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diff --git a/old/54193-0.txt b/old/54193-0.txt deleted file mode 100644 index ab6cb75..0000000 --- a/old/54193-0.txt +++ /dev/null @@ -1,6544 +0,0 @@ -The Project Gutenberg EBook of The Jacquard Machine Analyzed and Explained, by -E. A. Posselt - -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: The Jacquard Machine Analyzed and Explained - With an appendix on the preparation of jacquard cards... - -Author: E. A. Posselt - -Release Date: February 19, 2017 [EBook #54193] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE JACQUARD MACHINE *** - - - - -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) - - - - - - - - - - THE JACQUARD MACHINE - Analyzed and Explained: - WITH AN APPENDIX - ON THE - PREPARATION OF JACQUARD CARDS, - AND - PRACTICAL HINTS TO LEARNERS OF JACQUARD DESIGNING. - - BY - E. A. POSSELT, - _Head Master, Textile Department, Pennsylvania Museum and School of - Industrial Art_, - No. 1336 Spring Garden Street. - - With 230 Illustrations. - - PHILADELPHIA, PA.: - PUBLISHED UNDER THE AUSPICES OF THE SCHOOL. - 1888. - - - - - Copyrighted, 1887, - BY - E. A. POSSELT. - - Press of - Dando Printing and Publishing Co., - 34 S. Third St., Philadelphia. - - Photo-Engravings by - The Levytype Company, - Philadelphia. - - - - -TABLE OF CONTENTS. - - - PAGE. - - =History of the Jacquard Machine=, 7 - - =The Jacquard Machine--General Arrangement and Application=, 9 - - =Illustration of the different parts of the - Jacquard Machine--Method of Operation, etc.=, 11 - - =The Jacquard Harness--The Comber-boards=, 20 - - =Tying-up of Jacquard Harness=, 23 - I.--Straight-through Tie-up, 23 - II.--Straight-through Tie-up for Repeated Effects, in - one Repeat of the Design, 29 - III.--Straight-through Tie-up of Jacquard Loom, having - Front Harness attached, 31 - IV.--Centre Tie-up, 33 - V.--Straight-through and Point Tie-ups Combined, 35 - VI.--Straight-through Tie-up in Two Sections, 48 - VII.--Tying-up a Jacquard Harness for Figuring Part - of the Design with an Extra Warp, 51 - VIII.--Straight-through Tie-up in Three Sections, 53 - IX.--Point Tie-up in Three Sections, 55 - X.--Combination Tie-up in Two Sections, 56 - XI.--Straight-through Tie-up in Four Sections, 57 - XII.--Tying-up of Jacquard Looms with Compound Harness attached, 58 - XIII.--Tying-up Jacquard Looms for Gauze Fabrics, 64 - - =Modifications of the Single Lift Jacquard Machine=, 67 - I.--Double Lift Single Cylinder Jacquard Machine, 67 - II.--Double Lift Double Cylinder Jacquard Machine, 69 - III.--Substitution of Tail-cords for Hooks, 71 - - =Tying-up of Jacquard Harness for Two-ply Ingrain Carpet=, 72 - General Description of the Construction of the Fabric, 72 - Straight-through Tie-up for Ingrain Carpet, 74 - Point Tie-up for Ingrain Carpet, 78 - - -APPENDIX. - - =Preparing and Stamping of Jacquard Cards=, 85 - Dobby Card Punching Machines, 86 - Piano Card Stamping Machines, 86 - Stamping of Cards, 91 - Repeating Jacquard Cards by the Positive Action Repeater, 92 - - =Lacing of Jacquard Cards=, 97 - Lacing of Jacquard Cards by Hand, 97 - Lacing of Jacquard Cards by Machine, 98 - - -PRACTICAL HINTS TO LEARNERS OF JACQUARD DESIGNING. - - =Squared Designing Paper for the different Textile Fabrics - executed on the Jacquard Machine=, 103 - Practical Use of the Heavy Square in Designing Paper, 105 - Selection of Designing Paper for Single Cloth, 105 - Selection of Designing Paper for Double Cloth, 106 - Selection of Designing Paper for Two-ply Ingrain Carpet, 106 - Selection of the Proper Brush for the - different [O] Designing Papers, 107 - Colors used for Painting Textile Designs, 107 - Preservation of Textile Designs, 107 - - =Sketching of Designs for Textile Fabrics to be - executed on the Jacquard Machine=, 108 - Methods of Setting the Figures, 108 - Size of Sketch Required, 109 - Enlarging and Reducing Figures for Sketches, 110 - Transferring of the Sketch to the Squared Designing Paper, 112 - Outlining in Squares, 113 - Rules for Outlining in Squares Inside or Outside the - Drawing Outline, 114 - Illustration of a Sketch--Outlining on [O] Paper--Finished - Design--Fabric Sample (Single Cloth), 115 - Designs for Damask Fabrics to be executed on a Jacquard Loom, - with Compound Harness attached, 116 - Designs for Two-ply Ingrain Carpet, 116 - Designs for Dressgoods Figured with Extra Warp, 117 - Designs for Figured Pile Fabrics, 118 - The Shading of Textile