FIG18">Fig. 18</a>, though a plan
-frequently in use, it is neater, and perhaps better, to have the eccentric
-at the back of the fly-wheel, and the fly-wheel either cast with one
-half solid, or have a plate fastened across two or more of the spokes, to
-which the connecting-rod can be attached with a bolt fastened in a slot.
-The amount of lift can be increased or diminished, either by shifting
-the top of the connecting-rod along the lever <span class="smcap">G</span> (<a href="#FIG17">Fig. 17</a>), or by increasing
-or reducing the throw of the crank at the fly-wheel.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG19A" id="FIG19A"></a><img src="images/i_036.jpg" width="600" height="382" alt="" />
-<div class="caption"><span class="smcap">Fig. 19a</span></div>
-</div>
-
-<p>Self-acting motions actuate the cylinder through the rising and
-falling of the griffe without requiring any special connection from the
-loom. One of the most convenient of these is that frequently used
-on hand-loom machines, and known as the S iron or swan-neck motion.
-It is shown in Fig. <span class="smcap">19a</span> (No. 1), and another form of it on a swing
-cylinder motion is shown in Fig 16. <span class="smcap">D</span> is the swan-neck or S iron. In
-the groove in it a roller stud on the griffe frame travels, sliding in and
-out the cylinder <span class="smcap">A</span> as the griffe falls and rises. <span class="smcap">E</span> is the slide bar, which
-may be flat or round; if round, there must be some means of keeping
-it from turning in its bearings, which is generally accomplished by
-having a crossbar bolted across the two slide bars behind the machine.</p>
-
-<p>No. 2, Fig. <span class="smcap">19a</span>, is a motion for the same purpose, but consists of a<span class="pagenum"><a name="Page_37" id="Page_37">[37]</a></span>
-series of levers; and No. 3 is an arrangement of a similar nature. <span class="smcap">B</span> is
-the fulcrum of the levers, or fast pin by which they are connected to
-the machine. <span class="smcap">C</span> shows the attachment of the levers to the slide rod of
-the machine. <span class="smcap">A</span> is the connection with the cylinder frame. As the
-griffe rises or falls it will easily be seen that the cylinder will be driven
-out or in.</p>
-
-<p>The connecting-bar <span class="smcap">H</span> is in two parts, slotted and bolted together at
-<span class="smcap">H</span> to admit of regulating the position of the cylinder.</p>
-
-<p>No. 4 is a motion on a different principle; it is a French motion.
-It will readily be seen that the cylinder is driven out and in by the
-toothed wheel, which is wrought by a rack on the slide rod <span class="smcap">E</span>. This
-slide rod works outside the framing of the machine, as is common in
-the French machines. One point must be observed about these
-motions&mdash;viz. that they must have a certain amount of dwell at the
-bottom of the stroke, or when the cylinder is in. The reason of this
-dwell will be explained further on, but the method of obtaining it may
-be given here. In the swan-neck motion (No. 1), any desired dwell
-can easily be obtained at either top or bottom by the length of the slot
-that is in a vertical direction, as when the stud is passing through this
-portion of the slot no motion is given to the cylinder. In the lever
-motions Nos. 2 and 3, as well as in No. 4, the dwell is got by the levers
-or arms passing the centres; in Nos. 2 and 4 it is by the lever or arm
-<span class="smcap">H</span> passing the back centre, which may be considered as a crank; and in
-No. 3 it is the short lever <span class="smcap">C</span> passing the centre that gives the dwell.</p>
-
-<div class="figcenter" style="width: 597px;">
-<a name="FIG20" id="FIG20"></a><img src="images/i_038.jpg" width="597" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 20</span></div>
-</div>
-
-<div class="figleft0" style="width: 416px;">
-<a name="FIG21" id="FIG21"></a><img src="images/i_039.jpg" width="416" height="450" alt="" />
-<div class="caption"><span class="smcap">Fig. 21</span></div>
-</div>
-
-<div class="figright0" style="width: 82px;">
-<a name="FIG22" id="FIG22"></a><img src="images/i_039a.jpg" width="82" height="450" alt="" />
-<div class="caption"><span class="smcap">Fig. 22</span></div>
-</div>
-
-<p class="nofloat"><a href="#FIG20">Fig. 20</a> is a view of the interior of a single-acting jacquard machine
-with the framework removed; only one row of hooks and needles are
-given, to avoid confusion. The blades or knives of the griffe, with a
-support running across their centres, are shown at <span class="smcap">B</span>. <span class="smcap">A</span> is the face-plate
-or needle board, sometimes made of iron, but better to be of hard
-wood. <span class="smcap">C</span> is the spring-box, the detail of which is given in <a href="#FIG24">Fig. 24</a>.
-<span class="smcap">E, E<sup>1</sup></span> are the hooks, and <span class="smcap">F, F<sup>1</sup></span> the needles. <span class="smcap">D</span> is the grating through
-which the hooks pass, and are supported by it. It will be seen that
-the hooks and needles are arranged in rows of eight: a 400 machine
-would have 50 or 51 of these rows in it; 500 machines are usually
-arranged in rows of 10, and 600 machines in rows of 12. The hooks<span class="pagenum"><a name="Page_38" id="Page_38">[38]</a></span>
-should be set perfectly upright or vertical, and should be close up
-against the knives, but not pressing against them. There should be
-a provision made for shifting both the grating and the knives, so as to
-admit of both them and the hooks being properly set in relation to
-each other; but if set correctly by the maker, which they should be, no
-alteration is necessary. <span class="smcap">A</span> (<a href="#FIG21">Fig. 21</a>) is a side view of four hooks and
-needles, with the ends of the knives of the griffe shown at <i>a</i>, <i>a</i>, <i>a</i>, <i>a</i>.
-When the machine is working the needles are acted upon by perforated
-cards cut from the pattern. Suppose we take plain cloth&mdash;that is, a
-pattern in which each half of the warp, or every alternate thread, is
-raised and sunk alternately; then, if the first card acts on all the odd
-numbers of the needles, and the second card on all the even numbers,
-this repeated would make plain cloth. Whenever a hook of the
-jacquard is to be raised a hole is cut in the card for the needle connected
-with that hook, and a card with all the even numbers of holes<span class="pagenum"><a name="Page_39" id="Page_39">[39]</a></span>
-cut in it will cause the griffe to raise all the even-numbered hooks.
-Refer to <i>b</i> (<a href="#FIG21">Fig. 21</a>), where the second and fourth holes are cut in the
-card. If the card is pressed against the needles, as at <i>c</i>, the first and
-third needles will be pressed back, and will push the first and third
-hooks back from their position&mdash;shown by the dotted lines&mdash;to the
-position in which they are shown in <span class="smcap">B</span> (<a href="#FIG21">Fig. 21</a>); but the second and
-fourth hooks are not moved, as their needles pass through the holes in
-the card. If the griffe is now raised, the blades or knives will pass the
-first and third hooks, but will lift the second and fourth; and if the
-odd numbers of holes are cut on the next card, the first and third
-hooks will be lifted when it is pressed against the needles, as shown at
-<span class="smcap">C</span> (<a href="#FIG21">Fig. 21</a>), thus making the cross-shed; and this explains the principle
-of working any pattern by the jacquard without taking into consideration
-the intricacies of mounting, &amp;c. In <span class="smcap">C</span> (<a href="#FIG21">Fig. 21</a>), it will be seen
-that if the knives <i>d</i>, <i>d</i> were upright instead of slanting, they would
-come down on the heads of the hooks that are under them, but, being<span class="pagenum"><a name="Page_40" id="Page_40">[40]</a></span>
-slanted, their lower edges pass the heads of the hooks, and press them
-away as the griffe descends. Sometimes, even with slanting knives, if
-there is much vibration in the hooks, or if the loom ‘bangs off,’ some
-of the hooks are liable to get under the knives and be ‘crowned,’ or
-bent down. To avoid this deep blades are often used, principally in
-double-acting machines, so that the lower edges of the blades will not
-pass the bottom hook, as shown at <span class="smcap">D</span> (<a href="#FIG21">Fig. 21</a>). This prevents any
-danger of crowning, but it darkens the machine a little&mdash;that is, makes
-it more difficult to see down into it if any of the wires require to be
-examined; it also requires the heads of the hooks to be somewhat
-higher above the heads of the needles than is necessary with the
-narrow blades. Another principle has been tried&mdash;viz. that of making
-the heads of the hooks as shown in <a href="#FIG22">Fig. 22</a>, and using narrow blades.
-This effects its object well, but there is too much friction of the knives
-against the hooks, and the latter are liable to wear out too quickly. A
-good machine with firmly set hooks should work very well without
-these protections if it is steadily placed above the loom, and it is better
-not to be resting on the loom framing, if convenient to have it so. It
-will be seen from the foregoing explanation that the proper time, or,
-rather, the necessary time, for the cylinder to press against the needles
-is just after the griffe begins to rise. When the griffe is down the top
-edges of the knives should be 3/16in. or 1/4in. lower than the turned points
-of the hooks, and before this edge rises up to the hooks those that are
-not to be lifted should be full back, or the cylinder should be close in,
-having the front of the head of the hooks 3/16in. or 1/4in. behind the
-blades. The cylinder should have a short dwell in this position; and
-if it has a longer dwell it may assist to reduce the friction of the heads
-of the hooks against the knives; but if it has too great a dwell it may
-have to travel out and in too quickly to make up for the lost time, which
-will probably not be compensated for by the advantage of the increase
-in the dwell. Now, when the cylinder is driven with an independent
-motion, as in Figs. 17 and 18, it is easy to set the eccentric so that it
-can be brought in at any required time; but when a self-acting motion
-is used, it is plain that if the cylinder must press against the needles
-when the blades of the griffe are passing the heads of the hooks in rising,<span class="pagenum"><a name="Page_41" id="Page_41">[41]</a></span>
-it must also press against them in the same position when the griffe
-is falling, unless some special escapement motion could be devised
-to avoid it, and this is where the dwell is required, and where the evil
-effect of the motion takes place; and it is worse in a double-lift
-machine with one cylinder, as the heads of the hooks in it are larger,
-or have a longer turn on them. A little consideration will suffice to
-show that when the brander or griffe is falling, say, with one-half of
-the hooks hanging on its knives, and the cylinder is brought in against
-the needles before the hooks are quite down, as it must be, it will
-either cause the hooks to be shot off the knives, or will put a considerable
-strain on them, as well as upon the needles and cards. It is for
-this reason that these motions are objectionable, particularly in power-loom
-work, where the speed is high and the hooks are strong. In
-hand-loom work it is not so objectionable, as there is more spring in
-the wires, and the heads of the hooks need not be too large, and,
-besides, the speed is less and the wear and tear not so great; but, even
-with this, if a hand-loom machine that has been in use for some time
-be examined, it will be seen that the points of the hooks are considerably
-worn, and that the edges of the knives are hollowed out like a
-coarse saw by the friction of the hooks on them. This latter will partly
-arise from the lifting of the hooks.</p>
-
-<div class="figleft" style="width: 299px;">
-<a name="FIG23" id="FIG23"></a><img src="images/i_042.jpg" width="299" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 23</span></div>
-</div>
-
-<p>In the old Jacquard, given in Figs. 15 and 16, the hooks are shown
-resting on a perforated board, and it was mentioned that in order to
-prevent them from turning round a frame lay in the turned-up portion
-of the hooks. The grating in <a href="#FIG20">Fig. 20</a>, through which the turned-up
-bottoms of the hooks pass, readily accomplishes this object. Sometimes
-flattened hooks are used, as in <span class="smcap">C</span> (<a href="#FIG23">Fig. 23</a>), with the needles twisted
-once or twice round the hooks; this makes a firm arrangement, but if
-anything goes wrong with a hook it is not easy to get it clear of the
-needle. When the needles were made with a full twist or loop on
-them, as at <span class="smcap">B</span>, the same was the case; they are now usually made as
-at <span class="smcap">A</span>, and if arranged in the machine as in <a href="#FIG20">Fig. 20</a>, there is no danger
-of the hooks sliding out of the recess in the needle, and if a hook gets
-bent or broken, it can be taken out and replaced by a new one without
-disturbing the needles.</p>
-
-<p><span class="pagenum"><a name="Page_42" id="Page_42">[42]</a></span></p>
-
-<p><a href="#FIG16">Fig. 16</a> shows how the needles press against the springs in the
-spring-box, which is much the same as that at present in use. Fig.
-24 is the present arrangement. No. 1 gives a plan of the end of a
-needle, <span class="smcap">B</span>. <span class="smcap">C C</span> is the horizontal wire which supports it as shown in
-section at <span class="smcap">C C</span> in No. 2. <span class="smcap">D</span> (No. 1) is a section of the vertical wire
-shown at <span class="smcap">D D</span> (No. 2), which passes through the loops or eyes on the
-ends of the needles, and keeps the springs from shooting them too far
-forward. <span class="smcap">A</span> (No. 2) is a wire which passes down at the outside of the
-box over the ends of a row of springs, so that by drawing out this wire
-any of the springs can be drawn out without taking off the spring-box,
-as the springs pass through the box. The springs should be strong
-enough to keep the hooks and needles steady, but if unnecessarily
-strong they give the card and cylinder unnecessary work.</p>
-
-<div class="figright" style="width: 299px;">
-<a name="FIG24" id="FIG24"></a><img src="images/i_042a.jpg" width="299" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 24</span></div>
-</div>
-
-<p>In some machines there is no spring-box. The hooks are made
-double, as shown in <a href="#FIG2567">Fig. 25</a>, and rods, as <i>a</i>, <i>a</i>, run along between the
-rows of hooks; the spring of the double wire keeps the hooks steady.
-There is a clap-board used, similar to that in the French draw loom,
-(<a href="#FIG13">Fig. 13</a>), which is pressed against the needles with springs; this board
-is connected with the face-plate by a bar at each end, forming a frame.
-The needles do not project much through the face-plate, but when the
-cylinder is pressed against it, it slides back on the needles, and presses<span class="pagenum"><a name="Page_43" id="Page_43">[43]</a></span>
-the clap-board back, which also allows those needles to go back which
-the card presses against. The needles are not looped on the hooks,
-but have a turned catch in front of them as shown. The bottom of the
-hook rests on a hole board, <span class="smcap">C</span>, through which the tail cords pass; and
-through the hooks at <span class="smcap">D</span> are wires fixed in a frame which rises and falls
-when the hooks are raised, and keeps them from turning round, same
-as explained in <a href="#FIG15">Fig. 15</a>. Machines of this description are at present
-being made in France, and work with a rising and falling shed, which
-will be hereafter explained (see <a href="#FIG30">Fig. 30</a>).</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG2567" id="FIG2567"></a><img src="images/i_043.jpg" width="600" height="439" alt="" />
-<div class="caption"><span class="smcap">Fig. 25<span class="wider">&nbsp;</span>
-Fig. 26<span class="wider">&nbsp;</span>Fig. 27</span></div>
-</div>
-
-<p>In working, the card cylinder must be so set that it will come forward
-fair on the needles&mdash;that is, that when it comes forward the
-points of the needles will enter fair into the centres of the holes in it.
-For the purpose of setting it there must be provision made in the
-fittings so that it can be moved laterally or vertically. In the swing
-motion the frame can be moved laterally by means of the two screw
-studs on which it hangs. <span class="smcap">C</span>, <a href="#FIG2567">Fig. 27</a>, shows the bearing on which the
-stud of the cylinder revolves. This bearing can be raised up or down
-in the frame <span class="smcap">R</span>&mdash;a side view of which is given at <span class="smcap">S</span>&mdash;by slackening the<span class="pagenum"><a name="Page_44" id="Page_44">[44]</a></span>
-bolt <span class="smcap">B</span> with the wing nut <span class="smcap">A</span>, and adjusting the bearing with the set
-screw <span class="smcap">D</span> or <span class="smcap">E</span>.</p>
-
-<p>A method commonly adopted by tacklers or tuners to see that the
-needles are perfectly fair in the centres of the holes in the cylinder, is
-to rub their fingers on some dirty oil, and touch over the points of the
-needles with it. They then bring in the cylinder against the needles
-with a card on it, in which about half of the holes are cut. The
-points of the needles mark the card where there are no holes, and
-it can easily be seen whether the mark is in the centre of where a
-hole should be, or not.</p>
-
-<p>One of the best bearings and attachments for a cylinder with a
-horizontal slide motion is given in <a href="#FIG2567">Fig. 26</a>. <span class="smcap">D</span> is the bearing for the
-cylinder <span class="smcap">E</span>, and <span class="smcap">C</span> the bolts for setting it. <span class="smcap">F F</span> is the bracket which
-holds the hammer and bearings, which can be set in position on the
-slide bar <span class="smcap">B</span> by the bolt <span class="smcap">A</span>. <span class="smcap">I</span> is the hammer held down by the spring <span class="smcap">H</span>
-attached to the rod <span class="smcap">G</span>.</p>
-
-<p>The cards are kept in position on the cylinder by pegs or studs,
-originally made of wood, and driven into the cylinder. Now they are
-made of brass, and set in a slotted bracket, so that they can be shifted
-in order to have the holes in the cards corresponding exactly with
-those in the cylinder. The pegs should also be set on springs, so
-that if a card gets off them, and between them and the needle plate,
-they will yield or sink into the cylinder, and not break the card. In
-all good machines they are made in this way.</p>
-
-<p>When the motion for driving the cylinder is not fitted with an
-escapement for the purpose of turning back the cards, it is necessary
-for the convenience of the weaver to have a motion on the machine
-for the purpose.</p>
-
-<div class="figright" style="width: 250px;">
-<a name="FIG28" id="FIG28"></a><img src="images/i_045.jpg" width="250" height="205" alt="" />
-<div class="caption"><span class="smcap">Fig. 28</span></div>
-</div>
-
-<p>Figs. 28 and 29 show two varieties of these motions. <span class="smcap">A</span> is the
-cylinder head; <span class="smcap">C</span>, the catch for reversing the cylinder; <span class="smcap">F</span>, the spring
-for returning the catch to its position; <span class="smcap">E</span>, a cord which hangs down,
-with a knob on the end of it, in a convenient position for the weaver to
-catch and work the motion. In <a href="#FIG28">Fig. 28</a> the motion is on the opposite
-side of the machine to the shears, but might be on either side, and the
-weaver has to raise the shears to turn the cylinder, which she can<span class="pagenum"><a name="Page_45" id="Page_45">[45]</a></span>
-easily do by catching the knob for raising the shears in one hand, and
-working the reversing motion with the other. The cylinder must be
-full out for this motion to turn it properly, and this prevents the
-weaver from tearing the cards on the
-needles, as she might easily do by
-trying to turn the cylinder when it is
-too close in. In <a href="#FIG29">Fig. 29</a>, <span class="smcap">B</span> is the
-shears for turning the cylinder, and
-both it and the pushing catch, <span class="smcap">C</span>, pass
-through a keeper or bracket, <span class="smcap">D</span>, on
-the side of the machine. There is a
-rise on <span class="smcap">C</span> a little back from the point,
-and when the cord <span class="smcap">E</span> is pulled down
-<span class="smcap">C</span> is shot forward by the lever, which has its fulcrum at <span class="smcap">G</span>, and in going
-forward the rise on it comes into contact with the bend in the shears,
-and raises them up so that it can turn the cylinder when it catches on
-the head of it. Both these are good and convenient motions. For the
-latter the cylinder should
-be about half-way out
-when the cards are being
-turned back.</p>
-
-<div class="figright" style="width: 300px;">
-<a name="FIG29" id="FIG29"></a><img src="images/i_045a.jpg" width="300" height="153" alt="" />
-<div class="caption"><span class="smcap">Fig. 29</span></div>
-</div>
-
-<p>Sometimes the cylinder
-may not be completely
-turned by the
-shears when the machine
-is working, by reason of
-the cards catching, or if the shears are too long, or it may arise from
-other causes. In this case the cylinder would come in with one corner
-against the needles, and be pressed heavily against the needle plate.
-Some of the levers would probably be broken, or the cylinder might be
-shot out of its bearings and fall, breaking the yarn, or perhaps injuring
-the weaver. To avoid this, small snecks, as at <span class="smcap">H</span>, Figs. 28 and 29, are
-set so that when the cylinder is square it will pass over them; but if
-turned angularly its lower edge will catch on the point of the sneck, as
-the cylinder is coming in, and turn it square. The sneck is held up<span class="pagenum"><a name="Page_46" id="Page_46">[46]</a></span>
-with a spring so as to allow the cylinder in turning to depress it.
-Sometimes the sneck, as at <span class="smcap">H</span>, is liable to cause broken shots; for if the
-weaver turns back the loom, and the cylinder moves out sufficiently
-far to be turned to its angular position, and remains there, it will, in
-coming in, be turned square by the sneck, and thus a card would be
-passed over without a pick being put in for it. This is sometimes
-remedied by putting the sneck above the cylinder, instead of below it,
-which would turn it the reverse way; but this might come wrong at
-other times. The better plan is to keep it below, and let the weaver
-get to understand what she is doing, as it is not very difficult to learn.</p>
-
-<p>The setting of a jacquard machine for working consists in adjusting
-the cylinder motion so as to bring in the cylinder at the proper time,
-and press it sufficiently close against the face-plate to keep the hooks
-clear of the knives of the griffe, without pressing it too close; and
-regulating the lifting of the griffe to suit the time for shedding, and
-to give the size of shed required. The shed must be open for the
-shuttle to pass through; the time for picking is when the cranks of
-the crank-shaft of the loom are at the bottom centre, therefore the
-shed should be almost fully open at this time. The lifting of the griffe
-can be made a little earlier or later to suit circumstances, but very little
-alteration can be made, as it takes a full revolution of the crank to
-raise and lower the griffe. Further consideration will be given to
-jacquard shedding after double-acting machines have been explained.</p>
-
-<p>The motion for working the cylinder, if an independent one,
-should be rigid and strong; for if there is any spring in it, though the
-cylinder may be brought in sufficiently close when there is much
-cutting on the card, if a blank card or one with very little cutting on
-it comes on, the extra pressure on the needles, especially with a large
-machine, may prevent it from getting in sufficiently close to clear the
-hooks from the griffe. With self-acting motions there may sometimes
-be some trouble in this way, as the weight of the griffe may not be
-sufficient to press in the cylinder. In this case the griffe may be
-weighted, or may be allowed to drop quicker, or the lifting rod and
-lever may be made to assist in pressing it down somewhat.</p>
-
-<p>Before starting the machine the needles should be examined to see<span class="pagenum"><a name="Page_47" id="Page_47">[47]</a></span>
-that they are all free, and that they will spring out easily after being
-pressed back. The griffe should be perfectly horizontal and all the
-knives properly set; the holes in the cards and cylinder should
-exactly correspond, and when the cylinder comes in the needles should
-be fair in the centre of the holes; if not, the cylinder must be set as
-described (see description of Figs. 26 and 27).</p>
-
-<p>The driving of heavy single-acting jacquards will be further considered
-under Twilling Jacquards.</p>
-
-<p>When any of the hooks or needles in a jacquard get bent or broken,
-they can easily be straightened, or taken out and replaced by others.
-By putting a thin blade of iron or wood down through the needles
-alongside of the hook to be replaced, and springing open the passage,
-the old hook may be drawn out and a new one put into its place. The
-tail cord must, of course, be cut off the bottom of the hook, and a new
-one tied on. For changing a needle take off the spring-box and draw
-up the pin which fastens the row of needles at the back; then the
-needles in this row may be taken out till the defective one is reached,
-and the row made up again; or, the old one may be renewed without
-taking any of the others out. A flat blade is used to slide through the
-hooks and keep clear the place for the needle to be put in.</p>
-
-<p><i>Card Frames.</i>&mdash;The cards for jacquard work are usually hung on
-a frame as <span class="smcap">O</span>, <a href="#FIG18">Fig. 18</a>, wires sufficiently long to catch on both sides of
-the frame being tied to the lacing of the cards. The number of cards
-between each wire may vary to suit the space and the quantity of cards.
-Sixteen to twenty suit very well, the former for small and the latter for
-larger sets, and for very small sets twelve or fourteen might be more
-convenient. The frame may be made of round iron rod, or of flat or
-bar iron, and should be of the shape shown in the sketch, and not semicircular,
-as is usually the case, which presses the cards together in the
-centre; almost flat at the bottom, with just enough of a slope to
-make the cards slide back, is much the best. Of course, for a few
-cards it does not matter much what shape it is. <span class="smcap">P</span> (<a href="#FIG18">Fig. 18</a>) is the
-frame for the rollers over which the cards travel to the cylinder. They
-should be so sloped as to make the cards travel up nicely with sufficient
-drag on them, and not too much; on this depends a good deal the<span class="pagenum"><a name="Page_48" id="Page_48">[48]</a></span>
-proper working of the cards, particularly when the machine is running
-at a high speed, and when springs are not used to steady them on the
-cylinder. It is usual to have a roller below the cylinder, attached to
-the frame which holds the cylinder, and the falling cards pass over it.
-Sometimes the cards, when falling, are shaken, so that some of the wires
-may not catch on the frame, but pass through it, or the ends of some
-of the wires may be bent and cause the same result; if the weaver
-neglects to put these up on the frame before the cards work round to
-those that have fallen, the wire may catch on it and prevent the
-cylinder from turning, or, perhaps, pull it out. Sometimes a crank or
-bend is made in the frame at the outer end, so that the wires can pass
-up through it without catching. The frame should just be sufficiently
-wide to enable the cards to pass freely through it with, say, one-eighth
-of an inch clearance at each side; then, if three or four inches at the
-outer end is cranked, or set out so as to be a little wider between the
-two bars than the length of the wires, they will pass up through without
-catching. Frames of the shape described are, of course, only suitable
-when the cards are to be wrought forwards&mdash;that is, with the
-cards falling between the cylinder and the machine; but if they
-require to be wrought both backwards and forwards, as is sometimes
-the case, the card frame must be made more of a semicircular shape,
-and the rollers must be set so as to give a sufficient fall to the cards,
-and keep them firm on the cylinder.</p>
-
-<p>As has already been said, the nature of the shedding of a single-acting
-jacquard is objectionable for speed in working, for ease on the
-yarn, and for heavy work, or for well-covered work. The jacquard harness
-is levelled so that the yarn is all sunk, and the shed is entirely a rising
-one; it can easily be understood that when the griffe rises to open one
-shed, it must again fall before it can begin to rise to form the next
-shed. Now, mostly all tappet motions, and a great many dobbies or
-shedding motions, either have the yarn springing up and down from
-the centre, or have one portion rising and the other portion falling at
-the same time, so that in them the second shed could be open at the
-same time that the griffe in the single-acting jacquard had fallen to
-begin to rise the second shed; but as this would be much too soon,<span class="pagenum"><a name="Page_49" id="Page_49">[49]</a></span>
-they can take a greater time to accomplish the work, and thus have a
-much slower and steadier motion.</p>
-
-<p>It has been attempted to work the single-acting jacquard on the
-centre-shedding principle, and machines are at present being made in
-France of this class. It is only necessary to let the board on which
-the upright hooks rest fall at the same time that the griffe is rising in
-order to accomplish what is required, and the method of working is
-good, and would suit well in dobbies where the heddles can be taken
-firmly down. But in the jacquard the drawback is in the harness:
-the constant rising and falling causes a vibration in it, and does not
-admit of nearly so firm work as when the rising shed alone is used.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG30" id="FIG30"></a><img src="images/i_049.jpg" width="600" height="405" alt="" />
-<div class="caption"><span class="smcap">Fig. 30</span></div>
-</div>
-
-<p>One of these machines is shown in <a href="#FIG30">Fig. 30</a>; they are a very compact
-and neatly made machine, and contain a much greater number of
-hooks than one of the English machines. <a href="#FIG2567">Fig. 26</a> gives one of the
-hooks in this machine, and the way in which it acts is there explained.
-It will be seen that the frame for the cylinder is inverted; <span class="smcap">F</span> is the face-plate
-or needle board as it rests when the cylinder is not pressing
-against it, being held in this position by the spring <span class="smcap">H</span> pressing on a
-stud on the bar <span class="smcap">I</span>, which extends from the face-plate to the clap-board
-<span class="smcap">G</span>. The cylinder frame is driven by a rod, <span class="smcap">C</span>, connected with a lever. <span class="smcap">E,<span class="pagenum"><a name="Page_50" id="Page_50">[50]</a></span>
-E<sup>1</sup></span> are two racks on the ends of the hole board on which the hooks rest,
-and <span class="smcap">D, D</span> are two levers with quadrant racks on each end, which work
-into the racks <span class="smcap">E</span> and <span class="smcap">E<sup>1</sup></span>, and also into the racks on the slide bar <i>a<sup>1</sup></i>.
-This slide bar is fastened to the griffe <span class="smcap">A A</span>, which is raised by a connecting-rod
-from a horizontal lever to the stud <i>a</i>. As the griffe is
-raised one end of the racked levers, <span class="smcap">D</span>, is also raised, and the other end
-sinks, taking down the hole board by pressing on the racks <span class="smcap">E</span> and <span class="smcap">E<sup>1</sup></span>.
-The hole board is fixed so that it will easily slide up and down. If the
-griffe is raised two inches, the hole board falls rather more than one
-inch.</p>
-
-<p>This is a very good motion, perhaps could not be surpassed for the
-purpose, but, as I said before, has the objection which all similar contrivances
-for the purpose must have&mdash;viz., causing too much vibration
-in the harness. All the cords constantly dancing up and down causes
-an unsteadiness and swinging that is not to be found in the ordinary
-jacquard harness. These machines have sixteen rows of needles in
-them, which are much closer set together than those in this country,
-and give a large number of hooks in a small-sized machine, which is a
-great advantage when extensive patterns are required. In this
-machine the half-card contains 440 holes, or 880 holes to the full or
-double card. The pitch is shown at A, <a href="#FIG31">Fig. 31</a>, which represents the
-end of one of these cards, and a piece of one of the usual 8-row cards
-as here used is shown at B for contrast, the black dots in both cases
-representing holes.</p>
-
-<p>These machines have not been adopted here, nor is it likely that
-they will be, although they are said to work well in France. They
-have been tried here, and the difficulty lay in setting the cards properly
-so as to act correctly on the needles, and keeping them so for any
-length of time. The least contraction or expansion of the paper, or
-any irregularity in the cutting, any bend in the points of the needles,
-or, in fact, anything but perfect exactness, interferes with the working:
-there is too great compactness in the machine, and in the ordinary
-wear and tear of work a little allowance is necessary for success.
-Considering that these are working, it would appear that the pitch and
-size of the holes in our cards are unnecessarily large, except where<span class="pagenum"><a name="Page_51" id="Page_51">[51]</a></span>
-small machines answer and saving of space is no consideration; in that
-case the extra paper required for the cards might be more than compensated
-for by the strength of the machine, and the saving of trouble
-in attending to it.</p>
-
-<div class="figcenter" style="width: 535px;">
-<a name="FIG31" id="FIG31"></a><img src="images/i_051.jpg" width="535" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 31</span></div>
-</div>
-
-<p>The method already mentioned of getting over the disadvantage of
-the single-acting jacquard is not likely to gain general favour, and is
-not required, as it is surpassed by the double-acting jacquard, or that
-in which there are two griffes, one rising when the other is falling,
-forming a counterpoise as well, making the shed more after the
-principle of ordinary tappet shedding. In a loom fitted with a single-acting
-jacquard, if there is much weight to be lifted, it will turn round
-the loom so that it will rest in no position but with the griffe down,
-and this is frequently of so much annoyance to the weaver as to
-necessitate a counterpoise being applied to balance it. Sometimes
-weights are used, and sometimes springs. With the double-acting lift
-nothing is required, and this was first used in Cross’s counterpoise
-harness (about 1816).</p>
-
-<div class="figleft" style="width: 300px;">
-<a name="FIG32" id="FIG32"></a><img src="images/i_052.jpg" width="300" height="399" alt="" />
-<div class="caption"><span class="smcap">Fig. 32</span></div>
-</div>
-
-<div class="figright" style="width: 260px;">
-<a name="FIG33" id="FIG33"></a><img src="images/i_052a.jpg" width="260" height="399" alt="" />
-<div class="caption"><span class="smcap">Fig. 33</span></div>
-</div>
-
-<p>In the double-lift machine there are double the number of hooks<span class="pagenum"><a name="Page_52" id="Page_52">[52]</a></span>
-that there would be in a single-lift machine of the same size, but the
-same number of needles; each needle is connected with two hooks, as
-shown in <a href="#FIG32">Fig. 32</a>, which gives one row of hooks and needles for an
-8-row or 400 machine. There are two griffes, one working above the
-other, as shown at A and B, <a href="#FIG33">Fig. 33</a>. <span class="smcap">E, E</span> is the top griffe in both; <span class="smcap">C, C</span>
-is the bottom griffe, shown complete at A, but at B the side-bar of the
-frame is omitted, leaving only the knives to show how they fall in
-between those of the bottom griffe; <span class="smcap">D, D<sup>1</sup></span> are the two slide rods or
-spindles which keep the griffes steady in their traverse. There must
-be a sufficient space between the frame <span class="smcap">C</span> of the lower griffe and that
-of the upper griffe, <span class="smcap">E</span>, to allow of the required draw being given to form
-the sheds without them coming into contact. In these machines,
-although there are 16 hooks in the row, they only act as eight, so far
-as forming the pattern is concerned, as two hooks are governed by one
-needle; the additional hooks are solely for the purpose of obtaining a
-rising and falling shed. Each pair of hooks is connected together at
-the bottom by a piece of strong cotton cord, called the tail cord or tug
-cord, as shown in <a href="#FIG35">Fig. 35</a>. The griffes are raised by two levers
-arranged side by side, and similar to the one shown in <a href="#FIG17">Fig. 17</a>. These<span class="pagenum"><a name="Page_53" id="Page_53">[53]</a></span>
-levers are wrought by rods connecting them to a double crank, or
-sometimes to a tappet, on the tappet shaft of the loom. The common
-form of crank is shown at A, <a href="#FIG34">Fig. 34</a>. B is the tappet shaft, and on
-the end of it is fastened a disc. A second disc, which carries the
-double crank, <span class="smcap">G</span>, is bolted against this one, and can be shifted to whatever
-position is required to give the tread at the correct time. The
-cylinder is driven from an eccentric on the crank-shaft as before
-described. One of the griffes rises for each shot, the other falling at
-the same time; but the cylinder must come in for every shot, and
-it is here that the principal fault in this machine lies. Not only
-has the cylinder to travel at a high speed, but when one griffe is at its
-highest position, it has to press against the needles, so as to clear away
-those hooks that are not to be lifted by the lower griffe, which should
-now be beginning to rise; and in consequence of the needles being
-attached to two hooks, one belonging to the upper griffe, and the other
-to the lower one, it follows that those needles that are pressed in by
-the cards have to spring back the hooks connected with them that are
-raised by the upper griffe, which is a severe strain on both needles
-and cards. To prevent the hooks being pushed off the upper griffe,
-they must have larger turns on them than would otherwise be
-necessary.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG34" id="FIG34"></a><img src="images/i_053.jpg" width="600" height="345" alt="" />
-<div class="caption"><span class="smcap">Fig. 34</span></div>
-</div>
-
-<p><a href="#FIG35">Fig. 35</a> shows how the raised hooks can be allowed to yield to
-the pressure of the needles. <span class="smcap">A</span>, <span class="smcap">B</span>, <span class="smcap">C</span>, <span class="smcap">D</span> are four hooks connected with
-two needles, 1 and 2. When the hook <span class="smcap">A</span> is raised, if <span class="smcap">B</span>, which raises
-the same warp&mdash;as will be seen by the connection of the tail cords with<span class="pagenum"><a name="Page_54" id="Page_54">[54]</a></span>
-the harness at <span class="smcap">E</span>&mdash;is not to be raised for the next shot, the needle 1 is
-pressed back by the card, and presses the hook <span class="smcap">B</span> back from its knife as
-shown, the dotted line being its original position; the <span class="smcap">A</span> hook, being
-connected with the same needle, must also be sprung back, but its
-head cannot get back, as it is held on the blade of the griffe, so that
-the wire would require to spring, if some escape were not made for it.
-The lower ends of the hooks are made V-shape in the grating, so that
-when raised, if pressed on by the needles, they can move forward as
-shown, the dotted line showing the original position of the hook <span class="smcap">A</span>.
-When the hooks fall, they fill the slots in the grating, and are thus
-kept steady. <span class="smcap">G</span> shows the tail cords as connected with the harness
-when both hooks are down; <span class="smcap">E</span> shows them when one hook is up and
-the other down, and if the hook <span class="smcap">B</span> was raised for the next shot, the
-tail cord on it would be tightening up as that on <span class="smcap">A</span> would be falling,
-and the harness attached to them would be caught up a second time
-from the middle position, thus forming centre shedding with any
-portion of the harness that is raised several times in succession. With
-plain-texture cards the upper and lower portions of the shed would
-pass each other in the centre when the sheds are being reversed, all
-the even numbers of hooks being on one griffe, and all the odd numbers
-on the other.</p>
-
-<div class="figleft" style="width: 190px;">
-<a name="FIG35" id="FIG35"></a><img src="images/i_055.jpg" width="190" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 35</span></div>
-</div>
-
-<div class="figright" style="width: 296px;">
-<a name="FIG36" id="FIG36"></a><img src="images/i_055a.jpg" width="296" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 36</span></div>
-</div>
-
-<p class="nofloat">The tail cord consists of two pieces of cotton cord, one fastened to
-each hook of a pair, then the two ends are together tied to the bunch
-of neck twines that are to hang from these hooks, as shown in <a href="#FIG35">Fig. 35</a>,
-and at <span class="smcap">A</span>, <a href="#FIG36">Fig. 36</a>. When one hook is raised and the tail cord drawn
-up with it, the other portion of the tail cord, which is tied to the other
-hook, is slackened&mdash;as shown at <span class="smcap">A</span>, <a href="#FIG36">Fig. 36</a>&mdash;which causes a certain
-amount of friction on them. Also, when one hook of the pair is falling
-with the descending griffe, and the other hook rising, the pluck
-occasioned thereby on the cords, when the hooks are passing at the
-centre, has a tendency to wear and break them. Although this does
-not occur when the lingoes are of a moderate weight (18 to 25 per lb.),
-and when only a few neck twines are tied to each tail, yet when a large
-number of neck twines (say 20) are tied to each tail, with weighty
-lingoes, as may frequently be the case in weaving small patterns on<span class="pagenum"><a name="Page_55" id="Page_55">[55]</a></span>
-woollen and worsted goods, the breakage of the tail cords is a common
-source of complaint, which not only gives the trouble of renewing
-them, but is liable to cause defects in the cloth, by the weaver not
-observing the breakage for some time, as one hook of the pair may be
-raising the neck twines&mdash;that is, in case of the tail cord to only one of
-the hooks breaking. To remedy this Messrs. Hancock, Rennie, and
-Hudson have this year (1890) introduced a patent link connection for
-joining the tail to the hooks, which only requires one cord, or double
-cord, to be used, instead of two as before. This is shown in <a href="#FIG36">Fig. 36</a> at<span class="pagenum"><a name="Page_56" id="Page_56">[56]</a></span>
-<span class="smcap">B</span>. When one hook is raised and the other down, the link is in the
-position shown at <span class="smcap">C</span>. The old method is shown at <span class="smcap">A</span>. When one hook
-is rising and the other falling, the partial turning of the link causes a
-loss of time equal to about a quarter of an inch of lift, and this eases
-the sudden pluck on the tail cord. When both hooks are down there
-is also a loss of a quarter of an inch in the lift when one hook begins
-to rise, caused by the turning of the link.</p>
-
-<div class="figleft0" style="width: 100px;">
-<a name="FIG37" id="FIG37"></a><img src="images/i_056.jpg" width="100" height="340" alt="" />
-<div class="caption"><span class="smcap">Fig. 37</span></div>
-</div>
-
-<div class="figright0" style="width: 304px;">
-<a name="FIG38" id="FIG38"></a><img src="images/i_056a.jpg" width="304" height="340" alt="" />
-<div class="caption"><span class="smcap">Fig. 38</span></div>
-</div>
-
-<p class="nofloat">This patent works very well, but, except when heavy weights are
-on the hooks, is not likely to supersede the older methods. These
-links are fitted to machines by makers in Manchester and Bradford.</p>
-
-<p>Before the form of griffe shown in <a href="#FIG33">Fig. 33</a> was adopted the hooks
-were made of two heights, as shown in <a href="#FIG37">Fig. 37</a>, and one griffe wrought
-above the other, instead of the one set of blades or knives passing
-through each other; but this method was given up on account of the
-vibration of the long hooks, which made it uncertain whether they
-would remain on the knives or keep clear of them when required.<span class="pagenum"><a name="Page_57" id="Page_57">[57]</a></span>
-<a href="#FIG37">Fig. 37</a> shows this arrangement of hooks for a double-cylinder machine;
-for a single-cylinder machine with two griffes the heights of the hooks
-would be similar, but the heads would all be turned in the same
-direction, and the knives sloped to suit this, as is done when the hooks
-are all of the one height; each needle would be connected to a short
-hook and a long one. The short hooks give much more certain work,
-and can have the cylinder set so as to press back the hooks only as
-much as is required, whereas with long and short hooks allowance had
-to be made for the uncertainty of the vibration and the difference in
-the length of the two sets of hooks.</p>
-
-<p><a href="#FIG38">Fig. 38</a> is a view of one of the best makes of double-lift jacquards
-with a single cylinder.</p>
-
-<p>The machine is made by Devoge &amp; Co., of Manchester, but is not
-here given as being specially recommended in preference to others; it
-is only given as an illustration. Those wanting to buy a machine had
-better see what are in the market, and select what they consider most
-suitable to their work and price. This applies to all the machinery
-given in these articles. There is rarely a best machine for all
-purposes.</p>
-
-<div class="figright" style="width: 300px;">
-<a name="FIG39" id="FIG39"></a><img src="images/i_057.jpg" width="300" height="290" alt="" />
-<div class="caption"><span class="smcap">Fig. 39</span></div>
-</div>
-
-<p>These machines are much in use, and can be run at a high speed,
-say 160, or even 180, and by
-many are preferred to the double-cylinder
-machines, as there is no
-danger of one cylinder getting
-before the other, and the cards
-are all laced in one set; besides,
-it may be more convenient for
-working, as some arrange their
-machines so that the cards for
-one loom hang to the back, and
-those of the next to the front.
-When these machines are to work
-at a high speed, the slide-motion
-cylinder will probably be found the most satisfactory. <a href="#FIG39">Fig. 39</a>
-illustrates one of these machines with slide cylinder motion and the<span class="pagenum"><a name="Page_58" id="Page_58">[58]</a></span>
-levers for driving it, the connections being as before given. The levers
-for raising the griffes are also shown, but here go to the back, whereas
-they are usually at the side.</p>
-
-<p>The most perfect jacquard machine in the market is undoubtedly
-the</p>
-
-<div class="forcebreak">
-<h3>DOUBLE-ACTING JACQUARD WITH TWO CYLINDERS</h3>
-
-<div class="figcenter" style="width: 573px;">
-<a name="FIG40" id="FIG40"></a><img src="images/i_058.jpg" width="573" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 40</span></div>
-</div>
-
-
-<p>The only drawback to this machine is, except what may be said against
-the method of shedding, the liability of one cylinder to be turned out
-of time, or get a shot or two before the other, so as to put the cards off
-their proper rotation; but this is only a difficulty in the hands of inexperienced
-weavers; nevertheless it exists. The effect will be to spoil
-the pattern on the cloth, giving the twill a mixed or broken-up appearance.
-There are motions in use for stopping the loom, unless the cards
-come in rotation, but many prefer to work without them. <a href="#FIG40">Fig. 40</a> is a
-view of a two-cylinder machine made by Messrs. Devoge &amp; Co., with<span class="pagenum"><a name="Page_59" id="Page_59">[59]</a></span>
-swing-motion cylinders, which are, perhaps, the best motions for these
-machines, as they do not require to travel quickly. A very good speed
-for the machines to work at is 160 to 180 or 200 picks per minute, and
-the cylinders would only travel at half this speed. The cylinders should
-be driven by an eccentric, same as given for the single-acting machines,
-but instead of being on the crank shaft, it should be on the tappet
-shaft, which runs at half the speed; and as the two cylinder frames
-are connected together, when the one is going out the other is coming
-in, so that one eccentric making a revolution for two beats of the slay
-will drive both cylinders. Sometimes the eccentric is on the tappet
-shaft, inside the framing of the loom, and is connected with the
-top lever, as shown in <a href="#FIG34">Fig. 34</a> (B). <span class="smcap">C</span> is the eccentric, <span class="smcap">D</span> the
-fulcrum of a short lever attached to it, and <span class="smcap">E</span> the upright rod attached
-to an arm or lever on a horizontal shaft supported by the machine, or
-on the top of the loom. A lever from this shaft on each side of the
-machine drives the cylinders. The eccentric may be on the end of the
-tappet shaft, same as it is shown on the crank shaft in <a href="#FIG18">Fig. 18</a>; but it
-might not always be convenient to have it here, and perhaps the most<span class="pagenum"><a name="Page_60" id="Page_60">[60]</a></span>
-desirable way to have it at any time is to have a pinion on the crank
-shaft with, say, twenty teeth in it, and a stud wheel alongside with
-forty teeth gearing into it. On this stud the eccentric can be fixed,
-and will give a very steady and convenient method of driving. The
-griffes are raised in the same way as for the double-lift jacquard with
-one cylinder. (See <a href="#FIG34">Fig. 34</a> (A)).</p>
-
-<div class="figleft0" style="width: 225px;">
-<a name="FIG41" id="FIG41"></a><img src="images/i_059.jpg" width="225" height="349" alt="" />
-<div class="caption"><span class="smcap">Fig. 41</span></div>
-</div>
-
-<div class="figright0" style="width: 203px;">
-<a name="FIG42" id="FIG42"></a><img src="images/i_059a.jpg" width="203" height="349" alt="" />
-<div class="caption"><span class="smcap">Fig. 42</span></div>
-</div>
-
-<p class="nofloat"><a href="#FIG41">Fig. 41</a> shows the arrangement of a row of hooks and needles for
-a double-cylinder machine. The top needle of the upper set and
-the bottom needle of the under set are attached to two adjoining
-hooks, which are connected together with the same tail cord. This
-arrangement is to enable the cards when working at both sides to act
-on the correct hooks, which will be better understood by referring to
-the description of lacing cards for these machines. In <a href="#FIG41">Fig. 41</a> it will
-be observed that all the hooks are vertical. Sometimes the hooks are
-slanted a little, as in <a href="#FIG42">Fig. 42</a>, to give more space between the hooks at
-the top, without increasing the width of the machine, and there is a
-slight difference in the arrangement of the hooks and needles, as is
-shown. Both work very well.</p>
-
-<p><a href="#FIG43">Fig. 43</a> shows a two-cylinder machine, by Messrs. Devoge &amp; Co.,
-with a slide motion for the cylinders, which would be driven in the
-same way as the swing motion.</p>
-
-<p>It has been said that the shedding of a single-acting jacquard is of
-the worst description for general weaving. That of the double-acting
-machine is by no means perfect either; some prefer the single-to the
-double-acting for making fine damask. Jacquard shedding cannot be
-regulated in the same way as tappets or the best shedding motions can.
-In tappets the dwell can be regulated to suit the cloth required, and the
-time of the shedding can be made early or late as desired. In jacquards
-this cannot be done to anything like the same extent. The shed must
-always be open in time for the pick, and the pick should begin when
-the cranks are about the bottom centre, a little earlier or later, as
-desired. The jacquard must have the shed open at this time, and must
-keep it open till the shuttle passes through.</p>
-
-<p>It has been said that the usual method of raising the griffe or
-griffes is by a crank (or a stud in the wheel, which is practically a<span class="pagenum"><a name="Page_61" id="Page_61">[61]</a></span>
-crank) on the crank shaft for a single-acting machine, and by a double
-crank on the tappet shaft for a double-acting machine. Now, a crank
-gives a continuous eccentric motion with a slight dwell when it is at
-both top and bottom centres. Sometimes a tappet is used to raise the
-griffes instead of a crank, and of course any required dwell can be
-made on a tappet; but then it must suit the jacquard, and the greater
-the dwell, the less time is occupied in the rising and falling of the
-harness. If the harness is plucked up or dropped down too quickly,
-the result is a dancing or unsteadiness of the cords, and in a double-lift
-machine there will be a considerable plucking when the hooks that
-are rising take up the cords that are falling. In order to keep the cords
-as steady and free from vibration as possible, if there is any swinging
-in the weights or lingoes, it is a common practice to put a frame
-round these, with wires run through it at whatever distance apart is
-thought desirable, so as to partition them off in bunches and keep
-them from swaying about.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG43" id="FIG43"></a><img src="images/i_061.jpg" width="600" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 43</span></div>
-</div>
-
-<p><span class="pagenum"><a name="Page_62" id="Page_62">[62]</a></span></p>
-
-<p>The smoother and slower the harness can be raised and lowered,
-the better. Therefore, to get a high working speed, the time or the
-portion of a revolution of the crank shaft given to the rise and fall
-must be as great as possible, so that very little could be gained by
-using a tappet. If a tappet is to be used, a box tappet will be required,
-or is more satisfactory for a single-acting machine, in order to make
-the griffe in falling follow the tappet and avoid any plucking or jerking;
-sometimes a fork lever, with the tappet or wiper working between
-the prongs of the fork, is used for the same purpose. For a double-acting
-machine double wiper tappets, acting on levers or treadles, are
-sometimes used, the griffes falling of their own weight; the tappets are
-nearly round eccentrics, or like plain tappets with a very short dwell,
-not more than one-fourth of a revolution of the crank shaft. It may
-therefore be considered that the harness should always be moving
-either up or down, with a small pause when the griffes are at the top
-and bottom, to admit of an easy turn and to allow the shuttle time for
-its passage through the shed. With the crank drive the shed will require
-to be opened a little wider than if the dwell was as great as it
-should be, especially in wide looms, in order to let the shuttle get
-through freely; but it would be more desirable, and a saving of strain
-on the yarn, to have the dwell greater, and not open the shed any
-wider than is necessary to admit the shuttle.</p>
-
-<p>Speaking generally, the usual rule for the time of shedding may be
-said to be to let the shed be closed when the cranks of the loom are at
-the top centre, or perhaps one-sixteenth of a revolution farther forward,
-and let the shed be full open when the cranks are about the bottom
-centre. It therefore follows that the single-acting jacquard must open
-the shed in a little less than half a revolution of the crank shaft, and
-close it in the same time; but the double-acting machine takes nearly
-a full revolution (three-quarters, or a little more, should do) to either
-rise or let fall one of the griffes. It will be evident that there is a considerable
-difference in the nature of the shedding. A single-acting
-machine requires the weft to be beaten up on a closed shed (the time of the
-crank in coming from the top to the front centre being taken up with
-rising the griffe from the bottom up to catch the hooks), whereas in a<span class="pagenum"><a name="Page_63" id="Page_63">[63]</a></span>
-double-acting machine the case is different; though the shed is closed
-at the same place, or in the same position of the cranks, the griffes are
-in an entirely different position. The closed shed with the single-acting
-jacquard is when the griffe is down, but with the double-acting
-machine it is when the two griffes are on a level&mdash;that is, halfway up.
-Of course, more or less of the yarn may be at the bottom position, so
-that there may be no closed shed, or in no position of the griffes may
-the yarn be all on a level, unless none of the hooks are on either of
-the griffes, or if one griffe has all the hooks on it. When the single-acting
-machine begins to open the shed, the driving-crank of the griffe
-is upright or at the top centre, and in the position to give the slowest
-motion to the griffe; whereas for the double machine the lifting
-cranks are horizontal when the shed is closed, and in the position to
-give the griffes the quickest motion; therefore, when the lay gets to
-the fell of the cloth in a single-acting machine, the shed is still close,
-whereas with a double-acting machine it is fully half open. From
-this it follows that, to get a close covered cloth, the double-acting
-machine is the better, as the weft is beaten up in a crossed shed; but
-to get a clean-surfaced fabric, with the weft lying straight between the
-two portions of the warp, the single-acting jacquard is better. It is
-for this reason that the single-acting machine is preferred by many
-workmen for making fine damask, which does not require much covering
-to give it a good appearance, and there is less chance of having
-cut weft and of looping when striking on the open shed. Of course
-the weft may be cut in a hard fabric by the reed having to strike too
-heavily against it, and in this case striking on a crossed shed might
-prevent the cutting, by the weft going on easier.</p>
-
-<p>In hand-loom linen damask the shot is struck up when the shed is
-about half closed; the warp is held so firm in the loom that there is
-no spring in it, and the weft does not rebound. A cleaner surface
-is thus made on the cloth than if the weft was struck up in a closed
-or cross shed.</p>
-
-<p>In a single-acting machine the faults in the cloth are more readily
-seen than with a double-acting one, as, in case of a hook missing the
-knife, in a single machine it would show in a short time, whereas in<span class="pagenum"><a name="Page_64" id="Page_64">[64]</a></span>
-a double-lift machine one hook of the pair might be missing the knife
-and the other taking it, so that it might be some time before it would
-be observed. One of the tail cords breaking might have a similar
-effect.</p>
-
-<p>The foregoing gives a general description of working the jacquard;
-but no hard-and-fast lines can be laid down&mdash;a little variation may
-be necessary at any time, to suit circumstances and the class of work.</p>
-</div>
-<div class="subdiv">
-
-<h3>JACQUARD STOP MOTION</h3>
-
-<p>When working with two cylinders, one may happen to be turned at a
-time when it should not, and thus put the cards out of rotation. Many
-attempts have been made to overcome this difficulty by stopping the
-loom when the cards get out of the proper order, but none of the
-methods adopted have ever gained much favour. Recently a new
-motion has been patented, and is being applied to machines by Messrs.
-Devoge &amp; Co., of Manchester.
-It is called the ‘Devoge
-jacquard stop motion.’</p>
-
-<div class="figleft" style="width: 300px;">
-<a name="FIG44" id="FIG44"></a><img src="images/i_064.jpg" width="300" height="310" alt="" />
-<div class="caption"><span class="smcap">Fig. 44</span></div>
-</div>
-
-<p><a href="#FIG44">Fig. 44</a> shows how it may
-be applied to a machine.
-The hooks <span class="smcap">A</span> and <span class="smcap">B</span> and the
-needles <span class="smcap">E</span> and <span class="smcap">F</span> are those
-here used to work the motion.
-They may be at either side
-of the machine, but should
-be at the side of the belt
-handle. One hook must belong
-to the front cylinder
-needles, and the other to the
-back ones. The hook <span class="smcap">A</span> requires
-a lingo attached to it to draw it down after being lifted. The
-hook <span class="smcap">B</span> is attached to a lever connected to the side of the loom, so that
-when one end is raised a hammer on the other end pushes off the belt
-<span class="pagenum"><a name="Page_65" id="Page_65">[65]</a></span>handle (a lever and bracket are supplied for the purpose). <span class="smcap">C C<sup>1</sup></span> is a wire
-bell-crank lever with a turn or loop on it at <span class="smcap">D</span> to act as a spring. The
-fulcrum is at <span class="smcap">L</span>, on a piece of iron bolted to the edge of the machine;
-the lower end of this lever passes through an eye in the hook <span class="smcap">A</span> at <span class="smcap">C<sup>1</sup></span>,
-and the upper end passes through an eye in the needle <span class="smcap">E</span>. There is a
-spring on the point of the needle <span class="smcap">E</span>, between the face-plate and the eye,
-which the lever goes through, and which holds the needle back as
-shown.</p>
-
-<p>Each time the hook <span class="smcap">A</span> is raised the lever presses forward the
-needle <span class="smcap">E</span>, and with it the hook <span class="smcap">B</span>, which would then be raised by the
-lower griffe, unless the card pressed the needle back again and pushed
-it off. Thus, by having a hole cut in the cards for the needle <span class="smcap">F</span>, and
-none for the needle <span class="smcap">E</span>, the hook <span class="smcap">B</span> would never be raised; but if a hole
-is cut for <span class="smcap">E</span> in a card following one in which a hole was cut for <span class="smcap">F</span>,
-the hook <span class="smcap">B</span> would be raised and the loom stopped. It is, therefore, only
-necessary to arrange the cutting of the cards to allow the loom to work
-when they are following each other in rotation; but as soon as one
-card gets out of order the loom should be stopped, though, perhaps,
-not till it has run for a few shots. Thus&mdash;</p>
-
-<blockquote>
-
-<p>Number of cards&mdash;</p>
-
-<div class="figcenter" style="width: 600px;">
-<img src="images/i_065.jpg" width="600" height="97" alt="1-large dot. 3,5,7-small dot. 9,11-large dot" />
-</div>
-
-<p>Cut the large dots for the needle <span class="smcap">E</span>.</p>
-
-<div class="figcenter" style="width: 600px;">
-<img src="images/i_065a.jpg" width="600" height="97" alt="2,4,6-large dot. 8,10,12-small dot" />
-</div>
-
-<p>Cut the large dots for the needle <span class="smcap">F</span>.</p></blockquote>
-
-<p>This gives a repeat of twelve cards; but any number to suit may be
-used. Thus&mdash;</p>
-
-<blockquote>
-
-<p>Number of cards&mdash;</p>
-
-<div class="figcenter" style="width: 600px;">
-<img src="images/i_065b.jpg" width="600" height="97" alt="1-large dot. 3,5,7-small dot. 9,11,13,15-large dot" />
-</div>
-
-<p>Cut the large dots for the needle <span class="smcap">E</span>.</p></blockquote>
-
-<p><span class="pagenum"><a name="Page_66" id="Page_66">[66]</a></span></p>
-
-<p>Number of cards&mdash;</p>
-
-<div class="figcenter" style="width: 600px;">
-<img src="images/i_066.jpg" width="600" height="71" alt="2,4,6-large dot. 8,10,12,14,16-small dot." />
-</div>
-
-<blockquote>
-
-<p>Cut the large dots for the needle <span class="smcap">F</span>.</p></blockquote>
-
-<p>This gives a repeat of sixteen cards. The even numbers of cards
-go to the front or top cylinder, and the odd numbers to the low
-cylinder, and it may be seen that a hole in an even-numbered card
-following one in an odd-numbered card will not stop the loom; but a
-hole in an odd number following one in an even number will stop the
-loom, as it is the hook <span class="smcap">B</span> rising after <span class="smcap">A</span> that stops it; therefore any
-suitable rotation of cutting may be adopted, and the stoppage can take
-place either at short or long intervals, as desired, the principle being
-to raise the hook <span class="smcap">A</span> two or three times, and push the hook <span class="smcap">B</span> back again
-by having no hole cut for the needle <span class="smcap">E</span>. Then leave <span class="smcap">A</span> down for three
-or four shots, and cut holes for <span class="smcap">E</span>, which have no effect unless the cards
-get out of rotation, and one of those with a hole cut to raise the hook
-<span class="smcap">A</span> comes before one with a hole cut for the needle <span class="smcap">E</span>, when <span class="smcap">B</span> will be
-raised and the loom stopped. This is a good arrangement, and works
-very well.</p>
-
-<p>Another motion for a similar purpose, invented by the writer, is
-shown in <a href="#FIG45">Fig. 45</a>. It is based on the following principle: Suppose a
-cord is taken from any two hooks of the jacquard, and passed round a
-pulley on the ‘hound tail’ or long lever of the weft fork motion; if
-the cord is left slack, so that raising one of the hooks will just tighten
-it, then raising both hooks together will lift the lever, and can be made
-to stop the loom. The difficulty to be got over is that one of the hooks
-must belong to one griffe, and the other to the other one, in order to
-make the motion act with the two sets of cards. As the two griffes
-pass each other at the centre, or at the half-lift, this must be taken as
-the full lift, the cord must be stopped here, and not drawn any farther;
-for the remaining portion of the lift the hooks must draw a spring.
