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diff --git a/old/53318-0.txt b/old/53318-0.txt deleted file mode 100644 index 7a518cc..0000000 --- a/old/53318-0.txt +++ /dev/null @@ -1,9460 +0,0 @@ -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 *** - - - - -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) - - - - - - - - - - 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. 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