Fabrics by the Weave, 118 - - =Glossary=, 121 - - - - -PREFACE. - - -Very little has been written upon the Jacquard machine, and the fabrics -produced by it; and nothing at all has been heretofore published in -this country with regard to the machines and systems, as employed here. - -Greatly assisted by the guidance, help and advice of Mr. T. C. Search, -President of the Philadelphia Textile Association, and Vice-President -and Chairman of the Committee of Instruction of the Pennsylvania Museum -and School of Industrial Art, the author gives here the results of his -practical experience on this subject, with a very detailed description -of the methods of procedure with the Jacquard and accompanying -machines, in the different branches of Textile Manufacture. - - E. A. POSSELT. - _Philadelphia, Pa._, 1888. - - - - -HISTORY OF - -THE JACQUARD MACHINE. - - -The Jacquard machine was named after Joseph Marie Jacquard. Jacquard -was born in Lyons, France, on the 7th of July, 1752. His parents -were employed in the manufacture of silk fabrics. The first trade -Jacquard learned was book-binding; type-founding and cutlery following -successively. He was 20 years of age when his father died, leaving him -a small house and hand-loom in the village of Cauzon, near Lyons. He -commenced to invent different improvements in the line of weaving, but -without other success than accumulating debt, compelling him to earn -the living for himself and family, first in a plaster quarry at Bugey, -near Lyons, afterwards by working at cutlery, type-founding and weaving -in Lyons. - -In 1792 he joined the Revolutionists, and after his return in the -following year he and his son assisted in the defence of Lyons against -the Army of the Convention, but left when his son was killed near him -in battle. - -Lyons Council offered him a room, for working on improvements for -weaving at the “Palace of the Fine Arts,” with the condition that he -should instruct scholars free of charge. During his stay there the -Society of Arts, in London, offered a reward for a machine for making -fishing nets. Jacquard succeeded in perfecting it, but had to travel -under protection to Paris, where he had to show and explain his machine -before the “Conservatorium of Arts and Trades.” - -On the 2d of February, 1804, Jacquard received 3000 francs, and the -gold medal from the London Society, and also an engagement in the -Conservatorium of Arts, in Paris. Here he found opportunity for -making improvements on his weaving machine, by the study of the older -inventions of Bouchon, Falcon and Vancanson. - -M. Bouchon, in 1725, employed a band of pierced paper pressed by a -hand-bar against a row of horizontal wires, so as to push forward those -which happened to lie opposite the blank spaces, and thus bring loops -at the lower extremity of vertical wires in connection with a comb-like -rack below. M. Falcon submitted in 1728 a chain of cards, and a square -prism, known as the cylinder, in lieu of the band of paper of Bouchon. -In 1745, Jacques de Vancanson suppressed altogether the cumbrous -tail-cards of the draw-loom, and made the loom completely self-acting -by placing the pierced paper or card upon the surface of a large -pierced cylinder, which traveled backwards and forwards at each stroke, -and revolved through a small angle by ratchet work. He also invented -the rising and falling griffe, and thus made a machine very nearly -resembling the actual Jacquard. - -Jacquard returned to Lyons in the year 1804 to take charge of the -work-house. During his stay at this place he finished his machine. He -was an experienced workman, combining together the best parts of the -machines of his predecessors in the same line, and succeeded as _the -first person_ in obtaining an arrangement sufficiently practical to be -generally employed. In 1806 Napoleon Buonaparte changed his position, -giving him an annuity of 3000 francs, but compelling him to transfer -his invention to the city of Lyons, as well as any further inventions. -Until 1810 Jacquard had great troubles, as his machine was not -understood by the weavers. So violent was the opposition made to its -introduction that he was compelled to leave Lyons in order to save his -life. The _Conseil des Prudhommes_ broke up his machines in the public -places, and Jacquard was delivered over to universal ignominy. But -after some years had passed the machine proved to be of the greatest -value, and on the spot where the model was destroyed a statue to -Jacquard now stands. He died August 7th, 1834, in Quillins, near Lyons, -at 82 years of age. At the time of his death over 30,000 Jacquard -machines were in operation in his native city. - -[Illustration] - - - - -The Jacquard Machine.