-This can be easily arranged by having loops on the cord passing round
-wires in the cumber board, or by having the two ends of the cord<span class="pagenum"><a name="Page_67" id="Page_67">[67]</a></span>
-passing through a small hole board, and having knots or beads on them,
-beneath it. Other methods may also be adopted.</p>
-
-<p>One of the most desirable arrangements is shown in the figure:
-<span class="smcap">A, A</span> are the two hooks; <span class="smcap">B, B</span> are two small springs by which the two
-levers, <span class="smcap">C, C</span> are attached to the hooks with cords; <span class="smcap">D</span> is the frame for
-holding the levers, and is fastened to the top rail of the loom, under
-the jacquard, or in any convenient
-place. It will be observed that the
-front bar of the frame passes above
-the levers, so that it will prevent
-them rising above the half-draw of the
-hooks, in which position they are
-shown. <span class="smcap">E, E</span> are two cords connected
-with a jack or tumbler, <span class="smcap">F</span>, on the end
-of a bell-crank lever, <span class="smcap">G H L</span>, having
-its fulcrum at <span class="smcap">H</span>, which may be on
-the same stud as the weft fork lever,
-or in any convenient place.</p>
-
-<div class="figright" style="width: 299px;">
-<a name="FIG45" id="FIG45"></a><img src="images/i_067.jpg" width="299" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 45</span></div>
-</div>
-
-<p>The weight of <span class="smcap">F</span> and <span class="smcap">G</span> keeps the
-cords in tension, and the point <span class="smcap">L</span> of
-the lever is set behind the lever on
-the loom which carries the weft fork,
-at such a distance from it that when
-one of the cords <span class="smcap">E</span> is drawn it does
-not act on it; but when both hooks
-are raised, drawing up the two cords,
-the point <span class="smcap">L</span> of the lever presses against
-the weft fork lever, pushing off the belt handle and stopping the
-loom.</p>
-
-<p>The lever <span class="smcap">G H L</span> may act directly on the belt handle, if desired; in
-this case it would be fixed outside the loom framing. The cards are
-cut on the same principle as for the last motion, but the same holes
-will do in both sets of cards, as the two needles are acted upon by the
-same number of holes in both back and front sets; that is, for two
-hooks coming beside each other.</p>
-
-<p><span class="pagenum"><a name="Page_68" id="Page_68">[68]</a></span></p>
-
-<p class="nofloat">The following order of cutting will answer:&mdash;</p>
-
-<blockquote>
-<p>Number of cards&mdash;</p>
-
-<div class="figcenter" style="width: 600px;">
-<img src="images/i_068.jpg" width="600" height="61" alt="1,3-large dot. 5,7-small dot and 2,4-small dot. 6,8-large dot." />
-</div>
-</blockquote>
-
-
-<p>Cut the large dots on the number of cards given, and of course they
-must be cut to suit the needles connected with the hooks used.</p>
-
-<p>The above gives a continuous working of the motion, but it would
-be sufficient for it to work at intervals having 8 or 10 shots between
-them, as&mdash;</p>
-
-<blockquote>
-<p>Number of cards&mdash;</p>
-<div class="figcenter" style="width: 600px;">
-<img src="images/i_068a.jpg" width="600" height="61" alt="1,3-large dot. 5,7,9,11,13,15,17,19-small dot
-and 2,4-small dot. 6,8,10,12,14,16,18-large dot. 20-small dot." />
-</div>
-</blockquote>
-
-<p>This will not allow the loom to run for more than 20 shots after the
-cards get out of order.</p>
-
-<p>Some other motions are in use, but these are simpler.</p>
-
-<p>Before describing twilling machines or any special make of jacquards,
-it may perhaps be better to explain the mounting of ordinary machines,
-according to the usual methods adopted in some of the leading
-districts.</p>
-
-<hr class="chap" />
-</div>
-</div>
-
-<div class="chapter">
-
-<p><span class="pagenum"><a name="Page_69" id="Page_69">[69]</a></span></p>
-
-
-
-
-<h2><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III<br />
-
-<span class="f75"><i>FULL-HARNESS MOUNTINGS</i></span></h2>
-
-
-<p><span class="smcap">The</span> mountings that will be alluded to in this section are all intended
-for ‘full harness’; that is, the ordinary method of jacquard weaving
-when applied to such fabrics as damask, dress goods, and, in many
-cases, to double cloths, handkerchiefs, &amp;c.</p>
-
-<p><i>Full harness</i>, or, as it is termed in some hand-loom districts, shot
-and draft, to distinguish it from the ‘pressure harness’ system, holds
-the first place amongst mountings, as by it can be done what cannot
-be done by any other method, and everything can be done by it that
-can be done by any harness, or combination of harness or heddles;
-though it does not follow that it would be desirable to adopt it in every
-case. In a full harness each thread in any part of the tie can be lifted
-independently of the others; in wide fabrics, or in order to reduce expense
-in narrow ones, recourse is had to gathering or repeating the tie,
-and like threads in each repeat must be lifted together; but in a single
-tie any one thread can be lifted independently of any other. In full
-harness there is one thread of warp drawn into each mail or eye of the
-harness, and one shot is given to each change of card. Other descriptions
-of harnesses are known as ‘half harness,’ ‘split harness,’
-‘pressure harness,’ ‘gauze harness,’ double-cloth and quilt harnesses,
-&amp;c.</p>
-
-<p><i>Half harness</i> is the term applied to that description of harness in
-which the half of the warp (every alternate thread) is drawn into the
-harness, and the other half passes through it loosely. This is mostly to
-be found in the manufacture of gauze or leno curtains, and is wrought
-with a shaft mounting in front of the harness.</p>
-
-<p><i>Split harness</i> is applied when two threads are governed by each<span class="pagenum"><a name="Page_70" id="Page_70">[70]</a></span>
-hook of the jacquard, and the ground of the cloth is wrought by some
-other means, as shafts through the harness. This is to be found in
-the silk trade.</p>
-
-<p><i>Pressure harness</i> is when several threads of warp are drawn into
-each mail, and when the harness is drawn it remains stationary for
-several shots of ground texture, for which the sheds are sprung or
-pressed open by heddles.</p>
-
-<p><i>Gauze harness</i> is a harness fitted up with doups for weaving leno
-and gauze, and is mostly full harness.</p>
-
-<p><i>Double-cloth and quilt harnesses</i> are for weaving these fabrics.</p>
-
-<p>Mounting, or gaiting, is a term that may be taken to apply to the
-building of the harness and the preparing of everything in connection
-with it. The form of ‘tie’ to be adopted will depend to a great extent
-on the nature of the fabric to be made, and to the style of pattern
-which is to be applied to it. For instance, dress goods may be required,
-and the pattern may consist of small sprigs or objects repeated
-over the surface of the cloth, forming a simple repeating pattern.
-Again, handkerchiefs, napkins, or table-covers may be wanted,
-which will require a bordered ‘tie,’ and may have both single and
-double mounting in them. Sometimes the manufacturer mounts
-his looms to what he considers a desirable ‘tie’ (or arrangement of
-cords) to admit of having a good variety of patterns wrought on it for
-whatever class of goods he is likely to make, and then he has the
-patterns made to suit the tie or mounting. Sometimes patterns are
-procured which will give the best possible effect on the least possible
-machinery, or the least number of hooks of the jacquard, and the
-mounting is then arranged to suit the pattern. On this method often
-a very considerable saving of machinery can be effected by turning
-over or gathering the harness; or, by arranging a variety of turns over,
-or gathers, and repeats, a very diversified effect can be obtained with a
-small number of hooks, as those accustomed to the larger forms of
-shaft mountings will readily understand. Thus, if we take 100 hooks
-of the jacquard as equal to 100 shafts, it will easily be understood that
-a large variety of beautiful patterns can be produced with either a
-straight or zigzag draft, though they will be mostly of a set or conventional<span class="pagenum"><a name="Page_71" id="Page_71">[71]</a></span>
-type. The objection to mounting a loom in this way is, that
-if a change of pattern to a free or running style is required, it is
-necessary to cut down the harness and remount it, probably requiring
-new machinery as well. It may, however, suit to adopt both methods;
-that is, to have a few looms for working conventional patterns on small
-jacquards, say 200 hooks, and others mounted for free patterns
-requiring, say, 400 or 600 hooks in the machine. Of course this entirely
-depends on the nature of the orders likely to be received, and manufacturers
-must use their own judgment, in which, however, they are more
-likely to err on the narrow than on the liberal side of the question, the
-result being cramped and stiff patterns, with a probable loss instead of
-gain. Two styles of mounting harness are in general use&mdash;one, known
-as the ‘London tie,’ being used in Spitalfields by the silk weavers; the
-other is called the ‘Norwich tie,’ as it was there adopted in the early
-days of weaving. About 1830 the Norwich style was adopted in
-London, as the weavers’ houses were too low to admit of the jacquards
-being set high enough to suit the London method, which, having a
-quarter-twist in the harness, requires more height than is necessary
-for the Norwich system, in which the harness passes direct from the
-jacquard to the cumber board in flat rows without any twist.</p>
-
-<p><i>The Harness.</i>&mdash;When about to mount a loom the first process is
-to prepare the harness. A harness is built up of several parts, the
-methods of preparing and building varying in different districts. A
-few of the best methods will be given. <a href="#FIG46">Fig. 46</a>, Nos. 1, 2, and 3, show
-a complete cord of the harness in three methods of preparing it&mdash;<span class="smcap">A</span>
-(Nos. 1 and 2) are the tail or tug cords looped to the hooks of the
-jacquard; these cords are only necessary on double-lift machines, and
-are usually put on by the machine-makers. They are made of twisted
-cotton, and are soft and pliable. <span class="smcap">L</span> shows the knot, known as the ‘tug
-knot,’ by which the tail cords are looped on the hooks. <span class="smcap">B, B</span> are two
-methods of knotting the neck or body of the harness to the tail cords;
-that in No. 1 is the usual method. <span class="smcap">C, C</span> are the hecks, or guide reeds,
-through which the harness passes. <span class="smcap">G, G</span> are the lingoes, or leads,
-formerly made of strips of lead, but now of wire. From the lingo to
-the mail or eye, <span class="smcap">F</span>, through which the warp passes, is a double cord<span class="pagenum"><a name="Page_72" id="Page_72">[72]</a></span>
-called the bottom piece, or hanger. From the mail, passing through
-the cumber board or harness reed <span class="smcap">E</span>, is another piece of double cord,
-called the top or mid-piece, or the ‘sleeper’; to this is looped or tied
-the neck twine in various ways, two methods of which are shown at
-<span class="smcap">D</span> <i>d</i> <i>d</i><sup>1</sup> (No. 1) and at <span class="smcap">D</span> (No. 2); No. 3
-shows levelling below the cumber board,
-with two methods for tying <span class="smcap">H</span> and <span class="smcap">H<sup>1</sup></span>. <span class="smcap">M</span> is
-the snitch knot, which is much used for
-fastening cords that require careful adjusting.
-Sometimes it is a matter of choice to
-adopt any method of mounting, and sometimes
-one plan may suit circumstances better
-than another.</p>
-
-<div class="figleft" style="width: 199px;">
-<a name="FIG46" id="FIG46"></a><img src="images/i_072.jpg" width="199" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 46</span></div>
-</div>
-
-<p><span class="smcap">Preparing Lingoes.</span>&mdash;A prepared lingo
-is shown at No. 4, <a href="#FIG46">Fig. 46</a>, this work being
-generally done by little boys or girls, or by
-old women. One of the commonest methods
-of preparing them is as follows:&mdash;Having
-prepared the mails, which are small eyelets
-of brass, copper, or steel of the shape shown
-at <span class="smcap">F</span>, sometimes with round holes in the
-centre and sometimes with elliptical or long
-shaped ones, they are put into a dish or
-pan; a boy takes a piece of wire and strings
-a number of them on it. The wire is then
-fastened on a rack, or in any convenient
-place, by both ends, in a horizontal position.
-A bunch of small pieces of twine is tied up
-in a convenient place; these are to form the
-hangers, or to connect the lingoes with
-the mails. Having the lingoes conveniently
-placed, and being provided with a pair of shears, the boy sets
-to work. Taking a piece of twine, and pulling it through an end hole
-of a mail, he doubles it evenly, and, lifting a lingo, puts both ends
-through the eye in it, and casts on a knot, as shown at <span class="smcap">N</span> (No. 4).<span class="pagenum"><a name="Page_73" id="Page_73">[73]</a></span>
-The loop on the twine there shown requires to be pushed up over the
-top of the lingo, then drawn tight, and the ends clipped off. This mail
-is then pushed along the wire, and the others proceeded with. The
-pieces of twine for forming the hangers, as well as the sleepers, are
-prepared by warping them off spools round two pins, and then cutting
-them across. Of course the pins must be set apart at such a distance
-as will suit the length of the sleepers and hangers required. The
-usual length of the hanger (when doubled) is 7 or 8 in., and that of
-the sleeper or mid-piece when it passes through the cumber board, as
-in Nos. 1 and 2, <a href="#FIG46">Fig. 46</a>, and as shown at No. 4, is 15 or 16 in. When
-a quantity of lingoes are hung on the mails, the top cords or sleepers
-may be put through the top holes in the mails, and tied with a weaver’s
-knot, the ends being neatly clipped off.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG47" id="FIG47"></a><img src="images/i_073.jpg" width="600" height="229" alt="" />
-<div class="caption"><span class="smcap">Fig. 47</span></div>
-</div>
-
-<p>A quicker method of preparing lingoes is as follows:&mdash;Two upright
-pieces of iron, as <span class="smcap">A, A</span>, <a href="#FIG47">Fig. 47</a>, are fastened on a board, or on a bench or
-table. A cut is made in each of these, so as to hold a piece of flat wire
-such as is used for coarse reeds. This wire is pointed at one end, so
-that by taking a handful of mails they can easily be gathered up on it.
-It is then placed in position, as shown at <span class="smcap">B</span>; the mails, <span class="smcap">D</span>, are shown on
-it, and <span class="smcap">C</span> is a spool containing twine for the hangers. By rubbing the
-end of this twine with wax, so as to stiffen it, and gathering all the
-mails on the wire evenly together, the end of the twine may be run
-through the holes in all of them at once. This end is fastened, and with
-a hook, as shown at <span class="smcap">F</span>, the twine can be drawn through the mails, beginning
-at the one farthest away from the spool, and passing from one to
-the other in succession, looping the twine round the pin <span class="smcap">E</span>, which
-should be at such a distance from the mails as is required to make the
-hangers the proper length. If many mails are to be threaded at once<span class="pagenum"><a name="Page_74" id="Page_74">[74]</a></span>
-there should be two or three pins as <span class="smcap">E</span>, so as to avoid too much slope
-from them to the mails, which would increase the length of the
-hangers. The twine can be cut when the mails on the wire are completed,
-and the other ends of the mails turned round and treated
-similarly for the sleepers; but the pegs will require to be shifted, so as
-to get the required length of twine. When finished, these can be cut
-also, and the wire tied up in a convenient place, so that the lingoes
-may be hung on, as before described. The sleepers can then be
-knotted, if required to be.</p>
-
-<p>After the lingoes are thus prepared the twine is frequently varnished,
-and sometimes twisted so as to prevent that of the hangers
-from rising up through the hole of the mail and getting in between
-the two halves of the yarn when the shed is crossing. This frequently
-happens if anything prevents the lingo from dropping. A common
-method of twisting them is for a boy to give them a coat of flour-paste
-or a light coat of varnish, then, having them hung on a rod
-which passes through the loops of the sleepers, he takes a handful of
-the lingoes, and, placing them on his knee, rolls them round with his
-hand till they are sufficiently twisted, then lets them hang down, and
-proceeds with another handful.</p>
-
-<p>When the paste or varnish on these is set they can be well varnished.
-About two inches at the top of the sleepers must be left
-without varnish, to leave it soft and pliable for tying the neck to; the
-knots on all the sleepers must be brought up to about the point before
-they are twisted or varnished. When the lingoes are thus prepared
-and dry they can be tied in bunches, to be used as required.</p>
-
-<p>Some do not varnish the twines till the harness is all mounted, and
-then varnish it all over. Others do not varnish at all. In this case
-the hangers are not twisted, and for light open sets of harness they
-need not be twisted at any time.</p>
-
-
-<div class="subdiv">
-<h3>LINGOES OR LEADS</h3>
-
-<p>For pressure harness work the weights for drawing down the
-harness were originally made of lead, about the length and thickness
-of a thin pencil, but tapering to the lower end. The weight varied<span class="pagenum"><a name="Page_75" id="Page_75">[75]</a></span>
-with the number of ends to the mail, the strength of the yarn, and the
-weight of the cloth to be made, ranging from 10 to 18 per lb., or
-lighter if for fine hand-loom work. For a linen damask as formerly
-made, with 6 or 8 threads in the mail, a very heavy lead was required,
-even in the hand loom, whilst a fine cotton two-thread harness would
-do with a comparatively light lingo. Strips of lead cut from sheets
-were used for lighter weights; these were then reduced to the proper
-size for drawing them through holes in steel plates. Now, lingoes for
-power looms are made of wire, and for ordinary damask or full harness
-work should range from 25 to 40 to the lb.; for heavier work, such as
-linen towels, worsteds, &amp;c., 16 or 18 per lb., according to the weight of
-the fabric, are required. Lighter ones answer for hand looms: Murphy
-mentions as light as 110 per lb. for the centres of shawls, but 35 to 60
-per lb. will be more frequently found. 25’s to 30’s are a good size
-for power looms; 12 in. long for 25’s or 30’s, 14 in. for 16’s or 18’s,
-and 16 in. for 10’s or 12’s are good lengths.</p>
-
-<p>When there is a great slope in the border twines of a harness, it is
-often necessary to put heavier lingoes on it than on the centre, to keep
-the warp down. Of course, the less weight that has to be lifted is
-always a saving of power, and easier on the harness; therefore it is
-better to have two sizes of lingoes than to have them all weighty
-enough for the borders.</p>
-</div>
-
-<div class="subdiv">
-<h3>HARNESS TWINE</h3>
-
-<p>The size of harness twine used varies greatly; some prefer a fine,
-and others a heavy, twine. For the sleepers and hangers, 4 ply of 22’s
-or 5 ply of 30’s linen yarn is a very good medium size, and 4 ply of
-14’s or 5 ply of 18’s or 20’s is a very good size for the neck or body of
-the harness.</p>
-
-<p>Sometimes, for heavy damask, cable cord is used for the body of the
-harness, and is a good wearing cord; it is especially suited when the
-neck cords are fastened to the sleepers below the cumber board. This
-cord is made of good flax yarn; 5 ply of 30’s are twisted together, and
-three of these cords are then twisted together, or 3 ply of 18’s afterwards
-made 3 ply. A better size for medium work is 5 ply of 35’s<span class="pagenum"><a name="Page_76" id="Page_76">[76]</a></span>
-made 3 ply, or 3 ply of 20’s or 22’s made 3 ply. Heavy harness twine
-requires to have heavier lingoes, particularly on those parts of the
-harness that are much slanted, in order to have the same effect on
-them that they would have on light twine. Some go to the opposite
-extreme, and use very light twine, such as 4 ply of 30’s, which is only
-fit for very light work in a narrow loom, where there will be but little
-friction on the cumber board, and where no heck is required. Lighter
-twine will suit better for a hand loom than for a power loom; 4 ply of
-30’s for the harness of a hand loom, with lingoes of 50 or 60 to the lb.,
-would do very well for a light cotton warp.</p>
-</div>
-<div class="subdiv">
-
-<h3>SETTING THE JACQUARD</h3>
-
-<p>The proper position for the jacquard, when only one is required on
-the loom, is so that the centre hook in it will be above the centre
-hole of the cumber board. This can easily be found by tying a plumb
-line to the centre hook of the machine and moving it, if necessary, till
-the plummet rests over the centre of the cumber board. In case the
-cumber board is not fixed in position, that of the jacquard may be
-found by having the plumb line to pass about half an inch more than
-the half breadth of the harness at the cumber board behind the top
-rail of the lay when it is full back, and it should also be at equal
-distances from each side of the loom. When more than one jacquard
-is required, they should be arranged evenly over the cumber board, and
-as close together as possible.</p>
-
-<p>Sometimes the jacquard may be set farther forward or back to
-suit circumstances, such as getting card space, the only disadvantage
-being that there will be more slanting of the cords at one side than
-the other, and more friction on them in the cumber board, also more
-drag on the hooks on this side if no heck is used, and if a heck is used
-the cords will have to bear the friction on it. The more direct the
-cords of the harness can be, the better, and the above setting of the
-jacquard should be adhered to when possible, but it is not absolutely
-necessary for working to have it so.</p>
-
-<p>It is always well to have the jacquards so arranged that they can<span class="pagenum"><a name="Page_77" id="Page_77">[77]</a></span>
-be raised or lowered a little by having them resting on bars, which
-can be raised or lowered with screws. This is in case the harness is
-levelled higher or lower than might afterwards be desired; but if the
-breast beam of the loom, with the lay and back rail, can be raised or
-lowered, it will suit the same purpose, and it is better not to move the
-machine once it is fixed and the harness tied up.</p>
-
-<p>The height the jacquard is to be above the loom must in many cases
-be regulated by circumstances; for instance, the height of the roof,
-or if the beams of the roof interfere with the working of it; sometimes
-the machines rest on the framing of the loom&mdash;that is, if the loom is
-made for a jacquard&mdash;and sometimes plain looms are used, and the
-machines rest on beams supported from columns, or from the roof of
-the house. This latter is the best plan, as it keeps the jacquard free
-from the shaking of the loom, which is particularly useful in the case
-of looms fitted with the knock-off motion. A good height for a jacquard,
-independent of circumstances, is to have 8 ft. or 8 ft. 6 in. from the mails
-to the bottoms of the hooks for a 10/4 loom&mdash;that is, one with about
-100 in. reed space; 7 ft. to 7 ft. 6 in. for an 8/4 (82 in. reed space),
-and 5 ft. 6 in. to 6 ft. for a 4/4 (40 in. or 42 in. reed space), are very
-good heights. 5 ft. 6 in. is about right for a narrow harness, say 20 in.
-to 27 in. wide; 6 ft. would do for 80 in. wide, and 7 ft. or 7 ft. 6 in. for
-90 in. wide, if necessary.</p>
-</div>
-<div class="subdiv">
-
-<h3>HECKS OR GUIDE REEDS</h3>
-
-<p>A heck is a frame of hard wood with wires across it, a wire for each
-row of hooks in the machine, from back to front. It should be made
-to suit the machine, so that when the harness passes from the hooks
-between the wires, it will go vertically down, and have no slant in it.
-In narrow hecks, there is usually one cross-stay to support the wires,
-but for broader machines there should be at least two. The wire should
-be iron, as brass soon cuts with the friction of the cords, and then in
-turn cuts the cords. For a single-acting machine the wires should be
-loose, so that they can roll with the cords; but for a double-acting
-machine this would be of no advantage, as a portion of the cords are
-falling when the remainder are rising. If the machine is very wide,<span class="pagenum"><a name="Page_78" id="Page_78">[78]</a></span>
-or has to be set forward or back on the loom, there should be cross
-rollers of hard wood above the wires, at right angles to them, to prevent
-the bottoms of the hooks from being drawn either backwards or forwards,
-which might push their heads on or off the griffe knives.</p>
-
-<p>Sometimes glass rollers are used in the silk trade for this purpose,
-with mountings of the London tie, and while they are very smooth and
-polish the twines, they get too hot if used in warm power-loom factories
-working at a high speed. Hecks are not required for very narrow
-harnesses, as the cords do not diverge much from the vertical, and the
-friction on the heck being saved, the cords wear much longer.</p>
-
-<p>In a wide harness it is impossible to draw an even shed without a
-heck, although in some districts they are hardly known, and the more
-any portion of the harness diverges
-from the vertical, the more irregular
-will the shed be.</p>
-
-<div class="figleft" style="width: 300px;">
-<a name="FIG48" id="FIG48"></a><img src="images/i_078.jpg" width="300" height="242" alt="" />
-<div class="caption"><span class="smcap">Fig. 48</span></div>
-</div>
-
-<p>Suppose we take an extreme
-case of a loom having three or four
-jacquards on it, the harness to be
-96 in. wide, and the pattern to be
-for a table-cover; then, if we deduct
-2 ft. from the width of the harness,
-it is possible some of the border
-twines may have to slant across 6 ft., or 72 in. Now make a triangle
-as No. 1, <a href="#FIG48">Fig. 48</a>. Let the base, <span class="smcap">A B</span>, be 72 in., and take it as the
-level of the cumber board. Take the vertical side, <span class="smcap">A C</span>, as the
-height of the harness to the heck, viz., 84 in. Now calculate the
-length of the hypotenuse <span class="smcap">B C</span> by squaring 84 and 72 and finding
-the square root of the sum, and it will be found to be 110·63 in.
-Again: Make another triangle, as No. 2, with base 72 in.; vertical
-side 3-1/2 in. longer than that of the former triangles, viz., 87·5 in.
-(this 3-1/2 in. is to represent the draw or lift of the harness). Calculate
-the length of the hypotenuse as before, and it will be found to be
-113·31 in. From this deduct 110·63 in., the length of <span class="smcap">B C</span> in No. 1,
-and the remainder, 2·68 in., equals the height that the cord <span class="smcap">B C</span> has
-been raised, while the cord <span class="smcap">A C</span>, which is vertical, has been raised 3-1/2<span class="pagenum"><a name="Page_79" id="Page_79">[79]</a></span>
-in.; and if we take into consideration that the side draw of the sloping
-cords, as <span class="smcap">B C</span>, will pull the tail cord a little to one side and rise the
-vertical cords a little higher, while the sloping ones remain proportionately
-lower, 1 in. may be safely taken as the difference of the height
-that the two cords, <span class="smcap">B C</span> and <span class="smcap">A C</span>, would be raised by the jacquard, and
-all the other cords in the harness would vary, being less than this in
-proportion to their divergence from the straight or vertical line. It
-can thus be seen how the shed would require to be opened to let the
-shuttle through, and the irregular strain that would be on the yarn;
-and for any cloth that requires a fine surface, any irregularity of strain
-on the warp has a deleterious effect, very well known by experienced
-overlookers.</p>
-
-<p>Some consider that the London style of harness is more suitable
-for working without a heck than the Norwich style, and adopt it to
-avoid using one, as it is severe on the harness twines. Some raise the
-machines very high to avoid using them, but for particular work with
-border ties they must be used to give a proper working harness. With
-the London mounting rollers should be, and are, used when there is
-no heck. These rollers are set as a coarse heck in a frame under the
-machine, and lie lengthways under it, just as they would do when used
-above a heck. The heck should be about 3 in. below the knots which
-fasten the tail cords to the neck twines. Some have the tugs, or tail
-cords, coming down through the heck; in this case the heck only takes
-the strain off the hooks of the machine, and has no effect on the shed,
-though sometimes this is mitigated by having more than one tug or
-tail cord, and the neck twines that slant in different directions are tied
-to different tail cords. The only point in favour of this is that it saves
-some trouble in tying broken harness twines when they begin to wear
-away by their friction on the heck.</p>
-
-</div>
-<div class="subdiv">
-
-<h3>PREPARING THE NECK OF THE HARNESS</h3>
-
-<p>The twine for the neck, as well as that for the other portions of
-the harness, is usually wound on spools, and when the neck is to
-be prepared it is warped from these spools to the length required, either<span class="pagenum"><a name="Page_80" id="Page_80">[80]</a></span>
-on a hand warping mill or round two pins fastened in a wall or on a
-bench, as far apart as the length of the harness; three or four spools
-are put on pins, and the ends from them are taken and wound round the
-pins fixed for warping them on. When warped the twines may be cut
-at one end, and can either be tied in a bunch or stretched on a board
-and tied down on it, so that they may be kept straight and admit of
-any number of them being pulled out as they are wanted.</p>
-
-<p>In some methods of mounting the neck twines are first tied to the
-tail cords; perhaps this is the plan most commonly adopted with
-double-acting machines. Sometimes they are tied to the sleepers
-first, and fastening them to the tail cords is the last process. This is
-called ‘beeting’ the harness. When single-acting machines are made
-with the hooks resting on a perforated board, they have tugs on the
-hooks; but when the wire hooks pass down through a perforated
-grating, tugs are unnecessary, and the neck twines are fastened to the
-hooks. When fastened to the hooks, or even when fastened to the tail
-cords, and a heck is not to be used, the neck twines should be formed
-into heads, either before they are tied up or afterwards, as may be
-desired. The reason of this is, that when a number of neck twines are
-tied to a hook or tail cord, and the hook is raised by the machine when
-working, the twines will be slanting in different directions, and when
-coming down again would be liable to catch on the knots of those that
-were not raised; and the head is for the purpose of keeping them
-together, so that they cannot separate for a short way down. One
-method of doing this is, after the bunch of neck twines is tied to a
-tail cord or hook, to take one of the twines and knot it round the others
-about 3-1/2 in. below the tail cord, and the same may be done with a
-second twine, if there are many in the parcel.</p>
-
-<p>Sometimes the neck twines are all prepared in heads, and the
-following is a convenient method of doing so:&mdash;Fasten four flat pins
-of wood, as <span class="smcap">A, B, C, D</span>, <a href="#FIG49">Fig. 49</a>, on a board as <span class="smcap">F</span>, or on the edge of a
-bench or table. <span class="smcap">C</span> and <span class="smcap">D</span> are firmly fastened, but <span class="smcap">A</span> and <span class="smcap">B</span> can be
-turned round to the position shown by the dotted lines when the
-screws holding them are slackened. The distance from <span class="smcap">C</span> to <span class="smcap">D</span> must
-be the length required for the neck twines. <span class="smcap">E</span> is the twine coming<span class="pagenum"><a name="Page_81" id="Page_81">[81]</a></span>
-from a spool on a wire. The pin <span class="smcap">A</span> is pushed round to the position
-shown by the dotted line, and the twine is warped round <span class="smcap">C, B, D</span>,
-passing over <span class="smcap">B</span> and under <span class="smcap">C</span>, so as to form a lease. When a sufficient
-quantity is warped, the crossing of the lease is pushed up towards <span class="smcap">C</span>,
-and the pin <span class="smcap">A</span> turned round into the centre of the twines, taking the
-place of <span class="smcap">B</span>, which is turned back. The use of the two pins is to allow
-room for warping, <span class="smcap">C</span> and <span class="smcap">A</span> being too close together. The distance
-from the outside of <span class="smcap">C</span> to that of <span class="smcap">A</span> should be the length the head is
-required to be (about 3-1/2 in. or 4 in.). The twines may now be cut at
-<span class="smcap">D</span>, and a piece of cord looped round them and tied to <span class="smcap">D</span>, so as to hold
-them steady, but allow them to be drawn out as required. The number
-of twines for each head can now be drawn out and tied round the two
-pins <span class="smcap">C</span> and <span class="smcap">A</span>, and when a number are done they can be slipped off the
-pins and put on cords or rods; the lease keeps the heads in order, and
-the bunch can be hung up at the loom, and each head be taken in
-rotation by the mounter. The number of twines for each head is
-regulated by the tie of the harness.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG49" id="FIG49"></a><img src="images/i_081.jpg" width="600" height="122" alt="" />
-<div class="caption"><span class="smcap">Fig. 49</span></div>
-</div>
-
-<p>Suppose a double-acting machine is to be mounted with the harness
-similar to that shown in No. 1, <a href="#FIG46">Fig. 46</a>. The tail cords are usually
-put on the machine by the makers, but if they are worn out, or if new
-cords are required, putting them on is the first process. This can be
-done when the machine is on the ground, and the neck may also be
-tied to the tail cords before the machine is put on the loom. Some
-mounters prefer one method, and some the other, and the one which
-most conveniently suits the circumstances may be used. When the
-neck is attached to the machine before putting it on the loom, it is
-usual to turn it on its side on blocks or on a table. If the machine is
-on the loom, a board is tied up to make a seat for the mounter, and
-the bunch of neck twines is fixed convenient to his reach; or he may<span class="pagenum"><a name="Page_82" id="Page_82">[82]</a></span>
-have a boy to draw them out for him, and hand him the number he
-requires. Beginning at the first hook, he takes a pair of tail cords, and
-having drawn them down straight and stretched them firmly, he loops
-the neck twines on them in the way shown in <a href="#FIG46">Fig. 46</a>, and draws the
-knot fast. The distance from the bottom of the hooks to the neck
-twines should be 11 in. or 12 in. The first of these in each row is
-measured, and the mounter can then regulate the others so as to have
-all the knots in a line.</p>
-
-<p>The number of neck twines that are to be tied to each hook is regulated
-by the tie of the harness. For each time that any repeat or
-portion of a pattern is to be repeated on the cloth there must be a twine
-attached to those hooks of the machine that are to work this repeat.
-For instance, if a 400 machine is used, and the pattern consists of a
-simple repeat on these 400 hooks, and this has to be repeated six
-times on the cloth, then six neck twines must be tied to each hook of
-the machine. Again: The pattern might be made for a 400 machine,
-200 hooks to be repeated six times, 100 four times, and 100 three
-times; then six twines would be tied to the first 200 hooks, four to the
-second set of hooks (100), and three to the third set (100), and any
-mounting would be regulated in a similar manner.</p>
-
-<p>Full particulars of ties will be given further on.</p>
-
-<p>If all the hooks in the machine are not required, any number of
-rows or portions of rows can be left idle at one end, or at both ends if
-desired, or even at the back or front.</p>
-
-<p>When all the neck twines are tied up, the next process is to draw
-them through the heck, which should be fastened firmly 2 in. or 3 in.
-below the knots connecting the tail cords and neck.</p>
-
-<p>The jacquard is supposed to have been levelled and set in its proper
-position on the loom, and firmly fastened there, and the same may
-now be done with the cumber board.</p>
-</div>
-
-<div class="subdiv">
-<h3>CUMBER BOARDS AND HARNESS REEDS</h3>
-
-<p>These are both for the same purpose&mdash;viz., that of regulating the
-space which the harness is to occupy&mdash;and both answer the purpose<span class="pagenum"><a name="Page_83" id="Page_83">[83]</a></span>
-equally well, generally speaking. The reed being stronger is, perhaps,
-more suitable for coarse work; and the cumber board, giving a more
-evenly distributed harness, is perhaps preferable for fine work. Be
-that as it may, both suit for any medium work, though some workmen
-are all against the reeds, and others all against the boards. Harness
-reeds are strong-made reeds of cane or iron, of the depth and fineness
-to suit the harness. Bridges are fixed in them about 6 in. apart, with
-perforations for stiff wire to be run through; as many wires as are required
-to suit the number of rows of the harness. A wire should be
-outside the harness at both sides, to prevent it rubbing against the ribs
-of the reed. The wires are made straight, drawn tight, and fastened
-at each end to holes in the yoke of the reed. The reed is set in a
-frame of wood or iron, so that it can be bolted to brackets on the
-loom.</p>
-
-<p>Cumber or comber boards, also called hole boards, are made in
-various ways. Sometimes they are of wood about 3/4 in. thick, and bored
-in a piece. These boards are strong enough to bolt to brackets on the
-frame of the loom. Sometimes they are thin, about 1/4 in. thick, bored
-in the same way, and framed. The wood used is beech, sycamore, and
-sometimes walnut. The objection to these boards, particularly the
-thin ones, is that if the wood is not very well seasoned they are liable
-to warp and split. A great many prefer to use what are called ‘slips’&mdash;that
-is, small pieces of wood of the depth required for the harness,
-and about 1-1/2 in. long or broad. The length, or long way of a cumber
-board or harness reed, is frequently called the width or breadth, same
-as weaver’s reeds, as this is the width of the loom. The cross-way, or
-from back to front, would, in the same way, be the depth. These slips
-are made of boxwood, beech, or other clean hard wood. Some prefer
-beech or sycamore to boxwood. The twines cut into them all in time,
-but the hardness of the boxwood causes a very fine cut to be made in
-it, which cuts the twine. The others will not cut the twine so readily,
-and by the time the wood is cut too much the harness would require
-to be renewed as well as the cumber board. These slips are made
-about 1/4 in. or 5/16 in. thick, and are set in a grooved frame. The usual
-way of arranging the holes in a board is shown at A (<a href="#FIG50">Fig. 50</a>), which is<span class="pagenum"><a name="Page_84" id="Page_84">[84]</a></span>
-for an 8-row harness. B shows a patent method, devised for the
-purpose of giving more space between any two holes in each horizontal
-row. The arrangement of the holes is in 4-shaft satin order, and gives
-double the space between the
-holes of each horizontal line
-that A does, and of course it
-would take so much longer for
-the twines to cut through; but
-this would only be an advantage
-if the holes were set very
-close together, as otherwise the
-harness would be considerably off the level before the twines had cut
-from one hole into another. In any case, the irregularity of the holes
-will likely prevent it from ever taking the place of the older method
-shown at A, though it may be desirable sometimes.</p>
-
-<div class="figleft" style="width: 300px;">
-<a name="FIG50" id="FIG50"></a><img src="images/i_084.jpg" width="300" height="161" alt="" />
-<div class="caption"><span class="smcap">Fig. 50</span></div>
-</div>
-
-<p>The cumber board is fastened on two brackets&mdash;one at each side of
-the loom&mdash;and should be perfectly level and firm. It should be so far
-advanced as to allow the harness to pass within half an inch of the
-handrail of the lay when full back, and should be from 8 in. to 10 in.
-above the mails, the lower the better, as it keeps them steady; but the
-height may have to be regulated by the swords of the lay, as they must
-be clear of it, and in some looms they are higher than in others. When
-the cumber board is levelled and fastened, it should not be moved
-after the harness is tied up, as any change in its position must alter
-the level of some portion of the harness. This cannot in every case
-be adhered to, as in some cases it may be necessary to move it. In a
-small harness a good deal of shifting can be made that could not be
-attempted in a large or intricate one. In many places the harnesses
-are built in a separate room, or by the machine maker, and sent to the
-manufacturer; but practical experience with particular work will teach
-anyone that it is most desirable to have everything about the harness as
-level and true as possible, and it takes a good deal of care to effect this,
-even without any shifting.</p>
-
-</div>
-<div class="subdiv">
-
-<p><span class="pagenum"><a name="Page_85" id="Page_85">[85]</a></span></p>
-
-
-<h3>SLABSTOCKS AND LEVELLING FRAMES</h3>
-
-<p>‘Slabstock’ is a name given to the board used for fastening the
-mails on before they are levelled. It is about 6 in. deep and 1 in. thick,
-and should be as long, or longer, than the loom is broad, according to
-the way it is to be fixed in the loom, which is usually by being bolted
-to brackets fastened on the sides of it.</p>
-
-<div class="figcenter" style="width: 500px;">
-<a name="FIG51" id="FIG51"></a><img src="images/i_085.jpg" width="500" height="353" alt="" />
-<div class="caption"><span class="smcap">Fig. 51</span></div>
-</div>
-
-<p>There is a groove or rebate in the top edge of it for holding the
-mails, as shown in <a href="#FIG51">Fig. 51</a> at <span class="smcap">A</span> and <span class="smcap">B</span>. Sometimes the grooves are at
-both sides, as shown at <span class="smcap">A<sup>1</sup></span>.
-All the mails required for the
-harness are put on the one
-slabstock, which is set directly
-under the cumber board when
-the harness is being levelled.</p>
-
-<div class="figright" style="width: 300px;">
-<a name="FIG52" id="FIG52"></a><img src="images/i_085a.jpg" width="300" height="181" alt="" />
-<div class="caption"><span class="smcap">Fig. 52</span></div>
-</div>
-
-<p>A levelling frame is better
-than a slabstock; it is for the
-same purpose&mdash;that of keeping
-the mails firm and level when being tied to the neck twines. It
-consists of two flat bars of iron, <span class="smcap">C, C</span> (<a href="#FIG52">Fig. 52</a>), which can be bolted
-together in the form of a frame by the use of two stays, one at each<span class="pagenum"><a name="Page_86" id="Page_86">[86]</a></span>
-end, and by the same screws be bolted to slotted brackets, <span class="smcap">A A, B B</span>,
-fastened to the frame of the loom. Sometimes two hanging brackets,
-as <span class="smcap">D</span>, are used, fastened from the top or heddle-bearer of the loom.
-The levelling bars, <span class="smcap">C, C</span>, rest in these brackets, and can be fixed firm
-in them with a pin or cotter. If there is any yield or spring in the
-brackets, they can be stayed from the front of the loom as well, as
-the frame should be made very firm. The distance between the two
-bars should be 4 in. or 4-1/2 in., which will suit any harness; if only
-narrow harnesses, as 8-row, are required, it may be an inch narrower.
-The length of the frame must suit the breadth of the loom. It should
-be perfectly straight and level on the upper edges, and should have
-two rows of holes bored in it, about 2 in. apart, for pins and skewers to
-pass through above and below the wires on which the mails are strung,
-so as to keep them firm.</p>
-</div>
-
-<div class="subdiv">
-<h3>LEVELLING THE SLABSTOCK OR FRAME</h3>
-
-<p>Levelling a harness, or rather levelling the mails of the harness, is
-the most important part of the mounting, as, if the mails are not levelled
-as true as a straight-edge, good work need not be expected from the
-loom. The position in which they are levelled, in relation to the
-breast beam and back rail, will depend upon the nature of the cloth to
-be made, to a certain extent; but as a general rule, for ordinary work,
-the eyes of the mails should be half the depth of the shed required to
-be drawn below the level of the breast beam for hand loom work, and
-a little more than that for power-loom work. This is to have the top
-and bottom portions of the shed of an even tension, and to make both
-sides of the cloth equally good. The position of the back roll can be
-altered a little afterwards, if it is required to slacken either the top or
-bottom portions of the shed. Raising the back roll throws up the weft
-pattern to the under side of the cloth, and sinking the back roll gives
-the upper surface of the cloth a finer appearance, by tightening the top
-portion of the shed. A 3-1/2-in. draw of the harness is sufficient for
-power-loom work, and perhaps less would sometimes be preferable.
-Levelling the harness mails 1-3/4 in. for light work, and 2 in. for heavy<span class="pagenum"><a name="Page_87" id="Page_87">[87]</a></span>
-work, below the breast beam should be a good average standard for a
-3-1/2 in. draft of harness. The levelling frame or slabstock is levelled to
-this height by means of a spirit level and straight-edge, making
-allowance for whatever spring there may be in the harness after it is
-tied, and the wires drawn out of the mails. This can only be ascertained
-by experience, and depends principally on the tension the
-mounter puts on the twines when tying them; it will also depend upon
-whether the harness twines have any spring in them or not, but they
-should be well stretched before being used, to avoid this. A mounter
-who ties slackly will generally make a more level harness than one
-who ties tightly. About 1/8 in. may be allowed for the mails to rise if
-the cords are slackly tied, and if tightly tied 1/4 in. may have to be
-allowed, and sometimes more than this.</p>
-
-<p>Sometimes the level is taken by placing a straight-edge on the
-race of the lay, when the cranks are at the back centre; then the under
-edge of the straight-edge should give the position for the tops of the
-mails on the slabstock, when it is fixed in its position in the loom. In
-levelling by this method the race must first be set at the proper height,
-and it must also be properly bevelled. From 1/2 in. to 3/4 in. below the
-breast beam is a good level at which to have the race, when the cranks
-are at the top centre, the latter for a low harness. The angle, or bevel,
-of the race may not at all times suit for levelling in this way. If not,
-the race should be made correct when possible; if it cannot be corrected,
-the harness must be levelled a little lower and the back rail
-kept down for working. A loom with the race bevelled for plain
-work is not suited for damask; the angle between the race and reed
-should, for damask, be about 93°, whereas for plain 87° would be more
-suitable.</p>
-</div>
-
-<div class="subdiv">
-<h3>TYING UP THE HARNESS</h3>
-
-<p>Having the neck attached to the tail cords and the levelling frame
-and cumber board fixed in position, the next operation is to get the
-prepared lingoes placed in the loom, whether on the levelling frame or
-slabstock. Suppose the levelling frame to be used. According to the
-number of rows in the harness or cumber board, pieces of reed wire<span class="pagenum"><a name="Page_88" id="Page_88">[88]</a></span>
-are procured, one for each row, and as many lingoes are strung on each
-of these as will be required for each row of the harness, by running
-the wires through the mails. These wires are then placed in the frame
-and secured by skewers being put through the frame above and below
-them. The frame is then levelled and firmly bolted to the loom.
-The sleepers or mid-pieces of the lingoes are next drawn up through
-the cumber board, one through each hole required to be used, any
-surplus holes being previously marked out to suit the tie of the harness,
-which will be afterwards explained. When all are drawn through, the
-tying of the neck twines to the sleepers may be proceeded with.</p>
-
-<p>This must be done in accordance with the tie of the harness. Thus,
-if there are four cords tied on the first hook of the machine, these must
-be taken down to the lingoes in the proper place in the cumber board,
-which may be seen by examining the particulars of the mountings, to
-be given further on. One method of fastening the neck to the sleepers
-is shown in No. 1, <a href="#FIG46">Fig. 46</a>, at <span class="smcap">D</span>, <i>d</i>, <i>d</i><sup>1</sup>. The twine is put through the
-loop of the sleeper at <i>d</i><sup>1</sup> (or better to have a snitch on the sleeper,
-unless the knots are to be varnished afterwards), then a loop is thrown
-on at <i>d</i>, and the end tied at <span class="smcap">D</span>, and clipped close. This method suits
-very well when the harness is liable to be altered, for if the knots are
-brushed over with paste they hold sufficiently firm, and can be loosed
-again at any time, if necessary. If varnished, it also answers equally
-well for any coarse harness; but if it is fine and much crossed, especially
-if the twines are strong or coarse, the knots are liable to catch on
-each other and raise more warp than should be when the loom is
-working.</p>
-
-<p>A second plan is shown in No. 2, <a href="#FIG46">Fig. 46</a>. In this case there are
-no sleepers on the lingoes; they are put on the levelling frame or
-slabstock without them, the mails and lingoes being connected by the
-hangers; the levelling frame is set in the loom as before, and the
-neck twines must be long enough to go down through the cumber
-board, through the top hole of the mail, and up again through the
-cumber board to where they are tied. The mounter, when about to
-tie them, takes one of the twines and casts a single knot on it, leaving
-the loop open, then puts the end of it through a hole in the cumber<span class="pagenum"><a name="Page_89" id="Page_89">[89]</a></span>
-board and through a mail, and with a small wire hook draws it up
-again through the same hole in the cumber board, and through the
-open knot or loop he made on it, at the same time; then, turning round
-the awl or piercer in the other end of the handle of the hook, he puts
-it through the knot and runs it up about 6 in. above the cumber
-board, draws it tight, and casts another knot above it with the end of
-the twine, as shown at <span class="smcap">D</span>, No. 2, <a href="#FIG46">Fig. 46</a>. This makes a neat harness,
-and when a mounter gets accustomed to it he can proceed very expeditiously.
-This method is used in England; the former is Scotch.
-The instrument used for drawing the twines through the cumber board
-consists of a wooden handle, in one end of which is a hook or barbed
-wire, same as is used for drawing the warp through mails, and in the
-other end is a round awl or piece of steel wire, tapered to a blunt
-point, which is used for running up the loop or knots so as to have
-them all about the same distance above the cumber board.</p>
-
-<p><i>Beeting</i> is another Scotch method of mounting. The harness may
-be beeted either above or below the cumber board; beeting above it
-was the old method, and single slabstock was used, as shown in Fig.
-51 at <span class="smcap">A</span>. When preparing it for the loom, the lingoes and mails are
-connected by the hangers in the usual way, and hung on the slabstock
-with the mails in the groove in it, as shown at <span class="smcap">B</span>, <a href="#FIG51">Fig. 51</a>. A piece of
-flat wire (reed wire) is run through the eyes of the mails, as many as
-are required for the whole harness, and is then tied down by cords
-fastened round it and the slabstock, at short distances apart. The
-slabstock is now put into a frame, or rack, with a rail as high above it
-as is required for the length of the sleepers. A spool of twine is fixed
-on a wire pin at the side of the frame, and with a needle, or otherwise,
-the end of the twine is run through a number of the mails and fastened.
-With a hook the sleepers can be reeled up to pins in the rail
-above the slabstock, on the same principle that they are done in Fig.
-47. When the sleepers are all finished they can be slipped off the pins
-and cut.</p>
-
-<p>The slabstock is next fixed in the loom and levelled with the upper
-edge of the rebate or groove touching the under edge of a straight-edge
-placed on the race of the lay when it is full back (for power looms).</p>
-
-<p><span class="pagenum"><a name="Page_90" id="Page_90">[90]</a></span></p>
-
-<p>The sleepers are then drawn up through the cumber board without
-their ends being knotted; they should be long enough to reach
-about 8 in. above it, and say 7 in. below, making 15 in. for their entire
-length.</p>
-
-<p>Now, to beet the harness: Say there are two beeters, standing on
-the ground, with a supply of neck twines convenient to them; they
-pick up the sleepers from the first set of holes in the cumber board&mdash;that
-is, those that are to be connected with the first hook in the
-machine&mdash;and, having tied neck twines to them, hand them to the
-harness tyer, who is up at the machine. He takes the lot of twines
-and draws them all to an even tension, then, having drawn down the
-tail cords firmly and evenly, knots the neck twines to them.</p>
-
-<p>One method of knotting the neck to the tail is to have the tail cords
-tied together so as to form loops; then, having straightened both the
-neck and tail cords, lay the neck against the loop of the tail, and take
-both firmly between the finger and thumb of the left hand, being careful
-not to let them slip, and casting a knot, as at <span class="smcap">C</span> or <span class="smcap">D</span>, <a href="#FIG51">Fig. 51</a>,
-round the tail, with the ends of the neck draw it fast. In order to
-have all the tail cords plumb and the knots of a uniform height, the
-harness tyer sometimes has a cord tied across the top of the loom
-frame, at each end of the machine, at the height the knots are to be.
-On these he lays a straight-edge, marked as a guide for where the tail
-cords are to hang, so that he can regulate those of one row and have
-them plumb, and the knots even; when one row is finished, he moves
-the straight-edge to the next, and goes on with it. A newer method of
-beating is to prepare the lingoes with sleepers and hangers, the sleepers
-to be about 5-1/2 in. long. The slabstock <span class="smcap">A<sup>1</sup></span>, <a href="#FIG51">Fig. 51</a>, is used, or the
-other if preferred.</p>
-
-<p>The mails are put upon flat wires as before, but instead of all going
-on one wire, half the number is put on each of two wires, and one of
-them is placed at each side of the slabstock, where it can be fastened
-with small staples. To facilitate getting the mails on the wires, when
-reeling the sleepers on the pin, as in <a href="#FIG47">Fig. 47</a>, a lease can be made on
-the loops by giving them a twist when putting them over the pin.</p>
-
-<p>A piece of twine can be fastened in this case, and the loops afterwards<span class="pagenum"><a name="Page_91" id="Page_91">[91]</a></span>
-cut. The mails can then be taken off in order, and run on the
-wire for the slabstock. When the mails are fixed on the slabstock it
-may be laid on the ground, or set in a frame, and the neck twines
-tied to the sleepers; and when all are tied, they can be drawn through
-the cumber board or harness reed. Afterwards, all are taken and fixed
-in the loom. The cumber board must be set so high above the knots
-on the sleepers that they will not come into contact with it when the
-shed is opened (that would be 4 in. or 4-1/2 in. above it). The neck
-twines are then tied to the tail cords as before.</p>
-
-<p>This makes a very good harness, and has the advantage of having
-no knots on the neck twines above the cumber board, which is very
-important in an intricate harness with the cords close together, as the
-knots when varnished are liable to catch on each other, or on twines
-slanting across them, and lift them as they are being drawn up.
-When a harness is mounted in this way it is not easy to make any
-alteration on it, or to re-level any portion of it if necessary. If the
-sleepers are tied in loops, same as used in No 1, <a href="#FIG46">Fig. 46</a>, they can be
-connected to the neck twines by having the latter double and putting
-both ends of the neck through a snitch on the sleeper, or the neck
-twines may be double and the two ends of the sleeper when untied
-may be put through a snitch on the looped end of the neck twine and
-tied; in this way they could be altered or adjusted afterwards if
-necessary, but if they had to be varnished the knots would be rather
-rough.</p>
-
-<p>The following method of mounting is adopted in the damask hand-loom
-districts of the North of Ireland, and is used for particular power-loom
-work as well. It is a slower process than the preceding, but
-cannot be surpassed for getting a level harness, and the mails can be
-regulated as desired&mdash;that is, to have the back rows getting gradually
-a little higher than the front ones, which can only be accomplished in
-the preceding methods by tying them a little tighter, or by having
-the frame sloped a little.</p>
-
-<p>The lingoes may be prepared as before, with the sleepers 5 in. long
-when tied and clipped. The neck twines are put down through the
-cumber board and knotted loosely in bunches underneath.</p>
-
-<p><span class="pagenum"><a name="Page_92" id="Page_92">[92]</a></span></p>
-
-<p>The levelling frame is set in the loom, the top edge of it being at
-the level that the eyes of the mails in the front row are to be hung.</p>
-
-<p>No wires are required. The lingoes are taken in bunches and put
-astride on the frame as required, and boys fasten them up to the neck
-twines by throwing on a snitch and running them up to somewhere
-about the height they will be wanted when level; in doing so the
-knots on the sleepers must be kept up as close to the snitch as is convenient
-for tying them, as, if left too low, they would interfere with the
-warp in shedding. When all the lingoes are hung inside the levelling
-frame&mdash;or they may be hung first, and the levelling frame put up afterwards
-and levelled&mdash;the mounter may begin to level the mails.</p>
-
-<p>He uses a fine piece of waxed cord with a small weight at each end,
-which he lays across the levelling frame as a guide, and levels each
-row from back to front in succession. The front mail may hang with
-the top of its eye level with the cord, and the others rise a little higher,
-till the back one is perhaps, with the bottom hole, level with the levelling
-cord, or 1/8 in. higher than the front one. The levelling can easily
-be accomplished by sliding the snitch up or down the neck twines; and
-when the correct height for the mail is got, the neck twine is tied as
-at <span class="smcap">H</span>, No. 3, <a href="#FIG46">Fig. 46</a>, when it is to be varnished, or as at <span class="smcap">H<sup>1</sup></span> when it
-need not be varnished; in the latter case cable cord is used for the
-neck, and it is split at the end, when drawn through the snitch, and
-then knotted.</p>
-</div>
-
-<div class="subdiv">
-<h3>VARNISHING A HARNESS</h3>
-
-<p>Varnishing is for the twofold purpose of making the harness twines
-wear better, and keeping them from being affected by the atmosphere.</p>
-
-<p>Sometimes the harness is only partly varnished, particularly when
-it is liable to be changed in a short time, and then it can be loosed
-down and used again.</p>
-
-<p>If it is to remain for a length of time&mdash;that is, for steady work&mdash;it
-should be varnished all over, but care should be taken to get a good
-varnish, as some of them destroy the twines, and others come off and
-are useless.</p>
-
-<p>The common varnishes are made principally from shellac, beeswax,<span class="pagenum"><a name="Page_93" id="Page_93">[93]</a></span>
-and turpentine, and can be procured at any heddle-maker’s. Sometimes
-white wax dissolved in turpentine is used to rub the twine at the
-cumber board, for fine harnesses for silk and other light work, the
-remainder being left unvarnished. Sometimes the neck of the harness
-and the sleepers are varnished, and the knots above the cumber board
-are brushed with paste, as each row is tied, to keep them from
-slipping.</p>
-
-<p>Perhaps the best varnish is boiled oil, which, when well dried, gets
-very smooth after working for some time, and keeps the twines soft
-and pliable. It takes some time to dry, and does not suit well for using
-in a dusty place, but answers very well when the harness is built in a
-room for the purpose, and is afterwards taken to the loom.</p>
-
-<p>Sometimes a very small quantity of beeswax or white wax is added
-to the oil to give it more firmness, and sometimes driers are used to
-make it dry more quickly; but it is better to do without driers, as they
-harden the twines and are injurious. Varnish should not be disturbed
-till quite dry, as, if the twines are separated and the loom started when
-it is soft, the outer surface will rub up and make a rough harness.
-The twines are separated by running a wire skewer between each cross-row.
-French chalk dusted down through the harness assists in
-smoothing it, and prevents too much friction when it is being started
-to work.</p>
-</div>
-
-<div class="subdiv">
-<h3>TO ARRANGE THE TIE OF A HARNESS</h3>
-
-<p>What is known as the tie of a harness is the arrangement or
-manner in which the harness twines are connected to the hooks of the
-jacquard&mdash;<i>i.e.</i> the number of twines that are tied to each hook, and the
-position they are to occupy in the cumber board. Ties for ordinary
-damask work may be divided into three classes&mdash;viz. straight, or
-single; lay over, or repeating; and gathered, or centred.</p>
-
-<p><i>Straight or Single Tie.</i>&mdash;This tie is only required when there is no
-repetition of any portion of the pattern, as in silk markers, and occasionally
-in handkerchiefs, d’oyleys, tablecloths, &amp;c. Only one harness
-twine is tied to each hook of the jacquard, and there must be as many
-hooks as there are threads of warp. The twines are tied to the jacquard<span class="pagenum"><a name="Page_94" id="Page_94">[94]</a></span>
-and taken down through the cumber board in regular order from first
-to last, and the warp is drawn into the mails in the same order. Any
-pattern that it is possible to put on the cloth can be wrought with this
-method of mounting.</p>
-
-<p><i>Lay Over or Repeating Tie.</i>&mdash;This is, perhaps, the commonest tie,
-and is used for all such
-patterns as <a href="#FIG53">Fig. 53</a>, where
-one small portion, as that
-enclosed by the dotted
-lines, will, when repeated
-several times, cover the
-entire surface of the cloth.</p>
-
-<div class="figleft" style="width: 300px;">
-<a name="FIG53" id="FIG53"></a><img src="images/i_094.jpg" width="300" height="250" alt="" />
-<div class="caption"><span class="smcap">Fig. 53</span></div>
-</div>
-
-<p><i>Gathered or Centred
-Tie.</i>&mdash;This tie can be used
-when both halves of any
-figure or border, &amp;c., are
-alike when turned over; it
-will only require half the number of hooks to work a figure or border,
-when gathered or centred, that would be required for a single pattern.</p>
-
-<p>All other ties are combinations of these.</p>
-
-<p><a href="#FIG53">Fig. 53</a> shows a pattern for a lay over, or repeating tie, such as
-might be used for dress goods, handkerchiefs, &amp;c. The complete
-extent of the pattern is enclosed by the dotted line; this is called one
-‘repeat’ of the pattern, because this portion repeated over the cloth
-makes up the entire figuring on it. To ascertain how this may be
-woven, or what number of hooks of the jacquard will be required to
-weave it, the number of threads contained in 1 in., or other given space,
-of the cloth required must be known. If the pattern is to be on the
-cloth say 2 in. × 2-3/8 in., and there are to be 100 threads of warp and
-120 threads of weft per inch, then 200 hooks of the jacquard and 240
-cards would be required to weave it, each hook representing one thread
-of warp, and each card representing one shot of weft.</p>
-
-<div class="figcenter" style="width: 418px;">
-<a name="FIG54" id="FIG54"></a><img src="images/i_095.jpg" width="418" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 54</span></div>
-</div>
-
-<p>Figs. 54 and 55 show mountings on jacquards with 208 hooks in
-each, the former tied on the Norwich principle, and the latter in the
-London style. In both cases only 200 hooks are used, the remaining<span class="pagenum"><a name="Page_95" id="Page_95">[95]</a></span>
-eight hooks being left idle for selvages, if required. These mountings
-are made for four repeats of the pattern, which would only make 8 in.
-of cloth; but there may be any number of repeats, say 13, to make 27
-in. of cloth or 28-1/2 in. of warp in the loom, with, say, 92 threads per
-inch. There must be a harness twine for each repeat of the pattern
-tied to each hook of the machine; when four repeats are used, four
-twines are tied to each hook, as in Figs. 54 and 55. The harness reed
-or cumber board, <span class="smcap">G</span>, must be of the same set or fineness as the weaver’s
-reed (if finer, it can be used by passing over the surplus holes). It is
-divided into four portions, leaving 200 holes for each repeat, and the
-twines are, in <a href="#FIG54">Fig. 54</a>, taken straight down from the hooks to the holes
-in it, as can easily be seen. In this figure the cross-rows of the
-cumber board at the first of each repeat are shown filled; but in
-mounting, the back row, taken from the hooks <span class="smcap">A</span> to <span class="smcap">B</span>, would be filled<span class="pagenum"><a name="Page_96" id="Page_96">[96]</a></span>
-first. In <a href="#FIG55">Fig. 55</a> the reverse is the case, the cross-rows, as shown,
-being the first filled; this is owing to the twist in the harness, as the
-machine is sitting so that the cards will hang over the side of the loom.
-The letters <span class="smcap">A</span>, <span class="smcap">B</span>, <span class="smcap">C</span>, and <span class="smcap">D</span> in both figures denote the same corners of
-the machines, showing that in <a href="#FIG55">Fig. 55</a> there is a quarter twist in the
-harness. In <a href="#FIG54">Fig. 54</a>, the dotted lines from the 200th hook show the
-last cord of each repeat; <span class="smcap">L</span> is the first cord of the last cross-row, and <span class="smcap">E</span>
-and <span class="smcap">F</span> are the same in <a href="#FIG55">Fig. 55</a>. In these figures only the skeleton of
-the mounting is given; it must, of course, be filled up as the first rows
-which are given.</p>
-
-<div class="figcenter" style="width: 386px;">
-<a name="FIG55" id="FIG55"></a><img src="images/i_096.jpg" width="386" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 55</span></div>
-</div>
-
-<p>For this description of mounting the yarn is drawn into the mails
-in regular order, beginning at No. 1, and proceeding with the numbers<span class="pagenum"><a name="Page_97" id="Page_97">[97]</a></span>
-as given. In this case the back hook to the left-hand corner must be
-taken as the first hook of the machine, and the cards cut to suit this.
-Sometimes the first hook to the front left-hand corner is considered
-the first hook, but if so it must be remembered when cutting the cards.
-Sometimes the mounting is begun at the right-hand side, but in any
-case it is only necessary to see that the draft of the yarn and cutting
-of the cards correspond with the order of mounting; the result of the
-work should be the same in all cases.</p>
-
-<div class="figright" style="width: 300px;">
-<a name="FIG56" id="FIG56"></a><img src="images/i_097.jpg" width="300" height="328" alt="" />
-<div class="caption"><span class="smcap">Fig. 56</span></div>
-</div>
-
-<p><a href="#FIG56">Fig. 56</a> shows a pattern for a gathered border with a repeating
-centre, which is a very common style of design. It will be seen that
-the two halves of the border,
-<span class="smcap">A</span> and <span class="smcap">B</span>, are alike, if taken
-from the centre outwards;
-or if one-half of the border
-were traced on tracing paper,
-it would, if turned over, form
-the other half. For this
-reason it is also called a ‘turn-over’
-border. In the same
-way, if two cords are tied to
-each hook of the jacquard for
-the border, and those to the
-first hook taken down to the
-cumber board for the two outside
-threads of the border
-(that is, one to the right and the other to the left), then those from
-the next hook taken to the two next outer holes, and so on, coming from
-the outsides to the centre, the first half of the pattern would be repeated
-by the mounting in exactly the same way as by turning over
-the tracing paper.</p>
-
-<div class="figcenter" style="width: 468px;">
-<a name="FIG57" id="FIG57"></a><img src="images/i_098.jpg" width="468" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 57</span></div>
-</div>
-
-<p><a href="#FIG57">Fig. 57</a> shows a mounting for a gathered border and four repeats of
-the centre. Eighty hooks are taken for the border, which are repeated
-four times in the cumber board, as at 80<i>a</i>, 80<i>b</i>, 80<i>c</i>, and 80<i>d</i>, and 120
-hooks are allowed for the centre repeat (see also <a href="#FIG58">Fig. 58</a>). This
-mounting is made up for a 200 machine with 208 hooks, the extra<span class="pagenum"><a name="Page_98" id="Page_98">[98]</a></span>
-eight hooks being left for working the selvages. Only the front row
-of the harness is shown, but they are all alike. By following the cords
-from the hooks to the cumber board, it can be easily seen how they are
-taken through it. The first eight hooks are left idle, for the selvage
-to be fixed to if required. The next ten rows = 80 hooks, are for the
-border; these 80 hooks, with one twine on each, taken down through
-the cumber board at 80<i>a</i>, would work the first half of the border, as <span class="smcap">A</span>.
-The other half of the border, <span class="smcap">B</span>, can be wrought by the same hooks,
-with another set of twines tied to them, and taken through the cumber
-board at 80<i>b</i>; but the twine from the first hook must be crossed over to
-the right-hand side of the border, being the 160th twine in the cumber
-board; the twine from the second hook is the 159th in the cumber<span class="pagenum"><a name="Page_99" id="Page_99">[99]</a></span>
-board, and so on, coming in towards the centre to meet the first set of
-twines; hence the name, ‘centred tie.’</p>
-
-<div class="figright" style="width: 102px;">
-<a name="FIG58" id="FIG58"></a><img src="images/i_099.jpg" width="102" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 58</span></div>
-</div>
-
-<p>The border must also be repeated on the other side, and two more
-sets of twines must be tied to the same hooks (four
-to each hook in all), which are taken down through
-the cumber board at 80<i>c</i> and 80<i>d</i>, to work the
-two halves of the border marked <span class="smcap">G</span> and <span class="smcap">H</span>, <a href="#FIG58">Fig. 58</a>.
-The next 15 rows of hooks = 120, work the repeat
-of the centre pattern, <span class="smcap">C</span>, Figs. 56 and 58; and as
-this is repeated four times, at <span class="smcap">C</span>, <span class="smcap">D</span>, <span class="smcap">E</span>, and <span class="smcap">F</span>, Fig.