--General Arrangement and Application. - - -If a fabric contains a great number of ends of warp bound differently -in the filling, the method of guiding the warp by harness frames is too -cumbrous and inefficient; in such cases it becomes necessary to use the -Jacquard machine for raising the warp-threads separately by means of -hook and leash. - -The hooks as used for raising leash, mail, lingo, and warp-thread, -consist of wires 16 to 17 inches long, with a crook on each end. On the -lower crook is fastened the leash by means of the neck-cord. - -The cords of each leash are threaded through the holes of the -comber-board; the latter are separated from each other according to the -texture of the warp in reed. - -On the harness-cords are adjusted the heddles, (either twine or wire), -on which are fastened the lingoes as weights. In the mails of the -heddles are drawn the warp-threads. - -Now, from the foregoing explanations, it will be apparent that by -raising the hook in the Jacquard machine we raise the leash, and the -latter raises every warp-thread throughout the fabric for interlacing -with the filling. - -The next point required to be known is, which hooks are to be raised, -and which are to be lowered? To regulate this, a design (pattern) -is prepared in which the floating of the warp over the filling is -indicated. - -For the warp-threads required to be raised holes are punched in the -cards. In these holes the points of the needles extending through -the needle-board are pushed by a spring fastened on the rear of each -needle. The needles are adjusted in rows of different heights. The -arrangements most used are 4, 8, and 12 rows high. Each row as to -height in the machine contains a bar (knife) in the griffe. When the -griffe is down, or the machine at rest, the upper crooks of the hooks -are raised about half an inch above the griffe-bars. - -The needles which control the position of the hooks, permitting them -to rise or compelling them to remain stationary, are pressed by the -springs fastened in the rear towards the cards, which are moved on -a quadrilateral and perforated cylinder. This cylinder performs a -movement similar to a pendulum towards the points of the needles. Any -needle for which a hole was punched in the card will penetrate the -cylinder; consequently, the corresponding hook will remain in its -natural position, on the crook over the corresponding griffe-bar, and -upon lifting the griffe the hook will be raised. - -Again, needles for which no holes are punched in the cards will be -thrust back by moving the cylinder containing the cards towards the -needle-board; this motion forces back the corresponding hooks, pushing -them away from the griffe-bars above, and upon raising the griffe they -will remain stationary; hence, if a blank card were pressed against all -the needles of any machine, the entire number of needles the machine -contains would be pushed back, and none of the hooks would come in -contact with the griffe-bars, and, consequently, raising the griffe -would produce an empty lift. On the other hand, using a card having -every hole of the cylinder punched, (or the empty cylinder used), would -lift every needle in the machine. Pressing the needles towards the rear -compresses the springs; these will again expand as soon as the cylinder -leaves the needle-board. The hooks, which were left standing in their -position over the griffe-bars are caught by the latter at the raising -of the griffe. The elevation of these hooks raises the leashes fastened -to them, thus causing the lifted warp-threads to form a shed with those -not lifted. - -Jacquard machines are made of different sizes and descriptions, some -having only a few hooks and others a large number. The sizes most often -used are 100, 200, 400, 600, 900, 1200 hooks. The number or size is -always indicated by the number of needles and hooks which it contains, -without counting the reserve rows, of which there are generally two. -These reserve rows are used for various purposes, such as raising the -selvedge; raising the front harness; raising the shuttle-boxes on -hand-looms; guiding the take-up motion on hand-looms; indicating a -certain card through ringing a bell on hand-looms, etc. - -Sometimes a few of the needles and hooks from the reserve are added to -the main part of the needles and hooks. For example: Take a design in -which the ground weave repeats on 12 ends; working a 400 machine, we -find: - - 400 ÷ 12 = 33 repeats of the weave, less 4 hooks; - -Consequently, if this ground-weave is repeated all over the width of -the fabric, we must use either: - - 396 hooks, leaving 4 hooks more to be added to the two rows - already used; or 408 hooks, requiring us to call upon the - reserve rows for eight extra hooks. - -Hooks which have no leashes adjusted must be taken out of the machine. - -Sometimes two, three, or more, machines are employed on one loom, and -may be worked in different manners. In this country Jacquard machines, -for power as well as hand-looms, are made of iron, whereas in Europe -the machines for hand-looms (comprising the greater part of the -Jacquard machines in use) are made of wood; using the iron ones only -for power-looms; and even yet, in most cases, the wooden machines are -used for the latter. - - - - -Illustrations of the Different Parts of the Jacquard Machine.--Method -of Operation, etc. - - -Every Jacquard machine may be divided into the following parts: - - 1. The Frame and the Perforated Board through which - the neck-cords are passed. - - 2. The Griffe and necessary attachments for lifting the - same. - - 3. The Hooks. - - 4. The Needles. - - 5. The Springs and Spring Frame. - - 6. The Needle-board. - - 7. The Cylinder, Hammer, - and Batten. - - 8. The Catches. - - 9. The Cards. - - 10. The Jacquard Harness. - -THE FRAME. - -Fig. I.,[A] represents the side view of the “frame” of a common 200 -Jacquard machine by _a_, _b_, _c_, _d_. The width of the frame in its -main part [see 6 to 7] is 9-1/2 inches. - -1-1/8 inches is the width of the iron casting at the places marked 8 -and 9. - -2 inches is the height of casting at the place indicated by 1. - -1-1/2 inches is the height of casting at the place indicated by 3. - -1-3/4 inches is the height of casting at the place indicated by 5. - -The open part of the frame, marked 2 in drawing, is 6 inches high. - -[Illustration: Fig. I.] - -[A] For illustration of the present article a 200 Jacquard machine is -used, illustrated on pages 11-17 by Figs. I. to XI., which contains -the same principles of construction as any other size machine. These -illustrations are drawn one-fourth of the actual size; hence, any -measures, etc., we have omitted may readily be found by any student. - -The open part of the frame, marked 4 in drawing, is 5 inches high. -Hence, the main height of the frame is as follows: - - 1 = 2 inches. - 2 = 6 " - 3 = 1-1/2 " - 4 = 5 " - 5 = 1-3/4 " - ------ - 16-1/4 inches main height. - - -THE PERFORATED BOARD. - -[Illustration: Fig. II.] - -The perforated bottom board, through which the neck-cords are passed, -contains one hole for every hook in the machine, and is illustrated in -Fig. II. separately. It shows the following measurements: - - Entire width of board = 8 inches. - " length " = 12 " - Thickness " = 3/4 " - - Distance of {_a_, in length of board, 0.27 inch. (See _l_ to _b_.) - holes from { - each centre, {_b_, in width " 7/8 " (See _m_ to _w_.) - " first row from the part of the frame illustrated - in Fig. I., 2-3/4 inches. - " " " " rear part of the frame, 2-1/2 inches. - -This board is fastened by screws to the frame at places indicated in -Fig. I. by 11 and 12. - - -THE PLUNGER. - -Besides the frame, Fig. I. illustrates: Under I. the Jacquard plunger, -3/4 inch diameter, for guiding the griffe (attached to its head) when -raising. To strengthen the steadiness of this latter movement shoulders -are attached to the frame at the three places where the plunger slides. - - Height of frame at _k_, = 2-3/4 inches. - " " _l_, = 2 " - " " _m_, = 2 " - -Screws, _f_, dotted in drawing, on head of plunger, fasten the griffe -to it. - -Part III. in Fig. I. illustrates the attachment for providing the -lifting of the plunger in a hand-loom, likewise the griffe, etc. This -consists of a triangular shaped frame 14-1/4 inches high, or less, -according to height of room. This part is fastened to the front part of -the frame by bolts at _o_ and _p_. In the slot at the top, between _r_ -and _s_, a wooden cylinder of 3-1/2 inches diameter is fastened to an -iron shaft resting in the frame at _t_. - -At 13 a leather