-58, there must be four twines tied to each of the
-120 hooks, which are taken down through the
-four divisions of the cumber board marked 120;
-one twine from each hook being taken through
-each division, beginning at the left and working
-to the right side, alike in them all, as this portion
-is a simple repeating tie. <a href="#FIG58">Fig. 58</a> gives a portion
-of the pattern in <a href="#FIG56">Fig. 56</a> completed across, as it
-would be on the cloth by the mounting in <a href="#FIG57">Fig. 57</a>;
-the cumber board is laid across the top of the
-pattern and marked, showing, in conjunction with
-the mounting, <a href="#FIG57">Fig. 57</a>, how the harness repeats
-the pattern so that a large surface can be figured
-with a small machine by adopting a suitable tie.</p>
-
-<p>When drawing the warp into the harness,
-wherever there is a gather in the tie, or a turn in
-the harness, there must be a turn in the draft
-also; not that there is any real change in the draft,
-but when the harness is turned in the direction
-it is drawn through the cumber board, the draft
-must also be changed to follow the mails in regular
-order. <a href="#FIG59">Fig. 59</a> shows a draft for a gathered border,
-with 48 hooks for the border and three repeats of the centre. It will
-be seen that the first half of both borders <span class="smcap">A</span> and <span class="smcap">B</span> and the three repeats
-of the centre are drawn in the same direction, but that the two turned-over<span class="pagenum"><a name="Page_100" id="Page_100">[100]</a></span>
-portions of the borders <span class="smcap">C</span> and <span class="smcap">D</span> are drawn in the reverse direction.
-The numbers on Figs. 62 and <span class="smcap">62a</span> may assist in explaining this, the
-border <span class="smcap">A</span> in 62 and <span class="smcap">B</span> in <span class="smcap">62a</span> being taken; in these it will be seen from
-the numbers, which are those of the harness twines, that 1 to 8 in
-border <span class="smcap">A</span> (<a href="#FIG62">Fig. 62</a>) run in the reverse direction of 1 to 8 in border <span class="smcap">A</span>
-(<span class="smcap">62a</span>), and both are from the same hooks.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG59" id="FIG59"></a><img src="images/i_100.jpg" width="600" height="123" alt="" />
-<div class="caption"><span class="smcap">Fig. 59</span></div>
-</div>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG60" id="FIG60"></a><img src="images/i_100a.jpg" width="600" height="557" alt="" />
-<div class="caption"><span class="smcap">Fig. 60</span></div>
-</div>
-
-<p>When two borders are to be woven on any piece of cloth, though
-the pattern for each border may be single in itself, as <a href="#FIG60">Fig. 60</a> (which
-is single except the two outlying lines, <span class="smcap">A</span> and <span class="smcap">C</span>), they will to each other
-form a gathered tie, provided they have to be turned in the same way
-to the centre of the cloth&mdash;that is, if the inside of one border on one
-side is to be the inside of the other border on the other side. In such
-a pattern as <a href="#FIG60">Fig. 60</a> it would not matter much if the inside of one
-border was the outside of the other, as the border is much alike either
-way, and if wrought in this way the twill on the cloth would not be
-reversed, as is always the case in a turned-over border. In many<span class="pagenum"><a name="Page_101" id="Page_101">[101]</a></span>
-patterns this would not do, and it is therefore necessary to gather
-the tie and turn the twill. <a href="#FIG61">Fig. 61</a> shows how, in the London style of
-tying, the harness can be turned so that a turn in the draft is not
-necessary, but this will not alter the
-reverse twill on the cloth. It will
-be seen that one of each of the two
-cords tied to the eight hooks goes
-to one border, and the other to the
-opposite border, but instead of both
-going to the same row of the cumber
-board, the cord from the first
-hook goes to the back row in one
-border, and to the front row in the
-other. All the cords follow in this
-way, which has the same effect as
-turning the draft, as would require to
-be done in the Norwich mountings,
-and could also be done on this
-principle. <a href="#FIG62">Fig. 62</a> shows the draft
-of the two borders for <a href="#FIG61">Fig. 61</a>
-mounting, <span class="smcap">A</span> and <span class="smcap">B</span> being a plan of
-the warp passing through the mails.
-The numbers refer to the hooks of the jacquard. <span class="smcap">C</span> and <span class="smcap">D</span> are the two
-innermost threads of the borders, both on the 48th hook of the machine.
-Fig. <span class="smcap">62a</span> shows how the draft would be if the cords were not brought
-from front to back of the cumber board, as the numbers will show.
-No. 1 shows where the cords from the first hook pass through the<span class="pagenum"><a name="Page_102" id="Page_102">[102]</a></span>
-cumber board. Fig. <span class="smcap">62a</span> gives the right-hand border only, the left-hand
-one remaining the same as in <a href="#FIG62">Fig. 62</a>.</p>
-
-<div class="figright" style="width: 300px;">
-<a name="FIG61" id="FIG61"></a><img src="images/i_101.jpg" width="300" height="481" alt="" />
-<div class="caption"><span class="smcap">Fig. 61</span></div>
-</div>
-
-<div class="figleft0" style="width: 294px;">
-<a name="FIG62" id="FIG62"></a><img src="images/i_101a.jpg" width="294" height="125" alt="" />
-<div class="caption"><span class="smcap">Fig. 62</span></div>
-</div>
-
-<div class="figright0" style="width: 132px;">
-<a name="FIG62A" id="FIG62A"></a><img src="images/i_101b.jpg" width="132" height="125" alt="" />
-<div class="caption"><span class="smcap">Fig. 62a</span></div>
-</div>
-
-<p class="nofloat">In <a href="#FIG60">Fig. 60</a>, the two bars <span class="smcap">A</span> and <span class="smcap">C</span> could be wrought from the same
-hooks, and, unless they might be required to be different from each
-other on another pattern to work on the same loom, it would be unnecessary
-to allow machinery for the two; either the outer or inner
-one could be tied up, and the other repeated from it, but the one that
-is tied up must be painted on the design paper.</p>
-
-<div class="figcenter" style="width: 411px;">
-<a name="FIG63" id="FIG63"></a><img src="images/i_102.jpg" width="411" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 63</span></div>
-</div>
-
-<p><a href="#FIG63">Fig. 63</a> shows the front view of a mounting for weaving a pattern<span class="pagenum"><a name="Page_103" id="Page_103">[103]</a></span>
-such as that given on <a href="#FIG60">Fig. 60</a>, one machine being used for the border,
-and another for the centre. Usually the border machine would be to
-the left-hand side, to correspond with the pattern; but in <a href="#FIG63">Fig. 63</a> it
-will be observed that No. 1 machine is to the right-hand side, and that
-it works the borders. It does not matter which machine is used for
-border or centre; the mounter can use the one he considers most suitable
-for the borders, and the pattern may be painted and the cards cut
-without any consideration of this, it being only necessary to put the
-border cards to the border machine, and those for the centre to the centre
-machine. The only consideration is to avoid any unnecessary slanting
-of the harness twines, which the present arrangement does; and it
-also keeps the turned portion of the harness (that for the right-hand
-border) separate from the twines of the centre, thus avoiding any
-unnecessary friction.</p>
-</div>
-
-<div class="forcebreak">
-<h3>TO MARK OUT A CUMBER BOARD</h3>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG64" id="FIG64"></a><img src="images/i_103.jpg" width="600" height="138" alt="" />
-<div class="caption"><span class="smcap">Fig. 64</span></div>
-</div>
-
-<p>Cumber boards may be either the exact fineness of the harness, or
-any set finer; they are better to be a little finer, to allow for any
-broken rows at the beginning or end of any of the repeats. When
-the cumber board is finer than the harness, the surplus rows are left
-idle. A convenient plan of marking off a cumber board is as
-follows:&mdash;Let the pattern be as <a href="#FIG60">Fig. 60</a>&mdash;that is, with a border at
-each side and the centre to be repeated several times to make up the
-width of the cloth. Let 24 cords be required for the selvage, 172
-cords for the border, and 128 for a repeat of the centre; there are
-to be four repeats of the centre. Now mark off on the cumber board
-whatever width the harness is to stand, which should be the same or
-rather wider than the warp occupies in the reed, and let it be so as to
-have the harness in the centre of the loom. Suppose <a href="#FIG64">Fig. 64</a> to give<span class="pagenum"><a name="Page_104" id="Page_104">[104]</a></span>
-the width of cumber board required. The selvages are wrought
-from 6 hooks, and there are 8 hooks in each row of a 400 jacquard;
-therefore 4 rows of the cumber board will be required for each selvage.
-Mark these off by drawing the lines <span class="smcap">A</span> and <span class="smcap">B</span> on the cumber board.
-Now find out the width the borders are each to occupy, by calculating
-how wide the yarn will be in the reed, and mark them off by the
-lines <span class="smcap">C</span> and <span class="smcap">G</span>; then mark off the width of each repeat by the lines
-<span class="smcap">D</span>, <span class="smcap">E</span>, and <span class="smcap">F</span>. Counting the number of holes marked off for the margin,
-it will be found that there are 32; but as the selvage is on six hooks,
-the two back holes of each row of the cumber board are marked out,
-as shown, not being required. The portion marked off for the borders
-contains 23 rows on each side, whereas only 21-1/2 are required for 172
-cords. As the centre repeat is on even rows, and it is usual to leave
-broken rows to the left-hand side of the painting, the first 4 hooks of
-the border portion of the machine will be idle; therefore the 4 back
-holes of the cumber board for both borders are marked out; this still
-leaves a row too much, which may be marked out at any place. For
-the repeats, 128 cords, 16 rows are required, and the surplus rows are
-marked out, as shown. This mounting is supposed to be on a 400
-machine, leaving 100 hooks idle to the left-hand side of the mounting,
-then using 1 row for the selvages, and the remaining 38 rows for the
-pattern, all but the half of the first row, which is not required.</p>
-
-<div class="figleft" style="width: 300px;">
-<a name="FIG65" id="FIG65"></a><img src="images/i_104.jpg" width="300" height="168" alt="" />
-<div class="caption"><span class="smcap">Fig. 65</span></div>
-</div>
-
-<p>In marking out a cumber
-board for a lay-over, or repeating
-pattern&mdash;if, say, 108 hooks are
-required for each repeat, which
-makes 13-1/2 rows of an 8-row
-machine&mdash;if the broken row is
-to the left-hand side of the
-painting, and the harness
-mounted from left to right, then the first four holes of the first row
-of each repeat of the pattern are marked out in the cumber board to be
-left empty, as shown in <a href="#FIG65">Fig. 65</a>. When mounting, no attention would
-be paid to the cords on the half-row of the machine till the first four
-rows along the cumber board have been filled, the mounter beginning<span class="pagenum"><a name="Page_105" id="Page_105">[105]</a></span>
-with the back cord on the first full row of the machine, which is the
-fifth hook of the tie. Three rows for the selvage, which is on four
-hooks at the front of the harness, are shown at <span class="smcap">S</span>, <a href="#FIG65">Fig. 65</a>.</p>
-
-<p>The front of a jacquard is generally considered by workmen to be
-the cylinder side. Of course, when there is a cylinder on each side
-there is neither front nor back to it. Sometimes it is very confusing
-talking of the front and back, one considering it to mean the front of
-the harness, or front of the loom, and another taking it to be the front
-or cylinder side of the jacquard, which is usually at the back of the
-loom for Norwich ties. Of course, the front of the loom is where the
-weaver stands, or where the cloth is made, and the front of the harness
-is towards the front of the loom. It simplifies matters greatly by not
-minding the back or front of the machine, but speaking of every part
-of the harness, &amp;c., towards the front of the loom as the front of it.</p>
-
-<div class="figright" style="width: 300px;">
-<a name="FIG66" id="FIG66"></a><img src="images/i_105.jpg" width="300" height="339" alt="" />
-<div class="caption"><span class="smcap">Fig. 66</span></div>
-</div>
-
-<p>It frequently happens that figured stripes are required, running up
-plain or fancy textured goods, either forming borders to the outer edges,
-or merely ornamental stripes, say 3 or 4 inches from the edges
-of the cloth, as in towels, toilet-covers,
-&amp;c. For this class of
-work it is generally most advisable
-to work the stripes with a
-small jacquard, and the plain or
-fancy texture of the body of the
-cloth with a shaft mounting.
-<a href="#FIG66">Fig. 66</a> shows a mounting of this
-class; the shafts can be wrought
-by tappets in the usual way, and
-small cumber boards, as <span class="smcap">A</span>, <span class="smcap">A<sup>1</sup></span>,
-are fastened to the top rail of
-the loom for the harness to pass
-through. It is usual to keep the
-harness behind the heddles, and
-it is levelled in the usual way. The yarn may or may not be on the
-same beam for both portions, according to whether the take-up, or
-shrinkage, will be the same for both portions or not. Sometimes the<span class="pagenum"><a name="Page_106" id="Page_106">[106]</a></span>
-shrinkage may be regulated to be alike in both by using different counts
-of yarn, or drawing it thicker into the reed; but perhaps in most cases
-two beams would be desirable, unless the texture is much alike for both
-the stripes and body of the cloth.</p>
-
-<p>The lease rods for the yarn in the harness will not, probably, do to
-be the same as those for the body yarn, as the action of the heddles
-will be different from that of the harness. If the same rods will not
-suit, it is easy to have a pair for each warp, those for the harness being
-farthest back. Stripes of this description are frequently made in towels,
-glass-cloths, &amp;c., for clubs or hotels, with the name of the company
-woven into them. A gathered tie is mostly used for these mountings,
-except when letters are required to be woven, in which case a gathered
-tie is not suitable. (See Letters and Monograms.)</p>
-</div>
-
-<div class="subdiv">
-<h3>TO VARY THE SET OF THE HARNESS</h3>
-
-<p>It may often be that in weaving figured piece-goods it would be an
-advantage to have a harness that would weave different degrees of
-fineness, so that the loom could be utilised for one when the other is
-not required. For weaving small quantities, for samples or special
-orders, this is often an advantage.</p>
-
-<p>The usual method of procedure is to draw the warp into a finer
-or coarser reed if only a slight difference is required, and to pay no
-attention to the strive in the warp between the harness and reed.
-The better the quality of the warp, the greater the strive may be, but
-from 1 in. to 2 in. at each side is as far as it can safely be run when the
-harness is wider than the yarn in the reed; and if the reed is coarser
-than the harness, 1 in. at each side will probably be the maximum limit.</p>
-
-<p>When changes of this kind are liable to take place, the cumber
-board should not be too low down, nor should the mails hang too close
-to the back of the slay; with the cumber board high and the harness
-a little back the strive will not tell so severely on the warp. When
-the cumber board is made of boxwood slips, they can be spread out a
-little in the frame, but when there is much of a slant in the harness
-this would take the mails off the level; though this can sometimes be<span class="pagenum"><a name="Page_107" id="Page_107">[107]</a></span>
-counteracted a little by raising the cumber board slightly higher at one
-end than at the other.</p>
-
-<p>The best plan when much of a change is required is to pass over the
-surplus rows of mails in the harness, as in harness work, as well as in
-shaft mountings, the mounting may be used for any coarser set of
-warp than it is built for&mdash;of course, if the width is suitable. This
-would necessitate the warp, or at least a part of it, being drawn out
-of the harness, and also requires a new set of cards for the new pattern,
-or for the same pattern on a new set of cloth. The surplus mails may
-be cast out in rows across the loom if many are to be rejected, or in
-rows across the harness (from back to front) if found more suitable,
-or when a small number of mails are to be left idle. Suppose for an
-8-row harness, 400 machine, with 6 repeats = 2400 mails on 30 in., or
-80 threads per inch, and it is required to weave a piece of cloth on this
-having 74 threads per inch. Drawing the yarn into a coarser reed, and,
-if only 30 in. wide is required, throwing off the surplus yarn at each side,
-would probably be the simplest method; but if the cloth to be woven
-is to have 60 threads per inch, every four throw of mails across the
-harness, or one-fourth of the harness, might be left idle, or the two
-back rows of the harness may be left empty. In the latter case the
-pattern could be painted on 6-row design paper as if for a 6-row machine,
-and in the former case the number of designs across the painting would
-be reduced by one-fourth, the card-cutter taking care that he omitted
-those rows on the card that have been thrown idle on the machine.</p>
-
-<p>In order to reduce this trouble and expense to a minimum Messrs.
-Devoge &amp; Co. have patented an expanding harness which is intended
-to admit of cloths of different degrees of fineness being woven without
-any trouble but a little setting of the cumber board and re-reeding the
-warp. The method of doing so is as follows:&mdash;There are two cumber-board
-frames, one above the other, as shown in the sketch <a href="#FIG67">Fig. 67</a>;
-these frames are filled with slips which can be moved along when
-desired. The harness can be set for two degrees of fineness of warp,
-as is shown in the sketch. The slips in the upper frame, <span class="smcap">B</span>, are
-set midway above the two positions for a slip in the lower frame
-<span class="pagenum"><a name="Page_108" id="Page_108">[108]</a></span>indicated by the letters <i>a</i> and <i>a<sup>1</sup></i>. The black lines show the position of
-the cords when weaving the finer set. The only change required to be
-made is to shift the lower slip, <i>a</i>, to the position <i>a<sup>1</sup></i>, and to re-reed the
-warp; other changes can be made on the same principle, or by altering
-both sets of slips in relation to each other. When the slips are moved
-in the frames, they can be kept in position by interposing blank slips
-between them.</p>
-
-<div class="figcenter" style="width: 400px;">
-<a name="FIG67" id="FIG67"></a><img src="images/i_108.jpg" width="400" height="528" alt="" />
-<div class="caption"><span class="smcap">Fig. 67</span></div>
-</div>
-
-<p>The same cards will suit in this case for several sets of cloth, if
-required. Of course it is plain that the friction on the harness twines
-working through the two cumber boards must be greatly increased
-from that of the ordinary method of working; but for light work, and
-when the harness is not required to last long, it may prove very
-serviceable when frequent changes are required, as it furnishes a ready
-means of accomplishing the desired object, which cannot be done
-without cost in some direction. For wide looms or intricate mountings<span class="pagenum"><a name="Page_109" id="Page_109">[109]</a></span>
-it will not be of much service. In the Figure only one hook of the
-jacquard is given, for simplicity, but the harness would be filled up in
-the usual manner. If the harness is built with long mails having
-several eyes in them, the second cumber board is not required; the
-slips can be shifted and the warp levelled by drawing it through suitable
-holes in the mails.</p>
-
-<hr class="chap" />
-</div>
-</div>
-
-<div class="chapter">
-
-<p><span class="pagenum"><a name="Page_110" id="Page_110">[110]</a></span></p>
-
-
-
-
-<h2><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV<br />
-<span class="f75"><i>DESIGNING AND DRAUGHTING</i></span></h2>
-
-
-<p><span class="smcap">Designing</span> is the composing, drawing, and colouring, if necessary, of
-the sketches for jacquard patterns, and in some cases planning the
-texture of the cloth; and draughting (or drafting) is the term usually
-applied to the painting of the patterns upon design paper.</p>
-
-<p>A designer should be a first-class draughtsman, and have a thorough
-knowledge of the various styles of ornament; he should also be well
-practised in drawing floral forms from Nature, without which there is
-generally a stiffness and want of freedom in his style of work. For
-coloured work, such as carpets, &amp;c., skilful colouring is the most essential
-point. No drawing will atone for bad colouring; at the same time,
-good colouring should not be wasted on bad drawing.</p>
-
-<p>A designer may draught his own patterns, and if he is an experienced
-draughtsman with a good knowledge of weaving, perhaps this is the
-most successful method of working; but if the greater portion of his
-time is to be taken up with draughting, his talent as a designer will be,
-to a great extent, lost, and he will probably deteriorate; besides, he will
-not have the same opportunity for getting up a variety of designs that
-he would have if he had nothing else to attend to. A designer for any
-class of work should have a knowledge of the technicalities of the
-material for which he is designing a pattern; at the same time, a very
-slight knowledge is essentially requisite, provided the sketch be given
-into proper hands to be worked out. It must be remembered, however,
-that in this case a sketch may often have to be taken only as an idea
-for a pattern, and not be handed by the manufacturer to the draughtsman
-with directions to make a truthful reproduction of it on the cloth.
-A draughtsman may be a skilful designer as well, or he may be a skilful<span class="pagenum"><a name="Page_111" id="Page_111">[111]</a></span>
-draughtsman and have very little powers of designing. When he
-is a designer, the most successful method of getting a variety of patterns
-would be for the manufacturer to purchase sketches for ideas and hand
-them over to his designer, who will be considered to have a thorough
-knowledge of the practical work, to prepare them to suit the fabrics for
-which they are intended, perhaps completely altering them, making
-two or three out of one, or combining two or more to make one pattern
-if necessary&mdash;in fact, using them as material to work from. They may
-then be handed over to the draughtsmen, or be sent to a designing
-establishment for draughting and cutting. In case the manufacturer
-has no designer in his place, but only a draughtsman, the sketches
-must be bought prepared to suit his fabrics, or it would be better to
-have the complete work done, in many cases, at a designing establishment.
-Of course, in draughting, as in all classes of work, a great deal
-of the less important portions may be done by junior hands, but a
-knowledge of drawing is required, if only to guide the eye, by them all,
-except the twillers.</p>
-
-<p>Sometimes designers accustomed to selling sketches get them up in
-a very deceptive manner in order to deceive manufacturers or their
-agents, who may have very little knowledge of the work; but this can
-easily be checked by submitting them to a practical designer before
-purchasing them.</p>
-
-<p>A design that may be very suitable for one class of cloth may be
-equally unsuitable for another class, and in many cases fashion
-regulates the suitability quite independently of its artistic merits.
-For coloured work, designs should be of such forms as lend themselves
-to the disposing of colours, no style being more suitable than Persian;
-whereas in plain work, as damask, the flow of line or the variation of
-the forms, assisted by portions of fancy shading or twilling, must give
-the complete effect. Again, different degrees of fineness of cloth will
-suit for different designs; of course, any pattern that can be put on a
-coarse cloth can also be put on a fine one, but many patterns are very
-suitable for fine work that could not be put on a very coarse fabric.
-When it comes to fine coloured silks, anything that the artist can
-paint can be fairly represented, as may be seen in the work from the<span class="pagenum"><a name="Page_112" id="Page_112">[112]</a></span>
-Coventry silk marker looms, so that any design can be put upon cloth;
-but the question is, Is the cloth suitable for the design?</p>
-
-<div class="figleft" style="width: 250px;">
-<a name="FIG68" id="FIG68"></a><img src="images/i_112.jpg" width="250" height="250" alt="" />
-<div class="caption"><span class="smcap">Fig. 68</span></div>
-</div>
-
-<p><a href="#FIG68">Fig. 68</a> shows a piece of 8 × 9 design or point paper; 8 × 9 meaning
-that each of the large squares, or
-designs, contains 72 small checks or
-squares, 8 in breadth and 9 in length,
-but the 9 should occupy the same space
-as the 8. Ten by ten appears to have
-been the standard design, as patterns are
-still counted by the 100 designs, each
-containing 100 checks, or 100 checks in
-length and the same in breadth: and in
-some places machines are known as so-many-design
-machines; thus, a 400
-jacquard is called a 40-design machine.</p>
-
-<p>When each design contains as many checks in length as it does in
-breadth, the paper is intended for work that is to have equal quantities
-of warp and weft threads in it; thus 8 × 8, 10 × 10, 12 × 12 paper
-would all suit for cloth with, say, 80 threads of warp and 80 picks of
-weft per inch, the difference being that 8 × 8 is intended for a jacquard
-with 8 needles in the row, and 10 × 10 and 12 × 12 for 10 and 12 row
-machines respectively. It is not necessary to have different papers to
-suit, as one could be used for all, and after the pattern is painted it
-could be ruled in rows to suit the machine, but it is much more
-convenient to get the correct size of paper.</p>
-
-<p>If 80 threads of warp required to have 100 picks per inch, then to
-find the size of the paper state as 80: 100:: the number of needles in
-one row of the machine to the number of cards in each design, giving
-8 × 10, 10 × 12-1/2, or 12 × 15; but 10 × 12, or 12 × 14 would have to be
-used for the last two, as a half could not be made, and 12 × 15 is an
-unusual size. Either would do by drawing out the design a little
-when enlarging it for the point paper. Square paper might also be
-used by counting off the number of checks required, and drawing an
-elongated pattern to cover them; but it is more desirable to have
-suitable paper for work that is at all particular, and in case of such as<span class="pagenum"><a name="Page_113" id="Page_113">[113]</a></span>
-12 × 15 paper, 8 × 10 is the same proportion, and could be used for it,
-the squares afterwards being ruled in 12’s for the card-cutter.</p>
-
-<p>Each upright space on the design paper, between the lines,
-represents a thread of warp or one hook of the jacquard, and each
-space between the horizontal lines represents a pick, or shot, of weft,
-or one card of the pattern; so that a painted pattern is a magnified
-view of the texture of the cloth, in common jacquard work.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG69" id="FIG69"></a><img src="images/i_113.jpg" width="600" height="370" alt="" />
-<div class="caption"><span class="smcap">Fig. 69</span></div>
-</div>
-
-
-<div class="figcenter" style="width: 357px;">
-<a name="FIG70" id="FIG70"></a><img src="images/i_114.jpg" width="357" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 70</span></div>
-</div>
-
-<p><a href="#FIG69">Fig. 69</a> is a small sketch for a border with spot filling, which is
-shown on design or point paper in <a href="#FIG70">Fig. 70</a>. The paper is 8 × 8; the
-first four checks are used for a selvage, and the pattern is on 12-1/2
-designs or 100 threads of warp, and 22 designs or 176 cards would be
-required for the weft, the pattern being made about three times the
-size on the design paper that it is on the sketch. The design paper
-has 16 checks per inch, consequently the cloth would have about 48
-threads to the inch to make the pattern appear as the sketch. If the
-cloth were finer, say with 72 threads per inch, then 150 checks on the
-design paper would be required for the pattern, which means that 150
-hooks of the jacquard would be required for working it. Whatever
-width the sketch occupies (one repeat of the pattern), multiply this by
-the number of threads of warp per inch to be in the cloth required,
-and the product will be the number of hooks required for the jacquard,
-and the number of checks or spaces required on the design for the
-warp. The number of cards is found similarly from the weft of the
-cloth. If, on the other hand, a pattern is to be made for a jacquard,<span class="pagenum"><a name="Page_115" id="Page_115">[115]</a></span>
-and it is required to find what size of pattern will work on it, divide
-the number of hooks in the jacquard by the number of threads per inch
-in the cloth required, and the quotient will be the size of the pattern
-warp-ways, in inches. The length or weft-way of the pattern can then
-be arranged to suit the number of cards, or the pattern can be made
-any length to suit the style of design. <a href="#FIG71">Fig. 71</a> is a pattern of the
-same style as <a href="#FIG69">Fig. 69</a>, and it might be wanted to use it instead of Fig.
-69 for cloth of the same make, say 40 to 45 threads per inch. This
-could not be done, as it could not be put on the design paper, but it
-would suit very well if intended for cloth with 80 to 100 threads per
-inch, which would admit of its being sufficiently enlarged (say four
-times the size of the sketch) to be correctly represented by the checks.
-<a href="#FIG69">Fig. 69</a> would be better on cloth having 50 to 60 threads per inch,
-coarser sets requiring larger forms.</p>
-
-<div class="figcenter" style="width: 500px;">
-<a name="FIG71" id="FIG71"></a><img src="images/i_115.jpg" width="500" height="386" alt="" />
-<div class="caption"><span class="smcap">Fig. 71</span></div>
-</div>
-
-<p>In preparing a design for point paper, the sketch is usually first
-made out and selected by competent judges as suitable for the fabric
-required, as well as for the taste of the market in which the goods are
-to be sold. When selected it has to be enlarged to suit the size it is to
-cover on the point paper. Sometimes the enlargement is made on
-another piece of paper, and is then transferred to the point paper; this
-is perhaps one of the best methods of proceeding, but it is not so quick
-as if the enlargement were made upon the point paper direct. It is usual<span class="pagenum"><a name="Page_116" id="Page_116">[116]</a></span>
-to rule squares on both the sketch and design paper, which bear to
-each other the same proportion that the size of the sketch does to the
-size of the design paper required to be covered. This guides the
-draughtsman, as everything in the small squares on the sketch should
-be put into the corresponding large squares on the enlarging paper or
-point paper.</p>
-
-<p>A pantagraph is sometimes useful, and proportional compasses are
-a great assistance if very correct enlargements are required. When a
-careful outline of the pattern is made upon the design paper, it is then
-painted. Some painters dot round the outlines, and in large forms
-leave them to be filled in by assistants; others paint in solid as they go
-along. Vermilion and scarlet and crimson lakes are the paints mostly
-used. The first is easily washed out, but the lakes are more transparent,
-and admit of the checks on the paper being clearly seen through
-it, which is a benefit to both twiller and card-cutter. Scarlet lake, with
-from a half to a quarter its quantity of crimson lake mixed with it,
-makes a very good paint. The ordinary water-colour cakes are the
-best paints to use, but powdered colour is sometimes preferred on
-account of its cheapness. In <a href="#FIG70">Fig. 70</a> the painting is all black, with
-white twilling on the flowering.</p>
-
-<p>Simple flat ornamental forms, if of sufficient size, are not difficult
-to put on the design paper, but more intricate forms and shaded effects
-require a considerable amount of skill, and are tedious, unless to an experienced
-hand, the difficulty being to get the checks on the design
-paper to express the figures in the best possible manner, and frequently
-it is necessary to slightly alter the forms to make them come nicely on
-the paper.</p>
-
-<p>When the sketch has to be enlarged to, say, three or four times its
-size, a slight inaccuracy in the painting will have but little effect, as it
-will be reduced on the cloth. At the same time, advantage should not
-be taken of this to employ inferior hands at the work, as, the more
-correct the painting, the more correct will be the pattern on the cloth,
-although it be reduced in size; and a ragged-edged painting will never
-have a clear, defined appearance on the cloth. It is in coarse coloured
-work, such as carpets, that the accuracy of the painting is of the utmost<span class="pagenum"><a name="Page_117" id="Page_117">[117]</a></span>
-importance, as the pattern on the cloth is as large as, or may be much
-larger than, it is on the design paper; therefore all inaccuracies are
-magnified, and no forms that do not come satisfactory on the squares
-of the paper will have a good appearance on the cloth, so that to a
-great extent the design must be made to suit the paper. When the
-pattern is all painted on the design paper, both the ground and pattern
-for ordinary full-harness work have to be dotted over with the texture
-of the cloth. This is called twilling. In <a href="#FIG70">Fig. 70</a> the texture is a 5-end
-satin on both ground and flower. For twilling the ground the same
-colour is used as the flower or figured portion is painted with, and for the
-figured portion black is mostly used, sometimes white. The twilling dots
-on the figure mean blanks, as if these checks were left without any
-colour on them, or as the ground, and they are passed over by the card-cutter
-when the cards are being cut.</p>
-
-<p>In twilling care must be taken not to run the dots up against the
-edges of the flowering so as to injure the form of the figures. In some
-cases, as at any flat portion, such as a horizontal or vertical line, or
-any portion of one, this cannot be avoided, but the red dots on the
-ground should here fall in against the black dots on the figure.
-It is necessary to begin one set of dots against the other set to carry
-this out as far as possible, and in some cases, when they will not
-join, the dots are set out of their places to make them come
-together. The two dots coming together bind the threads and keep
-the last thread of the ground on one side, and of the figure on the
-opposite side&mdash;according as it is the weft or warp that is forming the
-line&mdash;from hanging loose or sliding out from the others. The direction
-of the twill on the ground or flower may vary so as to suit the
-twill used, and whether a satin or sateen effect is required. Various
-kinds of twills are frequently used to give effect, but too great an irregularity
-of texture should be avoided, though a plain ground, with an
-8-or 10-end satin for the flowering, may be used for handkerchiefs with
-a good effect; for heavier work a 5-end satin ground and an 8-end satin
-figuring may be used, but for firm, strong cloth an 8-end satin for both
-ground and figure is much better, letting either warp or weft predominate
-largely in the cloth.</p>
-
-<p><span class="pagenum"><a name="Page_118" id="Page_118">[118]</a></span></p>
-
-<p><a href="#FIG72">Fig. 72</a> shows how a leaf or any piece of ornament may be shaded;
-care should always be taken not to let the texture be too close at any
-part in the shaded portion so as to make hard pieces in the cloth, as
-would be the case if a plain texture were used in a firm cloth.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG72" id="FIG72"></a><img src="images/i_118.jpg" width="600" height="466" alt="" />
-<div class="caption"><span class="smcap">Fig. 72</span></div>
-</div>
-
-<p><a href="#FIG73">Fig. 73</a> shows how a flower and bud should be painted so as to
-give a natural, or rather semi-natural, representation. The shading
-should be made to express the form as well as possible; a variety may
-also be made in the twilling on the flower, as may be seen on the front
-petal, where a straight twill is used; this makes the cloth richer and
-the petal come out fuller. This pattern is rather small on the design
-paper to come well on the cloth; it would be better twice as large, as
-it may be seen that in many cases single lines of the design paper
-have to be used for divisions, and for full-harness work it is generally
-better to have at least two lines, representing two threads.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG73" id="FIG73"></a><img src="images/i_119.jpg" width="600" height="405" alt="" />
-<div class="caption"><span class="smcap">Fig. 73</span></div>
-</div>
-
-<p>This painting, omitting the twilling, would suit for a pressure
-harness, with each line of the design paper representing two or three
-threads of both warp and weft. No twilling is required on a pressure-harness<span class="pagenum"><a name="Page_120" id="Page_120">[120]</a></span>
-pattern, as the texture is wrought by the front mounting;
-otherwise the pattern is the same, bearing in mind that as each check
-represents two or three threads, it will not be reduced on the cloth as
-a full-harness pattern would. The twilling of this pattern is the
-8-leaf satin, which is generally used for fine damask, giving a much
-richer effect than the 5-leaf satin.</p>
-
-<p>It will perhaps be well to make some reference as to the desirability
-of using these natural forms for designs, though it would be useless
-to enter into the oft-disputed point of whether it is correct or in
-good taste to attempt to imitate natural forms upon cloth, or whether
-even shaded or rounded forms should be treated upon a flat surface.
-To the latter I would answer without hesitation, by all means do so,
-but make the appearance satisfactory and keep them in good taste; and
-this can be done if the subject treated is duly considered.</p>
-
-<p>The former, it must be admitted, is rather pandering to the popular
-taste than following the dictates of decorative art. One thing is certain,
-that the ‘million’ are better satisfied with floral forms than any other
-class of ornament, and the more loosely treated these are, or the further
-they are from ornament, the more pleasing they are to those uninitiated
-in the beauty of line, wanting which no ornamental forms can be pleasing
-to those educated in art. However, these natural forms suggest Nature,
-and their admirers have so little idea of Nature’s beauties that they
-do not see the defects in the attempted representations. At the same
-time, it must not be understood that a pleasing design, or one in good
-taste, cannot be composed of natural forms&mdash;quite the contrary; for
-small, simple patterns, principally for light fabrics, they are perhaps
-more suitable than any other ornament, giving lightness and gracefulness
-of appearance, as may frequently be seen from the designs on the
-better class of dress goods, whether woven or printed; but the natural
-treatment must be kept subservient to the flow of the design. Generally,
-a moderately flat treatment without any strong attempts at light
-and shade is most successful, the treatment consisting of a graceful
-arrangement of forms drawn from nature. Everyone knows the beauty
-and grace of the Japanese designs; but this is not simply because they
-are natural forms: it is the arrangement of the forms that gives the<span class="pagenum"><a name="Page_121" id="Page_121">[121]</a></span>
-effect. Very effective patterns can be made for dadoes of coloured
-curtains from natural objects, as here they can have the upright forms
-suited to them; but for coloured work, generally speaking, and for
-carpets in particular, natural forms, unless treated flatly and conventionally,
-are rarely either pleasing or in good taste. With them it
-is difficult to obtain that intermingling of colours, be they bright or
-dull, that produces a neutral bloom and a satisfactory result. Another
-important point in a pattern, and often overlooked, or not understood,
-is that, unless the pattern, as a whole, is satisfactory, no variety or
-beauty of detail can make it a good design. The general character or
-lines of the pattern must first be made satisfactory, after which the
-detail may be made as interesting as possible, provided it does not
-injure the general effect, and is not incongruous to the nature of the
-design. As to whether flat surfaces should be treated with shaded
-ornament or not is a point that will always be in dispute, but it may
-be asked why should a designer be hampered with such restrictions?
-If he can produce a satisfactory pattern by using either flat or shaded
-ornament, or both, why not let him do so? The criterion should be
-whether the result is satisfactory or not. Of course such barbarous work
-as representing leopards or tigers prowling over carpets or hearthrugs, or
-even decorating them with the more homely duck or drake nestling,
-or waddling through water, cannot be too strongly condemned, highly
-though they were once appreciated, and though they still find favour
-with many: even shading forms or objects in such a manner as will
-produce a feeling of weakness, insecurity, or danger, can never be upheld&mdash;that
-is, such a practice as shading ribbons flowing over carpets
-or hearthrugs like snares, and buttoned down at certain points; or
-making the surface of the carpet appear very irregular, which has often
-been done, and is often seen in coloured tile pavements. Of course
-these remarks refer more or less to any fabric, but a little relief in a
-curtain would not be nearly so objectionable as on a carpet, so that
-almost everything turns upon whether the result produced is satisfactory
-or not&mdash;of course, to those competent to judge, and who are
-not overcome by biassed prejudices. Natural or semi-natural floral
-ornament will rarely be injured by a little shading, whether on a white<span class="pagenum"><a name="Page_122" id="Page_122">[122]</a></span>
-or coloured fabric, but it should not be overdone&mdash;a moderate amount
-of shading or a half-flat treatment generally giving a more pleasing
-effect. Conventional floral ornament is, perhaps, best treated flatly,
-or with a very little shading on some portions that require a little
-relief. A richer and purer effect in colour can be got with flat than
-with shaded colours.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG74" id="FIG74"></a><img src="images/i_122.jpg" width="600" height="555" alt="" />
-<div class="caption"><span class="smcap">Fig. 74</span></div>
-</div>
-
-<p><a href="#FIG74">Fig. 74</a> is an example of a small floral pattern of a class much
-used for dress goods, either woven or printed, and gives a very
-pleasing effect. One repeat of the pattern is bounded by the lines
-<i>a b c d</i>, or the whole might be taken as one repeat, and instead of
-having a row of pears on a line, have a pear and some other fruit
-alternately, and the same with the apples. This pattern is a semi-natural
-floral treatment, and if on a larger scale a little more shading
-on the fruit and a few turned-over leaves or half-open flowers would
-not injure it, but would add to its richness.</p>
-
-<p><a href="#FIG75">Fig. 75</a> is a sort of floral ornamental, or flatly and symmetrically
-treated floral pattern, somewhat after the Persian style, and though
-some would consider it stiff in comparison with the previous one, it<span class="pagenum"><a name="Page_123" id="Page_123">[123]</a></span>
-has a very pleasing effect, and could be used the size indicated for
-dress goods, &amp;c., or if enlarged to two or three times the size it would
-make a very good curtain pattern. Small sprigs of flowers, grasses,
-grain, &amp;c., scattered about over the surface of the cloth make generally
-a favourite style of pattern.</p>
-
-<p>So far the patterns given are such as would require the designer to
-have a good knowledge of
-drawing and of ornamental
-and floral forms, and many
-consider that a designer
-must be a draughtsman;
-but such is not the case.</p>
-
-<div class="figright" style="width: 300px;">
-<a name="FIG75" id="FIG75"></a><img src="images/i_123.jpg" width="300" height="321" alt="" />
-<div class="caption"><span class="smcap">Fig. 75</span></div>
-</div>
-
-<p>Large quantities of patterns
-are made that do not
-necessarily require the designer
-to have any knowledge
-of drawing; this is
-called ‘small pattern’ or
-‘texture’ designing.</p>
-
-<p>A designer of this class
-should have a thorough
-knowledge of weaving and of the effect which the patterns on design
-paper will produce on the cloth. He must, of course, have a taste for
-the arrangement of forms, and can produce considerable variety by a
-judicious arrangement of fancy threads through the cloth, particularly
-in worsted or woollen goods. The following examples will show how
-great a variety of patterns can be produced without any knowledge of
-drawing. But a knowledge of drawing will be a great assistance, as it
-trains the eye to correctness of form. <a href="#FIG76">Fig. 76</a> is a pattern for dress
-goods; it may be made of cotton only, or with a cotton warp and
-worsted weft, and a good effect is produced by having the warp a
-different colour from the weft, say a gold cotton warp and a brown or
-giraffe worsted weft. Warp 60 to 80 threads per inch, and weft about
-the same. This is a pattern of the bird-eye class, and a very large
-range can be made in this style, both bold and effective, or fine and<span class="pagenum"><a name="Page_124" id="Page_124">[124]</a></span>
-neat, as may be desired. The smaller patterns may, of course, be
-woven with shafts, but larger ones require a jacquard.</p>
-
-<p><a href="#FIG77">Fig. 77</a> is another pattern, of the flushed stripe class, also suited
-for dress goods; this is a silk handkerchief pattern for 90 threads and
-96 picks per inch; 60/2 China silk for warp, and 60’s single China
-silk for weft. If the small dots on the pattern are cut on the cards, a
-finer and closer pattern will be produced than if the black squares
-only are cut, but of course it would be less effective unless on a coarser
-fabric.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG76" id="FIG76"></a><img src="images/i_124.jpg" width="600" height="481" alt="" />
-<div class="caption"><span class="smcap">Fig. 76</span></div>
-</div>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG77" id="FIG77"></a><img src="images/i_125.jpg" width="600" height="595" alt="" />
-<div class="caption"><span class="smcap">Fig. 77</span></div>
-</div>
-
-<p><a href="#FIG78">Fig. 78</a> is a pattern that would suit for dress goods if woven
-similarly to <a href="#FIG76">Fig. 76</a>; and if woven much coarser, say 25 to 30 threads
-per inch, it is suited for quiltings. Great variety can be made in this
-style of quilts, particularly when floral and other forms are interspersed
-through the texture, and also when the honeycomb texture is
-employed, an example of which is given in <a href="#FIG79">Fig. 79</a> in combination
-with diaper or bird-eye figures; only a portion of this pattern is given,<span class="pagenum"><a name="Page_125" id="Page_125">[125]</a></span>
-but it shows all that is required. In either pure white, or with a warp
-of one colour and a weft of another colour, these patterns are very
-effective when made from good twist yarn and coarsely set in the reed;
-the flushing might be over twice as many threads as is shown in the
-patterns, and then more threads of warp and weft be used. It is
-perhaps to the woollen and worsted trades we must turn to find the
-greatest variety of patterns of the description we are now dealing with.
-True, the greater portion of them can be wrought on shafts, and
-perhaps a greater number of shafts are used in these trades than in
-any other branch of textile work, as shafts produce a firmer cloth than
-a harness; but when large fancy patterns are required, recourse must
-be had to the jacquard. <a href="#FIG80">Fig. 80</a> is an example of a fancy twill stripe
-which could be wrought on 48 shafts if desired, but might also be
-wrought on a small jacquard with greater simplicity, unless very heavy
-cloth is required. Patterns of this description require considerable
-skill in designing, and are in some cases more difficult as they increase<span class="pagenum"><a name="Page_126" id="Page_126">[126]</a></span>
-in size. It may be seen that the pattern or figure is composed of
-different textures, and to make a perfect cloth the various textures
-should all work together at an even tightness, or so that there will be
-an equal amount of take-up of shrinkage of the warp for each. When
-checks or large patterns are to be formed this is most essential, but in
-smaller patterns it can in a great measure be remedied by letting the
-various textures follow each other, so that if one tightens a little
-another will make a corresponding slackness, and all together will
-balance each other. Another important point is to join the edges of
-the various textures together so that there will be no break, or floats
-of warp and weft greater or less than in the textures themselves. In
-some cases tight and loose textures are wrought together to give a<span class="pagenum"><a name="Page_127" id="Page_127">[127]</a></span>
-special effect, and figures may be formed by the close texture pressing
-the looser threads together.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG78" id="FIG78"></a><img src="images/i_126.jpg" width="600" height="591" alt="" />
-<div class="caption"><span class="smcap">Fig. 78</span></div>
-</div>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG79" id="FIG79"></a><img src="images/i_127.jpg" width="600" height="510" alt="" />
-<div class="caption"><span class="smcap">Fig. 79</span></div>
-</div>
-
-<p>Another class of pattern by which a very good effect can be
-obtained by very simple means, is the hair line or tricot style. <a href="#FIG81">Fig. 81</a>
-is a dice pattern on this principle. The texture is plain cloth throughout,
-and the effect of pattern is obtained by using two colours of warp
-and weft, say black and white, and by arranging the draught and
-treading so that the black weft will pass over the black warp and the
-white weft over the white warp on one dice, and the reverse of this for
-the next one, a horizontal and vertical lined effect will be produced,
-giving a subdued pattern. The dark checks on the design paper are
-the tricot or horizontal line effect; the grey checks the vertical lines
-or hair line effect. It will be seen at the edge of each dice how the
-colours are changed in both warp and weft by the two dots coming<span class="pagenum"><a name="Page_128" id="Page_128">[128]</a></span>
-together. The crosses along the bottom and to the left side of the
-design show the dark threads and dark picks coming alternately with
-the white ones.</p>
-
-<p><a href="#FIG82">Fig. 82</a> is a small figure pattern arranged in this manner, the
-reversing of the colours being done by the jacquard, as may be seen
-from the dots on the design. Almost any figure may be treated in
-this manner, but simple patterns, not too irregular or broken in
-outline, will perhaps be found most successful.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG80" id="FIG80"></a><img src="images/i_128.jpg" width="600" height="588" alt="" />
-<div class="caption"><span class="smcap">Fig. 80</span></div>
-</div>
-
-<p>These fabrics may be made in either woollen, worsted, or cotton
-for dress goods. About 36 threads of warp per inch of 2/30’s worsted,
-and 32 threads of weft per inch, is a good setting for them; and in<span class="pagenum"><a name="Page_129" id="Page_129">[129]</a></span>
-any mild contrasts of yarns, such as two shades of grey, they are very
-pleasing.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG81" id="FIG81"></a><img src="images/i_129.jpg" width="600" height="599" alt="" />
-<div class="caption"><span class="smcap">Fig. 81</span></div>
-</div>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG82" id="FIG82"></a><img src="images/i_130.jpg" width="600" height="588" alt="" />
-<div class="caption"><span class="smcap">Fig. 82</span></div>
-</div>
-
-<p>Coming now a step further towards the damask or figure patterns,
-we have still great scope for variety, without much, if any, knowledge
-of drawing being required from the designer. This consists of
-spotting small geometrical figures over the cloth, the body or ground
-of which may be plain, twill, or any texture desired. <a href="#FIG83">Fig. 83</a> is a
-pattern of this description with a plain ground. The figures are
-arranged in satinette or 4-end satin order. Of course, the ground
-might be a twill if desired, and the figures may be of any form that<span class="pagenum"><a name="Page_130" id="Page_130">[130]</a></span>
-ingenuity can suggest. They may be solid, and a twilled texture used
-to bind them if the flushes of warp or weft are too great, and part of
-the figure might be warp flush and part weft flush; in fact any variety
-that the designer can arrange to produce a good effect on the cloth,
-which, if the warp and weft are of different colours, may be made very
-effective. Any arrangement for the figures may be used if suited to
-the size of the figure and the space they have to occupy to suit the
-repeat of the pattern. The 4-end satin gives two figures on one
-diagonal, and two on the other diagonal alternately; one figure on
-each diagonal may be used, and also three figures on each with equally
-good effect, subject, of course, to some extent to the size and form of
-the figures. Five and eight-thread satin arrangements are two of the
-best that can be used if a greater number of figures are required in
-each repeat of the pattern. To arrange a pattern in satin order, the
-usual way is to rule the repeat into as many squares in length and
-breadth as there are threads in the satin to be used. Thus, for a<span class="pagenum"><a name="Page_131" id="Page_131">[131]</a></span>
-5-thread satin, rule the repeat into five squares in length and the same
-in breadth, or twenty-five squares in all, then place one of the figures
-into each of five of these squares, the order being that of the 5-end
-satin twill. A draughtsman would either sketch these figures on the
-design paper, or sketch one of them on a piece of plain paper, trace it,
-and transfer it to the different positions it would occupy on the design
-paper, and then paint each of them independently. But a designer,
-without a knowledge of drawing, would mark out the spaces on the
-design paper for each figure, and, having made one of the figures the
-required shape on the checks or small squares, would copy the others
-from this. In <a href="#FIG83">Fig. 83</a> let <span class="smcap">2a</span> be the first figure formed, it being
-started in the second square upwards and first row. Now, the second
-figure can be similarly begun in 4-thread satin order, which would
-bring it to square No. 2, and it is begun in the same position in this
-square that the first one was begun in square No. <span class="smcap">2a</span>. The third
-figure falls to the third square from <span class="smcap">3a</span> and 3, but as this figure is
-turned round for variety, the point for beginning it at figures 1 and 2<span class="pagenum"><a name="Page_132" id="Page_132">[132]</a></span>
-must be marked, and an imaginary square run round it, and it must
-be kept in its position in the square, or the centre of the figure may
-be found by counting the checks in either of the first or second figures
-and this figure wrought from the centre; or, again, as the figure is six
-checks greater in length than in breadth, it must be set three checks
-to one side, and the top point should rise three checks higher up
-above the large square of the design paper on which it should be
-started; but with a plain ground it is sometimes necessary to move the
-figures one check out of position to allow the plain to fall in regularly
-all round them. This figure is set one check down. <a href="#FIG4">Fig. 4</a> is copied
-from <a href="#FIG3">Fig. 3</a>, and is in the same position. With a twilled ground or
-irregular figures, it will not matter if the ground does not fall in quite
-regularly round them.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG83" id="FIG83"></a><img src="images/i_131.jpg" width="600" height="587" alt="" />
-<div class="caption"><span class="smcap">Fig. 83</span></div>
-</div>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG84" id="FIG84"></a><img src="images/i_132.jpg" width="600" height="597" alt="" />
-<div class="caption"><span class="smcap">Fig. 84</span></div>
-</div>
-
-<p>If it was required to make a pattern similar to <a href="#FIG83">Fig. 83</a>, but with
-five figures instead of four, and preserve the same density of ground<span class="pagenum"><a name="Page_133" id="Page_133">[133]</a></span>
-structure round them, it could be calculated as follows:&mdash;<a href="#FIG83">Fig. 83</a> is on
-44 checks broad and 44 long. Now 44 × 44 = 1936, and on this there
-are four figures, then 1936 ÷ 4 = 484. As five figures are required
-484 × 5 = 2420 checks for design. If there are to be as many checks
-across the design as up it, find the square root of 2420 for the number
-of checks, as [sqrt]2420 = 50 nearly. If the pattern is not to be square,
-the proportion may be found for each side by making two calculations,
-one for the greater number of checks squared, and the other for the
-lesser number of checks squared, and extracting the square roots for
-the two sides of the required pattern; or, suppose the warp to be to
-the weft in the proportion of 10 to 12, then state, as 12 is to 10, so is
-50 to 42, the number of checks across the bottom of the pattern; and
-as 10: 12:: 50 to 60, the number of checks in the length of the
-pattern, and 42 x 60 = 2520, which is nearly the same as 50 squared
-= 2500 for a square pattern. But if this is for adding extra weft to
-the cloth, the size of the pattern would be reduced, which might bring
-the figures too close together and would alter the shape of them; in
-this case the addition should be made to the number of checks in
-length, making the pattern 50 broad and 60 long, or to contain 3000
-checks, and the length of the figures should be increased in proportion.
-Of course this will produce a finer cloth. <a href="#FIG84">Fig. 84</a> is a pattern arranged
-with five figures on it.</p>
-
-<p>A great variety of patterns may also be formed by arranging dice
-or squares in various ways, some of which, as may be seen on the
-Indian fabrics, make very pretty patterns. It will thus be seen that
-there is plenty of scope for the ingenuity of a textile designer without
-his being of necessity a draughtsman; but a knowledge of drawing
-will generally be of assistance to him. For the more elaborate
-patterns, the designer does not require to have the same knowledge of
-manufacturing that is required for these small patterns.</p>
-
-<div class="figleft" style="width: 306px;">
-<a name="FIG85" id="FIG85"></a><img src="images/i_134.jpg" width="306" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 85</span></div>
-</div>
-
-<p><i>Twilling.</i>&mdash;It has already been shown how the patterns are bound
-or twilled to form the texture of the cloth for ordinary repeating
-patterns on a straight over-tie; but when a turn-over or gathered tie
-is used, the twilling of one half of the gathered portion will, on the
-cloth, be the reverse, or run in the reverse direction to that of the other<span class="pagenum"><a name="Page_134" id="Page_134">[134]</a></span>
-portion, and this is often a disadvantage to this description of tie, as
-one half of the border or pattern, whatever it may be, will look coarser
-than the other. It frequently happens that to avoid the stiffness of a
-clean turn-over pattern, which must always have a clear cutting line
-through the centre of it, so that, if cut up, one half would, if turned over,
-be exactly the same as the other, a portion of single, or a turning
-portion, is placed in between the two turned-over portions, which in
-many cases adds very considerably to the effect of the pattern, though
-it is often almost useless. <a href="#FIG85">Fig. 85</a> is a
-pattern of the turn-over type, and, but for
-the interlacing of the bands in the centre,
-might be wrought with a simple gathered
-tie. For this pattern the portion marked
-<span class="smcap">B</span> would require to be single, and <span class="smcap">A</span> turned
-over to <span class="smcap">C</span>. Perhaps it is in floral patterns
-that this form of tie is of most service.
-When a single tie takes up too much
-machinery, and a double over or gathered
-tie would make the pattern too stiff, a
-small portion of single introduced, as at
-<span class="smcap">B</span>, is of great service to the designer in
-making a pleasing pattern.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG86" id="FIG86"></a><img src="images/i_135.jpg" width="600" height="404" alt="" />
-<div class="caption"><span class="smcap">Fig. 86</span></div>
-</div>
-
-<p>When twilling a pattern of this description,
-the portion marked <span class="smcap">A</span> would be
-twilled straight across, and this twilling
-would be continued to the centre of <span class="smcap">B</span>, as
-shown in <a href="#FIG86">Fig. 86</a>, which gives the idea, the
-spots in the centre being taken as the single portion. The portion marked
-<span class="smcap">C</span> is repeated from the first part <span class="smcap">A</span> by the harness, and does not require
-to be put on the painting; in the figure it is shown (in different type) as
-it would fall on the cloth. It may be seen that the twilling dots on the
-last line of <span class="smcap">A</span> and the first line of <span class="smcap">C</span> are alike, and that every pair of
-lines corresponds, moving from these to the edges of the pattern. Now
-a turn must be made in the twill in the single portion so as to make it
-join correctly with <span class="smcap">C</span>, and this should be done in such a manner as to<span class="pagenum"><a name="Page_135" id="Page_135">[135]</a></span>
-prevent it from showing plainly on the cloth, or having too long floats
-on some of the threads while others are too closely bound. This must
-be done by setting the dots out of their places on a few lines in the
-centre, so as to make the join produce as even a texture as possible.
-Advantage should always be taken of any portions of the pattern that
-come on this part, such as the spots in <a href="#FIG86">Fig. 86</a>, to turn the twill round<span class="pagenum"><a name="Page_136" id="Page_136">[136]</a></span>
-the edges of them. By following the dots on the design paper, it will
-be seen how they are brought in at the join. Any twill may be broken
-similarly, but a different number of threads in the single will alter the
-arranging of the dots to join the two twills together; however, when
-the principle is understood, it can easily be worked out.</p>
-
-</div>
-
-<div class="forcebreak">
-<h3>LETTERS, MOTTOES, ETC.</h3>
-
-<div class="figleft" style="width: 300px;">
-<img src="images/i_136.jpg" width="300" height="262" alt="CLUB in various directions" />
-</div>
-
-<p>A turned-over mounting or gathered tie will reverse any ornament,
-but while for borders it makes the ornament come correctly, it prevents
-letters or words from falling in as they should be read. Thus, if the word
-CLUB were woven at one side of a cloth, as at <span class="smcap">A</span>,
-and the harness mounted as a gathered repeat so
-as to turn over a similar border to the other side,
-the letters would fall as at <span class="smcap">B</span>, making them read
-correctly to the under side of the cloth instead
-of to the upper side. Instead of making a
-gathered tie, it would be better to make a plain repeating tie for
-the second border, making the word CLUB on both borders as either
-<span class="smcap">A</span> or <span class="smcap">B</span>, according as they are to read correctly on the under or upper
-side of the cloth; but if it is desired to make the letters read correctly
-from both sides or edges of the cloth, as at <span class="smcap">C</span>, it is plain that there
-must be hooks in the jacquard to work each border independently,
-as one is not a repeat of the other. Of course letters on damask will
-only read correctly on either the face or back of the cloth, not on
-both. The same principle holds good when putting names across the
-cloth, or for coats of arms and mottoes in the centre, as is frequently
-done in quilts, tablecloths, &amp;c., but in this case it would be the cards
-that would do the work. Suppose the word <img class="scaled" src="images/i_136a.jpg" alt="HOTEL" /> to be put across
-a cloth at one end, and it was required to have the same at the opposite
-end to read similarly from that end of the cloth, it would require to be
-painted thus, <img class="scaled" src="images/i_136b.jpg" alt="Inverted and reversed HOTEL" />, or the cards might be cut from the painting of
-the former, turned upside down. Provided it was required to make these
-words read correctly on the under side of the cloth in the loom instead of<span class="pagenum"><a name="Page_137" id="Page_137">[137]</a></span>
-on the upper side, then the first border would be painted and cut as
-<img class="scaled" src="images/i_137.jpg" alt="Inverted and reversed HOTEL" />
-and the second border as <img class="scaled" src="images/i_137a.jpg" alt="Inverted HOTEL" />. This
-will be best understood by printing the letters on tracing paper and
-turning it round into the position required. In case of a motto or
-coat of arms wanted for a large cloth
-with two centres in it, one centre to be
-correct from one end of the cloth, and
-the other from the opposite end, as
-shown by the girdles at A and B, Fig.
-87, the painting would be as in this
-figure if the upper side of the cloth is
-to be the right side, but if the under
-side is to be the right side, the first
-centre would require to be painted as
-shown in <a href="#FIG88">Fig. 88</a>, and the second one
-would be as this turned round, the top
-where the bottom is, not turned over.
-It might be thought that the same
-painting would do for both; either that
-cutting the cards from top to bottom,
-or backwards, or lacing them backwards,
-or working them backwards on
-the loom, would do for the second
-centre; but it would not unless the
-cards were turned over as well&mdash;that
-is, to have the outsides of the cards
-turned inwards, and the right-hand
-end to the left. This would suit if it could be done, but could only
-be done when the jacquards are made with an equal number of needles
-to each side of the machine, as 25 rows, or 200 needles, to each half
-of the card for a 400 machine, instead of 26 rows to one side and 25 to
-the other, making 408 needles, as is usually the case.</p>
-
-<div class="figright" style="width: 300px;">
-<a name="FIG87" id="FIG87"></a><img src="images/i_137b.jpg" width="300" height="675" alt="" />
-<div class="caption"><span class="smcap">Fig. 87</span></div>
-</div>
-
-<p>In hand-loom districts, where old makes of machines are used, it is
-common to have 400, 500, or 600 needles to the machine, and the
-cards can be turned on the cylinders if required, and are also wrought<span class="pagenum"><a name="Page_138" id="Page_138">[138]</a></span>
-backwards or forwards to suit. By cutting the cards from the painting
-in the reverse order&mdash;that is, beginning at the end of the painting and
-reading and fingering backwards&mdash;cards
-from a painting of a first centre
-could be cut to suit for a second centre,
-as it has exactly the same effect as
-turning over the card; but all the
-rows of needles must be used except
-any left at the first, and these and any
-selvage must be brought to the end of
-the painting when cutting the second
-set of cards, so as to get them to the
-first end of the card. The cutting
-begins, as is usual, at the numbered
-end of the card. Repainting the centre
-to suit is the safest way to avoid mistakes.</p>
-
-<div class="figleft" style="width: 300px;">
-<a name="FIG88" id="FIG88"></a><img src="images/i_138.jpg" width="300" height="353" alt="" />
-<div class="caption"><span class="smcap">Fig. 88</span></div>
-</div>
-
-<p>When a name is running up the side of the cloth, lacing or working
-the cards backwards will reverse the reading of the letters from one
-side to the other, but not when they are running across the cloth. If
-the loom is mounted with the cards hanging to the front instead of to
-the back, the letters would also be turned from one side of the cloth to
-the other, and to be correct they would have to be painted or cut the
-reverse, unless the machine or mounting was built to suit.</p>
-
-<hr class="chap" />
-</div>
-</div>
-
-<div class="chapter">
-
-<p><span class="pagenum"><a name="Page_139" id="Page_139">[139]</a></span></p>
-
-
-
-
-<h2><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V<br />
-<span class="f75"><i>CARD-CUTTING AND LACING</i></span></h2>
-
-
-<p><span class="smcap">The</span> mountings which have been given are of two descriptions&mdash;the
-Norwich, with the straight harness, and the London or twisted
-harness, with the cards hanging to either side of the loom, as the
-machine can be turned either way to suit. For the Norwich ties the
-cards are supposed to hang to the back of the loom, but it often happens
-that there is not space between the looms to admit of all the cards
-being hung at the back, and it is usual for one loom to have the cards
-to the back and the next one to the front. When the cards hang to
-the front of the loom the mounting is tied up so that when finished it
-will be the same as if mounted for the cards to hang at the back; and
-afterwards turned round so that the back will be at the front. In case
-the back left-hand corner twine is the first cord of the harness with
-the cards at the back, the front right-hand twine would be the first if
-the cards are at the front, and the drawing in of the yarn must begin
-at it. If the loom is mounted in this way, and the yarn drawn in from
-the opposite side, as if the cards were to hang at the back, the result
-will be a toothed or broken-up appearance round the edges of the pattern.
-The same cards will do for either mounting, but the pattern and twill
-will be reversed on the cloth&mdash;that is, they will run from left to right on
-the one, and from right to left on the other. The effect produced on
-letters was mentioned when speaking of them.</p>
-
-<p>It was mentioned that jacquards are usually made with 51 rows of
-hooks or needles, of 8, 10, or 12 in the row, being for 4<sup>00</sup>, 5<sup>00</sup>, and 6<sup>00</sup>
-machines respectively, which are those most used; 2<sup>00</sup> and 3<sup>00</sup> machines
-are used for small mountings, but they may be considered as half 4<sup>00</sup>
-<span class="pagenum"><a name="Page_140" id="Page_140">[140]</a></span>and 6<sup>00</sup> machines. Sometimes the machines are made of any size
-required&mdash;that is, with any desired number of rows of holes in the
-needle boards. The objection to this is that the cards cannot be copied
-on the ordinary repeating machines; but piano card-cutting machines
-can be made with the index to suit for cutting any length of card. When
-using 4<sup>00</sup>, 5<sup>00</sup>, or 6<sup>00</sup> machines, or the double sizes, 8<sup>00</sup>, 10<sup>00</sup>, or 12<sup>00</sup>,
-and more than one is required for the mounting, a second must be
-used, such as an 8 and a 4, or a 12 and a 6; a 12 and a 5 would not do
-so well, as the 12 has 12 needles in the row and a 5 has but 10. It
-would be better to use a 12 and a 6 and leave 100 hooks idle, if only
-1700 are required. If a 12 and a 5 is to be used it may be done by
-having the cumber board made 12 in the row, but made finer in the
-proportion of 12 to 10; then, where the 12-row harness is to pass
-through it, every sixth row of holes can be left empty, and it will be
-all right for the 10-row harness from the 5<sup>00</sup> machine.</p>
-
-<p>Designs are painted upon the point paper for the purpose of enabling
-them to be transferred to the cards, which act on the needles
-of the jacquard, and cause the proper warp threads to be raised. The
-pattern is put upon the cards by punching holes in them, one hole
-being punched for each check on the design paper that is filled in with
-colour, or it may be the reverse of this, or otherwise, according to circumstances.
-The common method is to cut the red, and leave the
-ground or unpainted portion, and the black, which stands for ground.
-There is a card for each line of the design paper for damask patterns;
-the holes in the cards represent the dots on these lines, if each line
-was cut off and cut into separate designs or larger squares, then these
-squares set up lengthways and laid together. Take the pattern, Fig.
-70, and cut the first line from left to right. The card is shown at
-<a href="#FIG89">Fig. 89</a> at <span class="smcap">A</span>. Turn the pattern upside down and examine the first
-line to the right-hand side. The two first checks are empty; two
-holes in the card or two punches of the piano machine are passed over;
-the next three checks are painted, for these three holes are cut in the
-card, and the remaining three checks in the design being empty are
-passed over. The next design has the second and seventh checks filled
-and these are cut on the card, and so on with the others. The two
-small holes at each end of the card are for the lacing twine, and the<span class="pagenum"><a name="Page_141" id="Page_141">[141]</a></span>
-large one at each end for the peg on the cylinder of the jacquard.
-The intersections of the fine lines on the card show where the holes
-fall when required to be cut.</p>
-
-<p>This card would be for a 200 machine, the empty or unused needles
-being left at the first half of the card;
-26 rows of 8 needles to the card.
-The card <span class="smcap">B</span> given in this figure is the
-first of the heavy cutting, No. 17 on
-the pattern. Reading from the pattern
-as before, pass 2, cut 2, pass
-one which is black, cut 3, and
-so on, cutting the red and passing
-the black or twilling dots whether
-they be white, black, blue, yellow,
-or green; they are only there for
-convenience, to avoid the trouble
-of leaving the spaces empty when
-painting the pattern at first, it being
-simpler to dot them over afterwards.</p>
-
-<div class="figright" style="width: 300px;">
-<a name="FIG89" id="FIG89"></a><img src="images/i_141.jpg" width="300" height="388" alt="" />
-<div class="caption"><span class="smcap">Fig. 89</span></div>
-</div>
-
-<p>The cards are numbered at the selvage end, which goes to the sneck
-side of the jacquard when working. The design may be read from
-left to right, but the usual method is to turn it upside down, and read
-from right to left, which comes to the same thing, beginning to cut
-from the numbered end of the card. Some begin to cut at the other
-end of the card, and read from right to left on the design without
-turning it, which is still the same. If the loom is mounted or the yarn
-drawn in, beginning with the front row of the harness instead of with
-the back row to the left-hand side, the cards should be read the reverse
-way from the design paper; or, what would be the same, turn them
-over after cutting them. This changes the top row of holes in the
-cards to the bottom, or from the back to the front of the cumber board.
-In case of the loom being mounted from back to front, and the yarn
-being drawn into the harness beginning with the front row in the
-cumber board, the cards, if cut in the ordinary way, would give the
-pattern a broken or toothed appearance. Turning the cards upside<span class="pagenum"><a name="Page_142" id="Page_142">[142]</a></span>
-down would remedy this, but would only answer if each part of the
-mounting consisted of full rows of needles, for, if any part began or
-ended on a broken row, turning the card would take the holes in it
-for this part row away from the needles: that is, say if the harness
-was connected with four needles at the top of the row and the card cut
-for these, the holes would fall on the four needles at the bottom of the
-row, if the card was turned upside down. The cards should be
-numbered on the side which is uppermost when they are being cut,
-and this side should come against the needles if the work is properly
-carried out.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG90" id="FIG90"></a><img src="images/i_142.jpg" width="600" height="349" alt="" />
-<div class="caption"><span class="smcap">Fig. 90</span></div>
-</div>
-
-<p>The old method of cutting cards was for one to take the pattern
-and call out the holes to be punched, and they were punched out by a
-second person, a perforated plate over the card being sometimes
-used as a guide to place the holes in their correct positions. A
-better method was found in the punching plates shown in <a href="#FIG90">Fig. 90</a>.
-<span class="smcap">A</span> and <span class="smcap">B</span> are two plates hinged together. <span class="smcap">B</span> No. 2 shows the full
-upper plate. The card is placed on the lower plate, and the upper
-one closed down on it. Punches are then filled by hand into the
-holes in the upper plate according as the pattern is read from the
-design; then the plates are passed through a roller press, which
-pushes the punches through the card. With small machines this
-suited very well; but the filling in of the punches was tedious for
-larger machines, and shortly after the introduction of the jacquard by
-Mr. S. Wilson, in 1821, he introduced a method for filling the plate<span class="pagenum"><a name="Page_143" id="Page_143">[143]</a></span>
-with punches to correspond with each line of the design paper, as
-follows:&mdash;Over, or in front of, the design a set of upright cords is
-placed, as in reading the patterns on the simple of the draw-loom. On
-these cords the pattern is picked, and weft threads drawn in, one for
-each line of the design paper, for plain damask. When all the design
-is finished the threads compose one repeat of the pattern in a loosely-woven
-cloth. The upright cords or leashes pass through eyes in a set
-of needles, arranged like those in a jacquard machine and each weft
-thread put in, when picking the pattern, shows which of the leashes
-are to be drawn. As each set of leashes is drawn the needles connected
-with them come into contact with a set of punches arranged in
-a frame or plate, and push them into a punching plate, which is then
-placed over the card, as in <a href="#FIG90">Fig. 90</a>, and passed through a roller press.
-This method of picking the pattern for card-cutting is still in use, and
-an improved method of using the plates and rollers is still found very
-convenient for many
-purposes, such as copying
-cards and small
-patterns, &amp;c. (See Copying
-Machines.)</p>
-
-<div class="figright" style="width: 300px;">
-<a name="FIG91" id="FIG91"></a><img src="images/i_143.jpg" width="300" height="297" alt="" />
-<div class="caption"><span class="smcap">Fig. 91</span></div>
-</div>
-
-<p>Card cutting is now
-almost entirely done by
-‘piano machines.’ They
-take the name of piano
-from the pins or keys
-which are arranged for
-the cutter’s fingers, and
-to distinguish them from
-an older machine, which
-is similar in make,
-but in it the pins or keys which act as locks on the punches are
-wrought with cords instead of by the fingers. The cord machine
-is similar in make to the piano machine; but the cutter usually sits
-at one side, and has the board or stand for the pattern facing him.
-The treadles are also turned sideways; but the cord is put in at<span class="pagenum"><a name="Page_144" id="Page_144">[144]</a></span>
-the end, as in the piano machine. <a href="#FIG91">Fig. 91</a> shows how the cords
-are arranged. <span class="smcap">AA</span> are the cords, 12 in number, which the cutter
-draws. <span class="smcap">BB</span> are another set from the former ones to the keys, passing
-under pulleys at <span class="smcap">C</span>. <span class="smcap">D</span> is the punch-box. The keys have springs on
-them, which press them in over the heads of the punches; but at the
-top of the cords are indiarubber springs, fastened to the crossbar <span class="smcap">E</span> on
-the frame which supports the cords, and these springs are strong enough
-to draw out the keys. When any of the cords <span class="smcap">AA</span> are drawn down
-the cords <span class="smcap">BB</span> connected with them are slackened, and the keys spring
-in over the punches, locking them, and punching holes when the
-treadle is pressed down.</p>
-
-<p>The cords <span class="smcap">BB</span> can be connected from the right-hand side of <span class="smcap">AA</span> to
-the right-hand side of the punch keys, and run from right to left, or
-they may be the reverse of this, according to the way the cutter reads
-the pattern. Sometimes piano machines are fitted to work with cords
-to suit the cutter. In this case there is only one set of cords, as <span class="smcap">AA</span>,
-set behind the punch block, and the cutter sits at the end of the
-machine. Instead of springs, weighted levers, or tumblers, may be
-used at the top of the cords on the bar <span class="smcap">E</span>. When springs are used
-the bar should be lowered when the cutter is not working, by slackening
-the set screws at <span class="smcap">GG</span>, so as to relieve the strain on the springs.
-When working the cord machine the cutter uses only one hand to
-draw the cords; but on the piano machine he uses both hands, and
-can proceed quicker with the cutting.</p>
-
-<p><a href="#FIG92">Fig. 92</a> is a view of Devoge’s piano cutting machine. In these
-machines one cross row of the card is punched at each tread; the
-cutter sits in front of the machine, with the design fastened on the
-frame before him, as shown in the figure. The straight-edge, or ruler,
-across the design is for the purpose of guiding the cutter’s eye along
-the line of the design paper that he is cutting from, and he screws it
-up or down a line, as the case may be, for every card he cuts. He
-keeps one foot on each treadle and his fingers on the keys in the punch
-block, the arrangement of which is shown in <a href="#FIG93">Fig. 93</a>, and presses in a
-key to correspond with each dot on the line of the design paper on one
-design, or large square, for each tramp.</p>
-
-<p><span class="pagenum"><a name="Page_145" id="Page_145">[145]</a></span></p>
-
-<p>The numbered end of the card is put into the clip on the index
-carriage, and the guide for the card set to suit the width of the card
-used, so that the punch will cut the holes in the centre of the card.
-The lacing and cylinder peg holes are first cut, by pressing in the keys
-<span class="smcap">E</span> for the peg hole, and for the lacing 2 and 7 for an 8-row card, 1 and
-8 for a 10-row, and <i>a</i> and <i>c</i> for a 12-row. Any blank designs, or rows
-of the card, are now passed over, by running back the index carriage, if
-the design does not occupy the full length of the card, it being the
-usual custom to leave all empty rows to the selvage or numbered end
-of the card, though it may in some cases be advisable to be otherwise.
-The selvage, if any, is usually cut first, and then the pattern.</p>
-
-<div class="figcenter" style="width: 477px;">
-<a name="FIG92" id="FIG92"></a><img src="images/i_145.jpg" width="477" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 92</span></div>
-</div>
-
-<p>Pressing down the right foot treadle, when any of the keys are
-pushed in, punches holes in the card with the punches locked, and the<span class="pagenum"><a name="Page_146" id="Page_146">[146]</a></span>
-left foot treadle, which works alternately with the other, is for moving
-the index carriage, which shifts the card from one row of holes that
-have been punched to the next one, so as to place it in position for the
-punches. In <a href="#FIG93">Fig. 93</a> the black dots represent the heads of the punches,
-12 in number. The keys 1 to 8 are used for cutting an 8-row card;
-when any key is pressed in it passes over the head of its corresponding
-punch, and locks it, so that when the cutter presses down the treadle
-and the punch block is brought down on the card, the locked punch is
-pressed through it, while those not locked rise up. The keys <i>a</i> and <i>c</i>
-added to the 8 suit for cutting 10-row cards, and <i>b</i> and <i>d</i> added to
-these suit for 12-row cards. The four keys <i>a b</i> and <i>c d</i> can be pressed
-in with the two thumbs. <span class="smcap">E</span> is the key for the peg hole.</p>
-
-<p>A good cutter can cut from 100 to 150 cards per hour, but this is
-laborious for constant work. Sometimes the cutting machines are
-driven by power, but as yet (1894) this is not general.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG93" id="FIG93"></a><img src="images/i_146.jpg" width="600" height="251" alt="" />
-<div class="caption"><span class="smcap">Fig. 93</span></div>
-</div>
-
-<p>Messrs. Devoge &amp; Co. can attach an arrangement to their machines
-so that they can be driven with a belt. The punch block is wrought
-by a lever driven by an eccentric, and is kept constantly rising and
-falling; the cutter fingers the pins so as to keep time with the punch
-block, and should he wish to stop, or should anything go wrong, he
-can stop the card at once by raising one treadle and pressing down the
-other, which throws the motion for shifting the index carriage out of
-gear, and the card stands stationary, and although the punch block
-continues to work it takes no effect when the punches are not locked by
-the keys. The machine works very smoothly, with very little noise,
-and with a little practice any boy or girl accustomed to card cutting can<span class="pagenum"><a name="Page_147" id="Page_147">[147]</a></span>
-easily become acquainted with working it. The index of the piano
-machine is generally made for 51 rows of holes in the cards, 400, 500,
-and 600 machines being those generally employed: 51 rows of 8 = 408
-needles; 51 rows of 10 = 510 needles; and 51 rows of 12 = 612 needles,
-which, with a few odd needles on the 25-row side, represent the number
-of needles in a 4<sup>00</sup>, 5<sup>00</sup>, and 6<sup>00</sup> machine. If larger machines with
-longer cords are required, the index of the cutting machine must be
-altered to suit them.</p>
-
-<p>Card paper should be of such a quality as will not be easily affected
-by the atmosphere. When cards are for small machines, and are only
-required to work for a short time, an inferior paper will do for them,
-and save expense; but for large patterns which are intended to work for
-years it will come cheaper in the end to get a good quality of paper&mdash;in
-fact, the best that can be made. Specially prepared oil-saturated
-paper is made for the purpose of preventing the atmosphere taking too
-much effect on it. For hand looms, sometimes the cards are painted
-with red lead, and sometimes with shellac varnish, or shellac (best red)
-dissolved in methylated spirits.</p>
-
-<p>Cards are made of different weights of paper; some prefer them
-thin, and others thick. A moderately thin, tough paper is the best.
-About 16 to 18 cards to 1 lb., for 400 cards, is a good medium weight.</p>
-
-<p>After the cards are cut they have to be laced into a chain to revolve
-round the jacquard cylinder on the loom. The usual method of lacing
-is to have a frame with pegs or studs set in it at a distance apart to
-suit the size of the jacquard cylinder. The cards are spread on this
-frame as shown at A, <a href="#FIG94">Fig. 94</a>, and laced with a steel needle, thicker in
-the centre than at the ends; it is about 2-1/2 in. long, and has an eye in the
-centre, through which a piece of fine twine is tied in a loop, and the
-lacing tape can easily be drawn through this. The cards at A are
-numbered 1, 3, 5, but all the numbers would follow in rotation if the
-jacquard had only one cylinder; if a double-cylinder machine, half the
-cards would be laced forward, as at A, and the other half (the even
-numbers) backward, as at B. The odd numbers usually go to the back
-of the loom, and the even ones to the front.</p>
-
-<p>Several kinds of cord and tape are used for lacing cards, but two<span class="pagenum"><a name="Page_148" id="Page_148">[148]</a></span>
-plies of round cotton cord, well soaped or waxed, is usually the most
-satisfactory for wear.</p>
-
-<p>When lacing cards, the lacings should be crossed over, each one
-passing from left to right of the other in turn, at each hole and between
-the cards. This is important, to keep the cards straight.</p>
-
-<p>The cards should be tightly laced, as the lacing is almost certain to
-stretch a little; so that they are better for being rather tight for the
-cylinder at first, otherwise they are liable to become too slack after a
-little wear, and if such is the case they will not fall properly on the
-cylinder pegs. This and other causes&mdash;such as irregular expansion or
-contraction of the cards, badly cut cards, and a long draw on the cards&mdash;occasion
-considerable wear on the peg holes, and now eyelets are
-being tried in them to avoid the breaking-up of the holes; but it is
-probable that good paper and careful work will prove a more suitable
-remedy. The card should not be deeper than the face of the cylinder;
-better a trifle less, to allow for the lacing to pass between them, and
-then if laced as tightly as possible they will still be pliable and work
-freely. Cards are usually numbered with pen and ink, but the
-numbers may be stamped on with an indiarubber stamping machine
-similar to that used for paging books.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG94" id="FIG94"></a><img src="images/i_148.jpg" width="600" height="260" alt="" />
-<div class="caption"><span class="smcap">Fig. 94</span></div>
-</div>
-
-<p><i>Lacing Machines.</i>&mdash;The Singer Sewing Machine Company brought
-out a machine some years ago for lacing cards, and it performs its
-work very well, though many object to it, as it stitches a lacing tape
-along the cards, instead of lacing them in the usual way. The machine
-is a 3-or 4-head sewing machine, according as three or four rows of
-lacing are to be used on the cards. The lacing is a tape; one tape is<span class="pagenum"><a name="Page_149" id="Page_149">[149]</a></span>
-laid below the cards at each row of lacing, and another above, and both
-are stitched together through the cards.</p>
-
-<p>Another machine was invented by Count Sparre more recently
-which laced or sewed the cards through the ordinary lacing holes, much
-in the same manner as hand lacing, except that the lacings are looped
-on each other through the holes instead of passing up and down through
-alternate holes.</p>
-
-<p>A still later one, by Messrs. Reid &amp; Fisher, of Dunfermline, and
-Mr. Parkinson, of Bradford, has further improvements; this machine
-is now working very satisfactorily. Other machines have since followed.</p>
-
-<p><i>Copying or Repeating Machines.</i>&mdash;There are several varieties of
-machines for copying or repeating a set of cards after they have been
-cut by the piano machine, and it often happens that this is required
-in case of several looms being put on the same pattern; or it may be
-that a set of cards for one loom is made up of two or three parts
-repeated several times.</p>
-
-<p>One of the simplest of the repeaters is a small treadle machine in
-which the card is repeated by rows, the holes of the cut card acting upon
-needles that push in the pins above the punches, which are similar to
-those in the piano machine; and each row is punched by depressing a
-treadle. This is a slow method of repeating, but suits for small factories
-where it is not worth while having a more expensive machine.
-Any boy or girl can repeat the cards, instead of requiring a card-cutter
-to read them.</p>
-
-<p>A more useful machine is the railway press repeater; it is taken
-from the old method of cutting described on page 142. The cards to be
-repeated are placed on a cylinder the same as that used in the jacquard,
-and pass down over the ends of long needles similar to the jacquard
-needles, but arranged in a box, and with long helical springs on them.
-In a thick plate, or box, in front of the needles is a set of punches, and
-the stamping plate rests in front of the punch box, close up against it.
-By means of a treadle the needle box can be drawn forward, and where
-there are holes in the card to be copied the needles pass through them,
-and, pressing on the punches, push them from the box into the stamping
-plate. The punches have heads on them that will not pass through<span class="pagenum"><a name="Page_150" id="Page_150">[150]</a></span>
-the stamping plate, but will go into the holes in the box or frame, and
-when they are pushed into the plate it can be drawn away and turned
-over so as to prevent them from falling out. The plate is then placed
-on a box-plate made to hold the card to be cut, and somewhat similar
-to that shown in Fig 90. The box or hinged plates are set on a slide
-frame with rollers to travel on, and at the end of the frame is a strong
-roller press. The plates can easily be run forward to the press, and
-the card punched by running them under the roller; it may then be
-taken out, and as many impressions from the plate cut as are required.
-When finished, the stamping plate is taken back to the punch box and
-placed against it as before; then, with a comb, or block of wood, set
-with pins, all the needles are pushed out of the plate into the punch
-box. Another card can be brought before the needles, and the plate
-filled as before.</p>
-
-<div class="figleft0" style="width: 232px;">
-<a name="FIG95" id="FIG95"></a><img src="images/i_150.jpg" width="232" height="350" alt="" />
-<div class="caption"><span class="smcap">Fig. 95</span></div>
-</div>
-
-<div class="figright0" style="width: 190px;">
-<a name="FIG96" id="FIG96"></a><img src="images/i_150a.jpg" width="190" height="350" alt="" />
-<div class="caption"><span class="smcap">Fig. 96</span></div>
-</div>
-
-<p class="nofloat">This machine is very useful for copying damaged cards, even when
-a repeater as those about to be described is at hand. A damaged card
-can be held between the needles and punches, and the plate filled,
-same as when copying a set.</p>
-
-<p>Figs. 95, 97, and 98 show the principle of working three of the
-best-known repeating machines, which will copy a set of cards at the
-rate of from 40 to 60 per minute. <a href="#FIG95">Fig. 95</a> shows the arrangement of
-the punches in Nuttall’s patent repeater. The punches are shown at<span class="pagenum"><a name="Page_151" id="Page_151">[151]</a></span>
-<span class="smcap">A</span>, and the stoppers or keys at <span class="smcap">B</span>; the cards to be punched pass in between
-the blocks <span class="smcap">C</span> and <span class="smcap">D</span>. <span class="smcap">B<sup>1</sup></span> shows the shape of one of the stoppers
-which, when over a punch, locks it, and causes a hole to be cut in the
-card. The stoppers all stand over the punches when at rest; the cards
-to be copied are hung on a cylinder, and act on a set of horizontal
-needles, <i>g</i> (Fig. 96); these
-needles have upright
-wires, <i>m</i>, <i>n</i>, passing
-through eyes in them, and
-also through eyes in the
-stoppers <i>b</i>. The upright
-wires act as levers, working
-on centres, <i>m</i>; and
-when one of the horizontal
-needles <i>g</i> is pushed back
-by the card to be copied,
-the corresponding stopper
-<i>b</i> is drawn from above the
-punch <i>a</i>, which allows it to
-rise when the card to be
-cut is raised up against it
-by the block <span class="smcap">D</span> (Fig. 95),
-between which and the
-punch block <i>c</i> the cards to
-be cut pass, so that no hole
-is punched in the card;
-but where there are holes
-in the card to be copied,
-the needles <i>g</i> are not
-pressed back, and the
-stoppers are allowed to remain over the punches, locking them, and
-causing holes to be cut in the card pressed up against them.</p>
-
-<div class="figright" style="width: 340px;">
-<a name="FIG97" id="FIG97"></a><img src="images/i_151.jpg" width="340" height="600" alt="" />
-<div class="caption"><span class="smcap"><a href="#FIG97">Fig. 97</a></span></div>
-</div>
-
-<p>This machine has been superseded by one in which upright rods
-act as stays on the punches. These rods stand on the punches, which
-have concave tops on them; the upper ends of the rods rest under the<span class="pagenum"><a name="Page_152" id="Page_152">[152]</a></span>
-bars of a grid, or rebated plate, shown in section at <span class="smcap">P</span> (Fig. 95). When
-in this position the punches are all locked. A set of needles are connected
-with these rods, and when the card to be copied presses on them,
-those that are pushed back move the top of the rods connected with
-them from under the bars to the spaces between them, which allows
-the rods to rise up with the punches when the card to be cut is pressed
-up.</p>
-
-<div class="figcenter" style="width: 554px;">
-<a name="FIG98" id="FIG98"></a><img src="images/i_152.jpg" width="554" height="600" alt="" />
-<div class="caption"><span class="smcap"><a href="#FIG98">Fig. 98</a></span></div>
-</div>
-
-<p>The principle of a repeating machine made by Mr. McMurdo, of
-Manchester, is shown in Fig. 97. The cards to be copied hang on the
-card frame of a jacquard, as shown at <span class="smcap">C</span>. From the hooks of the jacquard
-to the punches <span class="smcap">A</span> are wires in the form of a single harness. The
-blank cards <span class="smcap">D</span> pass in over the block <span class="smcap">B</span>, which is stationary. Enlarged
-front and side views of a punch are given at <span class="smcap">G</span> and <span class="smcap">H</span>. At 1, 2, and 3<span class="pagenum"><a name="Page_153" id="Page_153">[153]</a></span>
-are shown the notches cut in the punch, through which the slide bars
-<span class="smcap">E</span> and <span class="smcap">F</span> pass. These slides are also shown at <span class="smcap">E<sup>1</sup></span> and <span class="smcap">F<sup>1</sup></span>. The bar <span class="smcap">E</span>
-is stationary, acting as a stay for keeping the punches in the box, and
-the notches in them, at 1, are long enough to let them slide up and
-down on the bar. The slide <span class="smcap">F</span> is drawn out before the jacquard is drawn,
-and pushed in again afterwards; if any of the punches are raised by
-the jacquard, the notch 3 will be raised to the position of the notch 2,
-and the slide bar will pass through the lower notch, thus holding the
-punch up, and when the punch block is pressed down, holes will be cut
-in the card where the punches are locked in the upper notch. When
-the punch block is being sunk to punch the cards, it is necessary to
-have a spring in the wires that connect the punches to the jacquard
-hooks, and this is effected by having the wires made with a sliding
-joint and a small spiral spring on them, as shown at <span class="smcap">L</span>.</p>
-
-<p>The principle of Devoge’s repeater is shown in Fig. 98. This is
-one of the oldest machines in the market, and there are various opinions
-as to whether it is excelled by any of the others, or not. It is somewhat
-on the principle of the French repeating machines, being wrought by
-a jacquard and harness, <span class="smcap">E</span>, to which a second harness or set of cards, <span class="smcap">F</span>,
-is attached, and passes over pulleys to the punches <span class="smcap">A</span>. When the harness
-<span class="smcap">E</span> is drawn by the jacquard, the cords <span class="smcap">F</span> are slackened, allowing
-the punches to drop, and they are locked in the punch box by the slide
-bar, <span class="smcap">H</span>. The cards to be copied are shown at <span class="smcap">D</span>, and those to be cut
-pass through at <span class="smcap">C</span>. The punch block is stationary, and the block <span class="smcap">B</span>
-rises against the punches with the card on it.</p>
-
-<p>The blank cards require to be laced to make them ready for the
-repeaters, and also to have the peg holes cut in them; blocks are provided
-for the purpose of cutting the lace and peg holes. An enlarged
-view of a punch is shown at <span class="smcap">P</span>.</p>
-
-
-<div class="subdiv">
-<h3>WIRING CARDS</h3>
-
-<p>After the cards are laced, if intended to be wrought on power looms
-in the usual way, they require to be ‘wired’&mdash;that is, to have pieces of
-straight stiff wire, about 2 in. longer than the cards, tied across them<span class="pagenum"><a name="Page_154" id="Page_154">[154]</a></span>
-to the lacing, so that they may be hung on the racks or frames prepared
-for them on the looms. The wires should project 1 in., or rather
-more, at each end of the cards; they should be tied to the under side
-of the cards, so as not to come against the jacquard cylinder, and it
-also bears them better, being under the lacing. A piece of waxed twine
-is mostly used for tying them on.</p>
-
-<p>The distance between the wires depends upon the number of cards,
-and the height they are when on the loom. For a small set, a wire
-to every fourteen or sixteen cards is a very good distance apart, but for
-a large set a wire to every twenty or twenty-four cards will be sufficient
-in order to give a longer drop and take up less lateral space.</p>
-
-<hr class="chap" />
-</div>
-</div>
-
-<div class="chapter">
-
-<p><span class="pagenum"><a name="Page_155" id="Page_155">[155]</a></span></p>
-
-
-
-
-<h2><a name="CHAPTER_VI" id="CHAPTER_VI"></a>CHAPTER VI<br />
-<span class="f75"><i>SPECIAL JACQUARDS AND HARNESSES</i></span></h2>
-
-<div class="subdiv">
-<h3>CROSS-BORDER JACQUARDS</h3>
-
-<p><span class="smcap">A difficulty</span> has always existed in working cross borders on handkerchiefs,
-cloths, &amp;c., so as to avoid having to shift or change the cards,
-and also to do without the expense of getting a complete set of cards
-cut for the whole cloth. It may be also that different patterns are
-required on the cloth, such as cross bands of small figures, and if, say,
-twenty cards would make a repeat of one figure, and it was required to
-weave, say, 100 repeats of this, and then change to, say, fifty repeats of
-some other figure, the same difficulty would arise as with cross borders.
-When there is only a short distance between the changes of pattern, it
-will generally be found more profitable, all things considered, to have
-the complete set of cards cut, so as to require no changing, particularly
-if the pattern will run for a length of time; but when the patterns or
-cloths are long, the cards become very expensive, and even if it would
-be desirable to get a complete set for the full cloth, it may be that there
-would not be space on the looms to hold them, over 15,000 cards being
-sometimes required to weave a complete tablecloth.</p>
-
-<p>Many methods have been adopted to remedy the inconvenience
-and to save expense. A few of them will be given, but it must be
-left to manufacturers to judge whether they would prove an advantage
-to them or not.</p>
-
-<p>For weaving cloths or curtains it is a common practice to have the
-cross-border cards and one repeat of the centre pattern cut. The card
-rack is made as in No. 2 (Fig. 99).</p>
-
-<p>When either the border or centre cards are working, they are put<span class="pagenum"><a name="Page_156" id="Page_156">[156]</a></span>
-into the hollow part of the rack or card frame, as at <span class="smcap">F</span>, and the other
-set is hung on the flat rest of the frame, at either <span class="smcap">D</span> or <span class="smcap">E</span>. When a
-change is to be made, a card-shifter has to go up and change from one
-set to the other, lifting the set that had been working out of the hollow
-of the frame, and putting it back or forward on the rest <span class="smcap">D</span> or <span class="smcap">E</span>, and
-bringing the set which is to work down into the place of those removed.
-This, of course, is expensive, gives a great deal of trouble, and is
-severe on the cards; at the same time, in many cases it is found to
-answer as well as any method yet adopted, particularly where space is
-a consideration, and when two or more sets of cards are used, in case of
-two or more machines.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG99" id="FIG99"></a><img src="images/i_156.jpg" width="600" height="370" alt="" />
-<div class="caption"><span class="smcap"><a href="#FIG99">Fig. 99</a></span></div>
-</div>
-
-<p>A better plan is to have a sliding-card frame, as shown in No. 1 of
-the same figure. <span class="smcap">A</span> is the frame for the rollers over which the cards
-travel, <span class="smcap">B, B</span> are two bars on which the card frame <span class="smcap">C</span>, with the roller
-frame <span class="smcap">A</span> attached, travels. The card frame is only shown in end view.
-Two of these must be for each set of cards, and the whole frame must
-be fastened together complete for all the cards required, so that it will
-all slide on the bars <span class="smcap">B, B</span>. Suppose there are two machines working
-there must be four card racks; on two of these the centre cards are
-hung, and on the other two the border cards. Either set can be placed
-opposite the cylinders of the jacquard, and wrought as long as is required;
-then they must be taken off the cylinders, the card frame shifted till
-the other set of cards comes into their place, when they can be put on
-the cylinders and wrought over. This is a very good plan for working<span class="pagenum"><a name="Page_157" id="Page_157">[157]</a></span>
-long cloths, but takes up a good deal of space, and for more than two
-machines might in many cases be unsuitable.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG100" id="FIG100"></a><img src="images/i_157.jpg" width="600" height="258" alt="" />
-<div class="caption"><span class="smcap">Fig. 100</span></div>
-</div>
-
-<p>Another method is to have two sets of card irons, one above the
-other; the border cards are hung on the lower frame, and the centre
-cards on the upper one. The centre cards will work in the usual way,
-and when the border is to be wrought the cards for it are taken round
-the centre set, which, of course, are taken off the cylinder. The rollers
-must be made to shift so as to direct the cards properly into their
-respective frames; the top frame is smaller than the bottom one, and
-farther out from the machine. If hooks and eyes are sewn on the first
-and last cards of these sets, the weaver can hook them together when
-a fresh pattern is required, so that the one set will carry the other
-round the cylinder. Then, by drawing a cord, the rollers should
-change position so as to direct the falling cards into the proper frame.
-The card irons are of the usual shape, and the distance between the
-upper and lower ones may be regulated by circumstances.</p>
-
-<p>Another simple method is to have the card frame made with a
-double curve in it, as shown in <a href="#FIG100">Fig. 100</a>. One set of cards hang in each
-of these curves, as at <span class="smcap">A</span> and <span class="smcap">B</span>. The set in the curve <span class="smcap">A</span> can be wrought
-over as long as required; then these cards can be taken off the cylinder
-and the set at <span class="smcap">B</span> put over it. One thing must be observed: that the
-frame and rollers be so placed that the cards can be guided into the
-receptacle <span class="smcap">B</span>, and to do this there must be a considerable fall for
-the cards, so that for a loom with a low framing this might not be
-feasible. Otherwise, it is a simple method of arranging two small lots
-of cards, and if one lot is much larger than the other, let <span class="smcap">A</span> be a narrow<span class="pagenum"><a name="Page_158" id="Page_158">[158]</a></span>
-curve, and the small lot of cards hang in it, which will lessen the slant
-of the cards falling to <span class="smcap">B</span>.</p>
-
-<p>Although such arrangements as the foregoing are required where
-there is much machinery used, it is evident that for frequent changes
-they would take up quite too much time. Several machines have been
-made for the purpose of changing from one set of cards to another
-without having to move the cards. The principle of these machines is
-to have two cylinders, one at each side; one set of cards is placed on one
-cylinder, and the other set on the other cylinder, so that by working
-one or other cylinder, as required, either border or centre may be woven.
-No. 1 (<a href="#FIG101">Fig. 101</a>) shows a plan that was tried some time ago, but did
-not work satisfactorily. The needles passed through a needle board at
-each side of the machine, as at <span class="smcap">A</span> and <span class="smcap">B</span>, and had small spiral springs
-fastened on them inside the needle boards. The border cards could be
-put on the cylinder at <span class="smcap">A</span>, and the centre cards on that at <span class="smcap">B</span>. The cylinder
-at <span class="smcap">A</span> could be wrought as a single-acting machine till a change of
-pattern was required; then the cylinder at <span class="smcap">B</span> could be brought into action,
-and that at <span class="smcap">A</span> remain stationary and clear of the needles. The heads
-of the hooks were made heart-shape, as shown, and the blades of the
-griffe could revolve into the position shown by the dotted lines, so as to
-suit the working of the cylinder at <span class="smcap">B</span>; this was effected by the weaver
-pulling a cord. This machine was given up, as it was difficult to keep
-it in order.</p>
-
-<p>Another method is shown at No. 2 (<a href="#FIG101">Fig. 101</a>), where there are two
-griffes&mdash;one at <span class="smcap">F</span>, and the other at <span class="smcap">G</span>; one cylinder works at <span class="smcap">E</span>, and the
-other at <span class="smcap">D</span>. Only one set of springs is required on the needles&mdash;behind
-the needle board <span class="smcap">E</span>&mdash;as the spring of the hooks is sufficient to act in
-the opposite direction. When the cylinder <span class="smcap">D</span> is working the lower
-griffe is stationary, and when the cylinder <span class="smcap">E</span> is working the upper griffe
-is stationary. The cylinders and griffes are brought into action as required
-by suitable mechanism. This machine has not been considered
-sufficiently successful to make it worthy of being persevered with.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG101" id="FIG101"></a><img src="images/i_159.jpg" width="600" height="462" alt="" />
-<div class="caption"><span class="smcap">Fig. 101</span></div>
-</div>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG102" id="FIG102"></a><img src="images/i_159a.jpg" width="600" height="312" alt="" />
-<div class="caption"><span class="smcap">Fig. 102</span></div>
-</div>
-
-<p>The principle of Davenport &amp; Crossley’s border jacquard is shown
-in <a href="#FIG102">Fig. 102</a>. The upright hooks are as in an ordinary machine.
-Four of the needles are shown at <i>b</i>, and are made in the ordinary way,<span class="pagenum"><a name="Page_159" id="Page_159">[159]</a></span>
-with the exception of the eyes in them for the small upright needles <i>d</i>
-to pass through. These needles <i>d</i> are connected with a set of horizontal
-ones, as shown at <i>a</i>, and act as levers between them and the needles <i>b</i>,
-the bars behind them serving as fulcrums; so that when the needles <i>a</i>
-are pressed back by the cards, the needles <i>b</i> are also drawn back through
-the medium of the uprights <i>d</i>. The cards least in action are put on<span class="pagenum"><a name="Page_160" id="Page_160">[160]</a></span>
-the cylinder for the needles <i>a</i>, and the others act on the needles <i>b</i>. The
-cylinders can be brought in or out of action by the motion shown at
-<span class="smcap">A</span>, <span class="smcap">B</span>, <span class="smcap">C</span>, <span class="smcap">D</span>, <span class="smcap">E</span>, <span class="smcap">F</span>, <span class="smcap">G</span>. <span class="smcap">A</span> and <span class="smcap">B</span> are the cylinders, working on swing motions;
-<span class="smcap">C A</span>, <span class="smcap">D B</span>, are connecting-rods for giving motion to the cylinders; either
-of these can be brought into action as required. <span class="smcap">G</span> is a rocking lever
-carrying a stud on each end, which work in the slots <span class="smcap">C</span> and <span class="smcap">D</span>; these
-slots are shown at <span class="smcap">D<sup>1</sup></span> where the notch at one side of them will be clearly
-seen. When the stud on the bar <span class="smcap">G</span> gets into this notch, the cylinder
-will be driven out and in, but when not in the notch the stud can slide
-along the slot, allowing the cylinder to remain stationary. By pulling
-the cord <span class="smcap">H</span> either cylinder can be wrought as required through the connections
-shown, one of the connecting-rods being raised and the other
-lowered. <span class="smcap">F</span>, <span class="smcap">E</span> are the levers for driving the rocking bar <span class="smcap">G</span>. This
-machine works very well, though the principle of its construction is
-not all that could be desired, and it requires a considerable space. It
-can be made a double-lift machine by having two hooks to each needle
-and two griffes as in the ordinary double-lift, single-cylinder machine.</p>
-
-<div class="figleft" style="width: 300px;">
-<a name="FIG103" id="FIG103"></a><img src="images/i_160.jpg" width="300" height="299" alt="" />
-<div class="caption"><span class="smcap">Fig. 103</span></div>
-</div>
-
-<p>The principle of Devoge’s border jacquard is shown in <a href="#FIG103">Fig. 103</a>. <span class="smcap">C C</span>
-is the rocking bar, for driving the
-cylinders, working on the centre
-<span class="smcap">D</span>. It is driven by the levers <span class="smcap">F</span>,
-<span class="smcap">G</span>, and the connecting-rod <span class="smcap">E</span>.
-The notches <span class="smcap">A</span> and <span class="smcap">B</span> fall over
-the studs on the cylinder frame,
-and can either be let down or
-raised, as required, by the cords
-<span class="smcap">K</span>, <span class="smcap">L</span> and the levers <span class="smcap">H</span>, <span class="smcap">I</span>. The
-machine is an ordinary double-cylinder
-one, and either griffe can
-be wrought to suit the cylinder
-that is in action. This machine
-can be used as an ordinary double-acting
-one, as a single-acting one raising both griffes together and
-bringing in both cylinders together, or as a border machine working
-one griffe and one cylinder at the same time.</p>
-
-<p><span class="pagenum"><a name="Page_161" id="Page_161">[161]</a></span></p>
-
-<p>Another method, similar to the above, is to have a double-cylinder
-machine with the cylinders wrought by the griffes, then have a stud
-on the crank-shaft wheel for raising one griffe, as for an ordinary
-single-acting jacquard, and the two connecting-rods from the griffes made
-so that either will work on it. A hook or catch can be put in any convenient
-place, so that when one connecting-rod is on the stud the other
-can be hooked out of the way. The rods can be made to slide on to
-the stud easily, and be fastened with a pin, so that the weaver can readily
-change from one to the other.</p>
-
-
-</div>
-
-<div class="subdiv">
-<h3>OPEN-SHED JACQUARDS</h3>
-
-<p>To obviate the vibration of the harness as much as possible, as
-well as to economise the wear and tear of it and to minimise the friction
-on the warp threads, especially in weaving patterns requiring
-heavy lifts, such as warp-faced patterns, Messrs. Priestley &amp; Co., of
-Bradford, patented an open-shed jacquard, the principle of which is
-shown in <a href="#FIG104">Fig. 104</a>. It did not, however, prove successful, as the
-tacklers found some difficulty in working it.</p>
-
-<p>The machine is an ordinary double-lift jacquard with one cylinder,
-and works in the ordinary way. The hooks are made as in <a href="#FIG104">Fig. 104</a>,
-where it may be observed there is a turn or catch on the lower portion
-of the hook, at <span class="smcap">A</span>. Above these catches is a set of bars, <i>b</i>, like a stationary
-griffe, and when the hooks are raised by the upper griffe, in the
-ordinary way, they spring over these lower bars and rest on them when
-the griffe begins to fall. All the hooks raised would thus remain up,
-were it not that the cylinder, pressing in for the second griffe (the
-machine being double-acting), which begins to rise as the upper one
-begins to fall, presses back those hooks that are not to be raised for the
-following shot, and as they are held by the griffe above, they spring
-back at the bottom, and, clearing the bars <i>b</i>, come down with the falling
-griffe. In this way the hooks, when once raised, remain up till pressed
-off by the card, so that in the case of working a warp stripe with an 8-leaf
-satin binding the hooks would only fall for every seventh pick.</p>
-
-<div class="figleft0" style="width: 72px;">
-<a name="FIG104" id="FIG104"></a><img src="images/i_162.jpg" width="72" height="400" alt="" />
-<div class="caption"><span class="smcap">Fig. 104</span></div>
-</div>
-
-<div class="figright0" style="width: 362px;">
-<a name="FIG105" id="FIG105"></a><img src="images/i_162a.jpg" width="362" height="400" alt="" />
-<div class="caption"><span class="smcap">Fig. 105</span></div>
-</div>
-
-<p class="nofloat">Another machine has since been tried, but did not work satisfactorily.<span class="pagenum"><a name="Page_162" id="Page_162">[162]</a></span>
-In this machine the lifting hooks are formed with loops or hooks, in
-addition to the top hooks. The hooks are lifted in the ordinary way by
-the griffes; and upper knives, made to reciprocate horizontally, catch
-the raised hooks and support them. By suitably timing the motions of
-the card cylinder the hooks may be kept up as long as required by being
-transferred from one set of knives to the other. The shape of the hooks
-and needles is shown in <a href="#FIG105">Fig. 105</a>. The needles may be as at <i>b</i> or <i>b<sup>1</sup></i>.
-This machine acts as an ordinary double-lift jacquard, but has only
-one set of needles, which pass through needle boards at each side of
-the machine, and are acted upon by two card cylinders. No springs
-are required, the hooks acting as springs to keep the needles in position.
-The cylinders are driven by a tappet, and can be held against the
-needles as long as required; one cylinder must press on them when
-the griffes are passing, so as to prevent those hooks which are descending
-from being taken up by the ascending griffe. There are two griffes;
-three of the knives of the one are shown at 1, 3, 5, and three of the
-other at 2, 4, 6. When these knives lift the hooks by the lower loops<span class="pagenum"><a name="Page_163" id="Page_163">[163]</a></span>
-or hooks on them, they deposit them on to a set of knives, <i>a</i>, <i>a</i>, <i>a</i>, <i>a</i>, in
-an upper grid or grating, which has a lateral or horizontal motion.</p>
-
-<p>The lower knives raise the tops of the hooks slightly above these
-upper knives, so as to clear them, and the upper grid is then moved
-sideways, taking the knives from under one set of heads of the hooks
-and placing them under another set. Each time the griffe rises all the
-hooks not acted upon by the cards will be deposited on the upper grating,
-and will be transferred from one knife to another at each lift, till the
-card acting upon the needles keeps them clear of the upper grating and
-allows them to fall with the descending griffe. In this machine the
-tugs or tail cords, as used with double-lift machines, are not required,
-the double hooks serving for two single ones. Other efforts have been
-made in this direction, but the plan of using small pulleys on the tail
-cords, between the pairs of hooks, to which the neck twines are hung,
-is the only one worth mention. The same principle will be found for
-working the shafts in <a href="#FIG115">Fig. 115</a>, and is more suitable for a few shafts than
-for 400 to 600 hooks, or pairs of hooks.</p>
-
-
-</div>
-
-<div class="subdiv">
-<h3>THE VERDÔL JACQUARD</h3>
-
-<p>Everyone accustomed to work large patterns on jacquards, especially
-on power looms, must have found the inconvenience resulting from a
-large set of cards. The space taken up, the time and trouble required
-for changing them, to say nothing of the cost, have been sufficiently
-felt, but have hitherto had to be borne with as a matter of necessity.</p>
-
-<p>For working fine tablecloths with from 150 to 180 picks per inch,
-or for curtains where from 3 to 6 cards are required for each weft line
-of the design, and when from 2 to 4 jacquards are used, the inconvenience
-and cost of a set of cards ranging from 10,000 to 50,000 are
-very considerable. The small jacquards described at <a href="#FIG30">Fig. 30</a> make a
-great saving in the space taken up by the cards, as well as in the quantity
-of card paper used; but it has been thought that a still greater saving
-could be effected.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG106" id="FIG106"></a><img src="images/i_165.jpg" width="600" height="456" alt="" />
-<div class="caption"><span class="smcap">Fig. 106</span></div>
-</div>
-
-<p>M. Verdôl, of Paris, has for a length of time been endeavouring to
-perfect a system of substituting a continuous roll of perforated paper<span class="pagenum"><a name="Page_164" id="Page_164">[164]</a></span>
-for the cards, and has succeeded in doing so, though it is doubtful if
-he will be so far successful as to supersede our present method of
-working. These machines were taken up by Benson’s Patent Jacquard
-Company, of Belfast, in the year 1876, but did not then give satisfaction,
-the greatest obstacle in the way being the effect of the atmosphere on
-the paper; and as the needles are very closely set together, it was found
-impracticable to keep the paper set so as to act correctly on them.
-This difficulty is now claimed to be overcome by having procured paper
-which is said to be less liable to be affected by the atmosphere than the
-brass plates of the machine. Several of these machines have been
-tried in Scotland, but it will take some time to prove them thoroughly
-and get the workmen accustomed to them, as they are much finer than
-the jacquards in general use.</p>
-
-<p>The Verdôl machine consists of a small jacquard, the ordinary
-French make of machine, which is usually made with 440 and 880
-hooks for the single and double machines respectively. In addition
-there is a frame or box attached to the front of the machine, against
-the needle board, containing another set of horizontal and vertical
-needles or wires, which act upon the ordinary needles of the jacquard,
-according as they are acted upon by the perforated paper. <a href="#FIG106">Fig. 106</a>,
-Nos. 1, 2, and 3, shows the principle of the machine. <span class="smcap">B, B</span> show the
-needles, and <span class="smcap">D, D</span> the uprights or hooks of the ordinary jacquard; only
-four of each are given, but sixteen are used. <span class="smcap">N</span> is the face-plate or
-needle board, and <span class="smcap">O</span> is the clap-board used for bringing back the needles,
-which have no springs on them; but the hooks are turned up double,
-and the back or turned-up portion of them, coming against horizontal
-wires or bars, shown in section above the needles, acts as a spring to
-keep them steady. This portion of the machine is a complete jacquard
-of the ordinary French make. In addition to this there is the apparatus
-on which the perforated paper acts, and which communicates this
-action to the jacquard. It consists of a box or frame containing two
-sets of wires&mdash;one set horizontal, as <span class="smcap">A A</span>, about 6 in. long, and terminated
-at one end by a small head, as shown separately at <span class="smcap">A<sup>1</sup></span>, which are
-called hitting wires. The other set is vertical, as <span class="smcap">C C</span>, of fine wire,
-having a loop on one end, by which they are suspended in a frame, and<span class="pagenum"><a name="Page_165" id="Page_165">[165]</a></span>
-a loop in the centre, which passes round the horizontal wires. These
-are called the vertical needles or feelers; one of them is shown separately
-at <span class="smcap">C<sup>1</sup></span>. The points or lower ends of these needles pass through a
-horizontal brass plate, <span class="smcap">G</span>, called a guide-bar. The hitting wires pass
-through a guide-plate, <span class="smcap">M</span>, placed so that their heads will come exactly
-against the points of the needles in the jacquard, as shown in the figure.
-The other ends of the hitting wires lie loosely in the loops of the vertical
-needles, <span class="smcap">C</span>. Underneath the guide-bar <span class="smcap">G</span> is the curved brass
-plate <span class="smcap">I</span>, which is in lieu of a cylinder. Between the cylinder and the
-guide-bar <span class="smcap">G</span> the perforated roll of paper <span class="smcap">I I</span> passes; there is just sufficient
-room between them for it to pass freely through, as it is moved
-forward by the stud wheel <span class="smcap">K</span>. The paper may pass from one cylinder
-or reel to another, or may hang in folds in the same way as cards
-usually hang. At the points of the hitting wires is a grid or pushing
-frame, <span class="smcap">H</span>, with an iron angle-bar across above each row of wires, as
-shown in section in No. 1 at <span class="smcap">H</span>. There is a clap-board above the small
-vertical needles, which is shown raised at <span class="smcap">E</span> in No. 1, and down in No.<span class="pagenum"><a name="Page_166" id="Page_166">[166]</a></span>
-2; this is raised and lowered with these needles, and serves to bring
-them all down when raised. <span class="smcap">E<sup>1</sup></span> shows the way in which these needles
-are hung in the frame that supports them. When the machine is
-working the frame <span class="smcap">H</span> has a horizontal traverse coming against the ends
-of the hitting wires when they are pressed up by the card on the
-cylinder, and, pressing them against the needles of the jacquard, push
-them back as an ordinary card cylinder would. It may be seen in No.
-1 that two of the feelers are down and two are pressed up, as they
-would be if two holes were cut in the paper and two uncut; the two
-that are up raise the hitting wires connected with them, and it will be
-observed that this raises the points of the hitting wires so as to come
-against the angle-iron of the grid <span class="smcap">H</span> when it is coming forward; whereas
-the two hitting wires that are not raised will pass through, and not be
-pushed back. This enables the card paper to act on the needles of the
-jacquard in the same way as if coming directly on them, as cards do.
-The cylinder has a slight vertical motion, rising about 1/8 in. The
-needles, when the cylinder is down, do not pass through the plate <span class="smcap">G</span>;
-it is perforated through and raised by the cylinder ascending. When
-the frame <span class="smcap">H</span> is pressed forward the clap-board <span class="smcap">O</span> is pressed back.</p>
-
-<p>The card paper is of a special make, thin and tough, and is strengthened
-along both sides and in the centre by strips of paper pasted
-along it where the stud holes fall. No. 3 shows the motion by which
-the clap board <span class="smcap">E</span> is raised and lowered by the sliding of the cranked bar
-<span class="smcap">F</span> between the two studs 2. No. 4 shows the size and pitch of the
-holes in the hard paper. These are traced from the paper, and lie
-diagonally, two rows of 8 making one row of 16 hooks in the
-jacquard.</p>
-
-<p>These machines are working in large numbers in France, and appear
-to give more satisfaction there than here, partly because they are
-better known, and the French workmen are better adapted to handle
-the small parts belonging to them. A coarser machine is more suited
-for the ordinary workmen to be found in the factories of this country.
-But it is strange if a machine of a pitch about half-way between the
-French jacquards and ours would not be better than either; not taking
-up so much room as ours, and not so minute as the French. However,<span class="pagenum"><a name="Page_167" id="Page_167">[167]</a></span>
-in many cases the machines we have in use are none too large to give
-sufficient latitude for the errors often found cropping up in work, none
-of which should occur, of course, though they often do, through carelessness
-or otherwise. For instance, the card cylinder may be a little
-off the pitch, and the cards may be affected by damp, or may not be
-correctly cut to suit the cylinder; the points of the needles may be
-a little bent by the cylinder, or by the carelessness of the weaver when
-turning back her cards, and the
-cylinder may not be set quite fair
-for the needles. Mr. McMurdo, of
-Manchester, has made a very nice
-machine of the same pitch as the
-French ones, with 1,296 hooks, 16
-row cards. It works as a double-acting
-machine with two cylinders
-and two griffes, but only one set of
-needles acting on the two sets of
-hooks. Two of the hooks are shown
-in <a href="#FIG107">Fig. 107</a>; each needle clasps two
-hooks and passes through a needle
-board at each side of the machine.
-There is no spring on the needle,
-the hooks forming the spring, the
-tops of the hooks coming against
-the cross-rods at <span class="smcap">A A</span>. Otherwise,
-this machine works in the usual
-way, and is very compact where a large number of hooks are required
-in a small space.</p>
-
-<div class="figright" style="width: 300px;">
-<a name="FIG107" id="FIG107"></a><img src="images/i_167.jpg" width="300" height="514" alt="" />
-<div class="caption"><span class="smcap">Fig. 107</span></div>
-</div>
-
-<p>The card-cutting machine used for the French system of work is a
-very elaborate contrivance, being more like a jacquard loom than any
-of our card-cutting machines, at least in so far as the harness is concerned.
-The principle of it is seen in <a href="#FIG108">Fig. 108</a>. a shows the set of
-cords by which the punches are wrought. The method of preparing
-the pattern to attach to these cords has been referred to before, but
-will be repeated again further on. These cords pass over the pulleys<span class="pagenum"><a name="Page_168" id="Page_168">[168]</a></span>
-<span class="smcap">B</span> and down through a reed to the lingoes <span class="smcap">C</span>, which keep them in tension.
-Another set of cords pass from these over the pulleys <span class="smcap">D</span> and
-down to the punches <span class="smcap">F</span>. When any of the cords at <span class="smcap">A</span> are drawn the
-punches connected with them are dropped, as raising the lingoes lets
-the cords pass over the pulleys <span class="smcap">D</span>. When a punch is let fall, it is
-caught by one of the angle-irons of the grid <span class="smcap">G</span>, which is pressed forwards
-when a card is to be cut. The card paper is on the roller <span class="smcap">JH</span>,
-and passes down in front of the punches at <span class="smcap">I</span>, which, when pressed
-forward, punch the paper between them and the block <span class="smcap">K</span>. Any punches
-that are held up pass through the grid over the angle-iron bars. Only
-four punches are given, but sixteen are used in the machine; they are
-here drawn out of scale to show them more clearly. This portion constitutes
-the cutting machine; it is worked by two persons, one behind,
-to draw the cords, and another in front, to punch the paper by depressing
-a treadle each time a draw is made. In addition to cutting from the
-pattern the paper can be cut from other sets of cards, as in a repeating<span class="pagenum"><a name="Page_169" id="Page_169">[169]</a></span>
-machine&mdash;cut either on the English or French system. <span class="smcap">N</span> is the
-French machine, and a set of cards can be put on it and copied, the
-cords <span class="smcap">O</span> acting on the punches; English-cut cards can be put on the
-machine at <span class="smcap">L</span> and copied, the cords <span class="smcap">M</span> acting on the punches. Of
-course, when one portion of the machine is working, the other parts
-remain idle, and it might be better to have them separate if much work
-is wanted.</p>
-
-<p>The pattern is prepared for this machine by hand, working one
-repeat of it as follows:&mdash;The design, painted on point paper, is placed
-on a frame in an upright position, and over each line on it is stretched a
-vertical cord, which is taken as warp. The picker then takes a bobbin
-of weft and inserts it under every cord that passes over a painted dot
-on the first weft line of the pattern, keeping it in front of all the cords
-that pass over blank spaces, just in the same order as a shuttle would
-pass through if the shed were to be opened by a jacquard. When this
-is done the next line of the design paper is picked similarly, and so on,
-till a complete repeat of the design is loosely woven with cords, which
-are made of well-twisted harness twine. This process is somewhat
-similar to reading the pattern for the draw loom, <i>which see</i>. For
-coloured work a shot would require to be worked in for each colour on
-any weft line, the same as it is to be woven. When this is prepared,
-it is taken to the cutting machine and the warp tied to the cords <span class="smcap">A</span>,
-the weft showing the warp ends to be drawn for each card.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG108" id="FIG108"></a><img src="images/i_168.jpg" width="600" height="582" alt="" />
-<div class="caption"><span class="smcap">Fig. 108</span></div>
-</div>
-
-
-</div>
-
-<div class="subdiv">
-<h3>HALF HARNESS AND MUSLIN HARNESSES</h3>
-
-<p>So far we have been speaking entirely of ‘full-harness’ work.
-Though the principle of mounting is much the same in all classes of
-harnesses, there are certain deviations peculiar to each.</p>
-
-<p>One drawback to the full harness is the amount of machinery
-required to give a large extent of pattern, an upright hook and a needle
-being required for each thread in one repeat of the pattern. In a half
-harness only half the amount of machinery is required on the same
-fineness of cloth to give an equal extent of pattern; but it is only for
-a few classes of goods that this method of working is suitable, leno<span class="pagenum"><a name="Page_170" id="Page_170">[170]</a></span>
-curtains and muslins being the principal. Leno curtains will be
-mentioned under gauzework, as they are wrought with a gauze
-mounting, but on the half-harness principle. Figured muslin curtains,
-with a plain ground and coloured flowering, are called ‘crêtes,’ or
-‘crête curtains’; these are now generally wrought in a full harness.
-Figured muslins are much of the same class of cloth, but are not
-figured with colour and tint for the half harness, known as the
-‘common spotting harness,’ or ‘book harness.’ For working them the
-harness is mounted in the ordinary manner, but only half as many
-cords are required for it as there are threads of warp. Only half of
-the warp is drawn into the harness, the other half&mdash;every alternate
-end&mdash;passing through it, and being drawn into a plain leaf of heddles,
-which is hung close in front of the harness. In fine work two leaves
-of heddles may be used as one, to prevent crowding.</p>
-
-<p>The ground of the cloth is a plain texture, and was formerly
-wrought by having two leaves of long-eyed heddles in front of the
-harness, into which all the warp was drawn, this probably being more
-convenient for the hand-loom weaver; and besides, a more even plain
-ground can be made with the heddles than with the harness and one
-leaf of heddles. Two shots of ground, or fine weft, are given to one
-shot of figuring, or coarse weft, usually cotton rove; but to avoid
-using a pick-and-pick loom when working by power, the coarse shot
-may be made by throwing two finer ones into the same shed. In
-power looms the ground is wrought by raising the plain leaf of heddles
-and all the harness alternately, and the figuring shed is formed by
-drawing the harness with a card acting on the machine. The pattern
-is painted solid, without any twilling or binding on either ground or
-flower, so that the figuring shot will be in a plain shed for the flower,
-but will be loose or unbound over the ground, and is afterwards cut off
-in a cropping machine.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG109" id="FIG109"></a><img src="images/i_171.jpg" width="600" height="296" alt="" />
-<div class="caption"><span class="smcap">Fig. 109</span></div>
-</div>
-
-<p>The plain shed, into which the thick weft is thrown, must also
-contain the shot of thin weft thrown in either before or after it,
-according as the figuring shed follows the plain shed made by raising
-the harness or the heddles; for supposing the heddle shaft to be raised
-and a ground shot thrown in, then the shed reversed by raising the<span class="pagenum"><a name="Page_171" id="Page_171">[171]</a></span>
-harness and another ground shot thrown in, then the figure shed
-formed by raising 50 or 100 hooks of the harness, this opens portion
-of the last shed, and the figure weft will be thrown in along with the
-last shot of ground. When both wefts are white this is of but little
-consequence, but when using coloured wefts for the figure the ground
-weft would be liable to show along with them and injure the pattern.
-This was originally overcome by adopting the ‘paper harness’ from
-the shaft mounting for weaving paper spots. In this mounting two
-sets of shafts and two harnesses are used, one behind the other. Half
-of the warp&mdash;all the odd numbers of threads&mdash;was drawn on the back
-harness, and the other half&mdash;all the even numbers&mdash;on the front
-harness; this would be sufficient to make the cloth, but a pair of leaves
-of long-eyed heddles were used for working the ground, acting as
-pressers. On this method of working, a ground and a figuring shot are
-thrown in alternately, as either half of the warp can be raised by the
-harness for the figuring shed, and a richer spot is thus given; but still,
-the rove or figuring shot would fall into the same shed as the ground
-shot, which may be seen by examining the two spots given in <a href="#FIG109">Fig. 109</a>,
-A being wrought on the common spot or half-harness mounting, and
-B on the paper-spot mounting. The grey shots are the ground, and
-the black ones the figure. However, in the paper-spot mounting it is<span class="pagenum"><a name="Page_172" id="Page_172">[172]</a></span>
-not necessary to throw the rove into a plain shed; any suitable twill
-may be used for binding the figure, and will give a much richer effect
-on one side of the cloth than plain, and tie down the ground shot, which
-will go into a plain shed.</p>
-
-<p>This principle of mounting is now done away with, as it has no
-advantage over the ordinary full-harness mounting, which can also
-have a pair of presser leaves of heddles in front for working the ground,
-if desired; but they are unnecessary in a power loom, except when a
-very level ground is required.</p>
-
-<p>A twilled or flushed figure may be formed with the common half
-harness, but only having half the warp for binding causes it to be
-loose and ragged round the edges.</p>
-
-<p>To work a large pattern, perhaps the most economical way, at least
-in the hand loom, is to use a pressure harness with two threads in the
-mail, and with four presser heddle leaves in front. The number of
-leaves regulates the twill on the figure. The cloth may be woven
-pick-and-pick, ground and figure, or 2 picks ground to 1 of figure.
-When the harness is drawn for the figure all the heddles must be sunk
-but one leaf, and sinking the two front and two back leaves alternately,
-raising the back ones when the front ones are sunk, and <i>vice versa</i>, will
-form plain cloth with the draft 1, 2, 3, and 4 over the leaves. A 4-leaf
-twilled figure can be made with this mounting, but still it will not
-have the advantage of the full harness, in which the figure can be
-varied in twill, and bound round the edges.</p>
-
-
-</div>
-
-<div class="subdiv">
-<h3>SPLIT HARNESS</h3>
-
-<p>The term ‘split harness’ is sometimes applied to the pressure
-harness when wrought with two threads in the mail, this constituting
-a splitful of warp, so that each cord of the harness controls a splitful
-of warp; but this is only the finest description of pressure harness.</p>
-
-<div class="figright" style="width: 146px;">
-<a name="FIG110" id="FIG110"></a><img src="images/i_173.jpg" width="146" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 110</span></div>
-</div>
-
-<p>The split harness, or ‘shaft monture,’ was invented in the silk
-district of Bethnal Green, shortly after the introduction of the jacquard,
-for weaving rich silks which have about 400 threads of warp per inch,
-but much less weft&mdash;perhaps about one-fifth of that number of threads.<span class="pagenum"><a name="Page_173" id="Page_173">[173]</a></span>
-The harness is wrought with the ordinary jacquard, but there are two
-mails and lingoes attached to each neck cord, as shown in <a href="#FIG110">Fig. 110</a>.
-<span class="smcap">A</span>, <span class="smcap">A</span> are the neck twines, <span class="smcap">B</span> is the cumber board, and <span class="smcap">D</span> the mails. If
-this mounting were wrought with the jacquard only, it would produce
-the same effect upon the cloth as if two threads
-were drawn into each mail of an ordinary harness.