strap is fastened to this cylinder and to the plunger -14. It will easily be seen that by turning the wooden cylinder in the -direction of the arrows, 15, the plunger will be raised with the griffe -fastened to its top. By reversing the action of the cylinder, the -plunger and griffe will return to their previous positions. The action -thus described constitutes a “single lift,” raising and lowering of -plunger and griffe for each pick. - - -THE CATCHES. - -At IV., Fig. I., the “catches” for turning the cylinder at the lantern -are illustrated. The distance of the centre of the screws which hold -the catches to the frame is 4-3/4 inches. Between these two catches the -cylinder is adjusted to the batten, and the direction of its turning is -regulated by the catch which is brought in contact with the lantern. -If the catch, _y_, turns, the cylinder will turn the card situated on -its top towards the needle-board, and if catch, _z_, is brought into -contact with the lantern, the card hanging below the needle-board will -be the next in turn to be pushed towards the needles. - -The entire length of the catches in the present illustration is 8 ins., -allowing 5-1/4 ins. for the catch itself and 2-3/4 ins. for the part to -which it is fastened. Making this catch in two pieces is preferable to -the old style of one piece, because the moment of turning the cylinder -can be more easily regulated. - - -THE GRIFFE. - -[Illustration: Fig. III.] - -Fig. III. illustrates the top view of the griffe. As mentioned before, -the griffe is fastened to the plunger by means of screws. In the -drawing the dark shaded places marked _f_ are the hollow places in the -griffe, through which the screws fasten the latter to the plunger. The -griffe, like the other parts explained, is made of cast iron, and the -machine is of the following dimensions: - - Length of griffe, _a_ to _b_, = 9-3/4 inches. - Depth " " _a_ to _c_, = 6-5/8 " - Extension on each side, _e_ to _f_, = 1-1/2 " - Distance of griffe-bars, _s_ to _s_, = 7/8 " - Length " " _m_ to _n_, = 9-1/4 " - Height " " [see Fig. IV., - sectional cut of griffe-bars,] = 7/8 inch. - -[Illustration: Fig. IV.] - - -THE HOOK. - -[Illustration: Fig. V.] - -Fig. V. represents a hook as used in the present machine, made of No. -13-1/4 bright spring wire. Height, _a_ to _c_, = 16-5/8 inches. Height -of rester, _b_ to _c_, = 6-5/8 inches. - - -THE NEEDLE. - -Fig. VI. illustrates a needle, as used in connection with the hook. -Distance from head to loop, 9-1/8 inches, = _a_ to _c_. Length of loop, -1-5/8 inches, = _c_ to _d_. 10-3/4 inches entire length. - -[Illustration: Fig. VI.] - -The distance from head to eye (for passing through the hook) is -regulated according to the row in which the needle belongs. In the -present illustration this is, Head to eye, = 7 inches, = _a_ to _b_. -The eye, = 3/8 inch, = _b_. - -Eight different positions of the distance of the eye from head will be -required by an 8-row machine. The needles are made of No. 15-1/2 bright -spring wire. The loop on the end, _c_ to _d_, permits a pin to be -inserted, [see Fig. VII., _o_], and also holds the needle in position. - -[Illustration: Fig. VII.] - -Fig. VII. gives a clear understanding of the arrangement of hooks, -needles, griffe-bars, springs, frame for holding the latter, and the -needle-board. This drawing is in accordance with the preceding ones, -executed one-fourth of the actual size, and represents the sectional -cut of one cross-row in the Jacquard machine containing 8 hooks, (as it -is an 8-row deep machine which we explain): _e_ to _e´_, 1st hook; _f_ -to _f´_, 2d hook; _g_ to _g´_, 3d hook; _h_ to _h´_, 4th hook; _i_ to -_i´_, 5th hook; _k_ to _k´_, 6th hook; _l_ to _l´_, 7th hook; _m_ to -_m´_, 8th hook. These hooks are held in their required places by the -eyes of the needles [see place _v_ at hook 1], through which the former -are passed. - -The needles rest with their heads in the needle-board, _a_ to _b_, -extending outside, towards the cylinder, for about 1/2 inch. The rear -part of the needle--the loop--is passed between two bars of the spring -frame, _n_, _p_, and held by the latter firmly, but with sufficient -play for a longitudinal motion for pressing towards their springs. The -pin, _o_, is inserted for holding the springs in their places. One pin -is required for each vertical row of needles. The part of the spring -frame, _r_, _n_, _p_, _s_, unshaded, is made of cast iron; the