-This would, of course, take away the fine appearance
-of the cloth. To avoid this a set of shafts, <span class="smcap">C</span>,
-<span class="smcap">C</span>, are passed through loops in the twine above the
-mails, and are attached to a set of hooks in front
-of the jacquard, or at each side of it, or may be
-wrought by a separate dobby. Twenty-four shafts
-are mostly used, and are usually flat enamelled
-iron bars. These shafts are for working the ground
-of the cloth, and can raise each row of mails separately,
-as shown at No. 1 leash, thus splitting the
-pairs of threads that are connected with each hook
-of the jacquard. One or more of these shafts,
-according to the texture required for the ground,
-are raised at the same time that the jacquard draws
-the figuring shed. No ground texture is put on
-the pattern for the cards, but the figure must be
-twilled, or have the binding marks cut on the cards
-for it. The binding of the figure will be in pairs
-of threads&mdash;that is, two threads of warp must
-sink together under a weft shot, though on the
-design these two threads will appear as one, as
-they are wrought by the same hook of the machine.
-On account of the number of warp threads, rising
-and sinking in pairs will not much affect the appearance
-of the figure; though it must be coarser
-than if the threads were bound separately, and will also have a rougher
-or more ragged outline; but to get a large figure with so much warp
-would necessitate a great amount of machinery if the threads were
-drawn into separate mails with one to each cord of the harness.</p>
-
-<p><span class="pagenum"><a name="Page_174" id="Page_174">[174]</a></span></p>
-
-<p>This method of working is surpassed by the twilling machines now
-in use (see Twilling Jacquards), though they are more intricate, and
-would not suit well for a hand loom, as they are heavy to draw.</p>
-
-
-</div>
-
-<div class="subdiv">
-<h3>PRESSURE HARNESS</h3>
-
-<p>This is the old draw-loom system of working, and, old as it is, is
-still in use on our modern hand and power looms on the finest description
-of damasks, and is not likely to be surpassed for making a good
-piece of cloth. Much firmer than a harness, and producing the largest
-possible pattern with the least possible cards, mounting, and machinery
-it took up its position in the days of the drawboy, and has held its own,
-with the aid of the jacquard, against all the inventions of modern times.
-The principal advantage of this system of working is that a much
-larger pattern can be produced with the same quantity of cards, mounting,
-and machinery, than by any other means; but the pattern wrought
-by a pressure harness will not compare with one wrought by a full
-harness for fineness of outline or detail. When weaving large tablecloths
-with 100 or 120 threads of warp per inch, and from 50 to 72, or
-even 90 in. in the single pattern&mdash;that is, when the pattern is all, or
-nearly all, single&mdash;the amount of machinery that would be required
-to work it on a full harness could not be crowded on a loom, the French
-system being the only one by which it might be attempted; and even
-then the difficulty of keeping the machinery and cards in perfect working
-order would be very great, not to mention the cost of mounting,
-patterns, cards, &amp;c. The quantity of harness and machinery is reduced
-in a pressure harness by drawing two or more warp threads into each
-mail in the harness. Suppose we take 60 in. of cloth with 100 threads
-per inch = 6,000 threads, and allow 3 threads to each mail in the harness,
-or each hook of the jacquard, 2,000 hooks, or four 500 jacquards, would
-be required to work the pattern. As many as six 600 jacquards are
-sometimes required on this description of work when very fine; but
-three or four 500 or 600 machines are more commonly used on either
-hand or power looms. To work one of these finest patterns in a full
-harness 10,800 hooks would be required&mdash;say, six 600 machines with<span class="pagenum"><a name="Page_175" id="Page_175">[175]</a></span>
-3 threads to each mail = 10,800; and almost double this number of
-cards, even with working them backwards and forwards, would be
-necessary.</p>
-
-<p>In early times, when the drawboy took the place of the jacquard,
-6, 8, or 10 threads were put to each mail, or went to what would now
-be one hook of the jacquard; and patterns were not usually so extensive
-as they are now, so that the cords of the harness were greatly reduced
-in number, but with a proportionately coarser effect of pattern. The
-difference between a pattern wrought with a full harness and one
-wrought with the pressure or any of the twilling harnesses, is that the
-outline is clear and defined in the full harness, and the detail and points
-of the figures can be turned on a single thread, whereas in the others
-the edges of the figures will be jagged or in steps, and the points must
-turn on whatever number of threads are lifted together. The pattern
-on the cloth must therefore have somewhat of the rough, square effect
-of the design on point paper, though, of course, reduced in size, but
-will be worse in this respect&mdash;viz. that whereas the edges of the figure
-on the point paper are clear and well defined, on the cloth they are not
-so, the rough edges to some extent blending the figure into the ground,
-and not giving the clean, sharp effect of a full-harness pattern. Shaded
-effects are also coarse on a pressure harness, but can be made effective
-if broadly treated. Cloth with 100 or 120 threads per inch does very
-well to have three threads to the mail, and from 80 to 100 threads per
-inch suits very well for two to the mail. Any coarser set than 80
-threads per inch requires to be woven in a full harness to produce good
-work, and for superior work nothing less than 100 threads per inch
-should have two threads to the mail, though 80 per inch does very
-well.</p>
-
-<p>When several threads are put to the mail, it is also usual to put
-several picks to each card. The fewer picks, the finer will be the
-pattern; but a good method of regulating this is to make the checks
-formed on the cloth square, a little more or less according to the fineness
-of the pattern required. Thus, if the cloth is wefted square, or a
-little over that&mdash;say, 100 warp by 100 to 110 weft threads per inch&mdash;paint
-the design on, say, 8 × 8 or 8 × 9 paper, and give as many shots<span class="pagenum"><a name="Page_176" id="Page_176">[176]</a></span>
-to the cards as there are threads in the mail. If the cloth is to be
-wefted one-half over square (100 × 150) the same pattern will still do,
-but with half as many more shots to the card than there are threads in
-the mail. If there are two threads in the mail there will be three
-picks to the card, but if there are three threads to the mail there must
-be four picks to one card and five to the next one. This would be for
-a pattern on 8 × 8, or square paper. If painted on 8 × 9 paper,
-which would give an extra card to every eight, and if the weft must not
-be increased, then four or five picks must be taken off the number given
-to the eight cards and put to the ninth one, for four cards with four
-picks to each and four with five picks to each = 36 picks, and thirty-six
-picks put to nine cards would allow four picks to each. This would
-make the edges of the pattern a little finer; and if the design was
-painted on 8 × 10 paper it would be finer still, as there would be more
-cards to a given number of picks.</p>
-
-<p>In this way any alteration required can be made on the number of
-picks per inch given to cloth woven on a pressure or twilling harness,
-without distorting the pattern by varying the number of picks given to
-each card to suit the shotting. Neither is it necessary to have the
-same number of threads in each mail; the warp might be mailed 2’s
-and 3’s or 3’s and 4’s, but the more regular they are, the better. If the
-fineness of the cloth requires to be altered, it may be woven in the same
-harness without any alteration by varying the number of threads in
-the mails. For instance, a warp of ninety threads per inch mailed 3’s
-and one with 120 threads per inch mailed 4’s would work in the same
-harness. Similarly, the same set of cards would suit for making
-different widths of cloth by making the harness narrower in the cumber
-board and altering the mailing so as to keep the cloth the same set, or
-it may be made a finer set and not alter the mailing. In either case
-the pattern would be reduced in size.</p>
-
-<p><a href="#FIG111">Fig. 111</a> shows a portion of a pressure-harness mounting which is
-similar to that of the draw loom. It is mounted in the same manner
-as described for full harness, only that the warp must be divided by the
-number of threads to be drawn into each mail in order to find the
-quantity of harness required. The kinds of mails used are shown at <span class="smcap">A<span class="pagenum"><a name="Page_177" id="Page_177">[177]</a></span></span>
-and <span class="smcap">B</span>, <a href="#FIG111">Fig. 111</a>; it does not do to have more than two threads drawn
-into each eye of the mail, as they are liable to twist round each other;
-two will separate easily, but a greater number will not. Ordinary full-harness
-mails answer very well for a two-thread harness. The mails
-are levelled in the same position as for full-harness work, viz. about
-1-1/2 in. below the level of the back and front beams for hand-loom work,
-and a little lower for power looms. The lingoes are heavier than those
-required for a full harness; the weight depends upon the strength of
-the yarn and the number of threads in the mail; 10 to 12 to 1 lb. are
-used in power looms for linen damask with two threads in the mail,
-having about eighty to one hundred threads of warp per inch. For
-hand looms they are usually made of lead, thicker and shorter than
-the wire lingoes, and called ‘leads’; 11 to 15 per lb. suits for three- or
-four-thread harnesses. Light cotton work, such as muslin curtains,
-only requires lingoes of about sixty or seventy to 1 lb. for hand looms,
-but from twenty-five to thirty per lb. are used in power looms for two-thread
-harnesses.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG111" id="FIG111"></a><img src="images/i_177.jpg" width="600" height="355" alt="" />
-<div class="caption"><span class="smcap">Fig. 111</span></div>
-</div>
-
-<p>The principle of working the pressure harness is best explained by<span class="pagenum"><a name="Page_178" id="Page_178">[178]</a></span>
-the diaper mounting shown in <a href="#FIG2">Fig. 2</a>, where a back set of heddles takes
-the place of the harness, and a set of ground leaves of long-eyed
-heddles stands in front of the back ones. After the yarn is drawn into
-the harness or back mounting in the usual way, it must be drawn into
-the front or presser heddles, using, generally, a straight draught for a
-satin ground. If Figs. 2 and 111 are examined, it will be seen that
-when the shed is opened by the harness or back mounting, the heddles
-in front sink part of the raised warp and raise part of the sunk warp.
-The mounting raises all the warp of the figuring portion on each card
-or line of the design paper, and leaves down all the ground warp, so
-that it is necessary to have the heddles in front to bind the warp
-and weft, or form the texture of the cloth. For an 8-leaf satin eight
-shafts are required; one of these must be raised and another sunk for
-each shot, so as to raise the binding threads of the sunk warp and sink
-those of the raised warp, the harness forming the outline of the
-pattern, or raising the warp of it in a mass. The other six leaves of
-heddles stand in a middle position, and the long eyes allow the warp
-drawn by the harness to rise. When the machine is drawn it is held
-up till as many shots as are to be given to the card are thrown in, but
-the shed formed by the heddles must be changed for each shot. In
-working bars up the cloth one card would be sufficient, and when the
-machine is drawn it would be held so, and the cloth wrought with the
-heddles; of course, no machine would be required in this case, one leaf
-of heddles with the stripes of warp drawn into it would be sufficient
-for the back mounting. For dices two leaves of heddles would be
-sufficient for the back mounting, the warp of one dice to be drawn on
-one leaf, and that of the other on the other leaf; then one leaf would be
-raised and held up till one dice was wrought, when it would be lowered,
-and the other one raised and held up for the other dice. For fancy
-dices and diapers the plan of mounting in <a href="#FIG2">Fig. 2</a> is very suitable and
-simple, but for a variety of figuring or flowering the jacquard is necessary.</p>
-
-<p>It will be seen that the presser heddles have three positions, viz.
-a sunk, a raised, and a middle position. The length of the eyes is to
-allow the harness to open the shed when the heddles are stationary, or
-in their middle position. They must be a little longer than is required<span class="pagenum"><a name="Page_179" id="Page_179">[179]</a></span>
-to open the shed at the back leaf of the heddles; for a 2-in. shed a
-2-1/4-in. to 2-1/2-in. eye is used. When the heddles are stationary the lower
-loop of the eye should be fully 1/8 in. under the sunk warp, and there
-should be the same clearance at the top when the shed is drawn; some
-allow more. The shed for a pressure harness is usually very small in
-front of the reed, and requires a very small shuttle to be used, from 1/2 in.
-to 1 in. deep being the usual sizes. The depth of the shed that can
-be made depends principally on the elasticity of the yarn. With a
-linen warp a very small shed can be made, as the yarn has but little
-elasticity, and if overstrained will hang slack. For it the distance
-between the harness and the back shaft of the front mounting should
-be 10 in. to 12 in., and there should be a stretch of 27 in. to 34 in.
-behind the harness. The draw of the harness may then be 3 in. to 3-1/2 in.,
-and the shed at the back shaft will be 1-3/4 in. to 2 in.; this will allow
-a shuttle of 3/4 in. to 7/8 in. deep to be used. For hand looms the shed
-is about 1-1/4 in. at the back shaft, and a shuttle of 1/2 in. deep is employed.
-The shed must be made very clear and regular, and the smaller it can
-be kept, the better. With a good cotton warp 7 in. is a sufficient
-distance to have between the harness and heddles, and will admit of a
-larger shed being formed; but it is not desirable to have too large a
-shed, as there is a considerable strain on the yarn, and a small, clear
-shed is more satisfactory. This would be assisted by bringing the
-harness as close as possible to the heddles.</p>
-
-<p>One drawback to this method of working is the distance which
-separates the harness from the fell of the cloth, or even from the reed;
-and if there is any obstruction to the warp rising or falling, such as
-roughness in the heddles or reed, or lumps on the yarn, it will not,
-unless very tight, fall into its proper place, and the shuttle may pass
-over or under it when it should not do so, giving a picked or darned
-effect to the cloth; slack threads may cause the same.</p>
-
-<p>The warp must be kept as tight as possible, and all the threads
-should be at a uniform tension, the heddles straining each thread alike;
-the harness should be as close to the heddles as the yarn will permit
-it to be. The space occupied by the harness, heddles, and traverse of
-lay should be no greater than is necessary; then, with a small but clear<span class="pagenum"><a name="Page_180" id="Page_180">[180]</a></span>
-shed satisfactory work can be produced. When drawing a warp into
-the harness, a boy or girl sits behind, and hands the threads to the
-drawer-in, who takes them into the mails with a wire hook, and then
-either hands them to a second drawer-in sitting in front of the heddles,
-to be drawn into them, or passes them over and under a pair of rods
-tied across the harness so as to form a lease as she draws them in;
-and when she has all drawn into the harness, she begins to draw
-them into the heddles, a straight draught being mostly used for a twill
-or satin.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG112" id="FIG112"></a><img src="images/i_180.jpg" width="600" height="556" alt="" />
-<div class="caption"><span class="smcap">Fig. 112</span></div>
-</div>
-
-<p>The front mounting of a damask hand loom is shown in <a href="#FIG112">Fig. 112</a>.
-<span class="smcap">A</span>, <span class="smcap">A</span> are the shafts, four in number, but eight are generally used for an
-8-leaf satin; <span class="smcap">B</span>, <span class="smcap">B</span> are the jacks; <span class="smcap">C</span> the lams, which require to be
-one more in number than the leaves of heddles; <span class="smcap">D</span> the treadles; <span class="smcap">E</span>, <span class="smcap">E<sup>1</sup></span>
-the upper marches or jacks; <span class="smcap">F</span>, <span class="smcap">F<sup>1</sup></span> two sets of coupers or levers, with
-their fulcrums at <i>f</i>, and loaded at the outer ends with the weights <span class="smcap">G</span>.
-Under the ends of these levers is a bar <span class="smcap">N</span>, to which the weights draw
-them, and keep the heddles up to their middle position. The cords <span class="smcap">I</span>
-are not fastened to the heddles, but pass down through them to the<span class="pagenum"><a name="Page_181" id="Page_181">[181]</a></span>
-lams <span class="smcap">C</span>. The cords <span class="smcap">L</span> connect the coupers with the heddle shafts.
-Each lam has two cords tied to it, except the two outer ones&mdash;<i>i.e.</i> the
-first and last one&mdash;which together act as one, to avoid crossing the
-cords. One of the cords <span class="smcap">I</span> is tied to each lam, and also one from the
-jacks <span class="smcap">B</span>; but the first and last lams have only one cord tied to each of
-them, one having the cord <span class="smcap">I</span>, and the other that from <span class="smcap">B</span>. Both these
-lams are connected with one treadle, and the others are each connected
-with a treadle. Of course, the cording is made in the usual way, agreeably
-to the pattern, two methods of twilling being shown in <a href="#FIG113">Fig. 113</a>.
-When the weaver presses down a treadle, one leaf of heddles is raised
-by the cord <span class="smcap">I</span> connected from one of the levers <span class="smcap">E</span>, <span class="smcap">E<sup>1</sup></span> to one of the
-marches or lams <span class="smcap">C</span>, and one leaf is at the same time sunk by the
-cord connected from one of the jacks <span class="smcap">B</span> to the lam connected to the
-treadle. The other treadles act similarly when corded for a twill or
-satin.</p>
-
-<div class="figright" style="width: 300px;">
-<a name="FIG113" id="FIG113"></a><img src="images/i_181.jpg" width="300" height="160" alt="" />
-<div class="caption"><span class="smcap">Fig. 113</span></div>
-</div>
-
-<p>The cording generally used for an 8-shaft satin is shown at A, Fig.
-113. Sometimes the twill is run in
-the reverse direction. In either case
-it will be observed that the twill on
-both ground and figure run in the
-same direction, which makes one a
-sateen, or coarse twill, and the other
-a satin, or fine twill. In order to
-have both twills alike they require
-to be run in the opposite direction on the cloth, as shown at B, which
-will give a fine twill on both ground and figure, on both sides of the
-cloth, with single yarn. This does not hold good with every twill.
-When weaving, the weaver presses down the treadle which is connected
-with the jacquard (another treadle being required for this purpose) with
-his left foot, then works over the twilling treadles with his right foot,
-holding down the machine treadle till he gives as many shots to the
-cards as are required. When the card is to be changed the weaver lets
-down the machine and draws another shed, striking up the weft again
-without throwing in a shot or taking his right foot off the treadle.
-This clears up the shed, and makes the yarn steady before he springs<span class="pagenum"><a name="Page_182" id="Page_182">[182]</a></span>
-another shed with the presser leaves, giving a regularity and firmness
-to the work which it is impossible to get otherwise, but which has to
-be done without in the power loom. The weft is struck up on the
-open shot, or before the heddles have closed the shed. Sometimes a
-sort of dobby is used below the lams, which enables the weaver to work
-the heddles with one treadle. In power looms a similar principle of
-front mounting is sometimes adopted, substituting a wyper tappet for
-the weaver’s foot; but a better plan, as it avoids having the cords
-passing through the yarn and heddles, is to have a box tappet, on the
-Woodcroft style, made with solid plates, and struck to give the rising
-and falling motion. The connections from the tappet to the heddle
-shafts are made in the same way as the ordinary Woodcroft tappet.
-The jacquard may either be a single or double-lift one. Some prefer
-the one, some the other. The single-lift is more easily fitted up,
-especially if the number of shots to the card varies. When the shots
-on each card are alike, perhaps the steadiest method of lifting the
-machine is to have a box tappet struck one up and three down, or one
-up and two down, according to the number of shots on the card. This
-tappet acts on a bowl on a treadle, to which the rod for raising the
-machine is connected. For a double-acting machine there must be two
-treadles and tappets acting alternately. The cylinder can be driven
-from the rising and falling of the machine with a swan-neck or lever
-motion, or may be driven from an eccentric on the loom with a pinion
-on the crank shaft turning it one to three or four shots, as may be
-desired. When the shotting to the card is irregular there are several
-methods adopted for lifting the machine griffes, one of the best of
-which is shown in <a href="#FIG114">Fig. 114</a> for a single-lift machine.</p>
-
-<p><span class="smcap">A</span> is the treadle to which the connecting-rod from the machine is
-fastened by a bolt through the slot at <span class="smcap">H</span>, or the slot may be in any
-desirable place. <span class="smcap">B</span> is a rack in which the end of the lever works,
-which keeps the treadle bowl steady to the tappet. <span class="smcap">E</span> is the tappet on
-the tappet shaft of the loom, and is made so as to act at every shot.
-<span class="smcap">D</span> is the fulcrum of the lever, and <span class="smcap">C</span> is the stand, which is bolted to the
-ground and fastened to the side of the loom. This portion of the
-motion working alone would raise the griffe for every shot, the same as<span class="pagenum"><a name="Page_183" id="Page_183">[183]</a></span>
-would be required for a full-harness, single-acting jacquard; but when
-the griffe is raised by the tappet <span class="smcap">E</span>, it can be held up as long as is
-desired by letting the bell-crank catch <span class="smcap">F</span> fall in over it as shown.
-When the treadle <span class="smcap">A</span> is in this position the tappet merely touches the
-bowl, depressing it about 1/8 in., so as to clear it off the catch; this is to
-allow the catch to be easily pushed off when it is required to let the
-treadle up, or to drop the griffe. The catch is moved by the cam or
-tappet <span class="smcap">G</span> acting on the bell-crank <span class="smcap">F</span>. This tappet can be driven by a
-pinion on the crank shaft or by a catch on the slay. It may be a
-tappet struck to suit, or a barrel with a set of lags or pins on it, so
-that the machine griffe may be raised and lowered in any order that is
-desired.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG114" id="FIG114"></a><img src="images/i_183.jpg" width="600" height="309" alt="" />
-<div class="caption"><span class="smcap">Fig. 114</span></div>
-</div>
-
-<p>An ingenious method of working the heddles of a pressure harness
-by the jacquard was invented in Bethnal Green shortly after the introduction
-of the original machine. It was used for weaving the richest
-silk damask, which had 400 threads of warp per inch and about one-fifth
-that number of weft shots, so that five threads of warp might be
-drawn into each mail without making the pattern appear any coarser
-in the warp than in the weft. A sketch of this mounting is given in
-Fig 115. A shows the hooks for working the heddles, and <span class="smcap">B</span> those for
-working the harness. Eight hooks are given for working four leaves
-of heddles. It will be seen that a cord from two hooks passes round
-one of the pulleys <span class="smcap">C</span>, and each of the heddle shafts is attached to one
-of these pulleys. These hooks may be raised by the griffe of the
-jacquard, which would require to rise and fall for every shot, or the<span class="pagenum"><a name="Page_184" id="Page_184">[184]</a></span>
-griffe may be held up for the number of shots to the card, and the
-hooks for working the shafts may be wrought by a small dobby.
-When one of each pair of the hooks <span class="smcap">A</span> is raised, the heddle shaft connected
-with it is raised to the middle position, as shown by the pulleys
-1 and 2, and the leaves connected with them. If neither of the hooks
-is raised for any shaft, it will remain sunk, as shown in No. 3; and if
-both the hooks are raised, the leaf will be raised to its top position, as
-No. 4. The leaves are drawn down by weights or springs.</p>
-
-<div class="figcenter" style="width: 518px;">
-<a name="FIG115" id="FIG115"></a><img src="images/i_184.jpg" width="518" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 115</span></div>
-</div>
-
-<p><span class="pagenum"><a name="Page_185" id="Page_185">[185]</a></span></p>
-
-
-</div>
-
-<div class="forcebreak">
-<h3>TWILLING JACQUARDS</h3>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG116" id="FIG116"></a><img src="images/i_186.jpg" width="600" height="361" alt="" />
-<div class="caption"><span class="smcap">Fig. 116</span></div>
-</div>
-
-<p>As has been stated before, one of the drawbacks to a pressure
-harness is the strain which the warp has to undergo when forming the
-shed. This necessitates having a good warp, which adds to the cost
-of the cloth, and in low-class goods this consideration may hinder the
-sale. Many methods have been adopted for working the ground of
-the cloth without using a pressure mounting. Some of these are
-explained under ‘half harness’ and ‘split harness,’ but none of these
-methods would produce cloth like the pressure harness. A twilling
-jacquard to act similar to the pressure harness, but without using the
-front mounting, or by dispensing with the leaves of heddles, was
-patented by Mr. Shields, of Perth, in 1859. This machine underwent
-several improvements, and now there are two varieties of it in use,
-one known as the Irish or Bessbrook machine, being patented by
-Mr. Barcroft, of the Bessbrook Spinning Company Limited, county
-Armagh; the other as the Scotch machine, the improvements being
-made by Mr. Shields and others. The principal difference between
-the two machines is that the blades or knives of the griffe have a
-horizontal or sliding motion in the Scotch machine to enable them to
-get clear of the heads of the hooks, whereas in the Bessbrook machine
-they turn out of the way or partly revolve. A full description of the
-Bessbrook machine is here given. <a href="#FIG116">Fig. 116</a> is a view of the framing
-of the machine. <span class="smcap">K</span> is the cylinder, which may be wrought by the
-swan-neck motion, as shown, but it is better to be wrought by a
-separate motion from the loom. <span class="smcap">D</span> is a cord attached to the handle of
-the shears for reversing the cylinder; <span class="smcap">E</span> is a brass bushing through
-which a shaft passes for raising the griffe. The shedding of this
-machine is exactly the same as that of an ordinary single-acting
-jacquard. The griffe rises and falls for every shot; the cylinder
-travels out and in, but does not turn till two or three or whatever
-number of impressions required are given by each card. To prevent
-the cylinder turning it is only necessary to raise the shears so that
-they will not catch it. This is done by means of the tappet <span class="smcap">A</span>, shown<span class="pagenum"><a name="Page_186" id="Page_186">[186]</a></span>
-in Figs. 116 and 117. The roller <span class="smcap">H</span> on the shears rests on the tappet,
-which is turned by means of the rack wheel, which is fast on it,
-and the lever <span class="smcap">L</span>, which is loose on the stud. This lever is pushed
-backwards and drawn forwards by the rod <span class="smcap">I</span>, which is connected to
-an arm, either on the shaft for raising the griffe, or on one for working
-the cylinder, and the catch on the lever takes a tooth of the ratchet
-wheel at each draw, so that with four divisions on the tappet, and
-12 teeth in the ratchet, three shots would be given to each card. If
-it is required to work the cylinder the reverse way, it is only necessary
-to tie the cord <span class="smcap">D</span> on the end of the shears to a spiral spring made
-fast to any convenient part of the loom, then the roller <span class="smcap">C</span> will be acted
-upon by the underside of the tappet, and the under hook of the
-shears will turn the cylinder when required. <span class="smcap">B</span> is a spring acting
-as a pawl to keep the ratchet from moving backwards, and there is
-also a spring shown over the catch which moves it forward; both
-these springs serve to keep the tappet steady. There are two sets of
-hooks and needles in this machine&mdash;the ordinary set for working the
-harness, as shown at <span class="smcap">A</span> (<a href="#FIG118">Fig. 118</a>), and a set of twilling hooks, one row
-at each side of the machine, which are much stronger than the others.
-The ends of the twilling hooks are hooked round bars, which pass<span class="pagenum"><a name="Page_187" id="Page_187">[187]</a></span>
-through the loops at the lower ends of the ordinary hooks, as shown
-at <span class="smcap">C</span> (<a href="#FIG118">Fig. 118</a>). These bars are kept in their places by a grid <span class="smcap">D</span>,
-which is between the ordinary hooks and the twilling hooks. Each of
-the needles of the jacquard is connected with two or more of the
-ordinary hooks, as shown at <span class="smcap">A</span>. The twilling hooks have also needles
-on them, but they are only for the purpose of keeping them in their
-places, and are not acted upon by the cards. The springs of these
-needles are on the ends next the cards, or at the back of the faceplate
-or needle, as shown at <span class="smcap">E</span>. The centre support for the knives of the
-griffe is shown at <span class="smcap">F</span>, with an end view of two knives <span class="smcap">G G</span>. The ends of
-the knives enter the griffe frame at each side, so as to allow them to
-oscillate or partly revolve.
-This motion is given to them
-by a set of bars or flat needles,
-as shown at <span class="smcap">A</span> (<a href="#FIG119">Fig. 119</a>). A
-single needle is given at <span class="smcap">A<sup>1</sup></span>.
-These needles have each the
-notch in them over the top
-edge of two or more of the
-knives, and are acted upon
-by a barrel <span class="smcap">C</span> with studs in it,
-set to the twill. This barrel
-rises and falls with the griffe,
-and is turned from one row of pegs or studs to the next one each
-time the griffe falls by the head or lantern on it coming down on a
-finger, as shown at <span class="smcap">A</span> (Fig 120). <span class="smcap">B</span> in the same figure is a strong
-spring to keep the barrel steady and make it turn the correct distance.</p>
-
-<div class="figright" style="width: 300px;">
-<a name="FIG117" id="FIG117"></a><img src="images/i_187.jpg" width="300" height="250" alt="" />
-<div class="caption"><span class="smcap">Fig. 117</span></div>
-</div>
-
-<p>The number of knives in the griffe must be regulated to suit the
-twill to be put on the cloth; they must be a multiple of the twill, and
-this to some extent regulates the number of needles that must be in
-each upright row. For example, an 8-leaf twill may have 16 or 24
-knives, which would be twice or three times over the twill. If there
-are 8 rows of needles to 16 knives, or 16 rows of hooks, that would be
-2 hooks to each needle, or if there are 24 rows of hooks there must be
-3 hooks to the needle; but if only 2 hooks to the needle are required,<span class="pagenum"><a name="Page_188" id="Page_188">[188]</a></span>
-there must be 12 rows of needles to 24 rows of hooks. The same
-principle holds good for a 5-leaf, or any twill. Eight or 12 rows of
-needles would not be suitable for a 5-leaf twill, neither would 10 rows
-of needles be suitable for an 8-leaf twill, if the same number of hooks
-have to be connected with each needle; but 10 rows of needles with
-20 rows of hooks or 20 knives will answer for a 5-leaf twill with 2
-hooks to the needle, or would answer for an 8-leaf twill with 24 rows
-of hooks, 4 of the needles to have 3 hooks to each, and 6 of them to
-have 2 hooks to each.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG118" id="FIG118"></a><img src="images/i_188.jpg" width="600" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 118</span></div>
-</div>
-
-<p>Each of the twilling needles, <span class="smcap">A</span>, <a href="#FIG119">Fig. 119</a>, must be connected with
-as many of the knives as there are repeats of the twill; thus, for 24
-with an 8-leaf twill, the 1st, 9th, and 17th knives would be acted upon
-by the one needle, and so on with the others.</p>
-
-<p>Now as to the action of the machine. When the pattern card
-presses upon the needles the griffe begins to rise, and when rising it
-must lift all the hooks required for the pattern except 1/8th part of them<span class="pagenum"><a name="Page_189" id="Page_189">[189]</a></span>
-which must be left down (in an 8-leaf twill) to form the binding or
-texture of the cloth. In addition to this, 1/8th part of the ground warp
-must be raised for the weft to pass under it and form the ground
-texture. This is all accomplished by the one rising of the griffe.
-When the griffe is down, one of the twilling needles, <span class="smcap">A</span>, <a href="#FIG119">Fig. 119</a>, is
-pressed back by a peg or stud in the barrel, which causes the knives
-connected with this needle to turn out of the way of the heads of the
-hooks, so that when the griffe is rising these knives will pass clear of
-them, leaving every eighth row of hooks down to form the binding of
-the raised or pattern warp. In the Scotch machines the knives slide
-back instead of revolving. As shown at <span class="smcap">H</span>, <a href="#FIG118">Fig. 118</a>, there are projecting
-pieces of brass fastened on the knives between the twilling
-hooks. These hooks stand clear of the knives, but when the latter
-revolve the projections on them push the hooks forward to the next
-knife, which lifts them when the griffe is rising. The hooks draw up
-the bars to which their lower ends are looped, and raise the rows of<span class="pagenum"><a name="Page_190" id="Page_190">[190]</a></span>
-ordinary hooks through which the bars pass, thus forming the twill on
-the ground in the same way, but in the reverse direction, that the
-knives passing clear of the adjoining rows of hooks form the twill on
-the figure.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG119" id="FIG119"></a><img src="images/i_189.jpg" width="600" height="245" alt="" />
-<div class="caption"><span class="smcap">Fig. 119</span></div>
-</div>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG120" id="FIG120"></a><img src="images/i_189a.jpg" width="600" height="239" alt="" />
-<div class="caption"><span class="smcap">Fig. 120</span></div>
-</div>
-
-<p>The working of the texture requires the griffe to fall for every shot,
-which would be otherwise unnecessary, and the card must come in
-against the needles each time to push off the hooks that are not to be
-raised. This causes wear and tear, which cannot be avoided with this
-machine, but they work very well, though they are not by any means
-perfect. There is a good deal of friction on the needles, which causes
-them to wear quickly; but being so much easier on the warp than the
-pressure harness, and more easily managed, they are extensively used
-for large patterns in the fine linen damask trade. They will not make
-so firm a cloth as the pressure harness, and have the objection that all
-twills formed with the harness have when there is a gathered tie&mdash;viz.
-that a portion of the cloth will have the twill running in one direction
-and a portion in the reverse direction.</p>
-
-<p>Like all single-acting jacquards, these machines have no counterpoise
-in themselves, and being very heavy require one added to assist
-the loom to raise them. Sometimes this is accomplished by means of
-a carriage spring placed on a beam or on the top rail of the loom frame;
-and an arm from the shaft, which raises the griffe resting on the spring,
-will form a sufficient counterpoise, the spring being made as strong as
-is required for the purpose. Unless the springs, which are made similar
-to those used for carriages, are nicely tempered, and the different pieces
-made so as to slide freely on each other, they are liable to snap when
-the loom is running quickly. The griffe is generally driven from the
-fly-wheel on the crankshaft in the same manner as for ordinary single-acting
-jacquards. It is, however, a better plan to drive it from a crank
-on a stud wheel gearing into the tappet-shaft wheel. This does away
-with the necessity for a counterpoise unless the machinery is very heavy,
-in which case a few strong spiral springs will suffice. The horizontal
-shaft for raising the griffe, or griffes if two or more machines are used,
-must be very strong, so as not to twist with the tortuous strain, which
-is very great. Three of these machines, with 500 or 600 needles to each,<span class="pagenum"><a name="Page_191" id="Page_191">[191]</a></span>
-are required for tablecloth mountings when tied up for centred patterns&mdash;one
-machine to work the border, one the centre, and one the portion
-between the border and the centre; or two machines to work the double<span class="pagenum"><a name="Page_192" id="Page_192">[192]</a></span>
-portion, and one the single portion. <a href="#FIG121">Fig. 121</a> gives a view of a mounting
-tied up in this way, Nos. 1 and 2 machines being double mounting
-and No. 3 single.</p>
-
-<div class="figcenter" style="width: 434px;">
-<a name="FIG121" id="FIG121"></a><img src="images/i_191.jpg" width="434" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 121</span></div>
-</div>
-
-<p><i>The Karl Wein Jacquard.</i>&mdash;This machine is a twilling jacquard on
-the same principle as that last described, but performs its work in a
-more scientific manner. It was patented by Messrs. J. Tschörner
-and K. Wein, Kesmark, Hungary, and was first introduced into this
-country at the Glasgow Exhibition of 1888.</p>
-
-<p>The following is a description of the machine exhibited there: The
-principal feature of this machine is perhaps that each knife acts independently
-in a grid, and is wrought by a tappet at the side of the loom,
-so that any row of hooks can be raised or
-lowered at pleasure, and this without any
-change of card. <a href="#FIG122">Fig. 122</a> gives an end
-view of the framing, showing the upper
-and lower grids in which the knives or
-lifters slide. An end view of four of the
-lifters is given at <span class="smcap">A</span>, 1 and 3 belonging to
-the top set, which work in the upper grid,
-and 2 and 4 to the bottom set, which work
-in the lower grid.</p>
-
-<div class="figleft" style="width: 300px;">
-<a name="FIG122" id="FIG122"></a><img src="images/i_192.jpg" width="300" height="364" alt="" />
-<div class="caption"><span class="smcap">Fig. 122</span></div>
-</div>
-
-<p>A perspective view of eight of these
-lifters is given at <span class="smcap">B C</span>, <a href="#FIG123">Fig. 123</a>, with upright
-slide bars <span class="smcap">D</span> attached to them, which
-slide in the rack or frame <span class="smcap">E</span>. These bars are for the purpose of making
-the lifters rise steadily and horizontally, as (which may be seen) they
-are not all lifted at their centre. Only one connection is fair in the
-centre, which would no doubt be an objection with a heavy harness to
-lift; but this arrangement is made to suit for the machine sitting across
-the loom, for a London tie, and some method of making vertical connections
-from the levers to the lifters is necessary. The above does
-very well for a narrow harness if light.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG123" id="FIG123"></a><img src="images/i_193.jpg" width="600" height="528" alt="" />
-<div class="caption"><span class="smcap">Fig. 123</span></div>
-</div>
-
-<div class="figleft" style="width: 300px;">
-<a name="FIG124" id="FIG124"></a><img src="images/i_194.jpg" width="300" height="290" alt="" />
-<div class="caption"><span class="smcap">Fig. 124</span></div>
-</div>
-
-<p>If the machine was fixed on the loom for a Norwich tie, or with
-the cards to hang over the back, then the connections from the levers
-might all be at the centres of the lifters and the bars <span class="smcap">D</span> would only be<span class="pagenum"><a name="Page_193" id="Page_193">[193]</a></span>
-required to steady them. The levers for raising the lifters are shown
-at <span class="smcap">F</span>, with their fulcrum at <span class="smcap">I</span>. <span class="smcap">G</span> is a spring, one of which is attached
-to each lever to keep it down, as the tappet has not a positive rising
-and sinking motion, only raising the levers and allowing their own
-weight and the draw of the springs to recover them. One of the connecting
-rods from the lever to the tappet is shown at <span class="smcap">I</span>. <a href="#FIG124">Fig. 124</a> gives
-the principle of this tappet. <span class="smcap">A</span> is the lever or treadle with its fulcrum
-at <span class="smcap">A</span>; the connecting rod <span class="smcap">B</span> connects the point of it to one of the top
-levers <span class="smcap">F</span> (<a href="#FIG123">Fig. 123</a>), and <span class="smcap">C</span> is a bowl at the other end of it which travels
-on the tappet plate <span class="smcap">D</span>. The tappet is made up of 17 plates struck
-to suit; 16 of these are for working the lifters and 1 for the cylinder;
-it sits at the side of the loom like a Woodcroft tappet. For an 8-end
-satin twill 16 levers are required, 8 for the bottom set of lifters and
-8 for the top set. Fig. <span class="smcap">123a</span> shows two lifters <span class="smcap">B<sup>1</sup></span> and <span class="smcap">C<sup>1</sup></span> with hooks
-and needles. A hook and a needle on a larger scale are shown in
-<a href="#FIG125">Fig. 125</a>. The hooks are flat pieces of iron cut to the shape shown,
-with small projecting pieces, as <i>a</i>, riveted to them, by which they can
-<span class="pagenum"><a name="Page_194" id="Page_194">[194]</a></span>rest on the bottom lifting knives, as at <span class="smcap">C<sup>1</sup></span> (Fig. <span class="smcap">123a</span>), so that when
-any of these knives are lifted a row of hooks will be raised by them.
-As before explained in reference to the Bessbrook machine, it is necessary
-when the pattern card presses on the needles for all the knives
-except one to act, and also for one of the
-bottom lifters to rise to form the texture
-of the cloth; the same must be in this
-machine, and can easily be regulated by
-the tappet, which should hold up the warp
-required for the pattern and work the
-ground texture as well. This is done in
-the following manner: Suppose there are
-16 lifters, 8 top and 8 bottom ones. When
-the card presses on the needles, 7 of the
-top and 1 of the bottom lifters should be raised by the tappet, and the
-top lifter, which is left down, should be raised so far as to catch the
-heads of those hooks in the row belonging to it that are not pushed
-back by the card. For the next shot this lifter is raised and another
-one let down, but it is not let down far enough for the hooks to get
-off it, stopping at the same height that the first one was raised to,
-which is easily regulated by the tappet. If there are 3 shots to the
-card, another similar change takes place; then for the fourth shot all
-the lifters are dropped, the cylinder presses in, and all but one of the
-top lifters and one of the lower ones are again raised, and the twill
-proceeded with as before. It will thus be seen that the shedding for
-the twill acts as in a double-acting jacquard, but the lift at the change
-of card is similar to that of a single-acting jacquard. Of course the
-tappet must be struck to change the lifters according to the twill required
-on the cloth. In the Bessbrook machine there could be 16, 24,
-or 32 rows of hooks to 8 rows of needles by having 2, 3, or 4 hooks
-to each needle, or the number of hooks to each needle might vary
-and any number of needles might be used. There must be a knife
-for each row of hooks, but all the knives belong to the one griffe. In
-the Karl Wein machine there must be 2 lifters for each row of hooks,
-and 16 of them are enough to have for convenience. In the machine
-exhibited, 16 hooks, or 2 rows of 8, were attached to 6 needles, 4<span class="pagenum"><a name="Page_195" id="Page_195">[195]</a></span>
-needles having 3 hooks to each and 2 needles 2 hooks to each, as shown
-at <span class="smcap">B</span> (<a href="#FIG125">Fig. 125</a>), the thick vertical lines representing 1 row of hooks,
-and the thin lines the next row. There were 6 rows of needles in the
-needle board, and the point of each needle was cranked as shown at
-<span class="smcap">C</span>; each row of holes for the needles in the needle board, or face-plate,
-stood between 2 rows of
-hooks: the first 3 needles
-were connected with 1 row
-of hooks and the second
-3 with the next row, the
-cranks of the first and
-second set of needles being
-turned in the opposite
-direction so as to enable
-them to fall in with the
-rows of hooks. Of course
-there might as well have
-been 8 rows of needles
-with 2 hooks to each, or
-4 needles to each row of
-hooks.</p>
-
-<div class="figright" style="width: 300px;">
-<a name="FIG125" id="FIG125"></a><img src="images/i_195.jpg" width="300" height="415" alt="" />
-<div class="caption"><span class="smcap">Fig. 125</span></div>
-</div>
-
-<p>If necessary to use
-more than one machine,
-some arrangement would
-require to be made for
-lifting them. It might be done by using a double set of levers with
-connecting rods similar to those used for twilling looms.</p>
-
-<p>The twilling of the ground might be wrought by a griffe and hooks
-as in the Bessbrook machine, thus doing away with seven treadles and
-seven tappet plates, but this would make the twilling a single-acting
-shedding motion.</p>
-
-<p>Since this was written the machine has been altered so as to make
-it more suitable to the requirements of the work in this country, but
-does not appear to gain favour, and this class of weaving is not very
-extensively used.</p>
-
-<hr class="chap" />
-</div>
-</div>
-
-<div class="chapter">
-
-<p><span class="pagenum"><a name="Page_196" id="Page_196">[196]</a></span></p>
-
-
-
-
-<h2><a name="CHAPTER_VII" id="CHAPTER_VII"></a>CHAPTER VII<br />
-<span class="f75"><i>GAUZE</i></span></h2>
-
-
-<p><span class="smcap">The</span> principle of weaving gauze with shafts and healds applies
-equally to making it with a harness, though perhaps the latter is simpler,
-as there is not the same trouble in the arranging of drafts; and, in intricate
-work, the number of doup leaves required for shaft mountings
-adds considerably to the trouble of the weaver and tackler.</p>
-
-<p>The simplest, or in any case the most ready, method of weaving
-gauze in a harness, is to use an ordinary harness, and form the gauze
-by means of one or more doups and standards in front of it. Suppose
-we have have a 400 machine with the harness tied up in simple repeats of
-400; any desired pattern can be put upon the cloth to the extent of
-400 hooks of the jacquard as in ordinary harness work, but it cannot
-be made of any texture desired&mdash;it must be made to suit the working
-of the doups in front of the harness. If the open work is to be a plain
-gauze with one shot into each shed, then the pattern must be plain
-cloth, as the doup standard must be raised and sunk alternately for each
-shot; but any desired form or figure can be made in plain texture on
-the 400 hooks, and the cloth will consist of a plain figure on a gauze
-ground; or it might as well be a gauze figure on a plain ground.</p>
-
-<p>Those not acquainted with figured gauze work, have considerable
-difficulty in understanding how to make plain or gauze as required on
-the cloth.</p>
-
-<p>It is easy to understand that working the harness without the
-doups can make plain cloth, and also that working the doups and
-standards, and portion of the harness, for alternate shots, can make
-gauze; but the difficulty is to thoroughly comprehend how, when
-working gauze, to neutralise the crossing of that portion of the warp<span class="pagenum"><a name="Page_197" id="Page_197">[197]</a></span>
-that is to form the plain figure. There are two ways of neutralising
-the crossing effect of the doups on any thread or number of threads that
-may be required for the figure: first, by not raising the mail or mails
-carrying the crossing threads, or threads in the doups, but forming the
-plain by raising the mails carrying the threads not in the doups, alternately
-with the doup standard; and, secondly, if the threads not in the
-doups are raised along with the doup standard, no crossing can take
-place; but this would not suit for working plain cloth, as these mails
-must be down when the doup standard is up in order to form plain cloth.</p>
-
-<div class="figright" style="width: 300px;">
-<a name="FIG126" id="FIG126"></a><img src="images/i_197.jpg" width="300" height="305" alt="" />
-<div class="caption"><span class="smcap">Fig. 126</span></div>
-</div>
-
-<p>If a different gauze is required, say one with 2 shots into each
-shed, or between the crossings,
-then the solid texture might be
-a rib or mat; or if it suited the
-pattern, as in the case of dice
-work, two doups could be employed,
-so that one could rest
-when the other is working the
-gauze. <a href="#FIG126">Fig. 126</a> is a plain gauze
-and plain texture, common dice
-pattern, which could be wrought
-with shafts, but shows the principle
-of working with the harness
-as well. This could be wrought
-with one doup in front of the
-harness. To work the dice <span class="smcap">A</span> the
-mails carrying the threads not in the doups would be raised alternately
-with the doup standard, and thus form plain cloth; and at the same time,
-to make the dice <span class="smcap">B</span> a gauze, the mails carrying the threads in the doups
-would be wrought alternately with the doup standard. For the dices <span class="smcap">C</span>
-and <span class="smcap">D</span>, this would be reversed. In case of the gauze having to be made
-with, say, 3 shots into each shed, and 2 threads twisting round 2 to
-give openness of texture, it will be seen that it could only be wrought
-with one doup, provided 3 shots went to each shed of the solid dice,
-as the doup would require to be up for 3 shots in succession, and
-down for the same. If plain cloth were required it would be necessary<span class="pagenum"><a name="Page_198" id="Page_198">[198]</a></span>
-to have a doup and standard for each dice, so that one could remain
-down when the other is raised for gauzing; this would allow the
-harness to work any texture on the solid dice, the doup of which is not
-gauzing. If it were required to work a diagonal stripe of plain and
-gauze, as shown in <a href="#FIG127">Fig. 127</a>, with 2 weft shots coming in between
-each crossing of the gauze, 6 doups would be required in front of the
-harness, whereas if only one shot came between the crossings only one
-doup would be required. It will be seen that there are 6 splitfuls of
-warp to one repeat of the
-pattern, and that the change
-from the plain to the gauze
-is at a different time for
-each; therefore, on account
-of the doup standards having
-to be raised for 2 shots
-in succession when a portion
-of the cloth is plain texture,
-it is necessary for each splitful
-of warp to have its own
-doup so that it can be crossed
-without interfering with the
-plain texture in the other
-portion of the cloth.</p>
-
-<div class="figleft" style="width: 300px;">
-<a name="FIG127" id="FIG127"></a><img src="images/i_198.jpg" width="300" height="387" alt="" />
-<div class="caption"><span class="smcap">Fig. 127</span></div>
-</div>
-
-<p>This pattern would be
-better suited for a shaft
-mounting than for a harness
-with doups in front, but could be wrought with a gauze harness
-more easily than with either. The advantage of using a harness with
-doups in front, in this case, over a shaft mounting, would be that the
-plain stripe could be figured if desired, and the gauze stripe might go
-in steps of two or three splitfuls alike, which would give much bolder
-stripes.</p>
-
-<p>When more than one or two sets of doups would be required to be
-used in front of a harness, it is advisable to adopt a true gauze harness,
-as the doup shafts come in the way of the weaver. A gauze harness<span class="pagenum"><a name="Page_199" id="Page_199">[199]</a></span>
-has the doups in the harness, so that they can be lifted independently,
-which admits of indiscriminate figuring on either the gauze or solid
-portion of the cloth.</p>
-
-<p>When using doups in front of the harness it is not necessary that
-the plain or solid cloth should be all a plain or unfigured texture; any
-suitable warp figure may be formed on the plain by the harness, but
-weft figures cannot be made on the upper side of the cloth, because,
-though the harness can be raised for any number of shots in succession
-to form a figure by the warp, having it sunk would not in the
-same way form a weft figure, as in crossing the gauze a portion of the
-yarn would be raised by the doup standard, which cannot be prevented,
-unless by having more doups than one. A harness with doups in
-front is better suited for working stripes than any other class of work,
-and it is in this class of work that gauze can be made most effective.</p>
-
-<p>When figuring with gauze, unless several shots are thrown into
-each shed, or between the crossings of the gauze threads, and 3 or
-more warp threads are twisted together, the openness of the texture is
-not sufficient to make a good contrast between the plain and gauze
-unless the fabric is very light; and even with 2 threads round 2,
-and throwing 4 to 6 shots into each twist, the contrast is not so
-great as might be desired when the cloth is heavy. A portion of the
-weft, say every second or third shot, might be made to pass either over
-or under the gauzed texture and interwoven only with the solid portion
-of the cloth, the flushed or loose weft to be cropped off afterwards. In
-stripes, not only can this be done, but the warp may be set much
-thinner or wider in the reed for the gauze: say every second or third
-split may be left empty; or it may be of a different description of yarn&mdash;a
-fancy twist if desired, or in threads of different colours. A fancy
-stripe with three threads to the split in a reed, set 30 splits per inch,
-and every second split of the gauze portion left empty, makes a very
-effective pattern for fine work, with say 80 picks per inch; or 120
-picks might be used, and every third or fourth one not wrought into
-the gauze, but flushed over to be cut off afterwards. There might be
-2 thick threads or 4 finer ones to each split of the gauze, and 4 to 6
-shots into each crossing, this, of course, to be regulated to suit circumstances<span class="pagenum"><a name="Page_200" id="Page_200">[200]</a></span>
-and taste; one thing must, however, be remembered&mdash;viz.
-that when made too bold or open the warp ribs are liable to slide on
-the weft, and this is the chief defect in gauze when made open,
-especially when a smooth, clean yarn, as linen, is used.</p>
-
-<div class="figleft0" style="width: 275px;">
-<a name="FIG128" id="FIG128"></a><img src="images/i_200.jpg" width="275" height="183" alt="" />
-<div class="caption"><span class="smcap">Fig. 128</span></div>
-</div>
-
-<div class="figright0" style="width: 275px;">
-<a name="FIG129" id="FIG129"></a><img src="images/i_200a.jpg" width="275" height="224" alt="" />
-<div class="caption"><span class="smcap">Fig. 129</span></div>
-</div>
-
-<div class="figcenter" style="width: 422px;">
-<a name="FIG130" id="FIG130"></a><img src="images/i_200b.jpg" width="422" height="176" alt="" />
-<div class="caption"><span class="smcap">Fig. 130</span></div>
-</div>
-
-<p>When working stripes, any pattern, or any texture or style of cloth,
-whether single, double, or pile work, may be used for the solid stripes,
-or the whole cloth may consist of stripes made of combinations of
-gauze and solid textures. One set of stripes may be wrought quite independently
-of the other by having the yarn on separate beams, and
-when only one set of stripes is gauzed, the others are not drawn into
-the doup heddles, so are quite independent of them. The doup heddles
-may be spaced or otherwise as desired. When working with doups in
-front of the harness, there must be a slackener for the crossing threads
-for each doup standard, same as for heddle work. Figs. 128, 129, and
-130 show some of the methods of slackening in use. In Figs. 128 and
-129, <span class="smcap">A</span> is the yarn beam, <span class="smcap">B</span> the back rail, <span class="smcap">C</span> and <span class="smcap">D</span> the vibrating bars
-or slackeners, <span class="smcap">C</span> acts as a fulcrum; and in <a href="#FIG128">Fig. 128</a> the bar <span class="smcap">D</span> presses<span class="pagenum"><a name="Page_201" id="Page_201">[201]</a></span>
-the crossing yarn down and is raised by the tappet <span class="smcap">E</span>, which may be
-either above or below a lever on the end of the bar <span class="smcap">C</span>, a spring on the
-lever regulating it, to hold it against the tappet. In <a href="#FIG129">Fig. 129</a> the bar
-<span class="smcap">D</span> is sunk to relieve the crossing yarn, by drawing up the cord <span class="smcap">G</span>, which
-is attached to the jacquard or dobby, the spring <span class="smcap">H</span> holding the lever <span class="smcap">E</span>
-down when it is relieved. <a href="#FIG130">Fig. 130</a> is similar to <a href="#FIG129">Fig. 129</a>, but for two
-doups; it is shown both in perspective and in end view, and will be
-clearly understood. <span class="smcap">C</span> and <span class="smcap">D</span> must be set at such a distance above
-each other as will permit of the traverse of <span class="smcap">D</span> without <span class="smcap">C</span> being moved.
-Two or more shafts of heddles might also be used which could hold
-the crossing yarn either up or down, same as the bars, till they are
-acted on by the jacquard or by a tappet.</p>
-
-<div class="figleft0" style="width: 270px;">
-<a name="FIG131" id="FIG131"></a><img src="images/i_202.jpg" width="270" height="250" alt="" />
-<div class="caption"><span class="smcap">Fig. 131</span></div>
-</div>
-
-<div class="figright0" style="width: 267px;">
-<a name="FIG132" id="FIG132"></a><img src="images/i_202a.jpg" width="267" height="250" alt="" />
-<div class="caption"><span class="smcap">Fig. 132</span></div>
-</div>
-
-<p class="nofloat"><i>Designing.</i>&mdash;When designing a pattern for gauze, with doups in
-front of the harness, it is only necessary to set off a few hooks of the
-jacquard to work the doups and slackener, and design the fancy portion
-on the remaining hooks; or if the gauze and slackener are wrought
-with tappets the full jacquard will be available for the figured portion,
-the same as if no gauze were being made. If the doups and slackener
-are to be wrought by the jacquard the pattern can be painted on the
-remaining hooks, and the dots for working these can be added afterwards,
-agreeably to the texture of the gauze required. The doup standard
-and slackener should act together, and the doup or half leaf should
-rise when the harness carrying the crossing threads rises. If the doup
-standard is to be raised every second shot, as is required when plain
-cloth has to be wrought with one doup, it might be wrought by a
-tappet, and the doup or loose heald might be raised by the machine
-for every shot, as it must rise with its standard as well as when the
-harness raises any of the yarn drawn into the doup. The doup shaft
-is best held down by a light spring. Indiarubber about 3/16 or 1/4 in. in
-diameter suits very well. One spring at each side of either one or two
-ply of this should be sufficient. If the number of rows in the harness
-is such that it will correspond with the number of threads to be twisted
-together, or be a multiple of them, it will be all the more convenient,
-though it is not necessary for it to be so. For instance, if 1 thread
-is twisted round 1, =2, an 8-row harness would give 4 repeats of this<span class="pagenum"><a name="Page_202" id="Page_202">[202]</a></span>
-in each row; but if 1 thread were twisted round 2, =3, then 1 row of the
-harness would give 2 repeats, or hold 2 splitfuls of warp and 2 threads
-over, so that another thread would have to be taken from the back of
-the next row. For this a 6-row harness would be more convenient,
-which could be got by leaving 2 rows of the machine idle, and designing
-the pattern on 6-row paper, or ruling 8-row paper to 6-row after
-the design is painted. To work fancy textures with gauze by means
-of a harness with doups in front, both must be arranged to suit each
-other, unless a large number of doups be employed. For instance, a
-2-and-2 twill could be wrought with 1 doup leaf in front of the harness
-by making 1 thread of the gauze twist round 3, and throwing 2 shots
-into each crossing, as shown in <a href="#FIG131">Fig. 131</a>. If 1 thread were to be twisted
-round 1 with a 2-and-2 twill, and 2 shots to the gauze crossing, 2 doup
-leaves would be required, as shown in <a href="#FIG132">Fig. 132</a>. A 4-thread fancy twill
-can be wrought with 1 doup, as shown in <a href="#FIG133">Fig. 133</a>, 1 thread twisting
-round 3 and 4 shots into each crossing of the gauze. Satins or
-regular twills are more difficult to work, unless by making an irregular
-gauze. Take a 5-end satin, which has the threads over 4 and under 1.
-The gauze might have 4 shots and 1 shot into each crossing alternately,
-and be easily wrought with 1 doup; but if 2 or 3 shots had to go to each
-crossing it would be different, as the doup would require to sink for
-1 shot out of 5, in order to let the threads drawn into it bind in the<span class="pagenum"><a name="Page_203" id="Page_203">[203]</a></span>
-twilled portion of the cloth, or otherwise the binding would have to
-take place on these threads when the doup is down, which it could
-do if it suited otherwise. But it must be remembered that when
-solid cloth and gauze are
-working together, the former
-is made by raising the doup
-standard and those mails
-which carry the threads that
-are not drawn into the doup,
-leaving stationary the mails
-carrying the crossing threads,
-except where gauze is being
-made; therefore, in working
-a 5-end satin, if the doup
-held up any of the threads
-for, say, 3 shots, and then
-sank for 3, there would be no
-way of holding up these
-threads in the twill portion to make them pass over 4 shots, as a 5-end
-satin must do, for if the harness twines carrying these threads are
-raised, they will cause a cross to be made instead of completing the
-twill. Patterns of this description should all be wrought in a gauze
-harness. In the figures given the gauze crossings are represented by
-dotted lines where they are raised by the harness, for sake of distinction.</p>
-
-<div class="figright" style="width: 300px;">
-<a name="FIG133" id="FIG133"></a><img src="images/i_203.jpg" width="300" height="298" alt="" />
-<div class="caption"><span class="smcap">Fig. 133</span></div>
-</div>
-
-
-
-<div class="forcebreak">
-<h3>HAND-LOOM GAUZE HARNESS.</h3>
-
-<div class="figleft" style="width: 600px;">
-<a name="FIG134" id="FIG134"></a><img src="images/i_204.jpg" width="600" height="501" alt="" />
-<div class="caption"><span class="smcap">Fig. 134<span class="wider"> &nbsp; </span> Fig. 134a</span></div>
-</div>
-
-<p>A large quantity of goods are still being made in the hand loom
-on the gauze principle. These are mostly for curtains known as
-Cretes or Madras muslins, and for antimacassars or chair backs.
-They are chiefly woven in and about Glasgow, and in Newtownards in
-the North of Ireland. These goods are made on the half-harness
-principle&mdash;that is, half the warp is drawn into the harness and the
-other half passes through the harness and is drawn into a set of heddles
-in front. This mounting is shown in <a href="#FIG134">Fig. 134</a>. It will be seen<span class="pagenum"><a name="Page_204" id="Page_204">[204]</a></span>
-that every alternate thread is drawn into one of the harness mails and
-all the threads are drawn through a pair of clasped leaves of heddles
-<span class="smcap">A B</span>; those that are drawn into the mails are drawn through the
-under clasp of the leaf <span class="smcap">A</span>, and those that are not in the mails through
-the upper clasp of the leaf <span class="smcap">B</span>. The threads are next drawn through the
-doups as shown, those in the mails being in the back set, or upper
-doups. These doups are made different from those generally used,
-the doup or half-heald being connected with two standards; this is
-for the purpose of throwing less strain on the yarn. When the
-harness is drawn the shaft <span class="smcap">A</span> is also raised, <span class="smcap">B</span> being sunk, as well as
-the front set of doups. As the yarn in the harness is also drawn
-through the back set of doups, it follows that they must be relieved to
-allow the harness to raise the yarn. This might be done, and sometimes
-is done, by sinking the ordinary doup shaft and letting the
-yarn draw the doup through its standard; but in this case the standard
-<span class="smcap">C</span> is raised, which allows the thread to rise in the doup, as shown at
-<a href="#FIG134">Fig. 134<span class="smcap">a</span></a>, without having to draw it up, and at the same time all the
-doups are kept firm in their places by the standard <span class="smcap">D</span>, thus preventing
-any entanglement in a fine set of doups. The distance between the
-harness and back leaves is 4 in., and between the back leaves and gauze<span class="pagenum"><a name="Page_205" id="Page_205">[205]</a></span>
-mounting 3 in. The cloth is a plain gauze, and the figure is formed
-by throwing one or more shots of rove weft, either white or coloured,
-into the shed formed by the harness flushing over the ground and
-clipped off afterwards. To form the figure shed, draw the harness,
-raise the leaf <span class="smcap">A</span> and the standard <span class="smcap">C</span>, and sink the other leaves, making
-a rising and falling shed, or centre shedding. To form the gauze, for
-the open shed raise <span class="smcap">B C D</span> and <span class="smcap">F</span>, and to form the cross shed raise <span class="smcap">E</span>
-and <span class="smcap">F</span>, in both cases sinking the others. For these sheds fine or ground
-weft is thrown in, the flowering shots coming between them. The
-shafts <span class="smcap">A</span> and <span class="smcap">B</span> are for the purpose of keeping a clear shed, but might
-be done without. These goods are now largely made by power looms,
-principally with gauze reeds, which see.</p>
-
-
-</div>
-
-<div class="subdiv">
-<h3>GAUZE HARNESS</h3>
-
-<p>In a true gauze harness the doups are connected with the mails or
-leashes of the harness, the harness twines, or leashes, acting as standards
-for the doups, so that any splitful of warp may be crossed or
-twisted differently from the others, and any kind of texture can be
-wrought along with the gauze without having to consider the one in
-connection with the other, as in the previous harness. Figs. 135 and
-136 show how these harnesses are tied up; the letters refer to the
-same parts in both figures. The harness is shown with four cords in
-the row, for the back harness and the doup mail in front, and this
-could be repeated twice for an eight-row harness. It is better to have
-the rows of the harness regulated in this way to suit the gauze to be
-made, and have the doup leashes in one or two rows at the front, but
-it is not necessary for it to be so, as the doups could come on any of
-the mails through the harness, if desired, in case of a harness being
-tied up, and it being wanted to add the doup leashes for gauzing; but
-this is rather confusing. In any case, this method of working is now
-superseded.</p>
-
-<div class="figleft0" style="width: 230px;">
-<a name="FIG135" id="FIG135"></a><img src="images/i_206.jpg" width="230" height="350" alt="" />
-<div class="caption"><span class="smcap">Fig. 135</span></div>
-</div>
-
-<div class="figright0" style="width: 286px;">
-<a name="FIG136" id="FIG136"></a><img src="images/i_206a.jpg" width="219" height="300" alt="" />
-<div class="caption"><span class="smcap">Fig. 136</span></div>
-</div>
-
-<p class="nofloat"><span class="smcap">A</span> is the doup or dead leash, <span class="smcap">B</span> the doup standard, or what answers
-to the doup standard in heald work. <span class="smcap">C</span> and <span class="smcap">D</span> are the leashes carrying
-the plain or lying threads, and <span class="smcap">E</span> the leash carrying the crossing<span class="pagenum"><a name="Page_206" id="Page_206">[206]</a></span>
-thread, the crossing in this case being one thread round two. <span class="smcap">F</span> is the
-doup. <a href="#FIG136">Fig. 136</a> shows the harness drawn for the open shed, and it
-will be observed that the dead leash <span class="smcap">A</span> is connected with the back
-harness <span class="smcap">E</span>, so that when this leash is raised to form the shed it draws
-up the dead leash, also relieving the doup. There was one trouble
-with these dead leashes&mdash;namely, that they were liable to twist round
-the standards when close to them in the cumber board, sometimes being
-put through the same hole or the next one; but by having them
-in front and a little distance off this could be avoided. Wires or cords
-were sometimes stretched across between the lingoes to prevent the
-twisting. <a href="#FIG135">Fig. 135</a> shows the harness drawn for the cross shed, the
-doup standard being drawn up, drawing the doup up with it. The
-doup was fastened into the mails as shown at No. 1, <a href="#FIG135">Fig. 135</a>; but a
-better plan is to have double-eyed mails, and fasten the doup as at
-No. 2. This form of harness is now superseded by one having all the
-doups on a shaft in front of the harness, which consists of two parts&mdash;namely,<span class="pagenum"><a name="Page_207" id="Page_207">[207]</a></span>
-the back harness and the douping harness (which is about
-3/4 in. to 1-1/2 in. in front of the former); the doups are connected with
-this latter harness, and all the doups may be on one shaft, whether
-for one, two, or more rows of standards in the front harness. The
-doups on the shaft are known as a ‘slip heald’ or ‘slip.’ This is a much
-simpler and more convenient method of working than the preceding.</p>
-
-<p><a href="#FIG137">Fig. 137</a> shows a simple and effective gauze mounting for a 4<sup>00</sup>
-jacquard, the cords being carried up to the machine in the usual way.
-<span class="smcap">A</span> is the breast beam of the loom, <span class="smcap">B</span> the reed, <span class="smcap">C</span> the back rail, and <span class="smcap">N</span>
-the yarn beam. <span class="smcap">D</span> is the slip heald, or doup, which is simply a half-leaf
-of ordinary clasped
-heddles, made of cotton
-or worsted, fine or coarse,
-as may be desired for the
-quality of work to be
-wrought. <span class="smcap">E</span> is the front
-or doup mounting, connected
-with the two front
-rows of the machine, and
-passing through a small
-cumber board in front of
-that for the body of the
-harness; it is bolted so
-that it can be shifted to
-regulate the distance between the doup harness and that of the figuring.
-The distance between the two harnesses may range from 3/4 in. to 1-1/2 in.,
-or whatever is found most suitable to ease the strain on the yarn and
-make a clear shed. <span class="smcap">G</span> is the cumber board, and <span class="smcap">F</span> the body of the
-harness for working the figure.</p>
-
-<div class="figright" style="width: 300px;">
-<a name="FIG137" id="FIG137"></a><img src="images/i_207.jpg" width="300" height="271" alt="" />
-<div class="caption"><span class="smcap">Fig. 137</span></div>
-</div>
-
-<p>The method of slackening the threads that are drawn into the doups
-is perhaps the principal feature of this mounting. When one or more
-slackening bars are used it is plain that all the threads that pass over
-the bar that is oscillated will be slackened at once, though for figured
-work it may be that only a very few of these threads should be slackened,
-and if the remainder or any portion of them are raised by the back<span class="pagenum"><a name="Page_208" id="Page_208">[208]</a></span>
-leashes they should be kept tight at the back so as to enable them to
-draw up the slack doups. It follows, therefore, that for giving good
-work and keeping the threads at a regular tension, every thread in the
-doups should have its own independent slackener. It is not absolutely
-necessary that this should be so; strong twist cotton or worsted yarn
-will work very well in a harness with one slackening bar vibrating for
-each shot, though it must throw an irregular strain on the yarn, and it
-requires to be tightly paced.</p>
-
-<p>In <a href="#FIG137">Fig. 137</a> the slackening arrangement consists of a small back
-harness, as shown at I, through which all the whip threads are drawn;
-these threads then pass over one lease rod and under the next one, as
-shown, and then on to the harness to be drawn in according to the
-draught of the gauze. The harness consists of small mails attached
-to lingoes with twines in the same way as the lower portion of the
-ordinary harness is prepared, but the mails are rounded off above the
-eye or centre hole without having the top hole for threading the upper
-portion of the harness to. The cumber board of this harness must be
-nicely set, so that the lingoes will hang on the yarn without drawing
-the mails quite close on the cumber board, which soon would cut the
-twines. To regulate this the cumber board and back rail must be
-set in relation to each other and the mails of the harness so as to produce
-the desired effect. A medium position for working may be taken
-as follows:&mdash;Cumber board 12 in. behind harness and 6 in. in front of
-back rail. Back rail 2 in. above the level of the mails in the main harness,
-and cumber board of small back harness 3 in. below the level of
-the mails, or 5 in. lower than the top of the back rail. The back lease
-rod might then come in about 8 in. behind the harness. The weight
-of the lingoes on the back harness must be regulated to suit the strength
-of warp to be wrought; about 30 to 40 per lb. for, say, from 40/2 to
-80/2 cotton would suit. The mails for the body of the harness may be
-25’s or 30’s, or the same as for ordinary work, and those for the doup
-standards heavier, say 18’s or 20’s. In addition to this harness for
-slackening, or rather for keeping a yielding tension on the whip, there
-is a slackening bar supported by a lever <span class="smcap">K L M</span> at both sides of the
-loom. This lever has its fulcrum at <span class="smcap">L</span>, and is attached to the swords<span class="pagenum"><a name="Page_209" id="Page_209">[209]</a></span>
-of the lay at <span class="smcap">M</span>, and therefore vibrates at every beat up. The slackener
-acts as a positive motion, and keeps the threads from tightening up or
-being drawn forward by the twisting; it acts on the body of the threads,
-and the harness acts on them individually.</p>
-
-<p>This, when properly set, is an easy motion, and produces a good
-firm gauze. It is a Bradford patent. Now, in reference to the working
-of the gauze: The harness is levelled much in the same way as for
-ordinary work, the mails being 1-1/2 in. or 1-3/4 in. below the level of the
-breast beam. The doup mails should be a little lower than those for
-the harness, say 3/16 in. or 1/4 in.</p>
-
-<p>The shed should be closed, and begin to open again when the reed
-is at the fell of the cloth. Too large a shed should not be made with
-the doups, on account of the strain on the yarn: a small clear shed
-gives much more satisfactory work. The front cumber board, containing
-the doup leashes, may be shifted a little forward or back if thought
-desirable, so as to get the cross shed to spring as easily as possible, the
-amount of elasticity in the warp varying this considerably. The slip
-heald is raised for every shot by cording it to the brander or griffe of
-the jacquard, which for gauze work is generally a single-acting one.
-Springs are used for holding down the slip&mdash;a light wire spring, or,
-better, a piece of round indiarubber about 3/16 in. in diameter, doubled
-if necessary. Bridles should be attached from the shaft of the slip
-heald at each end and fastened to the cumber board so as to bear the
-draw of the springs when the harness is down; the cords connected
-with the jacquard for raising this shaft may then be left slack, and the
-size of shed may be regulated or made less than the draw of the
-machine, if required.</p>
-
-<p>It is very important to have the doups nicely adjusted; on this
-depends their lasting capacity, and sometimes a very short time is sufficient
-to cut them to pieces if badly set. But if correctly done they will
-generally last for a length of time, particularly if occasionally turned
-on the shaft, which is more essential in working with a linen than with
-a cotton warp.</p>
-
-<p>One of the doup standard mails with a doup through it is shown at
-No. 1 (<a href="#FIG138">Fig. 138</a>), where it may be seen that the doup is simply drawn<span class="pagenum"><a name="Page_210" id="Page_210">[210]</a></span>
-through the eye of the mail, and not connected with it in any way. It
-is only held in this position by the warp thread passing through it, and
-whenever the thread breaks the doup falls out of the mail. This is a
-trouble to the weaver, at least till she gets accustomed to it, and mails,
-as shown at No. 2, have been made to hold up the doup. The remedy
-here is often worse than the evil. The mails wear the doups, particularly
-if the springs draw them tight down on the eyes of the mails; and
-besides, they have the disadvantage that the slip heald has to be built
-in them after the harness is mounted, whereas with the open mails the
-slips can be procured anywhere quite independent of the harness. The
-slip heald must be set so that when the harness is down the yarn will
-not be drawn through the eyes of the mails by the doup sinking too low.
-This may be guarded against by adjusting the bridles at each side,
-between the slip shaft and the cumber board. The loops of the doups
-should pass about 1/4 in. through the eyes of the mails when at the
-lowest or bottom position, and the front mails being about 1/4 in. lower
-than the others allows the loops of the doups to be just bearing lightly
-on the warp, all being held up straight. The slackening bar must be
-arranged to work in time with the doup standards, and should not
-slacken the yarn too much nor too little, just keeping it at a uniform
-tension. The great point with tender or weak yarn is to reduce all friction
-to a minimum, no matter by what it is caused, and if this is done the
-yarn and doups, if they are of a fair quality to begin with, should both
-work well; but a very slight difference in setting the doup may make
-a great deal of difference in the working of it. A doup that may be
-cut to pieces in working 20 yards of cloth might work 400 or 500 yards
-with so little alteration as not to be noticeable to those not accustomed
-to the work. The slackening bar must not rise so high as to raise the
-yarn that is above it, nor must it sink so low as to press the whip down
-on the back harness board, and it must be so regulated that within
-these limits it will give the proper amount of slackening, and prevent
-the whip warp from getting tight and drawing up the small back
-harness.</p>
-
-<p><a name="Page_211" id="Page_211"></a></p>
-<div class="figcenter" style="width: 418px;">
-<a name="FIG138" id="FIG138"></a><img src="images/i_211.jpg" width="418" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 138</span></div>
-</div>
-
-<p>Worsted makes the best weaving doups for strong work, but for
-lighter work cotton is mostly used, being finer and cheaper. Sometimes<span class="pagenum"><a name="Page_212" id="Page_212">[212]</a></span>
-polished linen yarn is used and makes a very smooth doup, but
-does not give the wear.</p>
-
-<p>Small metallic rings are sometimes used on the loops of the doups,
-and the warp drawn through these rings; this suits for yarn with much
-fibre on it, as it keeps the fibre from getting twisted into the doups, but
-the rings cut the doups faster than ordinary yarn working in them
-would.</p>
-
-<p>Instead of a slip heald in front, doups with a lingo on each have
-been used, with the mails for the standards as shown at No. 2, Fig.
-138, so that the doups cannot fall out of them, and the yarn when
-drawn up by the back harness in shedding raises the doups and lingoes
-up with it. The weight of the lingoes must be such as will suit the
-strength of the warp to be used&mdash;not too heavy for it to lift nor too
-light, so that in the cross shed the doups would be drawn through the
-mails. These doups being separate, are easily built in the harness and
-very easily repaired by the weaver when they break, but they break too
-frequently. It is, of course, only for a strong warp that this method
-of working is suitable, and even for it, although it works very well, the
-principle is not good.</p>
-
-<p>The gauze harness which will probably be most frequently met
-with, at least in the cotton trade, is shown in <a href="#FIG138">Fig. 138</a>. It is an older
-harness than that described, having been patented in Macclesfield in
-1876 in a somewhat different form. The difference between this and
-the preceding chiefly consists in the method adopted for slackening
-the yarn, and the jacquard may also be specially built to suit for this.
-In setting this loom the harness and mails are tied up and levelled as
-before, but when working the back rail is kept down, as it usually is
-for gauze work, say about 1/2 in. lower than the eyes of the mails. Each
-whip thread has its own slackener, the slackening apparatus consisting
-of a harness wrought either by the same jacquard that works the figure,
-or by an extra one, when much pattern is required.</p>
-
-<p>The connections of the needles with the hooks are shown at A, the
-two bottom needles being connected with the two front and two back
-hooks, the former for working the gauze and the latter for working the
-slackeners. This harness is intended for a 1-round 3-gauze, and is<span class="pagenum"><a name="Page_213" id="Page_213">[213]</a></span>
-mounted on a 10-row machine with an 8-row cylinder on it. It is not
-necessary that the back harness for slackening should be raised so high
-as the figuring harness is, and for this reason, as well as that it makes
-the harness more direct and avoids friction, it is tied to two sets of
-levers as shown at <span class="smcap">G</span> and <span class="smcap">G<sup>1</sup></span>; they are made of brass and are fastened
-on two rods, one about 4 in. above the other, so as not to come into contact
-with each other when rising or falling. The points of the levers
-are fastened to the two back rows of hooks as shown, and the harness
-is tied to wire hooks on these levers; <span class="smcap">F</span> is the neck of the harness, <span class="smcap">D</span>
-the cumber board, and <span class="smcap">N</span> the lingoes, which are much heavier than
-those used for the figuring harness, from 6 to 10 per pound being the
-weights frequently used, according to the class or weight of the work.</p>
-
-<p>The mails used on the back harness are similar to those used for
-the doups&mdash;that is, such as are shown at No. 1 (<a href="#FIG138">Fig. 138</a>); but if these
-cut with the warp sawing through them, glass mails should be used.
-<span class="smcap">L L<sup>1</sup></span> are two rods or bars which support the warp that is drawn down
-between them by the slackening harness. The closer these bars are
-set together the greater will be the amount of slackening given to the
-warp when the harness is drawn; therefore these bars should be made
-to slide either way so that the desired slackness is obtained by setting
-them. About 3 in. to 4 in. apart is a good working width; the tops
-of the bars should be about 1 in. lower than the mails in the figuring
-harness, and the tops of the eyes of the mails in the back harness should
-be 1 in. or 1-1/4 in. lower than the rods.</p>
-
-<p>Another method of arranging the needles in a jacquard for a gauze
-mounting is shown in <a href="#FIG139">Fig. 139</a>, which is, perhaps, more convenient
-for the designer, as will afterwards be seen. In this harness there are
-10 rows of hooks, the same as before&mdash;6 for the figuring harness
-and 2 for the doup standards. The doup standards are here on the
-hooks connected with the fourth and eighth needles, and come after
-the threads that the whip in them twists round, and fall in this position
-on the design paper, instead of both being at the end of a design&mdash;that
-is, on the seventh and eighth checks. For any order of twisting,
-the arrangement of the hooks and needles might be made to suit
-on the same principle.</p>
-
-<p><span class="pagenum"><a name="Page_214" id="Page_214">[214]</a></span></p>
-
-<p>It will be seen that in the leno jacquard, shown in <a href="#FIG138">Fig. 138</a>, a
-number of levers and attachments are required to work the slackening
-harness. In order to simplify this, Messrs. Devoge &amp; Co. have brought
-out a leno jacquard with which none
-of these levers, &amp;c., are required, the
-slackening harness being tied to the
-two back rows of hooks in the machine.
-These two rows of hooks are lifted by
-a separate griffe, the lift of which is
-much less than that for working the
-body hooks of the machine, and which
-can be varied to suit the amount of
-slackening required. This machine
-is shown in <a href="#FIG140">Fig. 140</a>, a view of the
-motion for raising the griffes of both
-back and body harness being given in
-<a href="#FIG140A">Fig. 140<span class="smcap">a</span></a>. <i>c d</i> (<a href="#FIG140A">Fig. 140<span class="smcap">a</span></a>) is the link connection between the bar of
-the griffe <i>a a</i> and the top lever <span class="smcap">L</span> (<a href="#FIG140">Fig. 140</a>), somewhat similar to
-what is used for an ordinary jacquard. To raise the small griffe at
-the back, it will be seen that there is a cross lever <i>e</i> from the links
-<i>d</i>, <i>c</i> to its fulcrum <i>h</i> on a bracket <i>g</i> attached to the top of the
-machine. The small or back griffe <i>b</i> is connected to this lever by
-the link <i>f</i>. The amount of lift given to the small griffe in proportion
-to that given to the large one will be as the length of the lever from
-the stud in <i>h</i> to that in <i>f</i> is to its length from the stud in <i>h</i> to that
-in <i>d</i>. The farther the fulcrum is pushed back in the slot in which it
-is fastened, the more the back griffe will be raised, the link <i>f</i> being
-always vertical. The back griffe is arranged to commence lifting
-slightly in advance of the front one, in order to lessen the strain on
-the doups. The needles are connected with the back and front hooks
-in this machine similarly to those in <a href="#FIG138">Fig. 138</a>.</p>
-
-<div class="figleft" style="width: 300px;">
-<a name="FIG139" id="FIG139"></a><img src="images/i_214.jpg" width="300" height="367" alt="" />
-<div class="caption"><span class="smcap">Fig. 139</span></div>
-</div>
-
-<p>The draft of a gauze in the harness is just the same as regards the
-doups as for shaft work; the crossing may be made from left to right,
-or the reverse, but the pattern must be made to suit. Some mount
-the harnesses and paint the patterns from right to left. About Bradford<span class="pagenum"><a name="Page_215" id="Page_215">[215]</a></span>
-this appears to be the usual method, and it does not matter provided
-the mounting, drawing and designing be kept in accord; but
-here we shall keep to the same principle as is recognised all through&mdash;viz.
-mounting and designing from left to right, which is the correct
-method so far as drawing is concerned, and equally convenient in other
-respects.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG140" id="FIG140"></a><img src="images/i_215.jpg" width="600" height="548" alt="" />
-<div class="caption"><span class="smcap">Fig. 140</span></div>
-</div>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG140A" id="FIG140A"></a><img src="images/i_216.jpg" width="600" height="471" alt="" />
-<div class="caption"><span class="smcap">Fig. 140a</span></div>
-</div>
-
-<p>To design a pattern for gauze: if it is to be a simple geometrical
-pattern it may be put direct on the design paper; but if to be a
-figured pattern, a sketch should be prepared for it in the same manner
-as for ordinary figured patterns, whether for dress goods, curtains, or
-any other material. Any desired figuring can be made, providing
-sufficient space be left between the figures to admit of the open work
-being made. The figuring should be treated as the ornamentation of
-a plain or short twill ground figure, which is woven on a gauze ground;<span class="pagenum"><a name="Page_216" id="Page_216">[216]</a></span>
-the figure may be entirely plain or twill upon a gauze ground, in which
-case it must be sufficiently plain and solid to be effective, or it may be
-treated as damask figuring on ornamental patches of plain or twill on
-a gauze ground; or, again, the gauze may form the figure and the
-ground be plain or twill. Any variety may be made that ingenuity
-can suggest, and figuring with extra warp or weft may also be adopted
-if desired. When about to put the pattern on design paper, it may be
-observed that out of the 8 rows of needles in the machine only 6
-are used for figuring, the other 2 being employed for gauzing;
-therefore, some means must be devised for getting the pattern on the
-paper so as to suit this. The simplest plan is that adopted in America&mdash;viz.
-instead of using two rows of hooks along the jacquard for the
-doup standards, to leave as many hooks at the first of the machine as
-will correspond with the number of doup standards required for one
-repeat of the pattern. Suppose for the same ties as those given&mdash;100
-hooks for the doups and 300 for the figure&mdash;then the cords from the
-first or last 100 hooks would be taken down through the two front<span class="pagenum"><a name="Page_217" id="Page_217">[217]</a></span>
-rows of the cumber board, and those from the 300 hooks would make
-up the body of the harness. When mounting in this way, the
-jacquard would be better turned with the cards hanging over the
-side of the loom, as for the ‘London tie.’ This method of mounting
-enables the pattern to be designed for 300 hooks and painted on
-the design paper independently of the gauze, which can be filled in
-afterwards.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG141" id="FIG141"></a><img src="images/i_217.jpg" width="600" height="332" alt="" />
-<div class="caption"><span class="smcap">Fig. 141</span></div>
-</div>
-
-<p><a href="#FIG141">Fig. 141</a> is an example of designing in this manner, using 6 rows
-of hooks, to suit the gauze. The pattern is put on the rows of
-designs numbered 4, 5, 6, 7, and 8. No. 3 is for the selvage, and the
-working of the doups is on Nos. 1 and 2. This is for a 1 round 2
-gauze, 6 checks, or 2 splitfuls of gauze to the design; there would
-be 10 doups required for the 5 designs in the repeat of the pattern,
-and for these 10 checks are used of designs Nos. 1 and 2. The rising
-of the back leash of the harness to form the crossing is shown by the
-dots marked on the design, and as gauze is formed by raising this leash
-and the doup alternately, it is only necessary to take each line of the
-design paper for the doups, and, following up the markings for the
-back leashes, fill in for the doups to rise when the back leash is sunk
-for the gauze, taking care to keep clear of the figuring. In making
-gauze the doup should always rise immediately after the figuring ends,
-to form the first crossing, and it should also be up immediately before<span class="pagenum"><a name="Page_218" id="Page_218">[218]</a></span>
-the next portion of the figuring begins, so that in an irregular figured
-pattern the gauze might frequently require to be broken to effect this,
-as may be seen in <a href="#FIG141">Fig. 141</a>. Take the first upright line of the pattern,
-design No. 4: the back leash is raised for three, then the doup for
-three, and the figure follows. Passing on to the tenth line it will be
-seen that the doup rises for three after the figure, and is also up for
-three before the next figure begins; but, passing on to designs 7 and
-8, it will be seen that the risings of the doup and back leash would not
-fall in regularly in threes against the figure, as it would be better if
-they did, and therefore the gauze is broken so as to fall in; but in small
-patterns of this description, when it is of importance to keep the outline
-of the figure as regular as possible, this can and should be
-remedied; instead of the outline of the figure running diagonally on
-the design paper in steps of one check, it should go in steps of as
-many checks as there are threads to the twist of the gauze in the
-warp and shots in each twist in the weft. This is shown in <a href="#FIG142">Fig. 142</a>,
-where all the twisting falls in regularly with the figure. This may to
-a great extent be carried out with irregular figures by the designer
-exercising a little judgment, and when filling in the gauze make up
-the plain edging of the figuring to fall in with it&mdash;that is, only to
-break the gauze where there is room to do it effectively, and where
-there is not, a few dots can be added to the plain. If Figs. 141 and<span class="pagenum"><a name="Page_219" id="Page_219">[219]</a></span>
-142 be compared, it may be seen how this could be done: examining
-designs 4 and 8 above the figures, the latter below as well; but <a href="#FIG142">Fig. 142</a>
-shows the proper method of treating these small geometrical figures.
-Another point to be observed is whether all the doup leashes are to be
-raised together to form the gauze, or whether it is to be formed by
-raising every alternate doup leash and every alternate back leash, as is
-done in these figures. The latter method is preferable for working, as
-it makes an even tension on every shed, whereas if one shed is a full
-cross shed formed by the doups, and the reverse of this an open shed
-with no crossing, the cross shed will be the tighter, and produce a
-certain amount of plucking, with a tendency to shire in some
-patterns; but in case of working dices or any pattern where the
-top and bottom of the figure extend some distance straight across
-the design paper, it would be impossible for the first shed of the gauze
-to be formed by the doup if only every alternate doup leash was raised.
-Some judgment must therefore be exercised in these matters, and the
-best effect obtained that will suit circumstances.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG142" id="FIG142"></a><img src="images/i_218.jpg" width="600" height="404" alt="" />
-<div class="caption"><span class="smcap">Fig. 142</span></div>
-</div>
-
-<p>Now to put the patterns on design paper to suit the harness when
-the two front rows of the jacquard are used to work the doups, as in
-<a href="#FIG138">Fig. 138</a>, also when any other rows are used, as in <a href="#FIG139">Fig. 139</a>: the
-simplest way to do this&mdash;at least, for those not well accustomed to the
-work&mdash;is to design them on 6-row paper, as <a href="#FIG142">Fig. 142</a>, and afterwards
-transfer them to 8-row paper, leaving the lines for the doups empty,
-the doup lines being afterwards filled in, as in Figs. 143 and 144. Fig.
-144 has the advantage that each splitful of gauze stands alone, whereas
-when filling in the markings for the doups in <a href="#FIG144">Fig. 144</a>, two splitfuls
-stand together; but a little practice makes one method as simple as
-the other. The dots represent the markings for the doups, and the
-shaded squares those for raising the back leashes to form the open
-shed of the gauze. The transferring of the designs from one sheet of
-design paper to another is, of course, a matter of trouble and expense,
-and may be avoided if an experienced card-cutter is to cut the cards.
-The design need not be transferred, but have the marks for raising the
-doups put on the same lines of the design paper as those for raising
-the back leashes for the open shed. This is shown in <a href="#FIG145">Fig. 145</a>, the<span class="pagenum"><a name="Page_220" id="Page_220">[220]</a></span>
-shaded squares being the same as in Figs. 143 and 144; but the dots,
-instead of being put on lines left for them, as in these figures, are put
-on the same lines as the shaded squares, and the card-cutter sees to
-their being cut on the correct lines, as in Figs. 143 and 144. In designing,
-different colours would be used. The shaded square should
-be the same colour as the figure, as they are to be cut for the lines
-they are on, but the dots should be of a different colour, to be cut for<span class="pagenum"><a name="Page_221" id="Page_221">[221]</a></span>
-a different line of the card from that on which they are placed on the
-design&mdash;the dot on the first check of a design being the seventh hole
-in a row of the card, and that on the third check of a design being the
-last hole of a row on the card.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG143" id="FIG143"></a><img src="images/i_220.jpg" width="600" height="517" alt="" />
-<div class="caption"><span class="smcap">Fig. 143</span></div>
-</div>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG144" id="FIG144"></a><img src="images/i_220a.jpg" width="600" height="520" alt="" />
-<div class="caption"><span class="smcap">Fig. 144</span></div>
-</div>
-
-<div class="figright" style="width: 300px;">
-<a name="FIG145" id="FIG145"></a><img src="images/i_221.jpg" width="300" height="308" alt="" />
-<div class="caption"><span class="smcap">Fig. 145</span></div>
-</div>
-
-<p><a href="#FIG146">Fig. 146</a> shows a portion of an ornamental pattern as it would be
-designed for a gauze ground of two threads of warp twisting round
-two = 4 in the split and 4 picks
-into each crossing of the gauze.
-This would require a 10-row
-machine, eight rows for the figuring
-harness and two rows for the doup
-standards. When two threads are
-twisting round two, it is not necessary
-to have a doup for each, though
-it may be desirable; but it suits very
-well to have both threads drawn
-through the same doup. It will be
-necessary to have a stronger doup
-in this case, but if the warp is very
-light it would have so much more to do in drawing up the heavy
-doup than if each thread was drawn through a very light doup that
-the latter had better be adopted; otherwise a stronger doup, with both
-threads through one, is simpler. On the pattern, the doups are raised
-by the dots, which must be cut on the proper line of the card, as before;
-both lines are dotted as if each thread had its own doup, but only the
-front dots of each pair are necessary. The shaded squares are for raising
-the crossing threads with the leashes for the open shed of the gauze. In
-this pattern it is necessary that the outline of the figure should go in
-steps of four warp ways, as there are four threads to the twist; but it
-is not necessary that it should go in steps of four weft ways. A better
-outline can be given to the figure by not adhering to this, though the
-perforations in the gauze will be to some extent sacrificed by being
-irregular; but this would be so in any case in order to raise the doup
-standard after the figure when the doups and leashes are gauzing alternately;
-they might be regularly started at one side of the figure, but<span class="pagenum"><a name="Page_222" id="Page_222">[222]</a></span>
-this would probably make them more irregular at the other side. By
-following round the edges of this figure it will be seen that by a little
-care no blemish of any consequence need be left, though it will not be
-so perfect as when calculated to fall in as <a href="#FIG145">Fig. 145</a>.</p>
-
-<div class="figcenter" style="width: 462px;">
-<a name="FIG146" id="FIG146"></a><img src="images/i_222.jpg" width="462" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 146</span></div>
-</div>
-
-<p>Any variety of simple gauze texture may be used, as well as the
-plain and honeycomb gauze, but unless there is plenty of space and the
-figures are plain and large, no very intricate crossings should be
-attempted, unless for stripes, as they would probably mar the outline
-of the figure; but if not, they may be used where suitable.</p>
-
-<p><span class="pagenum"><a name="Page_223" id="Page_223">[223]</a></span></p>
-
-<p>Another important point in designing for gauze is that if the
-texture of the solid cloth is loose and that of the gauze pretty firmly
-twisted, the take-up of the warp may be very different when weaving.
-To avoid this the gauze and figure should be well intermixed, and not
-be in too great quantities in any one part&mdash;in fact, the gauze and
-plain should be constantly interchanging, and when the pattern is such
-that this cannot be, the textures must be regulated so that there will
-be about an equal quantity of warp taken up for each. A little practice
-will soon show this.</p>
-
-<p>Nothing has been said about the description of jacquard used for
-working gauze, but the same principle holds good as for working with
-shafts. A gauze shed is taken to be a plain jacquard lift&mdash;that is, the
-shed formed by the single-lift jacquard raises the yarn and lets it down
-again before beginning to raise the following shed. This enables the doup
-and doup yarn to fall into their places before being drawn away to form
-a following shed. At the same time, we are not limited to a single-lift
-jacquard. If you have a double-lift jacquard, and want to work a small
-piece of gauze, do so; but do it correctly, or, in other words, take means
-to make a good job of it. Before explaining how to do this, it will be
-well to show where the difficulty exists. In a double-acting machine
-one griffe is rising when the other is falling, and in plain gauze the
-doup standard and leash carrying the crossing thread are raised alternately,
-one shot being thrown into the shed formed by each. Therefore,
-the same thread is up for every shot, and the thread round which it twists
-is always down. Now, when one griffe has raised the doup standard
-and the next one raises the leashes carrying the same threads, both
-will pass in the centre of the shed, and, as shown in <a href="#FIG147">Fig. 147</a>, the
-crossing thread will be dragging up the lying thread from the position
-shown by the under dotted line, thereby causing considerable friction
-on the yarn, which must be detrimental to a fine or weak warp, and is
-inclined to drag the doup through the eyes of their standards; but as
-the harness in coming to the centre slackens the warp threads, and
-also as the slackener begins to act when the harness begins to rise, the
-threads will be further slackened in those sheds where the doups follow
-the back leashes, and this reduces the friction. It may, however, be<span class="pagenum"><a name="Page_224" id="Page_224">[224]</a></span>
-entirely avoided by raising the lying threads to the mid position to meet
-the descending griffe, and then let down with it. A simple method of
-doing this is to have the leashes carrying the lying threads through a
-separate slip of cumber board at the back, and knots on them above it,
-so that when it is raised all the lying threads will be drawn up with it.</p>
-
-<p>The cumber board can be raised by a cam, or in any other suitable
-way. (See Journal Weaving for Scotch Carpets.)</p>
-
-<div class="figcenter" style="width: 513px;">
-<a name="FIG147" id="FIG147"></a><img src="images/i_224.jpg" width="513" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 147</span></div>
-</div>
-
-<p>These leashes might also be raised by means of a shaft through
-loops in them, or with bars under the jacquard hooks, in the same way
-as is done in twilling harnesses (which see), but with a special motion to
-raise and lower them. In <a href="#FIG147">Fig. 147</a>, the dotted line <span class="smcap">A</span>, <span class="smcap">B</span> shows the
-middle position or centre of the traverse of the yarn in shedding.</p>
-
-<p>Although this is the proper means to adopt to work gauze satisfactorily
-with a double-acting jacquard, or with any double-acting shedding
-motion, it may be that small portions of gauze, such as a few
-stripes up a web, are wanted without the trouble of making any special<span class="pagenum"><a name="Page_225" id="Page_225">[225]</a></span>
-arrangements for it. Good strong twist cotton yarn will work very
-well, if nicely tempered, in a double-acting machine. The slackeners
-can be arranged by leaving a few hooks apart to work them with, and
-cords tied to these hooks and let down at the back, in the same manner
-as in the gauze harness (<a href="#FIG138">Fig. 138</a>), which will do very well. When three
-or more shots are thrown into each shed of the gauze&mdash;that is, between
-the crossings&mdash;there will be much less friction than when the crossing
-takes place at each shot, as it is only at the crossing the friction takes
-place.</p>
-
-<p>One source of annoyance in working gauze is the wear on the doups,
-which requires them to be changed frequently and adds cost to the
-production. It has often been attempted to work the gauze by other
-means, and for some classes of work this has proved successful. One
-of the best arrangements, and one that is largely used, is the gauze
-reed, which is almost entirely adopted about Glasgow for weaving leno
-curtains in the power loom; it is also employed for other classes of
-work, but is limited in its use. It will not supply the place of a gauze
-harness.</p>
-
-
-</div>
-
-<div class="subdiv">
-<h3>THE GAUZE REED.</h3>
-
-<p>This is principally used for working leno curtains or Madras muslins
-in power looms. The texture of these fabrics is a plain gauze ground, the
-figure being formed by one or more colours of thick soft weft, thrown
-in and bound for the figure, but flushed or floated over the ground, to
-be cut off afterwards. The reed is wrought in conjunction with a
-harness, the reed forming the ground of the fabric and the harness
-the figuring. The harness is mounted in the same way as a half-harness,
-or for half the warp, and the reed does the work of the doups.
-The gauze reed will suit for gauze up to 55 threads per inch in the
-reed, but is more used for fabrics ranging from 30 to 50 threads per
-inch. A portion of the reed is given in <a href="#FIG148">Fig. 148</a>, in which it will be
-seen that it consists of the usual dents set in ribs, and a set of half-dents,
-perforated at the points which are set into the lower rib of the
-reed behind the others, and lie about half-way through the splits in a<span class="pagenum"><a name="Page_226" id="Page_226">[226]</a></span>
-slightly slanting position. The gauze reed works behind the slay and
-in front of the harness. It should be about 1/2 in. behind the slay when
-the cranks are at the back centre, so as to leave sufficient room for
-clearance between them.</p>
-
-<div class="figleft0" style="width: 112px;">
-<a name="FIG148" id="FIG148"></a><img src="images/i_227.jpg" width="112" height="400" alt="" />
-<div class="caption"><span class="smcap">Fig. 148</span></div>
-</div>
-
-<p><a name="Page_227" id="Page_227"></a></p>
-<div class="figright0" style="width: 183px;">
-<a name="FIG149" id="FIG149"></a><img src="images/i_227a.jpg" width="183" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 149</span></div>
-</div>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG150" id="FIG150"></a><img src="images/i_228.jpg" width="600" height="388" alt="" />
-<div class="caption"><span class="smcap">Fig. 150</span></div>
-</div>
-
-<p>A good method of working the reed is shown in <a href="#FIG149">Fig. 149</a>, which
-is a back view. <span class="smcap">A</span> is a rocking shaft supported by brackets, as <i>a</i>, on
-the top rail of the loom; <span class="smcap">B</span> is a lever projecting towards the front of
-the loom, and the rod <i>b</i> from it supports one end of the reed; <span class="smcap">C</span> is
-another lever on the shaft <span class="smcap">A</span>, projecting backwards, and the rod <span class="smcap">D</span> connects
-it with the tappet treadles, so that when the treadle is pressed
-down the reed rises; about 3-1/2 in. is the usual height for it to rise. <span class="smcap">F</span>
-is the upper rib of the gauze reed, and <span class="smcap">F<sup>1</sup></span> the lower one. <span class="smcap">G</span> is the
-yoke of the reed. On the yoke is fastened a bar <span class="smcap">P P</span>, connected with
-the strap which passes round the top rib of the reed. <span class="smcap">I I</span> are two projections
-on the bar <span class="smcap">P P</span>, through which the slide rod <span class="smcap">E E<sup>1</sup></span> passes and
-is fastened at the top to a bracket <span class="smcap">C</span> on the top of the loom, and at the
-bottom it fits into a socket or stand <span class="smcap">N</span> fixed to the ground; the reed
-slides up and down on this rod. <span class="smcap">H</span> is a tube round the slide rod
-between the projections <span class="smcap">I I</span>, and is about 1/2 in. shorter than the distance
-between them; to the bottom of this tube is fixed the support <span class="smcap">H<sup>1</sup></span> for
-the dipping rod <span class="smcap">K</span>, which, when the yarn under it is very tight, can
-yield 1/2 in., along with the tube <span class="smcap">H</span>. The reed is not positive in falling,
-but when raised by the tappet it falls by its own weight and that of
-the weight-box <span class="smcap">L</span>, which slides on the rod <span class="smcap">E E<sup>1</sup></span>. The weight-box is
-fastened by a rod <span class="smcap">M</span> to the crank on the bar which supports the dipping
-rod, and weights it as well as the reed. Small weights, as <span class="smcap">R</span>,
-about 1/4 lb. weight, can be placed in the weight-box till as much weight
-as is required is put on. <a href="#FIG151">Fig. 151</a> gives a view of the gauze reed
-mounting, with the gauze or cross-shed open. Every alternate thread
-of the warp is drawn into one of the gauze dents, and every other one
-into the harness, as shown. The harness is levelled 2 in. or 2-1/2 in.
-below the level of the breast beam; or, having the slay levelled with
-the race 1/2 in. below the breast beam when the cranks are at the top
-centre, push back the slay till the cranks are at the back centre, and
-place a straight-edge across the race, and the under edge of the<span class="pagenum"><a name="Page_228" id="Page_228">[228]</a></span>
-straight-edge where it passes the front row of the harness will give the
-height for the eyes of the mails. The back shell <span class="smcap">E</span> should be set 1/2 in.
-below the level of the breast beam, and should be made to vibrate with
-a tappet, which should lower it when the gauze shed is opened, and
-keep it raised for the figuring shots. <span class="smcap">A</span> shows the position of the
-weaver’s reed, <span class="smcap">B</span> is the gauze reed, <span class="smcap">C</span> the dipping rod, <span class="smcap">D</span> the heck or
-ravel which is on the harness under the harness reed or cumber board
-<span class="smcap">F</span>; the ravel should be about 6 in. above the yarn and 3 in. below the
-cumber board, making the latter 9 in. or 10 in. above the yarn. The
-ravel is like a small harness reed with only one rib on it, which is
-placed behind the harness, being covered with an iron tube to
-strengthen it; in front a flat iron rod is fastened above the ends of the
-dents and serves as the second rib. Three wires are stretched along
-the ravel to keep the harness steady, in the same way that they are
-stretched along a harness reed, but three are sufficient, instead of having
-one for each row of harness. The ravel is shown in full in <a href="#FIG150">Fig. 150</a>;
-it is about 1-1/2 in. deep (or across it), and the cumber board 3 in. deep; it
-is for the purpose of drawing the yarn in the harness to either side, so
-that when the gauze reed is rising the half dents may pass to the right
-and left of the threads in the harness alternately; it is this which gives
-<span class="pagenum"><a name="Page_229" id="Page_229">[229]</a></span>the gauze twist. Two bars <span class="smcap">A A<sup>1</sup></span> (<a href="#FIG150">Fig. 150</a>) extend from the ends of the
-frame of the heck; these slide in brackets <span class="smcap">C C<sup>1</sup></span> fastened to the sides of
-the loom. The lateral motion is given to it by a lever <span class="smcap">B B<sup>1</sup></span> with its
-fulcrum at <span class="smcap">B<sup>1</sup></span>; this lever has a bowl <span class="smcap">D</span> on its lower end, which is acted
-on by a wheel <span class="smcap">E</span> driven at the proper speed to suit the shedding. <span class="smcap">E<sup>1</sup></span>
-is a face view of this wheel, which has a projection on it for shifting
-the lever.</p>
-
-<p>Sometimes the motion is imparted to the lever so as to shift the
-ravel just when it is required&mdash;that is, before the gauze reed has risen
-to form the shed; and sometimes the ravel is shifted a part of the way
-at each shot of figuring, and has completed its traverse before the
-gauze reed has risen; this latter makes a more gradual pressure on the
-harness, and avoids any sudden plucking. When the wheel <span class="smcap">E</span> acts
-upon the lever the ravel is drawn to the right, and when released the
-spring <span class="smcap">F</span>, fastened from the side of the loom to the end of the ravel,
-draws it back again. The traverse of the ravel should be about 3/4 in.
-<span class="smcap">C<sup>2</sup></span> is a separate view of the brackets <span class="smcap">C</span> and <span class="smcap">C<sup>1</sup></span>.</p>
-
-<p>Sometimes the heck is on the yarn between the reed and the
-harness, instead of being on the harness; in this case there must be
-about 8 in. between the reed and the harness, and the heck or ravel
-rests about half-way between them. The harness is wrought with a
-double-lift machine and three tappets. One tappet which is much
-like a plain wyper tappet, but with less dwell on it, acts on one of the
-treadles, which is connected by a rod and lever to one of the griffes:
-this raises the flowering shed, the lift being about 3-1/2 in., and the flowering
-shot is thrown in as in ordinary work, the sheds being close when
-the cranks are at the top centre or a little over it. As soon as this
-shot is thrown in, when the cranks are a little over the back centre,
-the second griffe is raised by another tappet. As this takes place
-before the cylinder is in against the needles, all the yarn in the harness
-is raised; the reason for raising it is to get all the harness yarn clear
-of the half dents of the reed, so that it can be shifted over them by
-the ravel. The gauze reed is raised by the third tappet; it begins to
-rise shortly after the second griffe, or when the cranks are a little past
-the top centre during the same revolution. The yarn raised by the
-first griffe begins to fall at the same time that the reed begins to rise;<span class="pagenum"><a name="Page_230" id="Page_230">[230]</a></span>
-the second griffe raises the bottom yarn till it meets the top yarn of
-the first shed descending, at which time the ravel should be fully shifted,
-and the points of the half dents rising should be 3/4 in. below the harness
-yarn. As the harness falls and the reed rises, the yarn in the former will
-pass down at the opposite sides of the half-dents to which it was before
-being raised; a ground shot is then thrown in (this is the second
-ground shot), and the reed descends, taking the yarn in it down level
-with that in the harness. The harness is again raised as before for
-the next flowering shot.</p>
-
-<p>When the reed is raised to form the shed for the ground shot no
-card is required to pass over the cylinder of the jacquard, and to prevent
-one passing the sneck or shears is raised for this shot, so that the
-cylinder is not turned. The reed must be raised in time to have the
-shed open for the passage of the shuttle, but keeping it a little late
-requires less lift to be given to the second shed which is being raised
-to get the bottom yarn clear of the half dents of the reed. The above
-description is intended for weaving fabrics with one cover, or one
-colour of flowering shot, as when the pattern is in white or a single
-colour, as it often is; but when two or more colours of figuring weft
-are used, the flowering sheds might be opened with one griffe working
-the machine single-acting, and constructing and timing the tappets to
-suit. One tappet would then open two or more sheds for the flowering;
-the second and third tappets would act on the bottom yarn and
-reed as before. It is, however, usual to work the machine double-acting,
-and to construct the tappets to raise the griffes alternately for two
-covers. No. 1 tappet would raise one griffe, No. 2 tappet would raise
-the other griffe; then a small wing on No. 1 tappet would lift the
-bottom yarn, and No. 3 tappet would raise the reed, the sneck being
-lifted at the last beat of the cylinder to prevent it from turning. For
-three or more covers the tappets would require to be arranged to
-suit in a similar manner. <a href="#FIG151">Fig. 151<span class="smcap">a</span></a> is a front view of the position of
-the yarn in the reed when the flowering shed is drawn. Only a portion
-of the harness would be raised for each shot, as, say, the threads 1, 1,
-the remainder 2, 2, being sunk. After the flowering shots are thrown
-in, the bottom yarn in the harness 2, 2 has to be shifted to the other<span class="pagenum"><a name="Page_231" id="Page_231">[231]</a></span>
-side of the half dents for the gauze shed. It is therefore raised up to
-meet the threads 1, 1 coming down. All are then shifted together,
-and when the reed is raised the position of the harness yarn is shown
-at the crosses; 0000 shows the position it was in at the previous
-ground shot. The dots on the half dents show the position of the
-yarn in them in relation to that in the harness 2, 2 when the reed is at
-rest, the yarn in both reed and harness being on a level. The reed
-could be wrought turned upside down with a harness, but all the loose<span class="pagenum"><a name="Page_232" id="Page_232">[232]</a></span>
-flowering weft would require to be below. In this case there is no
-necessity for getting the under shed clear of the gauze dents for
-changing it with the ravel to form the ground shed; but this is an
-objectionable method of working, particularly with a light pattern, on
-account of the heavy shed that has to be raised. If the flushed yarn
-was thrown to the top and the reed turned upside down, the only way
-to work the heck would be on the harness below the mails, which would
-require it to be as deep as a reed or cumber board, in order to let the
-lingoes fall, and this would not answer very well.</p>
-
-<p><span class="pagenum"><a name="Page_233" id="Page_233">[233]</a></span></p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG151" id="FIG151"></a><img src="images/i_231.jpg" width="600" height="507" alt="" />
-<div class="caption"><span class="smcap">Fig. 151<span class="wider"> &nbsp; </span>Fig. 151a</span></div>
-</div>
-
-
-<hr class="chap" />
-</div>
-</div>
-
-<div class="chapter">
-
-
-<h2><a name="CHAPTER_VIII" id="CHAPTER_VIII"></a>CHAPTER VIII<br />
-<span class="f75"><i>DOUBLE CLOTH</i></span></h2>
-
-
-
-<div class="subdiv">
-<h3>DOUBLE CLOTH AND QUILTING HARNESSES</h3>
-
-<p><span class="smcap">A very</span> great variety of cloths come under the heading of double cloth;
-in fact, almost every description of coloured cloth figured in the loom,
-excepting coloured damasks and the commoner descriptions of dress
-goods, as well as many uncoloured fabrics, are generally woven more
-or less on this principle. Quiltings are mostly made on the double-cloth
-principle, and have nothing to specially distinguish them,
-except that some makes of cloth appear to be more suitable for goods
-of this description, though frequently other fabrics of a much more
-costly nature are woven in the same way; as, for instance, matelasses
-may be made in the richest silk and worsted for jackets, as well as in
-coarse cotton for quilts. One of the largest sections of double cloth
-is carpetings, but these will be described in a separate section.</p>
-
-<p>For figuring double cloths the same principles of the structure of
-the cloth, &amp;c., hold good as when weaving them plain, or in fancy texture.
-Any suitable pattern can be put upon any description of double
-cloth with a full harness mounting mounted in the ordinary manner;
-but the pattern must be spread over the design paper to suit the description
-of cloth to be made, which often necessitates its being in a
-very distorted form, unless it can be arranged in different colours so
-that the card-cutter can cut several cards from each line of the design
-paper. For instance, if three colours are required to form one complete
-weft line, then three lines of the design paper would be taken up
-with these, unless the colours could be arranged that the three cards
-could be cut from the one line, as frequently can be done; and the<span class="pagenum"><a name="Page_234" id="Page_234">[234]</a></span>
-same for the warp when there is a face and back warp, or several
-colours to be brought up for one warp line. When there are two warp
-threads, one for the face and one for the back, two hooks of the jacquard
-are required to weave them, and two lines on the design paper are also
-required, unless two colours are painted on one line to guide the card-cutter
-in cutting the cards.</p>
-
-<p>It is a great saving of work to the designer when the pattern has
-not to be spread over the paper so as to give each line separately, as
-doing so generally puts the pattern so much out of shape that it
-requires first to be designed square, or of the proper dimensions, on
-suitable design paper, and afterwards transferred to the working design
-for the card-cutter. When goods are being largely made this can
-often be avoided by special mechanism or mounting, to act instead
-of the cards, it being then worth the trouble of having a specially prepared
-mounting, and it is in these cases where double-cloth mountings
-are used. Perhaps the simplest class of the double-cloth range, though
-not really a double cloth, is figuring with extra weft. The figuring
-weft may be thrown in as a spotting intermittently, or may be every
-alternate shot, a ground shot following each figure shot.</p>
-
-<p>Suppose the cloth to be a plain ground and a twill figure, and that 500
-cards would be required to weave the figure if it were plain damask;
-it is then evident that 1,000 cards would be required if every alternate
-shot is ground, and the others for figure, and that the 500 plain cards for
-the ground would be two cards repeated 250 times. Now, instead of this,
-if we use a double-cylinder jacquard, and put the figuring cards on one side
-and four plain cards on the other side, we can save 496 cards, as the four
-cards on the cylinder will work the plain at every alternate shot. Or
-suppose a single-cylinder machine to be used, then shafts might be put
-through loops in the harness; or the cumber board might be made in
-sections, with knots on the harness twines above it, so that in either
-case the harness could be raised in rows to form plain cloth.</p>
-
-<p>The plain shed could be formed with a tappet and levers, as in
-journal weaving, and the griffe would only be raised for every figuring
-shot. Plain cloth might also be wrought with a twilling motion on the
-machine, such as is used on twilling jacquards. A pair of pressure<span class="pagenum"><a name="Page_235" id="Page_235">[235]</a></span>
-heddles in front of the harness is a common method of accomplishing
-this in the hand loom. The harness is drawn for one shot, then let
-down, and one of the pressure heddles sunk and the other raised for
-the second shot. For the third shot the harness is again drawn, and
-for the fourth shot the plain shed is crossed with the heddles. A twill
-or any figure may be used, as well as a plain ground.</p>
-
-<p>The next step in double cloth is perhaps double-weft-faced cloth&mdash;that
-is, when the surface of the cloth on both sides is formed by weft,
-the warp lying in the centre, and merely acting as binders to bind the
-two wefts together. The warp may occasionally be brought to the surface
-to give additional effect, or to add a third colour; or the body of
-the weft may be kept on one side, the warp forming the ground on the
-other side, with a weft figure on it, producing a one-sided cloth.</p>
-
-<p>This class of work is best wrought in a pick-and-pick loom; but
-a check loom&mdash;that is, one with extra boxes at one side only&mdash;can
-frequently be used, and gives much less trouble. For a check loom
-two fine shots may be used as one, having each pair of cards alike,
-except at the selvage, and throwing two shots into each shed. Of course
-this takes twice the number of picks and cards (unless two picks be
-given to each card), but in some cases, as for borders, this may be an
-advantage in comparison with working pick-and-pick. Often two
-succeeding cards of the pattern for the same colour are made to follow
-each other, as may be found in tapestries, &amp;c., and the weft knocks up
-into its place without showing any defect; but in a heavy cloth, with
-a thick or stiff warp, the weft could not be knocked close together on
-this principle. With a fine binding, warp of cotton and a thicker weft
-of woollen or worsted, there is no difficulty in this working.</p>
-
-<p>For double-weft-faced patterns the simplest method of designing is
-to paint the pattern as if for plain damask, and then cut two cards for
-each line of the design paper, one card being cut exactly the reverse of
-the other; that is, the cutter cuts the painted squares for one card and
-the ground squares for the next card. In lacing these two cards are
-kept together, a ground and a flowering card coming alternately. There
-is, however, an objection to this method of binding the texture of the
-cloth, though in many cases it works very well. The objection is that<span class="pagenum"><a name="Page_236" id="Page_236">[236]</a></span>
-the warp has to be brought from the face of one side through to the
-face of the other side for the succeeding shot to form the binding,
-instead of being brought from the centre only to the face as it should be.</p>
-
-<div class="figleft" style="width: 300px;">
-<a name="FIG152" id="FIG152"></a><img src="images/i_236.jpg" width="300" height="141" alt="" />
-<div class="caption"><span class="smcap">Fig. 152</span></div>
-</div>
-
-<p><a href="#FIG152">Fig. 152</a> shows a portion
-of a stripe pattern designed
-to produce 8-end twilled
-stripes. If a black and a
-white weft are used pick-and-pick,
-the white pick coming
-first, <span class="smcap">A</span> would be a solid
-black stripe and <span class="smcap">B</span> a solid white stripe, or the appearance would
-be as on the design paper, but much reduced in size. On the under
-side of the cloth the colours would be reversed.</p>
-
-<div class="figleft" style="width: 300px;">
-<a name="FIG153" id="FIG153"></a><img src="images/i_236a.jpg" width="300" height="131" alt="" />
-<div class="caption"><span class="smcap">Fig. 153</span></div>
-</div>
-
-<p>The first card would be cut as the painting, cutting black, and the
-second card would be exactly
-the reverse of this, cutting
-the white or ground squares
-on the same line of the design
-paper. The texture
-formed on the cloth by these
-cards is shown in <a href="#FIG153">Fig. 153</a>,
-each line of the design paper representing one card.</p>
-
-<div class="figleft" style="width: 300px;">
-<a name="FIG154" id="FIG154"></a><img src="images/i_236b.jpg" width="300" height="139" alt="" />
-<div class="caption"><span class="smcap">Fig. 154</span></div>
-</div>
-
-<p>The correct method of binding is shown in <a href="#FIG154">Fig. 154</a>, where it will
-be observed that the binding of two succeeding weft shots does not fall
-on the same warp thread,
-and that the binding dot
-will be covered by the floats
-of the preceding and succeeding
-weft shots when the
-weft is knocked up close.
-There are other squares on
-which the binding dots
-might be placed as well as those in <a href="#FIG154">Fig. 154</a>, one check to the left of
-where they are being frequently used. A stripe pattern, as <a href="#FIG152">Fig. 152</a>,
-can be put upon design paper with each line representing two<span class="pagenum"><a name="Page_237" id="Page_237">[237]</a></span>
-cards, and be twilled to give the texture in <a href="#FIG154">Fig. 154</a>, as is shown in
-<a href="#FIG155">Fig. 155</a>.</p>
-
-<p>When cutting this the cutter cuts the shaded squares and black
-dots for the first card, and for the second card he cuts white and
-crossed squares on the stripe <span class="smcap">B</span>, and the solid black squares on the
-stripe <span class="smcap">A</span>, which it will be seen is exactly the same as cutting the black
-for the first two lines of <a href="#FIG154">Fig. 154</a>.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG155" id="FIG155"></a><img src="images/i_237.jpg" width="600" height="270" alt="" />
-<div class="caption"><span class="smcap">Fig. 155</span></div>
-</div>
-
-<p>When painting the design the shaded squares may be red, the black
-ones black, the black dots yellow or white, and the crosses green; or
-any other convenient colours may be adopted. It will be observed that
-in Figs. 152 and 155, where the raised and sunk twills come together
-at the junction of the two stripes, there are no binding dots on the two
-threads lying beside each other. It is not necessary to have any binding
-for these threads, as the two wefts crossing bind them sufficiently.
-Any desired figure may be woven on cloth on this principle, which is a
-very convenient one, as the colours can be so readily changed, and
-three or more colours may be used as well as two; but in this case
-there is generally a right and a wrong side to the cloth, the body of the
-wefts being at the back and each colour brought through to the face to
-form the figure. Instead of the body of the weft, or that portion not
-required for the figure, being at the back of the cloth, it may be in the
-centre of the warp, and an equally good face made on both sides of the
-cloth; but this requires more wefting, makes a thicker and harder cloth,
-and is more expensive and more troublesome to weave.
-Warp figuring may be done in exactly the same way as described
-for weft figuring, and the pattern turned sideways shows how it would<span class="pagenum"><a name="Page_238" id="Page_238">[238]</a></span>
-be for warp; the only difference in the work all through is to treat the
-warp as explained for weft. Of course, in the designing and card-cutting,
-cutting two cards, one the reverse of the other, from a design
-painted as if for a damask, would not fall in, but the designs that are
-wrought fully out on the design paper would be all right. A contraction
-of the work similar to cutting two cards from one line of the design
-paper would have to be sought for in the mounting in the first place,
-and in the card-cutting, to suit it.</p>
-
-<div class="figcenter" style="width: 404px;">
-<a name="FIG156" id="FIG156"></a><img src="images/i_238.jpg" width="404" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 156</span></div>
-</div>
-
-<p>Suppose the design to be as in Figs. 152 and 155, and to be
-painted for a 200-jacquard, then to allow for double the quantity of<span class="pagenum"><a name="Page_239" id="Page_239">[239]</a></span>
-warp a 400-jacquard would be required, the machinery being increased
-instead of the number of cards. Now, to mount a loom for this class
-of work the simplest plan is to divide the machine and cumber board
-into two divisions, one half being used for one warp, which may be
-called the face warp, and the other half for the other warp, which we
-may call the back warp. A mounting of this description is shown in
-<a href="#FIG156">Fig. 156</a>, in which the machine is divided into two portions, 1 and 2,
-with 200 hooks in each; the cumber board is also divided into two
-sections, marked <span class="smcap">A</span> and <span class="smcap">B</span>. Here only four rows of needles are given,
-but any number can be used. The cords from the hooks 1 to 200 are
-taken through the back cumber board <span class="smcap">A</span>, and those from the hooks 201
-to 400 through the front cumber board <span class="smcap">B</span>.</p>
-
-<p>When entering the yarn, one thread is taken from the back warp
-and drawn into the first mail of the back harness, and the next thread
-is taken from the face warp and drawn through the first mail of the
-front mounting. Now, in reference to the card-cutting: instead of cutting
-two cards one the reverse of the other, one half of the card must
-be cut the reverse of the other half, the card-cutter cutting the coloured
-squares of the design (200 checks) on the first half of the card, and
-going back again and cutting the blank squares on the second half of
-the card; or, when there is any variation in the twill, the pattern for
-the face may be painted on 200 checks, and that for the back on 200
-checks, and when cut on the card the threads of the warp will be raised
-in proper order by the mounting.</p>
-
-<p><a href="#FIG157">Fig. 157</a> shows this principle of mounting with a straight or Norwich
-tie, for which it is not so suitable as for the London tie (<a href="#FIG156">Fig. 156</a>)
-on account of the crossing over of the harness, though it is not very
-objectionable if a narrow cumber board be used. Instead of having two
-separate cumber boards with four or eight rows in each, one broad board
-with eight or sixteen rows is better for the Norwich tie; then let the
-first row of the back harness pass down through the back row of the
-cumber board, and the first row of the front harness pass through the
-second row of the cumber board, and so on, the back harness filling the
-odd rows and the front the even rows; and when drawing in the yarn,
-taking an end from the back and face warps alternately and drawing<span class="pagenum"><a name="Page_240" id="Page_240">[240]</a></span>
-them regularly over the harness causes them to fall correctly on their
-respective mountings. Instead of dividing the card in this way and
-reducing the machine to half its figuring capacity, a double-cylinder
-machine might be used, the hooks from one set of needles being used
-for one mounting, and those from the other set of needles for the other
-mounting; then cutting the face pattern on one set of cards and hanging
-them on one cylinder, and using a second set of cards containing
-the back pattern for the other cylinder, should attain the same results,
-and give double the extent of pattern on the same size of machine, both
-griffes being raised and sunk together, and both cylinders being also
-brought in and out together.</p>
-
-<div class="figcenter" style="width: 417px;">
-<a name="FIG157" id="FIG157"></a><img src="images/i_240.jpg" width="417" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 157</span></div>
-</div>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG158" id="FIG158"></a><img src="images/i_241.jpg" width="600" height="430" alt="" />
-<div class="caption"><span class="smcap">Fig. 158</span></div>
-</div>
-
-<p>A modification of cutting the back and face pattern on its own half
-of the card is to be found in the double-cloth quilting mounting<span class="pagenum"><a name="Page_241" id="Page_241">[241]</a></span>
-common about Paisley. These quilts are generally of a plain texture,
-and the figuring is formed by passing one cloth up and down through
-the other. The machine generally used is an improvement on the old
-French draw loom, and is shown in <a href="#FIG158">Fig. 158</a> as it is made, principally
-of wood, for hand looms. In this sketch the needles and cords in lieu
-of hooks are not shown, but one row of them is shown in <a href="#FIG159">Fig. 159</a> with
-only four hooks to each section instead of eight. <span class="smcap">H</span> and <span class="smcap">K</span> are the two
-lifting levers for raising the griffes or trap-boards <span class="smcap">A</span> and <span class="smcap">A<sup>1</sup></span> (Fig.
-159). Nos. 1, 2, 3, and 4, and 1<i>a</i>, 2<i>a</i>, 3<i>a</i>, and 4<i>a</i> are the cords in lieu
-of hooks to which the harness is connected. <span class="smcap">A</span> and <span class="smcap">A</span><sup>1</sup> are two perforated
-boards with the slotted holes through which the cords pass,
-turned in the reverse direction in one from what they are in the other.
-Each needle is connected to two of these cords&mdash;one through each hole-board&mdash;and
-the knots on the cords above the holes stand over the slots
-or saw-cuts of the holes in the board <span class="smcap">A</span> and over the round or open
-portion of the holes in the board <span class="smcap">A<sup>1</sup></span>, clearly shown at <span class="smcap">F</span> (<a href="#FIG159">Fig. 159</a>), so
-that if the lever <span class="smcap">H</span> (<a href="#FIG158">Fig. 158</a>) were pressed down and the board <span class="smcap">A</span>
-raised without any card acting upon the needles, all the harness tied to
-this portion of the machine would be lifted, and if the board <span class="smcap">A</span><sup>1</sup> were
-raised by the lever <span class="smcap">K</span>, none of the harness tied to this portion of the
-machine would be lifted. Now, if a blank card were placed on the<span class="pagenum"><a name="Page_242" id="Page_242">[242]</a></span>
-cylinder, the reverse of this would be the case, and anything between
-these two extremes can be got by cutting the cards.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG159" id="FIG159"></a><img src="images/i_242.jpg" width="600" height="561" alt="" />
-<div class="caption"><span class="smcap">Fig. 159</span></div>
-</div>
-
-<p>The cylinder is connected with the back griffe only, and remains in
-for two shots. The griffe <span class="smcap">A</span> is first raised, and a shot thrown in; it is
-then lowered, and the griffe <span class="smcap">A<sup>1</sup></span> raised, which presses out the cylinder
-and changes the card; a second shot is thrown in, and so on. <span class="smcap">E</span> and
-<span class="smcap">F</span> (<a href="#FIG158">Fig. 158</a>) are two slide rods or spindles to steady the griffes or trap-boards
-when rising: <span class="smcap">G</span> and <span class="smcap">G<sup>1</sup></span> are bottom hole-boards to steady the
-cords; <span class="smcap">L</span> is a clap-board for pressing back the needles instead of springs
-(it is fastened on springs <span class="smcap">I I</span>, which hold it out a little from the needles,
-and these springs are fastened from the top by cords to the cylinder
-frame, which slides out with the cylinder, and draws in the clap-board,
-pressing forward all the needles). Now to mount this machine for double
-cloth. Suppose each frame to have 400 cords, and that there are 400
-needles, the same as an ordinary 400-machine. Let the texture of the
-cloth be plain, and to work this 80 needles may be set off, leaving
-320 for figuring. These 80 needles will be connected to 80 upright
-<span class="pagenum"><a name="Page_243" id="Page_243">[243]</a></span>cords in the trap-board <span class="smcap">A</span>, and the same in <span class="smcap">A<sup>1</sup></span>. The harness for
-the face cloth is tied to the remaining 320 cords in the trap-board <span class="smcap">a</span>, and
-that for the back cloth to the 320 cords in the trap-board <span class="smcap">A<sup>1</sup></span>, and this
-portion of the harness works the figuring only without the texture.
-The texture is wrought by the 80 cords in each board connected
-to the first 80 needles. To each of these upright cords a number of
-harness twines are tied, one of which is fastened to each twine of the
-harness from the 320 cords, just above the cumber board; but in doing
-so the twines from the 80 hooks on the cords in the trap-board <span class="smcap">A</span>
-must be connected with the twines of the harness from the trap-board
-<span class="smcap">A<sup>1</sup></span>, and the reverse for the other set. In this way all the back harness
-could be raised with either griffe, and the same with the front harness.