shaded -part (extension) is constructed of wood. Below the upper crook of the -hooks, the black sections represent a sectional cut of the griffe-bars; -_v_ to _w_ indicates the rester for the lower hooks, which keeps the -latter in their required position. - -A study of this illustration will show that when the heads of the -needles, _a-b_, are pushed backwards, in the direction of arrows, -the hooks are also moved. If the needles are not pushed, the upper -crooks of the hooks will remain in position, as in drawing, over the -griffe-bar; and raising the latter will consequently raise every one -of these hooks. Therefore, if a blank card is pressed against the 208 -needles of the machine, all the needles and hooks will be pushed back, -out of the way of contact with the griffe-bars, thus causing an empty -lift when they are raised; whereas, by pressing with an empty cylinder, -or with a card, containing as many holes as the machine has needles, -and so placed that the holes are exactly opposite the needles, none -of them would be moved, and each hook would remain vertical over its -griffe-bar; and raising the griffe will lift every hook. - -As mentioned before, the springs, _u_, are attached to the needles -between the needle-frame, _n-p_, and the pin, _o_. Fig. VI., the -distance _e_ to _f_ indicates the part of the loop around which the -spring is adjusted, and where it rests against the expansion of the -loop. _f_, in Fig. VI., represents the place where pin, _o_, (as -shown in Fig. VII.) passes through the loop and is fastened to the -needle-frame on top and bottom. Pressing the needle at the head -compresses the spring, as the latter is securely fastened on one end by -the wider part of the loop, and on the other end by a pin inserted in -the loop and fastened to the frame. Remove the pressure at the head of -the needle, and the spring will return to its natural position, pushing -the needle into its old place. These springs are made of thin brass -wire. - -It is necessary to keep the needle-eyes in the proper place, otherwise -it would result in bending the hook out of its perpendicular position, -and by lowering the griffe its bars would possibly come in contact with -the head of the hook, crushing the latter, or doing more damage if not -detected at once. Each needle or hook, if worn out, can be replaced by -pulling out the pin, _o_, thus loosening the needle and giving a chance -to work the required hook out of the needle-eye. - - -THE BATTEN MOTION. - -[Illustration: Fig. VIII.] - -Fig. VIII. represents the batten motion to be attached to the -guiding-rod, [see No. 14, in Fig. I.], and the frame, [see No. 16, in -Fig. I.] The batten, 2, is connected to a triangular lever by means -of lever, _d_. Another vertical lever connects the lower part of this -triangular lever to a projecting bolt, _k_, fixed to the guiding-rod of -the griffe. By raising the guiding-rod, thus raising lever, _k_, in the -direction of the arrow, the batten is thrown outwards, [see direction -of arrow below _c_], returning again to its former position at the -lowering of the griffe. _f_ indicates the place where the triangular -lever is fastened (movable) to the projecting bolt, extending out of -the frame. _a_ indicates the place for the cylinder. Part 1 of the -batten is movable at _l_ in the direction of arrow, _s_, allowing the -cylinder to be inserted. Part 1 is fastened (after putting the cylinder -in at _a_), to 2 by means of the screw, _n_. - - -THE CYLINDER. - -[Illustration: Fig. IX.] - -Fig. IX. represents the cylinder, with the lantern for turning the same -by means of the catches. The dimensions for the cylinder in the present -machine are as follows: - - Height of cylinder, = 2-7/16 inches. - Width " " = 13 " - " " lantern, = 1-1/2 " - Average length of spindle, = 2 " - -This cylinder is carried in the batten, the latter moving in the -groove provided for it under 10, Fig. I. This batten has sufficient -vibratory motion to enable it to move the required distance away from -the needle-board. After coming in contact with the catch it still moves -until the cylinder has performed a complete turn. The cylinder is -steadied in the required position by the hammer pressing by the means -of a spring towards the lantern from below. - - -THE HAMMER. - -[Illustration: Fig. X.] - -Fig. X. illustrates the hammer as attached to the batten; _a_ to _b_, -(equals 3 inches in width in our present illustration), represents the -head of the hammer, forming the foundation for steadying the cylinder -in its turning. The hammer is pressed for this purpose towards the -cylinder by means of the spring, _s_ to _r_. Parts _h_ and _k_ guide -the hammer in its up and down movements, and are solid parts of the -batten. By turning the cylinder the hammer is pushed down in the -direction of the arrow, _t_, thus compressing the spring, which returns -to its normal position after the cylinder has completed its turn, ready -for being advanced towards the needle-board. - -The following are accurate measurements of this part of the machine: - - Height of head of hammer at _a_ and _b_, = 1/4 inch. - Thickness of hammer-head, _e_ to _c_, = 3/8 " - Height of hammer-head when at rest - above the top guiding part, _c_ to _o_, = 1-1/2 " - Width of the guiding-rod, _c_ to _d_, = 1/2 " - Thickness of “top guide,” _f_ to _g_, = 3/4 " - " “lower guide,” _f_ to _r_, = 1/4 " - Distance between these guides, = 9 " - Total height of guiding-rod, = 10-1/2 " - -The shaded part of the drawing above the hammer represents the -cylinder, _i_, which has its shaft for turning at _m_. - - -THE NEEDLE-BOARD. - -[Illustration: Fig. XI.] - -As before mentioned, the heads of the needles are passed through the -needle-board. A drawing of this board, representing the front view, is -shown in Fig. XI. The following are the dimensions: - -_a_ to _c_, = 9-1/2 inches. _a_ to _b_, = 2-3/8 inches. - -Each side of the prism, always technically called the cylinder, has -a protruding peg about 1/2 inch in length. When in contact with the -needle-board these pegs enter the black holes shown upon either side -in drawing. The 208 needles and holes in the present machine are -represented by a small spot for the former with an outside ring for the -latter. - -[Illustration: Fig. XII.] - -The lifting of the griffe, which in turn also operates the other parts -of the Jacquard head, as explained before, is not always produced -from above: very often this lifting is arranged to be done by means -of a lever arrangement from below the griffe. This method of working -the mechanism in the Jacquard machine is illustrated by Fig. XII., -representing the perspective view of a 400 Jacquard machine, (W. P. -Uhlinger, builder). - -[Illustration: Fig. XIII.] - -Fig. XIII. represents the same machine adjusted to the loom. On the -longer arm of the lever a series of holes are found. These regulate -the height of the lift by the vertical rod which provides the required -movement. The nearer this rod is adjusted to the Jacquard head the -higher the lift of the Jacquard harness, thus forming the shed. - - -THE JACQUARD CARDS. - -[Illustration: Fig. XIV.] - -Fig. XIV. represents a single Jacquard card, as required for the 200 -Jacquard machine, 1/4 of its actual size. This shows 26 rows of holes -in its width and 8 rows in its depth, 208 holes. These holes are shown -in black, one for each hook in the machine. Besides these a large -hole on each side permit the pegs of the cylinder to enter into the -needle-board. The cards are interlaced in an endless arrangement. - -[Illustration: Fig. XV.] - -Fig. XV. illustrates four cards laced together. The large holes -(marked _d_ in drawing) are peg holes to receive the pegs, _h_, _h´_, -_h´´_, _h´´´_, etc., of the cylinder, as shown in Fig. IX. These pegs -are movable so that any small variations at cutting with different -card-stamping machines can be rectified. The paper used for the cards -must be of sufficient thickness to resist the wear caused by the -needles, as well as to give steadiness to the cards when resting in the -pegs of the cylinder. - -The cards are interlaced in an endless arrangement; hence, one card is -brought after the other in rotation towards the needles. The cards only -refuse service by not fitting properly on the cylinder, _i. e._, if the -peg holes are too near together or too far apart; or if the cards are -warped, which is liable to happen in a damp workshop. - -A careful examination of the cards fitting on the cylinder is -absolutely necessary, otherwise a wrong lifting of the hooks destroying -the cards by the pegs punching new holes would result. The cylinder -with cards perfectly cut must be set so as to allow the needles to -penetrate into the centre of the holes stamped for them in the card. -Sometimes the cylinder is set too high or too low--too far in front or -too far in rear. To ascertain the proper