-Either griffe could raise one warp with the plain harness, and the other
-with the figuring harness. When cutting the cards plain texture is cut
-on each card for the first 80 needles, and the figuring portion without
-any texture is cut on the remainder of the card. The 80 cords
-open the texture or plain shed, and the 320 cords keep the two warps
-in their proper places, raising what should be above the weft, and leaving
-down what should be below it for each shot according to the
-pattern. In these mountings the cards hang over the side of the
-loom.</p>
-
-<p>The same method of working can be applied to a jacquard with upright
-hooks, by having the heads of the hooks for each machine or set
-turned in opposite directions, as shown in <a href="#FIG160">Fig. 160</a>. One set of hooks
-stand with their heads over the knives in the usual way, as at <span class="smcap">A</span>, and
-the others require to be pushed back by the card to bring them over
-the knives, as shown at <span class="smcap">B</span>, so that pushing any needle back pushes the
-front hook connected with it off the knife and the back one over the
-knife. The mounting may be made up as before, or a twill or any
-smaller texture may be used instead of plain; or a different texture
-may be made on face and back cloths.</p>
-
-<div class="figleft0" style="width: 240px;">
-<a name="FIG160" id="FIG160"></a><img src="images/i_244.jpg" width="240" height="294" alt="" />
-<div class="caption"><span class="smcap">Fig. 160</span></div>
-</div>
-
-<div class="figright0" style="width: 248px;">
-<a name="FIG161" id="FIG161"></a><img src="images/i_244a.jpg" width="248" height="243" alt="" />
-<div class="caption"><span class="smcap">Fig. 161</span></div>
-</div>
-
-<p class="nofloat" />
-
-<div class="figleft" style="width: 128px;">
-<a name="FIG162" id="FIG162"></a><img src="images/i_244b.jpg" width="128" height="131" alt="" />
-<div class="caption"><span class="smcap">Fig. 162</span></div>
-</div>
-
-<p>This description of cloth is much used for other makes of goods as
-well as quilts. Kidderminster or Scotch carpets are woven on the
-same principle, and curtains, cotton vestings, &amp;c., are frequently woven
-with the same texture. It can always be woven with a full harness
-mounting by preparing the design to suit it. <a href="#FIG161">Fig. 161</a> is a pattern for<span class="pagenum"><a name="Page_244" id="Page_244">[244]</a></span>
-a diagonal figure in plain texture for this class of work. The black
-squares represent the face warp raised to the face of the cloth, and the
-shaded squares represent the back warp raised to the face also. The
-blank squares represent weft on the face of the cloth. This would give
-a magnified view of the face of the cloth if it were woven with a
-black face warp, a grey back warp, and a white or light-coloured weft.
-If each warp had a weft of its own colour the effect would be as shown
-in <a href="#FIG162">Fig. 162</a>, which would be the way the pattern would be painted on
-the design paper if intended for weaving on looms
-specially mounted, or with special machines as
-described; but if a full harness is to be used,
-then the pattern must be spread over the design
-paper so as to give a line of the paper for each
-thread of warp and pick of weft. <a href="#FIG163">Fig. 163</a> is the
-same pattern arranged in this way. The black
-and grey squares represent the face and back warp
-raised for the pattern. The crosses show where the back warp is raised
-for the texture of the back cloth at the back of the face cloth, and the
-dots represent the face warp raised for the texture where the face cloth<span class="pagenum"><a name="Page_245" id="Page_245">[245]</a></span>
-goes behind the back cloth, or where the back cloth comes to the face.
-Of course, on a cloth of this kind the warps are alike, face and back.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG163" id="FIG163"></a><img src="images/i_245.jpg" width="600" height="539" alt="" />
-<div class="caption"><span class="smcap">Fig. 163</span></div>
-</div>
-
-<div class="figright" style="width: 300px;">
-<a name="FIG164" id="FIG164"></a><img src="images/i_245a.jpg" width="300" height="269" alt="" />
-<div class="caption"><span class="smcap">Fig. 164</span></div>
-</div>
-
-<p>It will be understood that, when the threads of the back cloth are
-being raised to form a shed, all the face threads of the corresponding
-portions must also be raised to clear
-them out of the way of the shuttle,
-and the raising marks for these are
-the short dashes on the painting.
-<a href="#FIG164">Fig. 164</a> is the same pattern arranged
-for two threads face to one
-of back, which admits of a heavy
-backing with a fine face, and is
-suitable for quilts, &amp;c. The markings
-are similar to those in Fig.
-163, but the number of threads is
-not such as to admit of the plain
-texture repeating on the back cloth. It is therefore broken round
-the edges of the figure where it would least show.</p>
-
-<p>Instead of having the extra harness for working the plain texture<span class="pagenum"><a name="Page_246" id="Page_246">[246]</a></span>
-as explained in connection with the quilt harness, <a href="#FIG159">Fig. 159</a>, it might be
-done with four leaves of long-eyed heddles in front of the harness, or
-by having shafts through loops in the harness to act as heddles, or by
-having the cumber board divided into strips for each row of the harness,
-and knots on the harness twines above them, so that raising any strip
-will raise a row of the harness, or the machine may act as a twilling
-machine to work the texture.</p>
-
-<p>A Marseilles quilt is a double cloth with a fine face and a coarse
-back, both stitched together round the edges of the pattern, and a
-wadding shot thrown in between them, which causes the pattern to be
-embossed or to rise up full and rich. The face is usually a plain texture,
-and the back the same; but the face has double the number of
-threads in it that the back has, and the yarn for the face is proportionately
-finer than that for the back. Two picks of fine and two of coarse
-weft are thrown in alternately&mdash;one pick of the fine goes into the face
-cloth only, and the other, also a face pick, stitches the face to the back.
-One of the coarse picks is thrown in between the two fabrics, and is
-called the wadding, and the other pick goes into the back cloth. In
-these fabrics a very fine effect can be produced by covering the ground
-with a small bird-eye pattern, stitching the back and front closely
-together, then having a bold floral pattern for the figuring, which, being
-only bound round the edges of the pattern and along veins, &amp;c., is
-comparatively loose and produces a rich embossed effect. These fabrics
-may be woven with a twilled as well as a plain ground.</p>
-
-<p>Matelasses are a similar description of fabric, but usually more
-ornamented, the face fabric being any fancy texture. When used for
-ladies’ jackets or mantles they are made of fine worsted or silk for
-the face, with perhaps a woollen back and a woollen or cotton wadding.
-The binding of the face and back cloths together takes place round the
-edges of the figure, and in any other portion, such as veins of leaves,
-&amp;c., that may be thought desirable. The binding may be effected
-either by leaving down a portion of the face warp when the back pick
-is being thrown in, or by raising a portion of the back warp when the
-face pick is being thrown in, this depending upon the pattern and the
-counts of yarn used. The finer threads should be used for stitching,<span class="pagenum"><a name="Page_247" id="Page_247">[247]</a></span>
-so as not to injure the face by bringing any coarse threads through
-to it. If the face of the cloth is a warp pattern it will be best
-to stitch by raising a back thread over a face pick, but if the face is
-a weft pattern then sinking the face warp for the back picks will
-probably be more satisfactory. If the cloth is made, as is frequently
-done, with a mohair or lustre worsted warp face with a cotton weft,
-and a cotton warp back with a woollen weft, and a woollen wadding,
-then the binding would be effected by raising some of the back warp
-thread over the face picks. One pick (woollen) for wadding would be
-thrown into a shed formed by raising all the face warp; the next
-pick would be for the back, thrown into a shed formed by raising all
-the face warp and that portion of the back warp required to form the
-texture of the back cloth; the third pick would be for the face, thrown
-into a shed formed by raising the portion of face warp required for the
-pattern, as well as those ends of the back warp that are to form the
-stitchings.</p>
-
-<p><i>Quiltings.</i>&mdash;A great variety of the cheaper description of quiltings,
-toilet covers, &amp;c., consist of a face cloth with an additional
-thick weft. This thick weft is woven into the ground, which may be
-a twill, mat, &amp;c., but flushed loosely at the back of the figure, which
-is a plain texture. Sometimes there is a small quantity of thin warp
-for binding the thick weft loosely at the back of the figure, making a
-double cloth in this portion, but all working together for the ground,
-making it a solid cloth.</p>
-
-<p>Of more recent origin are the satin quilts made by Messrs. Barlow
-and Jones, of Bolton, and some other firms. They consist of two
-plain cloths, intimately bound together; one cloth has a fine warp and
-a very coarse weft, and the other has a fine weft and a coarser warp.
-When binding, the fine warp is made to catch on the fine weft, and the
-thick warp and weft cover the bindings. Suppose the fine warp to be
-white and the thicker warp to be blue, and let the warping be two
-threads blue and one white. Let the white warp be wefted with a
-thick twist weft&mdash;say four times as thick as the warp&mdash;and this coarse
-weft will form the figure. Let the blue warp be wefted with a blue
-weft perhaps double the count of its warp, and in binding this weft<span class="pagenum"><a name="Page_248" id="Page_248">[248]</a></span>
-catches on the fine white warp. The thick white weft, which is fully
-double the thickness of the thick warp, effectually covers the tie, and
-when the yarns are properly proportioned the pattern stands out,
-producing a clear stamped or embossed effect. These cloths may
-be made with a twilled ground, and either all white or white and
-coloured. They are a good firm fabric and wear well, but are liable
-to have a coarser appearance after being washed. (See also Terry-Pile
-Quilts.)</p>
-
-<p><i>Woollens and Worsteds.</i>&mdash;Weaving woollen and worsted cloths in
-the jacquard loom is merely an extension of the patterns produced with
-shaft mountings, or sometimes the same patterns are woven on small
-jacquards by those who prefer the jacquard to working a larger
-number of healds when the cloth is not so heavy as to require the
-latter to be used, healds as a rule making a firmer and heavier
-cloth than a jacquard will. Light worsted goods for dress fabrics,
-&amp;c., are figured like damask, or as double weft or double warp-faced
-cloths, or may be as double cloths.</p>
-
-<p><i>Curtains and Tapestries.</i>&mdash;These, though sometimes of damask,
-are usually made on some principle of double cloth, as indeed all
-cloths must be when a rich brilliant effect of colours is required.
-One of the simplest methods of making these fabrics, and which produces
-a very good effect, is to employ a fine binding warp of twist
-cotton and produce the pattern on it with two, three, or more coloured
-wefts of worsted, mohair, or silk&mdash;say a spun silk ground weft and a
-mohair or fine worsted figure. A small portion of a diamond pattern,
-greatly reduced for want of space, is given in <a href="#FIG165">Fig. 165</a>. It is intended
-for three colours of weft&mdash;one for the ground and two for the figure.
-The ground weft might be black or gold, and the figure wefts olive
-green and dull red, or claret, the warp to be black or a deep navy blue.</p>
-
-<p>For this pattern three cards must be cut from each line of the
-design paper&mdash;one for the ground weft and one for each colour of
-the figure. The design is painted in various colours, which are
-here represented by different markings on the squares. Let the black
-squares represent the olive and the dotted squares the red of the
-figure. The white squares represent the ground weft, and the shaded<span class="pagenum"><a name="Page_249" id="Page_249">[249]</a></span>
-squares on it are for binding the face weft down, while the crosses
-are for binding up the weft at the back. The cutting of the cards is
-as follows:&mdash;For the ground shuttle cut all the shaded, black, and
-dotted squares&mdash;that is, the shaded squares on the ground and all the
-figure. For the first figure shuttle (olive) cut all the ground except
-the crosses (that is, the white and shaded squares) and the dotted
-squares of the figure. For the second figure shuttle (red) cut all the
-ground except the crosses, as before, and the black squares of the
-figure.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG165" id="FIG165"></a><img src="images/i_249.jpg" width="600" height="585" alt="" />
-<div class="caption"><span class="smcap">Fig. 165</span></div>
-</div>
-
-<p>In this example the figure is so small as not to require binding
-dots over it, but for a large figure the ground weft threads would
-require to be bound up at the back of the figure in the same way that
-the figure threads are bound up at the back of the ground in the design
-given. The figure wefts might also require to be bound at both face
-and back. On the design these binding marks would be dotted over
-the figure in the same way as they are dotted over the ground on
-the design given, using any suitable texture that may be desired.</p>
-
-<p><span class="pagenum"><a name="Page_250" id="Page_250">[250]</a></span></p>
-
-<p>To make the cutting clear, five lines of the pattern (<a href="#FIG165">Fig. 165</a>)
-are put upon design paper in <a href="#FIG165A">Fig. 165<span class="smcap">a</span></a>, as they would be cut on the
-cards, beginning with the ground weft, olive and red following, in all
-making 15 lines or 15 cards. This cutting would make the upper
-side of the cloth in the loom the right side or face; but it may, in some
-cases, be desirable to weave the cloth with the face down to avoid heavy
-lifts in the harness. This pattern would suit for a warp of about 50
-threads of warp per inch, and say 60 to 80 shots per inch of each colour.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG165A" id="FIG165A"></a><img src="images/i_250.jpg" width="600" height="230" alt="" />
-<div class="caption"><span class="smcap">Fig. 165a</span></div>
-</div>
-
-<p>For the convenience of the designer and card-cutter, a much better
-plan of working this class of fabric is to have an additional binding
-warp, which may be in heddles or in a front row of the harness. This
-warp can work plain twill or satin as required, and, being light and
-openly set, can bind the back weft up and the face weft down, or the
-face may be bound by the warp in the harness and the back bound by
-the binding weft; but in this case there should be a fine thread of weft
-thrown in every fourth pick, which should pass over the warp in the
-harness, or a portion of it, and under that in the heddles, so as to bind
-both warps together. In this case the twilling dots on the design are
-omitted, which simplifies the cutting and designing of the pattern. If
-the face is to be twilled with the harness warp, the dots for binding
-must, of course, be put on the design, or the figure only may be twilled
-on the design, and let the ground be bound by the binders. Shafts
-mounted in this way may be wrought from tappets if the loom is mounted
-with them, or may be wrought by strong hooks at each side of the
-jacquard and sunk with springs. The principle of working fabrics of
-this description has been given in detail, as from it many other<span class="pagenum"><a name="Page_251" id="Page_251">[251]</a></span>
-varieties can be wrought out, and any number of shuttles used to suit
-the colours wanted.</p>
-
-<p>Figuring with two warps and one weft is a common method of
-working, and gives three colours on the face of the cloth. An extra
-warp of fine yarn may be used for binding the wefts, admitting of the
-coloured weft being more used for figuring. Extra warps cannot be
-used to so great an extent as extra wefts, as they crowd up the reed
-and prevent proper shedding, particularly when soft or hairy yarns are
-used; but when properly suited to the reed they make a firmer and
-more regular cloth than a weft cloth, and on account of less picking
-the weaver gets over the work much faster. Two warps, each having
-its own weft, are a good method of figuring, but unless for goods with
-a large number of threads and picks per inch, so that fine yarn can
-be used, it makes a heavy cloth. Two warps and two wefts, all of
-different colours, with a fine binding warp in addition, to admit of the
-colours of the wefts being kept comparatively pure, gives a still richer
-effect. In this case the binding warp may be of fine black cotton, the
-two figure warps of thicker cotton, and two threads drawn into each
-mail; the colours may be, say, dark blue and dark citrine, or clear
-sage. The wefts are soft wool or worsted, say light gold and deep dull
-red. In this method of weaving, pure red and pure gold can be got
-from the wefts, as the black binders show but little. Pure blue and
-pure citrine can be got in small quantities by floating the warps, and
-an admixture of the warps and wefts can be got in any place desired.</p>
-
-<p>A very handsome curtain fabric can be made as follows:&mdash;There
-are 120 to 140 threads of warp per inch; every second or every fourth
-thread of the warp is used for binding the ground, which may be a
-plain texture or a three-shaft twill. The binders may be an extra
-warp, wrought with heddles, forming plain all over the cloth, or may
-be in the harness and be portion of the ordinary warp working plain
-for the ground, but rising to assist in forming the figure, which may
-be bound as desired, say 8-or 10-end satin. The warp is of fine silk
-yarn loosely twisted, and may be one or more ply, of a rich olive-green or
-deep scarlet colour. There are two wefts, one a rich silk, say a golden
-colour, of twist yarn; the other is a backing weft of the same colour<span class="pagenum"><a name="Page_252" id="Page_252">[252]</a></span>
-as the warp, and of cotton yarn, about the same thickness as the silk
-weft. There are from 50 to 60 threads of weft per inch of each colour.
-The gold weft forms the ground of the pattern, and the warp the
-figure, which is bound with an 8-end satin binding. The cotton weft
-goes to the back when the silk weft is on the face, forming the ground
-of the pattern, the warp lying between them; but when the warp is on
-the face for figuring, the gold weft goes to the back and the cotton
-weft lies under the warp face, binding it and giving an embossed effect
-to the figure. The gold weft is bound up by sinking a portion of the
-warp. The ground may be formed with the warp, and the figure with
-the weft, if desired, producing a sunk figure on a raised ground; but
-this is just a reversal of the process, or making the ground in this case
-as the figure in the previous case. This makes a light, close, and very
-rich fabric.</p>
-
-<p><i>Figured Poplins</i> are among the richest description of curtain
-fabrics; they may be made of all silk, or silk and fine wool, the latter
-forming the weft. The ground is a clean, sharp cord running across
-the cloth, and the figure is formed by flushing the warp over the cords,
-binding it with a long twill or satin binding. The weft may also be
-used for figuring; but in this case it should be a silk weft put in for
-the purpose of figuring.</p>
-
-<p>Two portions of patterns of good makes of figured poplins or repps
-are given in Figs. 166 and 167. <a href="#FIG166">Fig. 166</a> is warped two threads of rich
-crimson silk and one thread of rich golden yellow silk, 180 threads per
-inch. The weft is pick-and-pick, 50 picks per inch, one thread a
-round, firm cord of firmly twisted worsted of the same colour as the
-warp, and the other yellow silk, the same as the warp. This thread
-passes over the crimson warp and under the yellow, the crimson cord reversing
-this, thus producing a very fine yellow line between each pair
-of cords. The method of forming the figure can easily be seen from
-the pattern. Instead of a thick cord being put in for the weft to form
-the rib, several fine shots could be thrown in as one, as in repp figuring,
-and these threads could be brought out for figuring as well as
-the warp; but they would in this case require to be of silk, which
-would make the cloth very expensive.</p>
-
-<p><span class="pagenum"><a name="Page_253" id="Page_253">[253]</a></span></p>
-
-<div class="figleft0" style="width: 204px;">
-<a name="FIG166" id="FIG166"></a><img src="images/i_253.jpg" width="204" height="209" alt="" />
-<div class="caption"><span class="smcap">Fig. 166</span></div>
-</div>
-
-<div class="figright0" style="width: 268px;">
-<a name="FIG167" id="FIG167"></a><img src="images/i_253a.jpg" width="268" height="332" alt="" />
-<div class="caption"><span class="smcap">Fig. 167</span></div>
-</div>
-
-<p class="nofloat"><a href="#FIG167">Fig. 167</a> makes a very rich and handsome fabric. It is warped all
-a rich purplish-brown silk, 180 threads per inch. There are four weft
-picks in the pattern. The first is a clear olive-green silk about double
-the thickness of the warp silk, the second shot is a round, firmly
-twisted worsted cord of the same colour as the warp, the third is the
-same as the first, and the fourth is silk of the same colour as the warp.
-There are 100 picks per inch, but the two green silks go along with the
-cord to form the complete cord or ridge. These silk picks can be
-brought out to the surface for figuring, as shown by the shaded squares
-in the pattern, which are not cut on the cards. The black squares are
-the warp figuring, the dots the warp raised for the ground, and the
-crosses the warp of the binding threads raised. These binding threads
-rise over the brown silk pick, and are similar to the yellow warp in the
-previous pattern.</p>
-
-<p>For richer fabrics than these we must go to pile work, which is,
-perhaps, the most exquisite production of the loom. Curtains or
-hangings can be made extremely rich by figuring a rich corded silk
-ground with a pile of different lengths and colours. The long pile can
-be cut to form a plush or velvet pile, and the shorter pile may be left
-uncut to form a looped or terry pile. By a judicious arrangement of
-colours and length of pile, fabrics of extreme beauty can be made (see<span class="pagenum"><a name="Page_254" id="Page_254">[254]</a></span>
-Pile Work). For curtains of a heavy description chenille is much used,
-and makes a very rich, warm-looking fabric; but it is too heavy and
-of too coarse a nature for small rooms unless they are very well lighted.
-It is very suitable for screens, or curtains dividing two portions of a
-room (see Chenille).</p>
-
-<hr class="chap" />
-</div>
-</div>
-
-<div class="chapter">
-
-<p><span class="pagenum"><a name="Page_255" id="Page_255">[255]</a></span></p>
-
-
-
-
-<h2><a name="CHAPTER_IX" id="CHAPTER_IX"></a>CHAPTER IX<br />
-<span class="f75"><i>TAPESTRY AND PILE WORK</i></span></h2>
-
-
-<p><i>Tapestry.</i>&mdash;What are generally known in trade as tapestries, are
-figured fabrics for curtains, hangings, &amp;c., not damask, which is
-distinct, being woven with only one warp and weft. Real tapestry is
-a hand-made fabric of very ancient origin, being in use since the days
-of the ancient Egyptians, who wove or worked it in a manner very
-similar to that employed at the present time. It does not belong to
-‘jacquard weaving,’ but being the first in point of the excellence of its
-patterns amongst figured fabrics, a short description of it may not be
-out of place. Henry VIII. tried to establish tapestry weaving in this
-country, but failed, but James I. had a flourishing factory at Mortlake.
-Tapestry weaving appears to have been introduced into France about
-the ninth century. The Flemish were celebrated for it from the
-twelfth century. Arras work surpassed all the others, and tapestry
-was commonly known as arras work. The sixteenth century gave a
-new impulse to the trade in France. Francis I. founded the manufactory
-of Fontainebleau, and Henry IV. re-established tapestry making
-in Paris in the years 1595 to 1606. About the year 1666 Louis XIV.
-bought the Gobelins Works (which take their name from the original
-owners, a rich family of wool dyers), and established the Royal Gobelins
-Tapestry Manufactory, which is now one of the sights of Paris.</p>
-
-<p>There were two methods of working tapestries&mdash;one known as
-‘basse lisse,’ or low warp, the threads of warp being placed in a
-horizontal position in the loom; the other was called ‘haute lisse,’ or
-high warp, as the threads of warp were placed in an upright or vertical
-position. It is the latter method of working that is now adopted.</p>
-
-<p>The loom consists of an upright frame of wood of a size to suit the<span class="pagenum"><a name="Page_256" id="Page_256">[256]</a></span>
-cloth to be made. There is a strong roller at the top, which acts as a
-warp beam, and another at the bottom for the cloth beam. Both these
-rollers have ratchet wheels on one end, and are held with pawls or
-catches so as to allow the warp to be wound off and the cloth to be
-wound up when required, and then hold the stretch of warp steady to
-be woven. The warp is coarse, but a clean, regular thread of twist,
-cotton, or linen, about 12 to 18 threads per inch (more or less, as
-desired,) and of such a thickness that the spaces between the threads
-are somewhat less than the diameter of the threads. The weft is
-usually of fine wool but a fairly thick thread, say 4’s or 6’s worsted.
-This is generally used alone, of whatever shade of colour is required,
-and there is no end to the shades used; but in some places, to give
-brilliancy and richness of effect, silk is used along with the wool, and
-sometimes tinsel or gold cord. These are put in separate threads along
-with the woollen or worsted weft. The silk is much finer than the
-worsted, say about equal to 12’s or 16’s cotton, and, of course, can be
-regulated to give the effect required. The gold is sufficient to give
-sparkle to the portion it is employed in.</p>
-
-<p>After leaving the warp beam the warp is divided by two thick glass
-lease rods. Then every alternate thread, those to the front of the
-frame, is drawn through a doup of a half-leaf of heddles which is fixed
-in a horizontal position above the weaver’s head. This enables a plain
-shed to be formed, as the thick lease rod divides the threads and forms
-one shed. Then, when the weaver, sitting at the back of the loom,
-draws back the half-leaf of heddles, all the front threads or any portion
-of them can be drawn back past the back set, and form a cross shed.
-As the doups of the heddles are long and strong, the weaver can take
-any number of them he requires and draw the front warp back; then
-putting his fingers into the shed thus formed, clear it down to the fell
-of the cloth and insert his bobbin.</p>
-
-<div class="figright" style="width: 300px;">
-<a name="FIG168" id="FIG168"></a><img src="images/i_257.jpg" width="300" height="293" alt="" />
-<div class="caption"><span class="smcap">Fig. 168</span></div>
-</div>
-
-<p>The pattern is painted on design paper, shaded in the way it is to
-appear on the cloth, and the weaver must have a bobbin of weft to suit
-each tint or shade of colour on the design. The outline of the pattern
-is traced on the warp to guide the weaver, and the painted pattern is
-fastened up either before him or to one side of him, so as to be convenient<span class="pagenum"><a name="Page_257" id="Page_257">[257]</a></span>
-to read the stitches off it. When ready for work he looks
-at the pattern and finds perhaps 20 stitches of blue; then he selects
-a bobbin of the correct shade and passes it through the open shed of
-the warp round 10 threads; then he draws the 10 doups of the
-heddles that are round the 10 threads intermediate with and in front
-of these, pulling them back through the others and forming a cross
-shed. The same bobbin is now passed through this shed, and the
-weft pressed down with a pin or comb, both of which articles the
-weaver uses for straightening and beating up the weft. This covers
-20 threads of warp with blue weft. The texture of the cloth is
-plain throughout, the weft being bent round the warp and pressed
-close together, forming a rib. Now, instead of completing this
-weft line all along the cloth, as is usual in coloured weaving, the
-weaver goes on working with the bobbin he has taken up, following
-the colouring on the pattern, and may change his bobbin when required
-for a new shade or colour, and go on working this portion for some
-distance upwards, and then begin an adjoining portion and work it up
-in the same way. This will come all right when the outlines of the
-portion he is working run obliquely; but if they should run upright
-for any distance in the same direction
-as the warp, it is plain there
-would be two selvages coming together
-without any connection
-between these portions of the cloth,
-as shown in <a href="#FIG168">Fig. 168</a>. When the
-pattern runs in a diagonal direction,
-the weft threads passing across from
-one warp thread to the next one
-make a sufficient binding or connecting
-link between the two colours,
-as may be seen at the upper portion
-of this figure, which would be
-quite sufficiently connected when it is considered that the weft threads
-are pressed so closely together as to entirely cover the warp. To
-remedy the objection of a slit or division between the two portions of<span class="pagenum"><a name="Page_258" id="Page_258">[258]</a></span>
-a pattern in the case of a vertical line, it is customary to tack the
-bobbin of one colour of weft round the first warp thread of the adjoining
-colour, at intervals of, say 3/16 in. This produces a toothed appearance,
-but is not very remarkable. The only other remedy would be to
-link the two wefts on each other occasionally. In many of the old
-tapestries it may be seen that this was neglected, even when the
-distance was as much as 3 in. or 4 in. Sometimes they were stitched
-afterwards in these places with a needle and thread. When there are
-many long straight lines running in one direction, as in architectural
-subjects, it is best to work the pattern so that these will run in the
-direction of the weft, to avoid any joining being required. Patterns
-can be wrought sideways or upright on the cloth as desired to suit the
-size, subject, &amp;c.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG169" id="FIG169"></a><img src="images/i_258.jpg" width="600" height="584" alt="" />
-<div class="caption"><span class="smcap">Fig. 169</span></div>
-</div>
-
-<p>As the weaver sits at the back of his frame or loom when working,
-he has to come round occasionally to examine the face of his work.
-Sometimes he keeps a looking-glass in front to show him how he is
-getting on. He has also a rough pattern on the back of the cloth
-similar to that on the front, as the nature of the weave must give him
-the same on both sides were it not for the loose ends at each change<span class="pagenum"><a name="Page_259" id="Page_259">[259]</a></span>
-of bobbin, which have to be tacked up at the back. Tapestry weaving
-is a very tedious process of working, but in skilful hands very beautiful,
-and artistic results can be produced.</p>
-
-<p><i>Figured Pile Fabrics.</i>&mdash;When we come to pile work we have a
-great scope for the ornamentation of fabrics, but the nature of the
-work is such that it is only suited to heavy or moderately heavy
-cloth, and a large number of either threads or picks per inch are
-required.</p>
-
-<p>Forming stripes of plain or figured pile alternately with twilled or
-figured stripes can easily be accomplished with either a weft or warp
-pile, but when we come to figure indiscriminately over the cloth there
-is more trouble. For a length of time there was a difficulty in cutting
-weft-pile figured fabrics, as the knife or cutter would not always enter
-the proper ‘race’ round the edges of the figure, and the floats were
-cut irregularly. This has now been overcome by arranging the design
-to suit. <a href="#FIG169">Fig. 169</a> is a common velveteen designed for a weft
-pile figure. Only a portion of the pattern is given, but enough to
-show the method of arranging the design. It will be seen that the
-figuring is produced by flushing the weft on one side of the cloth, and
-for the ground it passes to the other side. The edges of the pattern
-are moved across the design paper in steps of two, and no flush or
-float is less than over four threads. In addition to this the figure
-should be turned in the centre on an odd number of ends, which in
-cutting keeps the race end on the inside of the step into which the
-knife enters. The knife is run up on all the odd numbers of ends
-moving across in steps of two, and, leaving no flushes of less than four,
-gives it a better chance of entering in the proper place along the edges
-of the pattern.</p>
-
-<p><a href="#FIG170">Fig. 170</a> is another make of velvet for a heavier fabric, with 60
-threads of warp per inch, and from 350 to 400 picks. It makes a good
-firm cloth, suitable for curtains or furniture coverings. The principle
-of designing is the same as for <a href="#FIG169">Fig. 169</a>. Both these patterns are
-portions of a diamond figure.</p>
-
-<p>When the figure is produced with a warp pile, it is only necessary
-to raise the proper warp threads with the jacquard for the insertion<span class="pagenum"><a name="Page_260" id="Page_260">[260]</a></span>
-of each wire, but the difficulty to contend with is that there will be an
-irregular take-up of the warp pile threads, and this can only be
-remedied by having a number of small warp beams. In some cases
-a separate spool for each warp thread may be required, which, of
-course, for a fine velvet means a very intricate arrangement, though
-it suits very well for pile carpets. Different heights of pile can be
-formed through a pattern in this way&mdash;say, a short pile to be left
-looped, and a longer pile to be cut, which, in suitable colours of
-pile and ground, forms a very beautiful though costly fabric.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG170" id="FIG170"></a><img src="images/i_260.jpg" width="600" height="524" alt="" />
-<div class="caption"><span class="smcap">Fig. 170</span></div>
-</div>
-
-<p>Another method of warp pile weaving, more easily accomplished,
-is that known as terry, or Turkish towel weaving. It is largely
-used for quilts, toilet covers, towels, &amp;c., and any bold figure can be
-woven on it with almost as much ease as on ordinary damask work.</p>
-
-<p>There are two methods of forming figures on the cloth in this style
-of weaving, one by having two colours of pile warp and changing
-them from one side to the other to form the figure or ground&mdash;that is,
-supposing the one pile warp to be red and the other white&mdash;pile would
-be thrown up on both sides of the cloth at the same time; on one side
-the figure would be formed by the red pile and the ground by the white<span class="pagenum"><a name="Page_261" id="Page_261">[261]</a></span>
-pile, and the other side would be the reverse of this. <a href="#FIG171">Fig. 171</a> is a
-portion of a pattern of this style. The black squares represent, say,
-the red warp-forming loops on the face of the cloth, and the shaded
-squares the same for the white warp. The crosses are the ground or
-binding threads; and the dots represent the pile threads of the colours
-they are on, raised to bind with the weft, when these threads are forming
-pile on the underside of the cloth.</p>
-
-<div class="figcenter" style="width: 599px;">
-<a name="FIG171" id="FIG171"></a><img src="images/i_261.jpg" width="599" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 171</span></div>
-</div>
-
-<p>The other method is to have only one colour of pile warp&mdash;in fact,
-to have only one pile warp, it might be said, instead of two, as in the
-previous case. The cloth consists of a pile figure and a plain or solid
-ground on one side, and the reverse of this on the other side. The
-pile and ground may be of the same colour, or of different tints if
-desired&mdash;say a rich cream ground and a white pile. This style of<span class="pagenum"><a name="Page_262" id="Page_262">[262]</a></span>
-working is very suitable for quiltings, toilet covers, &amp;c. <a href="#FIG172">Fig. 172</a> is a
-portion of a pattern for weaving in this way. The black squares represent
-the pile-warp raised to form loops, and the round dots are also
-pile-warp raised, but only for binding when the loops are being formed
-at the other side of the cloth. The shaded squares show the ground
-warp raised to form the body texture. This cloth has about 60 threads
-of warp per inch, and the same or a little more weft.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG172" id="FIG172"></a><img src="images/i_262.jpg" width="600" height="585" alt="" />
-<div class="caption"><span class="smcap">Fig. 172</span></div>
-</div>
-
-<p>Figs. 173 and 174 are two examples of six-shot pile cloth for quilts;
-it is made with 50 to 60 threads of warp per inch, and double that
-quantity of weft. The same method of marking the design paper is
-used as that for 172 pattern. It will be seen that in <a href="#FIG173">Fig. 173</a> the
-loops or flushes of pile are over five and under one, and in <a href="#FIG174">Fig. 174</a>
-they are over two, under one, over one, and under one, thus making a
-fast pile fabric, whereas the floats of five in <a href="#FIG173">Fig. 173</a> would be rather
-loose unless the cloth is over-wefted. Both these piles may be used in
-the one cloth, one for the face and the other for the back, as is given
-in the figures; the light portion of <a href="#FIG173">Fig. 173</a> being of the same texture
-as the dark portion of <a href="#FIG174">Fig. 174</a>. One pattern may be taken as the face
-of the cloth and the other as the back. Of course they may also be
-used separately if desired. Any full-harness mounting that will suit<span class="pagenum"><a name="Page_263" id="Page_263">[263]</a></span>
-the pattern will answer for these fabrics, the loops being thrown up in
-the usual way, by leaving a few shots standing out from the fell and
-then knocking all up, drawing forward the pile warp, which is slackened
-at this beat, but sliding on the ground warp, which is held firm.</p>
-
-<div class="figleft0" style="width: 312px;">
-<a name="FIG173" id="FIG173"></a><img src="images/i_263.jpg" width="312" height="370" alt="" />
-<div class="caption"><span class="smcap">Fig. 173</span></div>
-</div>
-
-<div class="figright0" style="width: 196px;">
-<a name="FIG174" id="FIG174"></a><img src="images/i_263a.jpg" width="196" height="289" alt="" />
-<div class="caption"><span class="smcap">Fig. 174</span></div>
-</div>
-
-<p class="nofloat">Another method of forming figure pile is to weave a plain pile, and
-when cut press or stamp a pattern on it with heated blocks cut to the
-pattern; the standing pile is then shorn off, and afterwards that which
-was pressed down is brushed up again, forming a full-pile figure on a
-shorn-pile ground.</p>
-
-<hr class="chap" />
-</div>
-
-<div class="chapter">
-
-<p><span class="pagenum"><a name="Page_264" id="Page_264">[264]</a></span></p>
-
-
-
-
-<h2><a name="CHAPTER_X" id="CHAPTER_X"></a>CHAPTER X<br />
-<span class="f75"><i>CARPETS</i></span></h2>
-
-
-<p><span class="smcap">The</span> manufacture of carpets has been in existence since the days
-of the ancient Egyptians, who made rugs and carpets of various
-kinds and ornamented them with animals and various devices.
-The manufacture passed on to the East, and we find India, Turkey
-and Persia celebrated for the richness of their carpets in early times.
-The Moors of Spain introduced the Oriental floor coverings into
-Western Europe, and the Belgians and French took up the manufacture
-and produced excellent imitations of them. Even in the Middle Ages
-carpets were only used as a luxury by the rich. Queen Elizabeth had
-a carpet spread upon rushes, while Queen Mary had rushes only. These
-rushes were the <i>Acorus Calamus</i> (sweet reed of Norfolk), which were
-the usual floor coverings down to about this time.</p>
-
-<p>Tapestry weaving was started in this country in the beginning of
-the seventeenth century, but the first we hear of carpet manufacturing
-in England was at Kidderminster about 1735, the carpets then made
-being, no doubt, the Kidderminster or Scotch carpet. The making of
-Brussels carpet was introduced about 1750; they were first made in
-this country at Wilton, near Salisbury.</p>
-
-<p>The Axminster carpets take their name from being first made in
-the town of Axminster about 1755. They rivalled the work of the
-Eastern looms for beauty, durability, and colour; but owing to the cost
-of their manufacture, and the introduction of the cheaper Brussels and
-patent tapestry carpets, the demand became very small, and the work
-was removed to Wilton in 1835. The patent Axminster or chenille
-carpet was brought out by Messrs. Templeton, of Glasgow, in 1839.</p>
-
-<p><span class="pagenum"><a name="Page_265" id="Page_265">[265]</a></span></p>
-
-<p>In the early ages carpets or rugs were used for spreading on the
-floor or grass to lounge upon. It is recorded that in Babylon the guests
-of despotic sovereigns lounged on rich carpets, and walked over priceless
-works of textile art; also how figured carpets made of the finest wool
-were strewed under golden couches, and rugs richly embroidered with
-figures were spread over daïs, stool, and table.</p>
-
-<p>The Egyptian carpets may have been tapestries and embroidered
-fabrics. They also had a method of making tufted carpets by drawing
-a portion of the weft threads out of a piece of coarse linen and sewing
-tufts of coloured worsted to the warp threads, enough of the weft being
-left in to bind the warp threads together.</p>
-
-<div class="figright" style="width: 300px;">
-<a name="FIG175" id="FIG175"></a><img src="images/i_265.jpg" width="300" height="191" alt="" />
-<div class="caption"><span class="smcap">Fig. 175</span></div>
-</div>
-
-<p>Persian and Indian carpets were made of wool; the latter were
-occasionally made of silk, and sometimes an inferior description of
-carpet was made of cotton. These, as well as Turkey carpets, are
-made on a very simple loom consisting of two posts fitted at a suitable
-distance apart to form a vertical frame. There is a roller at the top
-and another at the bottom between which the warp threads are stretched,
-much in the same manner as in tapestry weaving. The weaver sits
-in front of the loom with a design before him, and is provided with a
-quantity of bobbins of the colours required for the pattern; he looks to
-the design for the colour, and, taking a bobbin of the colour required,
-forms a loop round two of the warp threads with the weft, cutting it off
-as shown in <a href="#FIG175">Fig. 175</a>. After having completed
-a row along the cloth forming one
-weft line of the design, he opens a shed
-and inserts a ground shot all across the
-web, each ground shot going into a shed the
-reverse of the preceding one, forming a plain
-texture ground with a row of tufts between
-the ground shots. The ground shots are beaten down with a comb.
-Instead of going across in even rows of tufts, where there is a
-patch of colour several rows of tufts may be put in at this place
-with a ground thread between the rows, leaving the ends of these
-threads projecting so that they can be carried across when the remaining
-portions of the rows are completed. The ends of the tufts are cut<span class="pagenum"><a name="Page_266" id="Page_266">[266]</a></span>
-off roughly at first, and afterwards shorn level with a pair of shears.
-Persian carpets are sometimes very costly, a small-sized carpet, when
-made of fine cashmere wool, costing 500<i>l.</i> or 600<i>l.</i></p>
-
-<p>Axminster carpets are made on the same principle, and other art
-carpets are being made similarly. There are about sixteen or twenty
-warp threads per inch of strong cotton or linen thread; the weft is of
-fine wool, three or four ply being put into each tuft; the ground weft
-is soft hemp or flax, eight ply of yarn going to each shot. This makes
-a full soft cloth. These carpets are about three-quarters of an inch
-thick, and, like tapestries, there is no end to the variety of pattern or
-colour that can be introduced.</p>
-
-<p><i>Kidderminster or Scotch Carpet.</i>&mdash;This carpet, also called ingrain
-carpet, is the oldest machine-made carpet in this country; it was
-originally made at Kidderminster, but the chief centre now is Scotland.
-Originally it was a two-ply cloth, the pattern being formed by passing
-the two cloths, which were of different colours, through each other.
-Mr. Morton, of Kilmarnock, improved on this by making it a three-ply
-cloth, which enabled it to be made a thicker cloth with a richer pattern.
-It is now made both two-and three-ply, and when made of all-wool is
-a rich and durable article, taking a position between the jute and felt
-carpets and the tapestry and Brussels; it is, however, sometimes made
-with cotton warps and woollen wefts, and is in this case an inferior
-article.</p>
-
-<p>Both two-and three-ply carpets may be woven with only one colour
-of weft, in which case the pattern is formed by the warp threads, which
-must be much thicker so as to close in over the weft and hide it as much
-as possible; on the other hand, there may be two warps and four
-colours of weft, two of which are the same colours as the warp, and in
-this case the weft is much thicker than the warp. The best of these
-carpets are made with as many colours of weft as warp, as, in order to
-get a pure effect, it is necessary to have wefts traversing warps of their
-own colour; but a variety of effects can be produced by using additional
-colours in both warp and weft.</p>
-
-<p>One advantage in this style of carpet is that it is reversible; for
-when one cloth rises to the face the other passes to the back, making<span class="pagenum"><a name="Page_267" id="Page_267">[267]</a></span>
-the pattern on both back and face alike, but of different colours. This
-is the case when the carpet is two-ply cloth woven in the ordinary way,
-but sometimes the back has to a certain extent to be sacrificed to give
-more ornamentation to the face, at least in the ordinary method of
-weaving. Whether woven two- or three-ply, the principle of working
-is the same. Take a two-ply carpet. The fabric is a double or two-ply
-plain cloth, figured in the usual way by passing the two cloths
-through each other, there being no binding between the cloths except
-what is formed by the one passing through.</p>
-
-<p>The warps are of different colours&mdash;as, say, scarlet and black, green
-and black, &amp;c.&mdash;and each warp should have a weft of its own colour if
-pure effects in the cloth are required. Usually four sets of warp threads
-are employed instead of two&mdash;that is, two colours, end-and-end, for each
-warp&mdash;and each colour of warp has its own colour of weft. Say we
-take red and black for the face or figuring warp, and white and olive for
-the back or ground warp. Various effects can be produced from this arrangement&mdash;viz.
-the effect of the figuring cloth, formed by weaving the
-red and black warps and wefts together, which in plain texture with
-one weft will produce a rich brown effect; the ground cloth produced by
-the white and olive warps and the weft will be of a light olive colour;
-then lined, or what are known as ‘shot-about’ effects can be produced
-by throwing in a light and a dark shot alternately&mdash;as white and black,
-olive and red&mdash;and binding them on the face by warps of the same
-colour. All the weft on the face of the cloth should be bound by warp
-of its own colour in order to give pure effects. When a thread of one
-cloth is raised, the corresponding thread of the other cloth goes to the
-back (white and red and olive and black correspond in this case), but
-the red weft will be bound with black warp on the under side of the
-cloth, and the black weft will be bound with red warp, and the same
-with the others, as in the system of working the harness with journals
-to form the texture, all the black warp is controlled by one of the
-journals and must all rise with it. Therefore when the black shot is
-being thrown in, the black warp must be raised to make the pattern
-correct on the face of the cloth, and this will also cause it to be raised
-for that portion of the cloth that goes to the back, and when the black<span class="pagenum"><a name="Page_268" id="Page_268">[268]</a></span>
-is up the red is down; therefore the black weft must be bound by red
-warp on the under side of the cloth, and the same with the other
-colours. It is easy to understand that if an end-and-end warp&mdash;black and
-red&mdash;be wrought plain on two shafts or leaves of heddles, and shot pick
-and pick of the same colours, when the black weft is bound with the
-black warp on one side it must be bound with red (which is the other
-half of the warp) on the other side, and if the red is bound with red on
-one side it must also be bound with black on the reverse side. To
-apply this to the double cloth or carpet weave it is only necessary to
-consider this piece of cloth as passing up and down through another
-one of a different colour. Had we the power of raising any portion of
-the black or red warps required, we could bind a portion of the black
-weft with black on one side, and any other portion of it with black on
-the other side; to do this we require a full or thread harness.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG176" id="FIG176"></a><img src="images/i_268.jpg" width="600" height="128" alt="" />
-<div class="caption"><span class="smcap">Fig. 176</span></div>
-</div>
-
-<p>A section through the weft of a piece of two-ply carpeting is given
-in <a href="#FIG176">Fig. 176</a>, showing the position of the threads when arranged to give
-the different effects of face cloth up as at <span class="smcap">A</span>, back cloth up as at <span class="smcap">B</span>, shot-about
-effect of red and olive on the face as at <span class="smcap">C</span>, and shot-about effect
-of white and black on face as at <span class="smcap">D</span>. The warp threads are marked <span class="smcap">W</span>,
-<span class="smcap">O</span>, <span class="smcap">R</span>, <span class="smcap">B</span>, the initial letters of the colours; and the numbers 1 to 32 give
-the order of picking. The shot-about effect is here produced with the
-opposite threads&mdash;that is, the first thread of one warp and the second
-thread of the other warp&mdash;as white and black; but it might be preferred
-to produce the effect the corresponding or mate threads (white and red,
-or olive and black) would give. In working with journals, two picks
-face and two picks back would be required to obtain this, and the
-needles of the jacquards would require to be acted upon by the cards
-for each shot, thus requiring double the number of cards. With a full<span class="pagenum"><a name="Page_269" id="Page_269">[269]</a></span>
-harness any effect desired can be produced. Extra colours of weft may
-also be used (as drab) in addition to the white and olive&mdash;to work, say,
-white, olive, drab, olive, &amp;c.; and dark green or blue in addition to the
-red and black, which would come in as red, green, black, green, &amp;c.,
-a shot of the light and one of the dark colours following each other in
-succession. Stripes of a bright colour may be introduced into the
-warp or weft and kept in the back cloth, only being brought to the face
-in small portions, at intervals, to sparkle up the centres of flowers, &amp;c.</p>
-
-<p>Ingrain carpets are made 36 in. wide, and with, say, 832 or 1088
-threads of warp, according to quality. The former can be woven on a
-200 jacquard (say 208=416), as the machine is double; and as there
-are two repeats of the pattern in the width of the cloth, 416 × 2 = 832
-threads of warp. For the latter 272 needles are required = 544 × 2
-= 1088 hooks.</p>
-
-<p>When woven with journals, the jacquards used for figuring these
-carpets are similar to those explained under ‘Quilt Weaving’&mdash;that is,
-double machines with trapboards and knot cords; and when the card
-is pressed against the needles it is held in for two shots, one trapboard
-raising the harness for the first shot, and the other reversing the shed
-for the second shot. The journals are four sections of the cumber
-board, as shown in <a href="#FIG177">Fig. 177</a>; each section contains two rows of the
-harness and one colour of warp. No. 1 journal controls the white
-warp, No. 2 the olive, No. 3 the red, and No. 4 the black; the draft is
-shown by the numbers 1 to 8 alongside the harness cords. These eight
-cords only represent half a row from each machine, as there are eight
-rows of hooks to the machine. One row of the two machines fills two
-rows across the journals, or 16 holes. <span class="smcap">A</span> represents the trapboard of
-the machine for the ground or dark warp, and <span class="smcap">B</span> that of the machine
-for the figuring or light warp.</p>
-
-<p>The harness twines are furnished with large knots above the
-cumber board or journals, so that when one of the journals is raised
-the harness will be lifted with it. The journals may be raised by
-strong cords or wires from the machine, or by a tappet or shedding
-motion working either above or below them. If the machine is divided
-into two parts, four hooks in succession going to each colour of warp<span class="pagenum"><a name="Page_270" id="Page_270">[270]</a></span>
-for each cloth, the cords from these four hooks making two rows of
-the journal, there will be no crossing of the harness in a straight or
-Norwich tie.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG177" id="FIG177"></a><img src="images/i_270.jpg" width="600" height="597" alt="" />
-<div class="caption"><span class="smcap">Fig. 177</span></div>
-</div>
-
-<p>The order of working for the section <a href="#FIG176">Fig. 176</a> would be as follows:&mdash;For
-the first pick, which is white, raise the trapboard <span class="smcap">B</span> and the first
-journal; for the second pick, which is red, raise the trapboard <span class="smcap">A</span> and
-the third journal; for the third pick, raise the trapboard <span class="smcap">B</span> and the
-second journal; for the fourth pick, raise the trapboard <span class="smcap">A</span> and the
-fourth journal. This is the general order of lifting for a pattern; but
-a simple lined effect across the cloth as the section could be wrought
-with the journals without the machine, using them as heddle shafts.
-It could also be wrought by the machine without the journals. The
-use of the journals in conjunction with the machine is to pass the cloths
-through each other and make a pattern. For figure work, when a card
-is pressed in against the needles, all the warp for the figure on the
-design paper is raised by the trapboard <span class="smcap">B</span>, which clears this portion of
-the red and black warps out of the way of the ground shed; and as the
-first pick of the ground is white, the white journal is raised to bind the
-white pick, leaving the olive warp down to bind it at the back. For<span class="pagenum"><a name="Page_271" id="Page_271">[271]</a></span>
-the next shot the same card acts, and the trapboard <span class="smcap">A</span> is raised, which
-lifts all the white and olive warp corresponding with the portion of the
-red and black that was left down at the last shot, so as to clear this
-portion out of the way of the face shed. As a red pick follows white,
-the red journal (No. 3) is raised to bind the red on the face, leaving the
-black warp down to bind it on the back. The other picks follow
-similarly. This shows the defective binding common to journal weaving,
-the white being bound with olive and the red with black at the
-under side of the cloth. To have pure binding, instead of all the white
-or red being raised by a journal as above, only as much of either should
-be raised as is required to bind its own colour of weft on the face of
-the cloth. The olive or black in respective cases should be raised for
-the remainder of the shed, leaving the white and red down to bind their
-own wefts where these colours come out on the back or under side of
-the cloth, thus giving pure colours on both sides of the cloth, and letting
-the mixed or impure binding be in the centre between the two cloths.
-This, however, is beyond the range of journals, and requires a harness.</p>
-
-<div class="figright" style="width: 300px;">
-<a name="FIG178" id="FIG178"></a><img src="images/i_271.jpg" width="300" height="295" alt="" />
-<div class="caption"><span class="smcap">Fig. 178</span></div>
-</div>
-
-<p><a href="#FIG178">Fig. 178</a> gives a neat pattern on a small scale for a two-ply cloth
-with, say, a red and a pale olive warp for ground and figure cloths
-respectively, the shaded squares
-being red and the ground or
-white squares olive; the weft
-for each cloth to be the same
-colour as the warp, or sometimes
-a tint one or two shades lighter
-and brighter, or deeper and duller,
-according to the colours or
-shades of colours used, gives a
-good effect. A further effect in
-this can be produced by having
-the 6th to 10th and 18th to
-22nd threads black, brown,
-or dark green, end-and-end with pale olive, for the back warp,
-and picking similarly on the 5th to the 9th picks for the ground
-cloth. This would, of course, make a striped effect on the under side<span class="pagenum"><a name="Page_272" id="Page_272">[272]</a></span>
-of the cloth, as where the additional colours do not show above they
-must appear below. A still better effect can be produced by having an
-additional weft lying between the two cloths which can be flushed on
-the face in spots as at picks 12, 13, and 14, and of course a three-ply
-cloth will be a step farther in advance; lined effects can then
-be produced anywhere desirable, in portions to suit the nature of
-the design, to vary and enrich it, at the same time the breadth of effect
-is maintained by working the greater portion of the pattern in masses
-of pure colour, whether they be large or small. For full-harness work
-the harness is divided into two sections, four rows for the back cloth
-and four rows for the face cloth, on an 8-row machine; no journals
-are used, the machine doing all the work. The harness is tied up in
-the usual way, the cord from the first hook passing through the first
-hole of the cumber board, and the cord from the second hook passing
-through the second hole, and so on.</p>
-
-<p>The harness is nominally divided into two sections, the front four
-rows being for the face cloth and the back four for the back cloth;
-when drawing the warp into the harness the mails are taken in the
-following order: 1, 5, 2, 6, 3, 7, 4, 8, the back or ground warp coming
-on 1, 2, 3, 4 mails, and the face or figure warp on 5, 6, 7, 8.</p>
-
-<p>Suppose the pattern to be a dice, as <a href="#FIG179">Fig. 179</a>, the warps to be
-white and olive, and red and black, with the same colours of weft.
-Each upright line of the design represents two threads of warp, one
-of which will be drawn on the front half of the harness and the other
-on the back half; and each horizontal line of the design represents
-two weft shots, for which there must be two cards cut. Let the order
-of drawing the warp into the harness be as <a href="#FIG180">Fig. 180</a>. The white is on
-the odd and the olive on the even numbers of the four back rows of
-the harness, and the red is on the odd and the black on the even
-numbers of the four front rows.</p>
-
-<p>Now to cut the cards:&mdash;Take the first line of the design <a href="#FIG179">Fig. 179</a>,
-cut the odd numbers of holes (that is, the first and third) on the first
-half, or first four holes, of the card, and cut the white and olive on
-the second half of the card. For the second card, from the same line
-of the design cut red and black on the first half of the card, and the<span class="pagenum"><a name="Page_273" id="Page_273">[273]</a></span>
-odd numbers of holes on the second half of the card. For the third
-card, take the second line of the design and cut even numbers of holes
-on the first half of the card, and white and olive on the second half
-of the card. For the fourth card, from the second line of the design
-cut red and black on the first half of the card, and the even numbers
-of holes on the second half of the card. Of course when there is none
-of a colour raised, as in the first line there is no black, no notice is
-taken of it. For the pattern in <a href="#FIG178">Fig. 178</a> the cutting would be the
-same, except that there are only two colours of warp to be dealt with
-instead of four. No. 1 card: cut odd numbers of holes on the first
-half of the card, and olive on the second half of the card. No. 2: cut
-red on the first half of the card, and odd numbers of holes on the
-second half of the card, &amp;c.</p>
-
-<div class="figleft0" style="width: 274px;">
-<a name="FIG179" id="FIG179"></a><img src="images/i_273.jpg" width="274" height="211" alt="" />
-<div class="caption"><span class="smcap">Fig. 179</span></div>
-</div>
-
-<div class="figright0" style="width: 204px;">
-<a name="FIG180" id="FIG180"></a><img src="images/i_273a.jpg" width="204" height="211" alt="" />
-<div class="caption"><span class="smcap">Fig. 180</span></div>
-</div>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG181" id="FIG181"></a><img src="images/i_273b.jpg" width="600" height="204" alt="" />
-<div class="caption"><span class="smcap">Fig. 181</span></div>
-</div>
-
-<p>The cutting of four cards is given is <a href="#FIG181">Fig. 181</a>. The crosses indicate
-the cutting of the odd and even holes in the cards, and the dots are
-the figure. It will be seen that the crosses in No. 3 card would reverse<span class="pagenum"><a name="Page_274" id="Page_274">[274]</a></span>
-the shed formed by those in No. 1 card, thus working plain texture on
-the back cloth, and the same would take place with Nos. 2 and 4 cards
-for the face cloth. This is simply the action of the journals included
-in the harness, which it will be seen requires double the number of
-needles in the machine, and double the quantity of cards; but an
-ordinary machine and mounting will answer, instead of having to get
-a double machine and journals.</p>
-
-<p>The above cutting acts the same as journals, and is all right in
-both cases when one warp with its own weft is used for each cloth;
-but it has been pointed out that when each warp is end-and-end of
-different colours with wefts to match, the under side of the cloth is
-defective when wrought with journals, and so it would be with the full
-harness if the cards were cut as above. To get each colour of weft
-bound with its own colour of warp on both sides of the cloth, the
-following change must be made:&mdash;Take the small piece of pattern
-given in <a href="#FIG182">Fig. 182</a>, and let the warps be as before&mdash;white and olive,
-red and black. The card
-cutting for this pattern will
-be as follows, the warp being
-drawn through the harness
-as before:</p>
-
-<p>For the first card, cut
-odd numbers of red and even
-numbers of white on the
-first half, or first four holes,
-of the card, and white solid
-on the second half. This will form a shed for the red shot.</p>
-
-<p>Second card: Cut from same line of the design red solid on the
-first half of the card, and even numbers of white and odd numbers
-of red on the second half of the card. This is for the white shot.</p>
-
-<div class="figleft" style="width: 300px;">
-<a name="FIG182" id="FIG182"></a><img src="images/i_274.jpg" width="300" height="184" alt="" />
-<div class="caption"><span class="smcap">Fig. 182</span></div>
-</div>
-
-<p>Third card, for black shot: Cut from the second line of the design
-even numbers of black and odd numbers of olive on the first half of
-the card, and olive solid on the second half of the card.</p>
-
-<p>Fourth card, for olive shot: From the same line cut black solid on<span class="pagenum"><a name="Page_275" id="Page_275">[275]</a></span>
-the first half, and odd numbers of olive and even numbers of black on
-the second half of the card.</p>
-
-<p>These four cards are shown in <a href="#FIG182">Fig. 182</a>, from which the cutting
-may be traced. It must not be supposed, however, that cutting odd
-numbers of red and even numbers of white as on the first card, means
-that these colours of threads are to be raised; the colour has no
-reference to the threads&mdash;only to the coloured checks on the design paper.</p>
-
-<p>For the first card the white checks on the design paper are cut
-solid on the second half of the card; this raises the white and olive
-warp corresponding to the white portion of the design. Then, to form
-the plain shed in the other warp, the even numbers of the white checks
-and the odd numbers of the red checks are cut on the first half of the
-card, which acts on the other warp. As the black warp is drawn on
-the even numbers of harness twines it will be raised for that portion
-of the design that is white, and the red will remain down to bind the
-red weft; but passing along the design till the red weft is above, it
-will be seen that the red warp should here be up to bind it, and the
-black should therefore be down, so, as the red warp is on the odd
-numbers of the harness and on the second half of the card, the odd
-numbers must be cut on the card for the red portion of the design.
-This gives a pure binding on both sides: and the same applies to the
-other colours. It will be seen that the first halves of the 1st and
-3rd cards together work a broken plain texture, and the second
-halves of the 2nd and 4th cards do the same.</p>
-
-<p>In case the card-cutter cannot follow this method of cutting, and if
-the design is so varied in order of weaving that a gamut or index for
-cutting cannot be arranged, then it will be necessary to paint the full
-texture of the pattern on the design paper in the same manner as is
-done for double cloth. The first row of designs of the pattern given
-in <a href="#FIG178">Fig. 178</a> is painted out in full in <a href="#FIG183">Fig. 183</a>. The shaded lines underneath
-represent the back warp, and the white lines the face warp.
-The black squares are the figure, and the large crosses the ground, or
-the white squares in <a href="#FIG178">Fig. 178</a>. The dots are the rising marks for the
-texture of the back cloth, as would be formed by the back warp journals,
-and the small crosses are the same for the face warp.</p>
-
-<p><span class="pagenum"><a name="Page_276" id="Page_276">[276]</a></span></p>
-
-<p>This method of weaving is not confined to carpets, but is equally
-applicable to quilts, curtains, &amp;c., and a plain texture need not be
-adhered to; a twill or any simple fancy texture may be used. With
-80 to a 100 threads per inch, one warp peacock green in satin texture
-for the figure, and the other warp gold for the ground in a crêpe
-or mottled texture, all shot peacock, a handsome curtain can be made.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG183" id="FIG183"></a><img src="images/i_276.jpg" width="600" height="137" alt="" />
-<div class="caption"><span class="smcap">Fig. 183</span></div>
-</div>
-
-<p><i>Brussels Carpets.</i>&mdash;Brussels carpets, with their less expensive allies,
-the tapestries, are the commonest of the better class of carpets. They
-are a loop-pile fabric, the pile being formed by the figuring warp,
-which is wool, the ground warp and weft being hemp or flax. As the
-pattern is formed by raising the figuring warp threads of the required
-colours, and as any thread of any colour may require to be raised, it
-follows that all the threads must be on separate spools or small warp
-rolls, so that any one thread can be drawn forward without slackening
-any of the others. Large frames are therefore made to hold the
-number of spools of each colour, and these are placed one above the
-other in a slanting position, at the back of the loom, and when filled
-with spools the whole set of threads are brought forward to the
-harness as if from a warping creel or bank. According to the number
-of these frames used the carpet is styled a 3, 4, or 5-frame carpet, the
-greater the number of frames the richer the carpet both in colour
-(generally speaking) and in body of warp. Sometimes 6 frames are
-used; but 4 or 5 are more frequent, 3 and 4 frame being the lower
-qualities.</p>
-
-<p>The texture of a Brussels carpet is shown in <a href="#FIG184">Fig. 184</a>, which is a
-section through the weft. <span class="smcap">A</span> and <span class="smcap">B</span> are two of the ground warp
-threads, a pair of these coming between the rows of pile loops, a
-portion of one row being shown in the section. The weft threads are<span class="pagenum"><a name="Page_277" id="Page_277">[277]</a></span>
-shown in section coming under the loops of the ground warp at the
-top, and above them below. Both this warp and weft are of coarse
-hemp, about 3’s: the weft is steeped in glue size before being
-thrown into the cloth, which makes it stiff and firm when dry. The
-pile warp threads are numbered, 1, 2, 3, 4, and 5; they are of soft-spun
-worsted, about 2/24’s, 2 and sometimes 3 threads being drawn
-in together as one through the mails and reed. These five warp
-threads go to form one line of loops, being raised over the wires as is
-required for the pattern, and lying straight between the weft threads
-when not raised. By considering this it will easily be understood that
-each thread must be on a separate bobbin so as to admit of being drawn
-forward independently of any of the others. In low qualities of these
-carpets one or two threads of hemp warp are used to each splitful or
-row of pile threads; the hemp thread lies in a straight line below the
-worsted threads in the same way that No. 5 thread is shown in the
-section. These stuffing threads add to the weight and thickness when
-the worsted is reduced in quantity, but make a harsher and stiffer
-carpet. This warp, when used, is put on a beam or warp roll, as is
-also the ground warp of the carpet.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG184" id="FIG184"></a><img src="images/i_277.jpg" width="600" height="242" alt="" />
-<div class="caption"><span class="smcap">Fig. 184</span></div>
-</div>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG185" id="FIG185"></a><img src="images/i_277a.jpg" width="600" height="137" alt="" />
-<div class="caption"><span class="smcap">Fig. 185</span></div>
-</div>
-
-<p><a href="#FIG185">Fig. 185</a> is the plan of drawing-in and weaving a carpet similar to
-that shown in section in <a href="#FIG184">Fig. 184</a>. The draft is given at <span class="smcap">A</span>, and the<span class="pagenum"><a name="Page_278" id="Page_278">[278]</a></span>
-treading and cording for a hand loom at <span class="smcap">B</span>. A 10-row jacquard should
-be used for a 5-frame carpet, as twice over the 5 threads makes one
-row of the cumber board. Five threads are drawn into the harness,
-one from each frame, then two ground warp threads are brought
-through and drawn on two leaves of heddles. In weaving, one ground
-thread is raised and a shot thrown in; then all the pile warp and the
-same ground thread are raised for the next shot; the third tread
-raises the harness and a wire is inserted to draw up the pile; the
-fourth tread crosses the ground warp threads; the fifth tread raises
-this thread again, as well as all the pile warp, and the sixth tread
-raises the harness for the insertion of the second wire; this completes,
-the order of treading. For the second and fifth treads it will be observed
-that all the warp in the harness must be raised; this was
-usually done by having shafts through the harness or by raising the
-cumber board to act as a journal in the manner explained for Scotch
-carpet weaving; but now jacquards are made with bottom boards or
-gratings that can be raised or lowered to form these sheds.</p>
-
-<p>The pile wires are now commonly inserted at the time the adjoining
-pick is being thrown in, a double shed being formed, and both the wire
-and shuttle passed across at the same time, the former being uppermost;
-in power looms the wires are both inserted and withdrawn by
-machinery; about twenty-five are inserted before any are drawn
-out, to prevent the loops from slipping. Jacquard machines are made
-specially for the purpose of forming this double shed, the grating
-raising the hooks from the bottom to the centre position, thus raising
-the worsted or figuring warp above the shuttle, while the griffe carries
-the figuring hooks on to the top, making a second or upper shed for
-the wire. The old method was to form the lower shed by raising
-the cumber board, and the upper one by the griffe. Jacquards with
-cords instead of hooks are frequently used.</p>
-
-<p>Brussels carpets are made 27 in. wide, with nominally 260 loops or
-rows of pile in the width; but 256 rows are commonly used instead of
-260 for the better classes of goods, and a further reduction of 30 or 40
-loops is made for lower classes, the reduction going to cheapen the
-goods or to the credit of the manufacturer. Although only 256 loops<span class="pagenum"><a name="Page_279" id="Page_279">[279]</a></span>
-are on the surface of the cloth, it must be remembered that for a 5-frame
-carpet there are 5 times this number of threads, and that 1,280
-cords will be required for the harness, and an equal number of needles
-in the jacquard when the pattern is single, or not repeated on the
-cloth; but the design only covers 256 spaces on the point paper, each
-space or check across it representing 5 threads. In Scotland a reed with
-350 splits on 37 in. is used, one row of pile warp with its ground warp
-going into each split. A carpet known as Axminster Brussels is made
-in Scotland. It is similar in structure to the common Brussels, but
-has in addition a woollen weft, which is thrown in pick-and-pick with
-the usual hemp weft. The addition of the wool weft adds to the softness
-and thickness of the carpet, giving more elasticity or spring to it,
-and making it wear better.</p>
-
-<p>Designs for Brussels carpets are sketched out and coloured in the
-usual way; the method of repeating the patterns is much the same as
-is adopted for wall papers. Usually there is one repeat in the width of
-the cloth (27 in.), and the length of the repeat may be shorter or longer
-to suit the pattern, expense, &amp;c.; 256 checks, = 3/4ths of a yard, is a
-common length, and 1-1/2 yard for bolder effects. The number of colours
-must be regulated to suit the frames to be employed in the weaving,
-unless the frames can be made to suit the pattern. Say five frames
-are to be used, this would suggest five colours; but it does not
-follow that only five colours can be used. A clever designer may work
-out most patterns so that six or more colours may be used on five
-frames, by arranging the design so that two colours may be put to one
-or more of the frames, which process is called ‘planting.’ But it may
-be that an extra number of colours will not improve the design, in
-which case they should not be used. The process of ‘planting’ or
-striping the warp&mdash;which is on the same principle as ‘chintzing’ by
-striping the weft in other makes of goods&mdash;will be best understood by
-referring to <a href="#FIG186">Fig. 186</a>, which is a Brussels carpet pattern on a small
-scale for working with five frames. The colours are indicated by different
-markings on the squares of the design-paper, as shown by the
-index or gamut below the design. On the first line of the gamut there
-are two varieties of markings, and as this line indicates reds, there are<span class="pagenum"><a name="Page_280" id="Page_280">[280]</a></span>
-two colours of red used on this frame. Following up the design above
-these markings, it will be seen that one colour of red is used in one of
-the sets or rows of octagonal figures, and the other colour on the intermediate
-rows, and that the two colours of red are not required in the
-same portions of the design, the gamut showing where each is required.
-It is only necessary to arrange the spools on the frame in the loom and
-draw the threads through the harness, as shown by the gamut, to make
-this fall in correctly.</p>
-
-<div class="figcenter" style="width: 549px;">
-<a name="FIG186" id="FIG186"></a><img src="images/i_280.jpg" width="549" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 186</span></div>
-</div>
-
-<p>What the designer must guard against is giving the pattern a
-striped appearance, which would be the case if the planted colours<span class="pagenum"><a name="Page_281" id="Page_281">[281]</a></span>
-were brought to the surface too frequently; but if they are judiciously
-brought up at intervals, the effect of a 5-frame can be made almost as
-good as that of a 6-frame pattern, and this can be carried still further
-if desired; every frame may contain two colours, or one frame may contain
-several colours.</p>
-
-<p>Carpet patterns are sometimes painted on small-sized design paper&mdash;that
-is, the ordinary paper with, say, two designs per inch; but
-before working it is more satisfactory to have them put on large-sized
-paper, so as to show the exact effect they will have on the cloth, the
-design-paper giving the pattern full-cloth size.</p>
-
-<p>When painting patterns that are as large or larger on the cloth than
-they are on the design-paper, much more care and skill are necessary
-than when the pattern is one that is much larger on the design-paper
-than it will be on the cloth, as is usually the case; and in consequence
-of the large size of the checks required for carpet design-paper, it is
-evident that representations of any small objects&mdash;unless those of a
-very simple nature&mdash;cannot be put on it without being greatly enlarged.
-After the sketch is made the forms should be carefully adapted to suit
-the paper, so as to give a satisfactory effect on it, rather than be a
-rigid adherence to the sketch. Natural floral forms should not be
-attempted unless to satisfy the demands of trade, and when they must
-be used they should be made on so large a scale as to be fairly represented
-in a semi-conventional manner. Large wild-floral patterns are
-frequently to be seen on carpets, but they are rarely, if ever, satisfactory.
-Persian, Indian, and other geometric or conventional forms that
-lend themselves readily to a harmonious admixture of colours so that
-the carpet will, when on the floor, present a rich glow of colour instead
-of obtrusive masses of floral misrepresentations, are much to be preferred.
-Dull colouring is not essential to good taste&mdash;rather the
-reverse; but it is less obtrusive and more easily managed, particularly
-in the hands of an inferior artist. No matter how brilliant the colours
-are, if properly blended and broken up into masses in proportion to
-their intensities in the spectrum scale they need not be in the least
-offensive; but it requires skilful hands to do this.</p>
-
-<div class="figleft" style="width: 304px;">
-<a name="FIG187" id="FIG187"></a><img src="images/i_282.jpg" width="304" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 187</span></div>
-</div>
-
-<p>The pattern given in our last figure (186) is a simple repeating pattern,<span class="pagenum"><a name="Page_282" id="Page_282">[282]</a></span>
-so that two pieces of the carpet laid side by side will join correctly
-together. Another method of arranging patterns so that they will
-repeat is shown in <a href="#FIG187">Fig. 187</a>. In this figure it will be seen that the
-two sides will not join as an ordinary repeat, but if two pieces are
-taken the right-hand side of
-one will, if turned round, join
-against the left-hand side of
-the other, and two pieces thus
-joined will form a repeat.
-This is objectionable in the
-case of cut pile, which usually
-has a slope in one direction;
-and when two pieces are
-joined, one running one way
-and the other the reverse, the
-effect will be that of shaded
-stripes, somewhat similar to
-that of a grass field when
-rolled. Another method of
-forming repeating patterns is
-by making what is known as
-a ‘drop repeat,’ which is
-shown in <a href="#FIG188">Fig. 188</a>; though
-the two sides will not join in
-against each other, as in an
-ordinary repeat, if two pieces
-of the carpet be laid side by
-side, and one of them drawn
-a little down, the point <span class="smcap">A</span> in
-the figure of one piece will
-fall in against <span class="smcap">B</span> and <span class="smcap">B<sup>1</sup></span> of the other piece, and repeat.</p>
-
-<p>These show the usual principles on which repeats are based, and
-of course it is for the ingenuity of the designer to form the best arrangements
-of pattern he can to suit them, or any other method he
-may think of.</p>
-
-<p><span class="pagenum"><a name="Page_283" id="Page_283">[283]</a></span></p>
-
-<p>When cutting cards for carpet patterns the usual method of picking
-out the various colours for each cutting must be adopted by the card-cutter.
-Refer to <a href="#FIG186">Fig. 186</a> for the pattern, and to <a href="#FIG185">Fig. 185</a> for the
-draft. The order of drawing is green, blue, black, yellow, reds, which
-gives five rows of holes on the card, and this twice over makes the ten
-rows; therefore, green would be cut on the first and sixth rows;
-blue on the second and seventh; black on the third and eighth; yellow
-on the fourth and ninth; and reds
-on the fifth and tenth rows. These
-may be all cut when passing the
-card once along the cutting
-machine, giving more than one
-tramp, if necessary, to each shift
-of the card index; or the cutter,
-if not accustomed to this, may
-pass the card along once for each
-colour, working two of the punches
-at each passage of the card, and
-of course remembering to select
-the punches which correspond to
-the colour being read.</p>
-
-<div class="figright" style="width: 300px;">
-<a name="FIG188" id="FIG188"></a><img src="images/i_283.jpg" width="300" height="509" alt="" />
-<div class="caption"><span class="smcap">Fig. 188</span></div>
-</div>
-
-<p>It must be remembered that
-two checks on the design-paper
-correspond with a row of ten holes
-on the cards, as each check may
-have any of five colours on it in
-the case of a 5-frame carpet pattern,
-and there must be a space
-for a hole in the card for any of these colours; therefore the designs
-or large squares on the design-paper would consist of two checks each.
-Suppose one of these checks&mdash;the first one&mdash;to be green, the first hole
-in the card would be cut for it; if the second check is also green, the
-sixth hole on the card would be cut; but if it is black, the eighth hole
-in the card would be cut, not the third hole, as it, being the second
-check, comes on the second half of the card. The first check stands<span class="pagenum"><a name="Page_284" id="Page_284">[284]</a></span>
-against the first five rows of holes in the card, and the second check
-against the second five rows, each check on the design-paper representing
-five threads, five mails and five needles, or five spaces on the
-card; but only one hole is cut on the card for it, and that must suit the
-colour the check is painted.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG189" id="FIG189"></a><img src="images/i_284.jpg" width="600" height="193" alt="" />
-<div class="caption"><span class="smcap">Fig. 189</span></div>
-</div>
-
-<p><i>Wilton Carpets.</i>&mdash;These carpets are made much in the same manner
-as Brussels, but the pile is cut, and they are of a better quality of
-wool with a longer pile, and altogether a superior article. As the pile
-is cut, the method of binding it into the ground is somewhat different
-from that adopted for Brussels, in order to secure a firmer binding. A
-section of the cloth through the weft is given in <a href="#FIG189">Fig. 189</a>, showing two
-pile loops cut and one uncut, and also the method of binding the
-pile warp threads Nos. 1, 2, 3, 4, and 5, with the ground warp <span class="smcap">A</span> and
-<span class="smcap">B</span>, and the weft is shown in section, or end view.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG190" id="FIG190"></a><img src="images/i_284a.jpg" width="600" height="141" alt="" />
-<div class="caption"><span class="smcap">Fig. 190</span></div>
-</div>
-
-<p>The warp or pile threads are cut similarly to velvet by drawing the
-wires out of the loops and having each wire furnished at its end with
-a cutting edge. <a href="#FIG190">Fig. 190</a> shows the draft and treading of a Wilton
-carpet arranged for a hand loom. The back is the harness, and Nos.
-1, 2, and 3 the shafts. No 2 shaft is only required when an extra
-or silent warp is used for the purpose of giving weight and thickening
-the fabric. This warp, if used, lies straight between the weft, and
-must be on a separate beam from the ground warp.</p>
-
-<p><span class="pagenum"><a name="Page_285" id="Page_285">[285]</a></span></p>
-
-<p><i>Tapestry Carpets.</i>&mdash;These carpets, though they do not require a
-jacquard to weave them, are so closely allied to Brussels, and patterns
-so similar can be produced on them, that it is thought desirable to give
-a short description of them. Though figured weaving, they are not so
-in the strict sense of the term, as the pattern is printed on the warp
-instead of being formed by various coloured warps; they are simply an
-imitation of figured weaving in colours. Any pattern that can be put
-on a Brussels carpet can also be put on a tapestry, and with further
-variation if desired. The effect is not so sharp and rich on the tapestry,
-as the colours, being printed on the warp, run into each other more or
-less, and produce a slight blurring round the edges of the pattern;
-whereas the pattern on the Brussels is so sharp and clear round the
-edges as to make it harsh if two very contrasting colours come together,
-so that in some cases the tapestry patterns are softer and more
-pleasing.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG191" id="FIG191"></a><img src="images/i_285.jpg" width="600" height="164" alt="" />
-<div class="caption"><span class="smcap">Fig. 191</span></div>
-</div>
-
-<p><a href="#FIG191">Fig. 191</a> shows the texture of a tapestry carpet. <span class="smcap">A</span> and <span class="smcap">B</span> are the
-ground warp threads which bind the weft, the same as in Brussels;
-these threads go on one warp roll. 1, 2, and 3 are the lying or
-filling warp threads of linen, hemp, or jute, used for giving weight
-and thickness to the cloth; these threads go on a second roll. <span class="smcap">P</span> is the
-pile, which, it will be observed, is of various colours and looped all along
-the cloth, or passes over every wire that is inserted, and the pattern is
-formed entirely by the colours that these threads are printed. The
-pile goes on a third warp roll. All the pile can go on the one roll, as
-every thread is looped alike by each wire inserted. A pair of shafts
-for the ground warp&mdash;one for the lying warp and one for the pile&mdash;is
-all that is required for weaving the cloth. The pile consists of two or
-three ends of two-fold worsted yarn, according to the quality of the<span class="pagenum"><a name="Page_286" id="Page_286">[286]</a></span>
-carpet. As the fabric is made up to a great extent with the three lying
-ends of stiffened hemp or flax to each row of pile loops, the carpet is
-of a harder and less pliable nature, with less spring in it than a Brussels
-(which has the five pile worsted threads in it), and it is also less durable.
-The number of pile loops in the width of the cloth is the same
-as for a low-class Brussels carpet, say 216 to 225, and the width of the
-cloth is the same&mdash;about 27 in. Five threads go to each split of the reed&mdash;viz.
-one pile, two ground warp, and the three lying or filling ends.</p>
-
-<p>In these carpets, as well as in Brussels, it will be seen from the
-sections that one weft thread is above a lower one, with a straight
-tightly-stretched warp between them. A method of weaving has been
-adopted on the Continent in which both sheds are formed and both
-wefts picked at the same time. One shed is raised above the centre
-warp, and one is sunk below it, and both shuttles are driven through
-simultaneously; then a pile shed is raised and a wire inserted; and
-this repeated, reversing the ground sheds, makes the order of weaving
-for tapestry carpets. Another method is to have double mails, one
-mail above the other on the same harness cord or heald; the wool warp
-goes to the upper mail, and the lying warp to the lower one. When
-the mails are raised a double shed is formed, and a pile wire and a pick
-can be inserted at the same time. The ground or binding warp is in
-two additional leaves of healds. To apply the former method to Wilton
-carpets, two picks are put in below to balance with the two above, instead
-of one pick below, as shown in <a href="#FIG189">Fig. 189</a>.</p>
-
-<p>For tapestry carpets the pattern is prepared in the same way as for
-Brussels. The repeat of the pattern may be of any length, but 27, 36,
-or 54 in. are usual lengths. The pattern, though prepared as if for the
-jacquard, is only a guide for the printer when printing the colours on
-the warp.</p>
-
-<p>The pattern is printed on the warp in an elongated form, the amount
-of elongation coinciding exactly with the reduction the pile loops make
-in the length of the warp when it is woven.</p>
-
-<p>The pattern was originally printed on the woven cloth by means of
-blocks; next it was printed on the warp in an elongated form in the
-same manner; now it is printed by means of small rollers. The yarn<span class="pagenum"><a name="Page_287" id="Page_287">[287]</a></span>
-for each thread of the warp, or of a number of warps, is wound separately
-on a large reel or drum, of such a size as will hold a suitable
-quantity of yarn (about 18-3/4 feet in circumference). Six or eight threads
-are wound on together, so as to lie closely together side by side and
-not overlap each other, till the drum is full, or the required length is
-wound on it. This has now to be printed with the pattern in an elongated
-form.</p>
-
-<p>The right-hand edge of the drum is divided into as many divisions
-as a length of yarn equal to the circumference of the drum will make
-loops on the cloth. This is called the index, and 648 is a common
-number of divisions for it to have, or 864 for a larger size. Of course
-the number of loops any length of yarn will make depends upon the
-size of them, and the reduction in length from the yarn to the cloth
-depends upon the height of the pile and the number of loops in a
-given space. The number of loops per inch varies with the quality of
-the cloth; 7 or 8 is usual for loop pile, and 9 or 10 for cut or velvet
-pile. The design must contain such a number of checks in length as
-will divide evenly into the index number, such as 108, 162, 216, 324.
-When painted the design is cut into strips in the direction of its length,
-one line or row of checks in each strip. When the yarn is wound on
-the drum, and the printer is ready to begin work, he takes one of these
-strips and pins it up before him to guide him in the colours he is to
-print. The printing is done by means of a trough of colour with a
-roller in it, set on a carriage beneath the drum, so that when passed
-across the roller will press firmly on the yarn. The printer finds the
-first colour on the design, and setting the drum to the first tooth of
-the rack or index, he passes a trough of the proper colour across the
-drum and back again; if the second check on the design is the same
-colour, he turns the drum round a tooth of the index and passes the
-same colour across; if the third check is a different colour, this requires
-a second colour trough, and passing another tooth on the index
-this colour is passed, and so on with the remainder; or, all one
-colour is printed first, then the drum revolved again with the second
-colour, and so on. When this is all printed the yarn is taken off
-the drum and marked No. 1 thread, and the beginning and end of<span class="pagenum"><a name="Page_288" id="Page_288">[288]</a></span>
-the thread should be marked in some way as a guide for the setters.
-A fresh lot of yarn is wound on for the second thread, which is printed
-according to the second strip of the design. This must be continued
-for all the threads in the warp. After being printed, the colours are
-fixed by a steaming process, and afterwards wound on bobbins and
-marked to their numbers. The design may be cut into strips of two
-checks each, instead of one check, which will be less liable to get torn.
-One side of the strip can then be printed first, and the other after.</p>
-
-<p>The warp is made up by ‘setters,’ who arrange the threads together
-in proper order in a frame for the purpose, and set them so that the
-colours of each thread come together at the proper place to form on
-the warp a correct elongated copy of the pattern; when correct it is
-wound on the beam for the loom.</p>
-
-<p>In printing and steaming, the colours are liable to run into each
-other; some colours are worse in this respect than others, but it is
-reduced to a minimum by the use of an absorbent in steaming; and
-sometimes the designer makes a little allowance on the design-paper
-for such colours as he knows will be liable to run and injure the pattern.
-The pile of tapestry carpets is usually left uncut; but sometimes it is
-cut, forming a velvet pile. In this case the carpet is made of a better
-quality, and the pile is longer.</p>
-
-<p>The present method of preparing tapestry warps was invented by
-Richard Whytock, of Edinburgh, in 1832, and perfected by Messrs.
-Crossley, of Halifax.</p>
-
-<p><i>Axminster Carpets.</i>&mdash;Real Axminster carpets, as already said, are
-made by hand much in the same manner as Turkish or Persian carpets,
-and attempts have also been made to produce them by machinery,
-several patents having been taken out for the protection of the inventions.
-These carpets, with other art carpets now being made, may be
-classed with tapestry as works of art.</p>
-
-<p>The Axminster carpets of commerce are the Royal Axminster or
-Moquette carpets, and the patent Axminster or chenille carpets.</p>
-
-<p>Royal Axminster carpets are made by a peculiar process of weaving
-and tufting on a loom made specially for the purpose. A number of
-little funnels carrying from spools threads of the different colours of<span class="pagenum"><a name="Page_289" id="Page_289">[289]</a></span>
-yarn required for the pattern are fixed on the loom above the reed, and
-these threads, by suitable mechanism, are brought down and bound
-into the backing cloth by the weft. These threads, which form the
-pile, are cut off, and afterwards the surface of the carpet is shorn level.</p>
-
-<div class="figright" style="width: 300px;">
-<a name="FIG192" id="FIG192"></a><img src="images/i_289.jpg" width="300" height="262" alt="" />
-<div class="caption"><span class="smcap">Fig. 192</span></div>
-</div>
-
-<p>The texture of Moquette carpets
-is shown in section in <a href="#FIG192">Fig. 192</a>, two
-varieties of texture being given, one at
-<span class="smcap">A</span>, the other at <span class="smcap">B</span>. In both these textures
-the pattern shows through on the
-back of the cloth.</p>
-
-<p>Another variety is given in Fig.
-193. <span class="smcap">A</span> is the section through the
-weft, <span class="smcap">B</span> the texture, <span class="smcap">C D E F</span> shows the
-interlacing of each of the four warp
-threads in the pattern with the weft, and <span class="smcap">G</span> shows the pile. Similar
-numbers in these figures represent the same threads in the cloth.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="FIG193" id="FIG193"></a><img src="images/i_289a.jpg" width="600" height="432" alt="" />
-<div class="caption"><span class="smcap">Fig. 193</span></div>
-</div>
-
-<p><i>Patent Axminster Carpets.</i>&mdash;These were invented by Mr. Jas.
-Templeton, of Glasgow, about 1839, and are a description of chenille
-weaving. They do not require to be wrought by a jacquard any more
-than the other Axminster carpets, but as the figures formed on them
-are so similar to those produced by the jacquard, and as the method<span class="pagenum"><a name="Page_290" id="Page_290">[290]</a></span>
-of designing the patterns is the same for both them and other classes
-of chenille as it is for jacquard work, it may not be considered out of
-place to give a full description of chenille here.</p>
-
-<p><i>Chenille</i> is made by a double process of weaving. First the weft
-or chenille thread is woven, if for a figured pattern in various colours,
-which corresponds to the printing of the warp in tapestry carpet weaving,
-which gives a warp figure, whereas chenille gives a weft figure.
-When the weft is woven in a piece it is cut up into strips and twisted,
-if for curtains or any fabric on which the chenille weft is to show on
-both sides; but for carpets, where all the pile is raised to one side, the
-weft is doubled up, bringing all the pile in one direction. Twisting
-machines are now in use for making the weft for plain chenille fabrics,
-but for figured ones it is still woven. If twisted for figured work it
-would afterwards have to be printed somewhat similar to tapestry
-carpet warps, but without elongating the pattern, and the uneven
-surface is a difficulty in the way.</p>
-
-<p>The method of weaving chenille weft is as follows:&mdash;A loom fixed
-for working gauze is supplied with a thinly laid warp, which, according
-to the class of chenille required, is drawn through the heddles either
-as plain gauze, two threads working plain with one crossing them, or
-this doubled, as is shown in <a href="#FIG194">Fig. 194</a>. The two, three, or six threads
-of the draft are drawn into one split of the reed, which is finer or
-coarser to suit the fabric required. For shawls or curtains there would
-be six to eight full splits of the reed per inch; say in a reed of thirty to
-forty splits per inch, four splits empty to one full. For carpets there
-would be two or three full splits per inch; say in a reed of ten to fifteen
-splits per inch, four empty and one full, coarser or finer to suit the
-length of pile required.</p>
-
-<p>For plain work this is tied up and woven as gauze, the warp being
-cotton of a dark colour, and the weft woollen, noil silk, or other fibre if
-desired; but it should consist of several ends and be of such a nature
-as will divide easily to form a rich pile. If for figured work, the pattern
-must be woven in stripes across the piece, which will be explained
-after the designing.</p>
-
-<div class="figright" style="width: 300px;">
-<a name="FIG194" id="FIG194"></a><img src="images/i_291.jpg" width="300" height="536" alt="" />
-<div class="caption"><span class="smcap">Fig. 194</span></div>
-</div>
-
-<p>When the piece is woven it will be as shown at <span class="smcap">A</span>, <span class="smcap">B</span>, or <span class="smcap">C</span> (<a href="#FIG194">Fig. 194</a>)<span class="pagenum"><a name="Page_291" id="Page_291">[291]</a></span>
-and must next be cut into strips midway between the ribs. Sometimes
-this is done in the loom as the cloth is being woven, by having cutting
-knives arranged to divide it as it passes over the breast beam; but it
-is usually taken off in the
-piece and cut afterwards in a
-machine for the purpose. The
-piece is fed through rollers in
-the cutting machine over a
-grooved roller, shown at <span class="smcap">B</span>
-(<a href="#FIG195">Fig. 195</a>), the grooves being
-at such a distance apart that
-the ribs of the piece will fall
-into them. Above this roller
-is a set of cutting blades
-fixed in a spiral form round
-a roller; one of these blades
-is shown at <span class="smcap">A</span> (<a href="#FIG195">Fig. 195</a>), with
-a section of the roller. The
-blades are set at such a distance
-apart that when revolving
-they fall into the cuts in
-the roller <span class="smcap">B</span>, and running at a
-high speed they sever the piece
-into strips as it passes through
-the machine.</p>
-
-<p>So far the process is alike
-for all classes of chenille work.
-The weft is now in strips similar to that shown at <span class="smcap">A</span> (<a href="#FIG196">Fig. 196</a>) if for
-carpets, and much smaller if for curtains or shawls. For ordinary
-chenille the weft is next twisted so as to make the projecting fibres
-stand out round the rib or core, and when finished it has the appearance
-shown at <span class="smcap">B</span> (<a href="#FIG196">Fig. 196</a>). If for carpets, the fibres are turned up so
-that all will project in one direction, as shown at C and in the cross-section
-at <i>d</i>. This is done by running the strips over a grooved roller,
-as <span class="smcap">C</span> (<a href="#FIG195">Fig. 195</a>), which is heated with steam, and as the projecting ends<span class="pagenum"><a name="Page_292" id="Page_292">[292]</a></span>
-are doubled up by the grooves in the roller the heat sets them in this
-position. The weft is now prepared, and is wound on bobbins and
-woven in large shuttles.</p>
-
-<div class="figleft0" style="width: 248px;">
-<a name="FIG195" id="FIG195"></a><img src="images/i_292.jpg" width="248" height="413" alt="" />
-<div class="caption"><span class="smcap">Fig. 195</span></div>
-</div>
-
-<div class="figright0" style="width: 302px;">
-<a name="FIG196" id="FIG196"></a><img src="images/i_292a.jpg" width="302" height="413" alt="" />
-<div class="caption"><span class="smcap">Fig. 196</span></div>
-</div>
-
-<p class="nofloat">The texture for chenille is the same as for plain cloth. A fine black
-warp of cotton is used, with twenty to twenty-five threads per inch
-(more or less, to suit the fabric required), and twelve to sixteen shots
-per inch of the chenille weft are used, which must also be varied to
-suit circumstances and the thickness of the weft used. The fibres or
-points of the thread of weft project through the warp, and a pile fabric
-is produced which should entirely conceal the warp on both sides of
-the cloth. For carpets the pile is, as a rule, only allowed to project on
-one side, though some rugs are made with a twisted chenille weft, and
-the colours on it are shown partly through the backing as the fibres of
-the thread get mixed up with the ground or backing in weaving, but
-usually all the pile projects through to the face.</p>
-
-<div class="figcenter" style="width: 485px;">
-<a name="FIG197" id="FIG197"></a><img src="images/i_293.jpg" width="485" height="600" alt="" />
-<div class="caption"><span class="smcap">Fig. 197</span></div>
-</div>
-
-<p>The texture for patent Axminster carpets is shown at <span class="smcap">A</span> (<a href="#FIG197">Fig. 197</a>),<span class="pagenum"><a name="Page_293" id="Page_293">[293]</a></span>
-and sections of the cloth through the weft are shown at <span class="smcap">B</span> and <span class="smcap">C</span> in the
-same figure, <span class="smcap">B</span> is a section of the texture <span class="smcap">A</span> with two picks between
-the pile or chenille picks, and <span class="smcap">C</span> is for a coarser description of work
-with four ground picks between the pile picks. In <span class="smcap">A</span> only the ground
-texture is given complete; the pile weft <span class="smcap">P</span> lies over the picks <i>f f</i>, and
-is bound down by a fine black stitching thread <span class="smcap">C</span>, which passes over it
-and under the picks <i>g g</i>. The different thicknesses of the threads are
-represented in the drawing: <span class="smcap">C</span> are cotton, and the others hemp, flax, or
-jute. There are about ten thick and ten fine warp threads per inch,
-and five binding threads, and about seven chenille picks per inch, with
-two ground picks between these. When there are four ground picks
-between the pile picks the pile is coarse, and only about four picks per
-inch are used. The chenille weft is wound on large wooden needles<span class="pagenum"><a name="Page_294" id="Page_294">[294]</a></span>
-like huge netting needles, about 4 ft. long, so that it may come off without
-any twist in it, and the weaver pushes these through the shed, laying
-the weft nicely in and combing it forward so as to get it straight
-and even and have all the pile standing upright; he then knocks in two
-ground picks and puts in another pile thread, as before.</p>
-
-<p>This is all hand-loom work, but power looms are sometimes used
-for the purpose. The ground of the fabric can be woven with heddles,
-as before, but the binding warp threads are through needles, somewhat
-like gauze dents inverted, and not through the heddles; and the beam
-or spools containing them is above the loom in front. The chenille
-weft is wound on a reel, and is through a guide or carrier. When the
-chenille weft is to be laid in, the needles carrying the binders are raised
-and the guide passed along, laying in the weft. The loom stands
-stationary for a short time to give the weaver time to comb up the pile,
-and then moves on and throws in the ground picks. Everything is
-done automatically but the combing up of the pile.</p>
-
-<p>The foregoing is a description of chenille weaving provided no
-pattern has to be attended to; we must now consider the pattern.</p>
-
-<p>The design paper used is the same as for ordinary work, with a
-greater number of warp than weft threads, but it is ruled on a large
-scale so that the pattern will be exactly cloth size. <a href="#FIG198">Fig. 198</a> is a sample
-of this design-paper for seven picks per inch. The small checks, or
-what in ordinary weaving would represent the warp threads, have here
-no reference to them, nor do the warp threads require any consideration
-when preparing the pattern. The narrow way of the checks is a guide
-to the weaving of the weft threads. This paper might have been
-square, seven by seven, and would thus suit for such a pattern as is
-shown in <a href="#FIG199">Fig. 199</a>&mdash;supposing seven shots of chenille weft per inch to
-be correct; but there is an advantage in many cases to have it as it is,
-or even more off the square, say seven by twenty, which is one of the
-papers used. This will be most readily understood by following the
-working out of the pattern.</p>
-
-<p>The pattern given (<a href="#FIG199">Fig. 199</a>) is necessarily very simple for want
-of space. The different markings on the squares are to indicate
-different colours. Here nine are used, but there may be any number&mdash;say<span class="pagenum"><a name="Page_295" id="Page_295">[295]</a></span>
-from eight to twenty&mdash;the only restriction on the number of
-colours employed is that so many shades of yarn are required to match
-them, and that the weaver has a greater number of shuttles to pass over
-when weaving the weft. When the pattern is painted it is cut cross-ways
-into strips, as <span class="smcap">A</span>, <span class="smcap">B</span>, two rows of checks in each strip; one row of
-checks may be in each strip if desired; but this is unnecessary, and
-besides, they are more easily torn. These strips are a guide to the
-weaving of the weft, just in the same way as the pattern in tapestry
-carpet work is a guide to the printer.</p>
-
-<div class="figleft0" style="width: 170px;">
-<a name="FIG198" id="FIG198"></a><img src="images/i_295.jpg" width="170" height="359" alt="" />
-<div class="caption"><span class="smcap">Fig. 198</span></div>
-</div>
-
-<div class="figright0" style="width: 345px;">
-<a name="FIG199" id="FIG199"></a><img src="images/i_295a.jpg" width="345" height="359" alt="" />
-<div class="caption"><span class="smcap">Fig. 199</span></div>
-</div>
-
-<p class="nofloat">The weaver takes a strip of the pattern and puts it through a widened
-split in the reed and pins one end of it to the cloth; to the other end
-he attaches a cord and light weight, which he hangs over the back rail
-of the loom so that the strip of design will be held steady and move
-forward as the cloth is drawn up. The strip must be pinned to the
-cloth so that the first check of the design projects over the fell of the
-cloth. Suppose the strip to be <span class="smcap">A</span>, <a href="#FIG199">Fig. 199</a>: <span class="smcap">C</span> is the first check; the
-weaver sees that this is black, and proceeds to weave the gauze with
-black weft for the length of this check (one-seventh of an inch). The
-next check, moving along the strip in the loom, or from left to right
-on the design, is a different colour, say scarlet; the weaver changes his
-shuttle and weaves as many checks as there are of this colour, which<span class="pagenum"><a name="Page_296" id="Page_296">[296]</a></span>
-in this case is only one. Another change of shuttle is made, and so on
-till the end of the strip is reached; it is then turned, the other end of
-it being brought to the fell of the cloth, and the checks on the second
-line of the design are woven in order as before, only they must run from
-right to left on the design instead of from left to right, as the first line
-did, which will be caused by the turning of the strip of paper; for it
-must be borne in mind that if the first shot of chenille weft is put into
-the carpet from left to right, the next one will be put in from the
-reverse side or from right to left, so that all the odd numbers of lines
-on the design-paper should be begun by the weft weaver at the left-hand
-side, and all the even numbers at the right-hand side, provided
-the weaver works in this way; in any case one must be the reverse
-of the other. When all the strips of the pattern are woven, each
-rib of the piece of weft will be long enough to weave as many shots
-as are in one repeat of the pattern, and if there be 40 ribs in the
-piece, it would, when cut up, furnish weft for 40 repeats of the
-pattern. For weaving this weft large needles are used, somewhat
-similar to netting needles, which are about 4 ft. long for wide looms;
-the chenille is wound on these, free from twist, and must be put on so
-that it will come off correctly to suit the pattern. The strips of chenille
-are marked to show which end is to be put on the needle first. These
-needles are pushed through the shed by the weaver when weaving the
-carpet&mdash;put in at one side and drawn out at the other. He lays in the
-weft as correctly as possible, combing it up to the fell of the cloth, and
-makes the colours fall in nicely together, drawing it tighter or leaving
-it slacker as is necessary. Now the advantage of using the special
-design-paper will be more readily understood. It is plain that if 14
-by 7 design-paper be used, instead of 7 by 7, any of the colours may be
-changed in 1/14 in. on the design; and also in the chenille weaving, when
-it is desirable to do so, instead of in each 1/7 in. when 7 by 7 paper is used.
-And if 20 by 7 paper were used, the changes might be still more frequent;
-besides, in flowing patterns the advantage also comes in to
-assist in getting the forms more correct, in the same way as paper over
-square in either warp or weft assists in getting the form of the figure
-in damask designing over that where only the coarser way of the paper<span class="pagenum"><a name="Page_297" id="Page_297">[297]</a></span>
-square is used; though the effect is not by any means so satisfactory
-as if the paper were finer both ways, and square. Yet when one way
-is fixed by circumstances it is in many cases preferable to alter it in
-the other way than to leave both alike coarse; but not always so, as,
-for example, the pattern given in <a href="#FIG199">Fig. 199</a>. When these carpets are
-woven they are passed through a shearing machine, which makes the
-surface of the pile quite level. They are rich handsome carpets, as
-well as very durable.</p>
-
-<hr class="chap" />
-</div>
-
-<div class="chapter">
-
-<p><span class="pagenum"><a name="Page_298" id="Page_298">[298]</a></span></p>
-
-
-
-
-<h2><a name="CHAPTER_XI" id="CHAPTER_XI"></a>CHAPTER XI<br />
-<span class="f75"><i>LAPPETS AND SWIVELS</i></span></h2>
-
-
-<p><i>Lappet and Swivel Weaving.</i>&mdash;The only classes of figured weaving
-of any importance not already mentioned are lappet and swivel work,
-both of which are very limited, but produce good effects. With lappets,
-figures can be put on light fabrics without requiring any cutting off of
-the surplus yarn. It is principally in the muslin trade that they are
-used, for figuring Indian fabrics with gay colours. The principal seat
-of the manufacture in this country is about Glasgow. The figure is
-formed by an extra warp drawn through one or more frames of gauzing
-needles set in the lay in front of the reed, which can be moved to
-either side as desired. The pattern is cut on a large wooden wheel or
-disc, in the face of which a groove is cut to form the pattern, and a
-traveller working in this groove, and connected with the needle frame,
-slides the needles to either side and stitches the figuring warp into the
-cloth, the needles rising and falling as the cloth is being woven. The
-figure is rather loose and only suited for simple effects. A description
-of the process of working can be found in Murphy’s or Gilroy’s works
-on weaving, and is interesting, though rather out of date. Swivel work
-is of a much better class, though not so suitable for getting small figures,
-as spots short distances apart. But it gives a much better bound figure&mdash;in
-fact, it may be bound in any way&mdash;and is very suitable when a few
-are required on the fabric, such as crests, or any figures in the corners
-or centres of handkerchiefs, napkins, etc. These are weft figures and
-usually of a different colour to the ground of the fabric, which may be
-either plain or figured. These figures could be formed with an ordinary
-box loom, cutting off the loose weft or binding it up to the ground cloth;<span class="pagenum"><a name="Page_299" id="Page_299">[299]</a></span>
-but the latter is useless for light fabrics, and the former leaves the
-figure unbound round the edges. If the figure is large enough it can
-be made in an ordinary check or pick-and-pick loom, and bound as
-with swivels. The swivels are small shuttles similar to those used for
-weaving silk book-markers and such like fabrics, and are usually
-attached to the hand rail of the lay of the loom. The swivel attachment
-is fixed so that when a shed is opened the shuttle falls to pass
-through it, or a second high shed may be opened for the swivel shuttle.
-The shuttle is driven by means of a rack and pinion, the former being
-in the shuttle, and the pinions fixed to revolve in the frame. When
-the pinions are revolved the shuttle is drawn across. The breadth of
-the figures must be considerably less than the length of the shuttle, so
-that for large-sized figures this method of working is not suited.</p>
-
-
-
-<div class="subdiv">
-<h3>CONCLUSION</h3>
-
-<p>Since the foregoing was written up to the present time (Sept. 1894)
-nothing new worth describing has made its appearance. A few card
-lacing machines have been brought out and several patents have
-appeared in print, but most of these disappear shortly after.</p>
-
-<p>No mention has been made in this work of Count Sparres’ patent
-card-cutting machine, which was to have done away with the necessity
-of putting patterns on point paper by cutting the cards direct from the
-sketch embossed on a metallic plate. This was a highly ingenious
-machine, and under suitable conditions produced very fair work, but
-so far it has proved rather expensive to the company that took it up.</p>
-
-<p>Another process to obtain similar results, patented by Messrs.
-Dawson and Adams of Macclesfield, was described in the ‘Textile
-Manufacturer’ in 1893. In this process a perforated plate is filled with
-small pins; a piece of strong paper is laid over this, and over the paper
-another plate. The pattern is formed by pushing the pins through
-the paper between the plates. A large portion of this work can be
-done by mechanical means. When all the pins required for the
-pattern are pressed through the paper, the top plate with the sheet of
-paper is turned upside down, the pins sticking in the paper. By running<span class="pagenum"><a name="Page_300" id="Page_300">[300]</a></span>
-a roller over the paper the pins can be pressed out of it and into
-the plate. This plate is then put into a reading and punching machine,
-and by suitable mechanism the pins can be brought to act on either a
-card-punching apparatus or on the harness of a pattern loom; so the
-manufacturer can have a sample of the cloth woven without any cards
-and can have the cards cut for the factory loom afterwards if he requires
-them. The cards can be punched at the rate of 2000 per hour.</p>
-
-<p>By means of a pattern cut out of a plate of wax, and a reading in
-machine, the filling of the pins into the plate, or the hand reading as
-it is called, can be dispensed with.</p>
-
-<p>It has since been stated that this firm are now trying to perfect a
-process which was tried thirty years ago, viz. to paint the pattern
-with electric paint which is to act on needles charged with electricity.</p>
-
-<p>These are all highly ingenious inventions, and are interesting to
-those who do not lose too much by them; but it will require a nice
-machine to produce all the variations in a pattern that an experienced
-designer can, though in many patterns this could be dispensed with,
-and suitable mechanical means may yet be devised to take a share
-of the work.</p>
-
-<hr class="chap" />
-</div>
-</div>
-
-<div class="chapter">
-
-<p><span class="pagenum"><a name="Page_301" id="Page_301">[301]</a></span></p>
-
-
-
-
-<h2><a name="INDEX" id="INDEX"></a>INDEX</h2>
-
-<div class="figcenter" style="width: 200px;">
-<img src="images/i_001.jpg" width="200" height="22" alt="Decorative horizontal line " />
-</div>
-
-
-<ul class="index"><li class="ifrst"><span class="smcap">Axminster</span> carpets, <a href="#Page_266">266</a>, <a href="#Page_288">288</a></li>
-
-
-<li class="ifrst"><span class="smcap">Barrel</span> or cylinder loom, <a href="#Page_17">17</a></li>
-
-<li class="indx">Beeting a harness, <a href="#Page_89">89</a></li>
-
-<li class="indx">Bessrook machine, <a href="#Page_185">185</a></li>
-
-<li class="indx">Border design, <a href="#Page_97">97</a>, <a href="#Page_100">100</a>, <a href="#Page_115">115</a>, <a href="#Page_134">134</a></li>
-
-<li class="indx">&mdash; mountings, <a href="#Page_105">105</a></li>
-
-<li class="indx">Bouchon’s loom, <a href="#Page_18">18</a></li>
-
-<li class="indx">Brussels carpets, <a href="#Page_27">27</a></li>
-
-
-<li class="ifrst"><span class="smcap">Cards</span>, <a href="#Page_51">51</a>, <a href="#Page_147">147</a></li>
-
-<li class="indx">Card cutting, <a href="#Page_139">139</a></li>
-
-<li class="indx">&mdash; &mdash; machines, <a href="#Page_143">143</a></li>
-
-<li class="indx">&mdash; &mdash; &mdash; (Count Sparres’), <a href="#Page_299">299</a></li>
-
-<li class="indx">&mdash; &mdash; &mdash; (French), <a href="#Page_167">167</a></li>
-
-<li class="indx">&mdash; frames, <a href="#Page_47">47</a>, <a href="#Page_156">156</a></li>
-
-<li class="indx">&mdash; lacing, <a href="#Page_139">139</a></li>
-
-<li class="indx">&mdash; &mdash; machines, <a href="#Page_148">148</a></li>
-
-<li class="indx">&mdash; repeating machines, <a href="#Page_149">149</a></li>
-
-<li class="indx">Carpets, <a href="#Page_264">264</a></li>
-
-<li class="indx">&mdash; chenille, <a href="#Page_290">290</a></li>
-
-<li class="indx">&mdash; Axminster, <a href="#Page_266">266</a>, <a href="#Page_288">288</a></li>
-
-<li class="indx">&mdash; Brussels, <a href="#Page_276">276</a></li>
-
-<li class="indx">&mdash; Indian, <a href="#Page_265">265</a></li>
-
-<li class="indx">&mdash; Ingrain, <a href="#Page_269">269</a></li>
-
-<li class="indx">&mdash; Kidderminster, <a href="#Page_266">266</a></li>
-
-<li class="indx">&mdash; patent Axminster, <a href="#Page_289">289</a></li>
-
-<li class="indx">&mdash; Persian, <a href="#Page_265">265</a></li>
-
-<li class="indx">&mdash; royal Axminster, <a href="#Page_288">288</a></li>
-
-<li class="indx">&mdash; Scotch, <a href="#Page_266">266</a></li>
-
-<li class="indx">&mdash; tapestry, <a href="#Page_285">285</a></li>
-
-<li class="indx">&mdash; Turkish, <a href="#Page_265">265</a></li>
-
-<li class="indx">&mdash; Wilton, <a href="#Page_284">284</a></li>
-
-<li class="indx">Centred tie, <a href="#Page_97">97</a></li>
-
-<li class="indx">Chenille, <a href="#Page_290">290</a></li>
-
-<li class="indx">Comb draw loom, <a href="#Page_16">16</a></li>
-
-<li class="indx">Comber boards, <a href="#Page_82">82</a>, <a href="#Page_103">103</a></li>
-
-<li class="indx">Cross-border jacquard, <a href="#Page_155">155</a></li>
-
-<li class="indx">Cross’s counterpoise harness, <a href="#Page_14">14</a></li>
-
-<li class="indx">Cumber boards, <a href="#Page_82">82</a>, <a href="#Page_103">103</a></li>
-
-<li class="indx">Curtains and tapestries, <a href="#Page_248">248</a></li>
-
-<li class="indx">Cylinder motions (horizontal), <a href="#Page_44">44</a></li>
-
-<li class="indx">&mdash; (self-acting), <a href="#Page_36">36</a></li>
-
-<li class="indx">&mdash; (slide), <a href="#Page_43">43</a>, <a href="#Page_57">57</a>, <a href="#Page_61">61</a></li>
-
-<li class="indx">&mdash; (swing), <a href="#Page_33">33</a>, <a href="#Page_56">56</a>, <a href="#Page_58">58</a></li>
-
-<li class="indx">&mdash; to set a, <a href="#Page_40">40</a>, <a href="#Page_43">43</a></li>
-
-
-<li class="ifrst"><span class="smcap">Designing</span> and draughting, <a href="#Page_110">110</a></li>
-
-<li class="indx">&mdash; hints on, <a href="#Page_120">120</a></li>
-
-<li class="indx">Design paper, <a href="#Page_112">112</a></li>
-
-<li class="indx">&mdash; to prepare a, <a href="#Page_115">115</a></li>
-
-<li class="indx">Designs, <a href="#Page_94">94</a>, <a href="#Page_97">97</a>, <a href="#Page_100">100</a></li>
-
-<li class="indx">&mdash; for dress goods, <a href="#Page_122">122</a></li>
-
-<li class="indx">&mdash; for gathered borders, <a href="#Page_97">97</a></li>
-
-<li class="indx">&mdash; for single borders, <a href="#Page_100">100</a></li>
-
-<li class="indx">&mdash; (repeating), <a href="#Page_94">94</a>, <a href="#Page_122">122</a></li>
-
-<li class="indx">&mdash; (texture), <a href="#Page_124">124</a></li>
-
-<li class="indx">Double cloth, <a href="#Page_233">233</a></li>
-
-<li class="indx">&mdash; &mdash; jacquard, <a href="#Page_241">241</a></li>
-
-<li class="indx">&mdash; warp faced cloth, <a href="#Page_237">237</a></li>
-
-<li class="indx">&mdash; weft faced cloth, <a href="#Page_235">235</a></li>
-
-<li class="indx">Draughting a pattern, <a href="#Page_115">115</a></li>
-
-<li class="indx">Draw loom, <a href="#Page_3">3</a></li>
-
-<li class="indx">&mdash; &mdash; French, <a href="#Page_24">24</a></li>
-
-<li class="indx">Drawing in a warp, <a href="#Page_99">99</a></li>
-
-
-<li class="ifrst"><span class="smcap">Falcon’s</span> loom, <a href="#Page_19">19</a></li>
-
-<li class="indx">French card, <a href="#Page_51">51</a></li>
-
-<li class="indx">&mdash; &mdash; cutting machine, <a href="#Page_167">167</a></li>
-
-<li class="indx">&mdash; draw loom, <a href="#Page_24">24</a></li>
-
-<li class="indx">&mdash; jacquard, <a href="#Page_49">49</a></li>
-
-<li class="indx">Full harness, <a href="#Page_69">69</a></li>
-
-<li class="indx">&mdash; &mdash; mountings, <a href="#Page_69">69</a></li>
-
-
-<li class="ifrst"><span class="smcap">Gathered</span> tie, <a href="#Page_97">97</a></li>
-
-<li class="indx">Gauze, <a href="#Page_196">196</a></li>
-
-<li class="indx">&mdash; to design a pattern, <a href="#Page_215">215</a></li>
-
-<li class="indx">&mdash; harness (hand-loom), <a href="#Page_203">203</a></li>
-
-<li class="indx">&mdash; &mdash; (power-loom), <a href="#Page_205">205</a><span class="pagenum"><a name="Page_302" id="Page_302">[302]</a></span></li>
-
-<li class="indx">Gauze, jacquard, <a href="#Page_214">214</a>, <a href="#Page_223">223</a></li>
-
-<li class="indx">&mdash; patterns, <a href="#Page_197">197</a>, <a href="#Page_198">198</a>, <a href="#Page_217">217</a></li>
-
-<li class="indx">&mdash; reed, <a href="#Page_225">225</a></li>
-
-<li class="indx">Griffes, <a href="#Page_37">37</a>, <a href="#Page_52">52</a></li>
-
-
-<li class="ifrst"><span class="smcap">Hair</span>-line patterns, <a href="#Page_129">129</a></li>
-
-<li class="indx">Half-harness, <a href="#Page_69">69</a>, <a href="#Page_169">169</a></li>
-
-<li class="indx">Harness, drawing warp into, <a href="#Page_99">99</a></li>
-
-<li class="indx">&mdash; illustrations of, <a href="#Page_96">96</a>, <a href="#Page_98">98</a>, <a href="#Page_102">102</a>, <a href="#Page_191">191</a></li>
-
-<li class="indx">&mdash; to prepare a, <a href="#Page_71">71</a></li>
-
-<li class="indx">&mdash; to tie up a, <a href="#Page_87">87</a></li>
-
-<li class="indx">&mdash; (double cloth), <a href="#Page_233">233</a></li>
-
-<li class="indx">&mdash; (full), <a href="#Page_69">69</a></li>
-
-<li class="indx">&mdash; (gauze), <a href="#Page_203">203</a>, <a href="#Page_205">205</a></li>
-
-<li class="indx">&mdash; (half), <a href="#Page_69">69</a>, <a href="#Page_169">169</a></li>
-
-<li class="indx">&mdash; (muslin), <a href="#Page_169">169</a></li>
-
-<li class="indx">&mdash; (pressure), <a href="#Page_70">70</a>, <a href="#Page_174">174</a></li>
-
-<li class="indx">&mdash; (quilting), <a href="#Page_233">233</a></li>
-
-<li class="indx">&mdash; reeds, <a href="#Page_82">82</a></li>
-
-<li class="indx">&mdash; (split), <a href="#Page_62">62</a>, <a href="#Page_172">172</a></li>
-
-<li class="indx">&mdash; twine, <a href="#Page_75">75</a></li>
-
-<li class="indx">Hecks, <a href="#Page_77">77</a></li>
-
-<li class="indx">Hole board, <a href="#Page_83">83</a></li>
-
-<li class="indx">Hooks for jacquard, <a href="#Page_38">38</a>, <a href="#Page_39">39</a>, <a href="#Page_52">52</a>, <a href="#Page_59">59</a></li>
-
-<li class="indx">&mdash; in double-acting jacquard, <a href="#Page_55">55</a>, <a href="#Page_59">59</a></li>
-
-
-<li class="ifrst"><span class="smcap">Indian</span> carpets, <a href="#Page_265">265</a></li>
-
-<li class="indx">Ingrain carpets, <a href="#Page_269">269</a></li>
-
-<li class="indx">Introduction, <a href="#Page_1">1</a></li>
-
-
-<li class="ifrst"><span class="smcap">Jacquard’s</span> machine, <a href="#Page_23">23</a></li>
-
-<li class="indx">Jacquard machines, <a href="#Page_27">27</a></li>
-
-<li class="indx">&mdash; (cross-border), <a href="#Page_155">155</a></li>
-
-<li class="indx">&mdash; (double-acting), <a href="#Page_52">52</a></li>
-
-<li class="indx">&mdash; (double cloth), <a href="#Page_241">241</a></li>
-
-<li class="indx">&mdash; (double-acting with two cylinders), <a href="#Page_58">58</a></li>
-
-<li class="indx">&mdash; (French), <a href="#Page_49">49</a></li>
-
-<li class="indx">&mdash; (gauze), <a href="#Page_214">214</a></li>
-
-<li class="indx">&mdash; (Karl Wein), <a href="#Page_192">192</a></li>
-
-<li class="indx">&mdash; (leno), <a href="#Page_214">214</a></li>
-
-<li class="indx">&mdash; (open-shed), <a href="#Page_161">161</a></li>
-
-<li class="indx">&mdash; (quilting), <a href="#Page_241">241</a></li>
-
-<li class="indx">&mdash; (twilling), <a href="#Page_185">185</a></li>
-
-<li class="indx">&mdash; (Verdôl), <a href="#Page_163">163</a></li>
-
-<li class="indx">&mdash; cards, <a href="#Page_50">50</a></li>
-
-<li class="indx">&mdash; cylinder, to set a, <a href="#Page_40">40</a>, <a href="#Page_43">43</a></li>
-
-<li class="indx">&mdash; hooks, <a href="#Page_38">38</a>, <a href="#Page_39">39</a>, <a href="#Page_52">52</a>, <a href="#Page_59">59</a></li>
-
-<li class="indx">&mdash; interior of, <a href="#Page_38">38</a></li>
-
-<li class="indx">&mdash; needles, <a href="#Page_38">38</a>, <a href="#Page_39">39</a>, <a href="#Page_52">52</a>, <a href="#Page_59">59</a></li>
-
-<li class="indx">&mdash; shedding, <a href="#Page_60">60</a>, <a href="#Page_62">62</a></li>
-
-<li class="indx">&mdash; stop motion, <a href="#Page_64">64</a></li>
-
-<li class="indx">&mdash; to set a, <a href="#Page_43">43</a>, <a href="#Page_46">46</a>, <a href="#Page_76">76</a></li>
-
-
-<li class="ifrst"><span class="smcap">Karl</span> Wein jacquard, <a href="#Page_192">192</a></li>
-
-<li class="indx">Kidderminster carpet, <a href="#Page_266">266</a></li>
-
-
-<li class="ifrst"><span class="smcap">Lacing</span> cards, <a href="#Page_139">139</a></li>
-
-<li class="indx">&mdash; machine, <a href="#Page_148">148</a></li>
-
-<li class="indx">&mdash; twine, <a href="#Page_147">147</a></li>
-
-<li class="indx">Lappet weaving, <a href="#Page_298">298</a></li>
-
-<li class="indx">Lashing a pattern, <a href="#Page_9">9</a></li>
-
-<li class="indx">Leno jacquard, <a href="#Page_214">214</a></li>
-
-<li class="indx">Letters, mottoes, &amp;c., <a href="#Page_136">136</a></li>
-
-<li class="indx">Levelling frames, <a href="#Page_85">85</a></li>
-
-<li class="indx">&mdash; the mails, <a href="#Page_86">86</a></li>
-
-<li class="indx">Lingoes, <a href="#Page_72">72</a>, <a href="#Page_74">74</a></li>
-
-<li class="indx">London tie, <a href="#Page_96">96</a></li>
-
-
-<li class="ifrst"><span class="smcap">Marking</span> off a cumber board, <a href="#Page_103">103</a></li>
-
-<li class="indx">Marseilles quilt, <a href="#Page_246">246</a></li>
-
-<li class="indx">Matelasses, <a href="#Page_246">246</a></li>
-
-<li class="indx">Mottoes and letters, <a href="#Page_136">136</a></li>
-
-<li class="indx">Mountings, <a href="#Page_69">69</a></li>
-
-<li class="indx">Muslin harness, <a href="#Page_169">169</a></li>
-
-
-<li class="ifrst"><span class="smcap">Neck</span> of harness, <a href="#Page_79">79</a></li>
-
-<li class="indx">Needles, <a href="#Page_38">38</a></li>
-
-<li class="indx">Norwich tie, <a href="#Page_95">95</a></li>
-
-
-<li class="ifrst"><span class="smcap">Open-shed</span> jacquard, <a href="#Page_161">161</a></li>
-
-
-<li class="ifrst"><span class="smcap">Paints</span> for patterns, <a href="#Page_116">116</a></li>
-
-<li class="indx">Parrot machine, <a href="#Page_11">11</a></li>
-
-<li class="indx">Patent Axminster carpet, <a href="#Page_289">289</a></li>
-
-<li class="indx">Pattern, to draught a, <a href="#Page_115">115</a></li>
-
-<li class="indx">Patterns (carpet), <a href="#Page_280">280</a>, <a href="#Page_282">282-3</a></li>
-
-<li class="indx">&mdash; (gauze), <a href="#Page_197">197</a>, <a href="#Page_217">217</a></li>
-
-<li class="indx">&mdash; (hair-line), <a href="#Page_129">129</a></li>
-
-<li class="indx">&mdash; (spot), <a href="#Page_130">130</a></li>
-
-<li class="indx">&mdash; (texture), <a href="#Page_124">124</a></li>
-
-<li class="indx">Persian carpets, <a href="#Page_265">265</a></li>
-
-<li class="indx">Piano machine, <a href="#Page_145">145</a></li>
-
-<li class="indx">Pile work, <a href="#Page_259">259</a></li>
-
-<li class="indx">Point paper, <a href="#Page_112">112</a></li>
-
-<li class="indx">Poplins, <a href="#Page_252">252</a></li>
-
-<li class="indx">Pressure harness, <a href="#Page_174">174</a></li>
-
-
-<li class="ifrst"><span class="smcap">Quilting</span>, <a href="#Page_247">247</a></li>
-
-<li class="indx">Quilting harness, <a href="#Page_233">233</a></li>
-
-
-<li class="ifrst"><span class="smcap">Reading</span> a pattern, <a href="#Page_9">9</a></li>
-
-<li class="indx">Repeat of a pattern, <a href="#Page_94">94</a></li>
-
-<li class="indx">Repeating machines, <a href="#Page_149">149</a></li>
-
-<li class="indx">Reversing motions, <a href="#Page_45">45</a></li>
-
-<li class="indx">Royal Axminster carpets, <a href="#Page_28">28</a></li>
-
-
-<li class="ifrst"><span class="smcap">Scotch</span> carpets, <a href="#Page_266">266</a></li>
-
-<li class="indx">Set of harness (to vary), <a href="#Page_106">106</a><span class="pagenum"><a name="Page_303" id="Page_303">[303]</a></span></li>
-
-<li class="indx">Setting a jacquard, <a href="#Page_43">43</a>, <a href="#Page_46">46</a>, <a href="#Page_76">76</a></li>
-
-<li class="indx">Shading floral forms, <a href="#Page_118">118</a></li>
-
-<li class="indx">Shedding of jacquards, <a href="#Page_62">62</a></li>
-
-<li class="indx">Simple (draw loom), <a href="#Page_3">3</a></li>
-
-<li class="indx">Slabstock, <a href="#Page_85">85</a></li>
-
-<li class="indx">Sleepers, <a href="#Page_73">73</a></li>
-
-<li class="indx">Slips (comber board), <a href="#Page_83">83</a></li>
-
-<li class="indx">Split harness, <a href="#Page_172">172</a></li>
-
-<li class="indx">Spot patterns, <a href="#Page_131">131</a></li>
-
-<li class="indx">Spring box, <a href="#Page_42">42</a></li>
-
-<li class="indx">Stop motion, <a href="#Page_64">64</a></li>
-
-<li class="indx">Suggestions on design, <a href="#Page_120">120</a></li>
-
-<li class="indx">Swivel weaving, <a href="#Page_298">298</a></li>
-
-
-<li class="ifrst"><span class="smcap">Tail</span> cords, <a href="#Page_54">54</a></li>
-
-<li class="indx">Tapestry (real), <a href="#Page_255">255</a></li>
-
-<li class="indx">&mdash; carpets, <a href="#Page_285">285</a></li>
-
-<li class="indx">&mdash; curtains, <a href="#Page_248">248</a></li>
-
-<li class="indx">Terry pile, <a href="#Page_260">260</a></li>
-
-<li class="indx">Texture patterns, <a href="#Page_124">124</a></li>
-
-<li class="indx">Tie of a harness, <a href="#Page_93">93</a></li>
-
-<li class="indx">Trap board, <a href="#Page_15">15</a></li>
-
-<li class="indx">Turkey carpets, <a href="#Page_265">265</a></li>
-
-<li class="indx">Turkish towels, <a href="#Page_260">260</a></li>
-
-<li class="indx">Twilling designs, <a href="#Page_117">117</a>, <a href="#Page_133">133</a></li>
-
-<li class="indx">&mdash; jacquards, <a href="#Page_185">185</a></li>
-
-<li class="indx">Twills for damask, <a href="#Page_181">181</a></li>
-
-<li class="indx">Tying up a harness, <a href="#Page_87">87</a></li>
-
-
-<li class="ifrst"><span class="smcap">Varnishing</span> a harness, <a href="#Page_92">92</a></li>
-
-<li class="indx">Varying the set of a harness, <a href="#Page_106">106</a></li>
-
-<li class="indx">Vaucanson’s loom, <a href="#Page_22">22</a></li>
-
-<li class="indx">Verdôl jacquard, <a href="#Page_49">49</a>, <a href="#Page_163">163</a></li>
-
-
-<li class="ifrst"><span class="smcap">Wilton</span> carpets, <a href="#Page_284">284</a></li>
-
-<li class="indx">Wiring cards, <a href="#Page_153">153</a></li>
-
-<li class="indx">Woollens and worsteds, <a href="#Page_248">248</a></li>
-</ul>
-
-<hr class="chapter" />
-
-<p class="center">PRINTED BY
-SPOTTISWOODE AND CO., NEW-STREET SQUARE
-LONDON
-</p>
-
-<hr class="chapter" />
-</div>
-
-
-<div class="chapter">
-<div class="transnote">
-<p class="ph2">Transcriber's notes:</p>
-
-<p>In the text version, italics are represented by _underscores_, and
-bold and black letter text by =equals= symbols. Superscripts are represented
-by ^{} and subscripts by _{}.</p>
-
-<p>Missing or incorrect punctuation has been repaired.<br />
-Inconsistent spelling and hyphenation have been left as printed.</p>
-
-<p>The following mistakes have been noted:</p>
-<ul class="index">
-<li>p. 15. boars has been changed to bars. <br />
-Misaligned typeface has half duplicated the first letter of each line on this page.</li>
-<li>p. 26. Both trapboard and trap board have been used in the text
-and have been left as printed.</li>
-<li>p. 35. cyiinder has been changed to cylinder.</li>
-<li>p. 65. 2 4 6 8 13 12<br /> changed to
-2 4 6 8 10 12.</li>
-<li>p. 134. coarses has been changed to coarser.</li>
-<li>p. 132. fig. 3 has been changed to Fig. 3 as used in all other cases.</li>
-<li>p. 141. cyclinder has been changed to cylinder</li>
-<li>p. 208. tightly paced should probably read spaced or placed, but has been left as printed.</li>
-</ul>
-</div>
-</div>
-
-
-
-
-
-
-
-
-<pre>
-
-
-
-
-
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