position, lift the machine -and place some paint, or grease from the machine, on the heads of -the needles. Afterwards let the machine “fall in,” which will bring -the cards against the heads of the needles, producing an impression -and indicating the exact position of the needle-heads. The cylinder -is always set in its proper position when no marks are made by the -entering needles on the margins of the stamped holes and where there -are no holes the impression left by the needle head must be equally -distant from the surrounding holes. - -[Illustration: Fig. XVI.] - -To get a clear understanding of this examine Fig. XVI. illustrating six -different impressions of the needles. The circle shown with full lines -in each of these six illustrations represents the correct position -of the circumference of the hole, and the dotted circles the various -errors that may exist. - -Fig. A shows the cylinder set in its proper place, which is indicated -by the impression of the needle in the centre. - -Fig. B shows the cylinder is set too high, as indicated by the -impression of the needle. [See arrow.] - -In Fig. C the cylinder is set too low. - -In Fig. D the cylinder is set too far to the left. - -In Fig. E the cylinder is set too far to the right. - -In Fig. F the cylinder is set too low and too far to the right. - -In Fig. G the cylinder is set too low and too far to the left. - -In Fig. H the cylinder is set too high and too far to the left. - -In Fig. K the cylinder is set too high and too far to the right. - -If the machine produces wrong lifts of the hooks and the trouble is -not found in the setting of the cylinder, nor in the hooks or needles, -then ascertain if the cylinder is adjusted by means of the lever -arrangement, close enough to the needle-board; for if it is not, the -hooks will not be pushed far enough from the griffe-bars, and by -raising the latter a wrong shed will be produced. When using a great -number of cards in a set they are made to fold into a “rack.” This is -done by attaching a wire 1 to 1-1/2 inches longer than the cards at the -junction of, say every 12th, 15th, or 20th cards. [See _c_ at Fig. XV.] - -The cards fall through a wooden frame, Fig. XVII., but the wires -attached to the cards, being longer, can not pass through, and the -cards will remain suspended, and subsequently fold together in a very -compact manner. - -[Illustration: Fig. XVII.] - -In Fig. XVII. we illustrate 156 cards arranged with wires attached to -every twelfth card, as follows: between cards 156 and 1, 12 and 13, 24 -and 25, 36 and 37, 48 and 49, 60 and 61, 72 and 73, 84 and 85, 96 and -97, 108 and 109, 120 and 121, 132 and 133, 144 and 145. - -At _e_, _f_, _g_, are shown prisms of the size of the cylinder, by -which the cards are guided and regulated in their run towards the -cylinder, (direction of arrow); _i_ and _h_ represent round rollers, -also placed in rack for guiding cards after leaving the cylinder, _c_; -_a_ and _b_, the needle-board; _c_ and _d_, the needles of the machine. -_S_ represents the wires as inserted in cards for holding them in the -frame. - - - - -THE JACQUARD HARNESS. - - -To the lower end of the hooks (_c._ in Fig. V.) the neck-cords -are adjusted. The latter are passed separately through one of the -corresponding holes of the perforated bottom board (Fig. II.) To -these neck-cords are fastened the leashes of the Jacquard harness -about 1/2 to 1 inch above the frame containing the rods which guide -the neck-cords vertically as the hooks are raised and lowered. The -different harness-cords are threaded through the comber-board in -various ways called “Tie-ups,” which will be explained later. - - -The Comber-board and Methods of Figuring for it. - -There are two kinds of comber-boards used upon Jacquard looms: - -1st. Comber-boards made of a solid piece of material, either wood or -porcelain. - -2d. Comber-boards made in strips of either of the materials above -named, and adjusted afterwards in a wooden frame. - - -Comber-boards Made of a Solid Piece of Material. - -Before ordering a comber-board, it is necessary to know the texture -of the fabric in the loom, and also the number or size of the machine -to be used; for the number of holes per inch in the comber-board is -regulated by this. Afterwards, we may, if we choose, arrange the number -of holes in depth of the comber-board, according to the number of -griffe-bars in the machine, (guided by the fabric to be made). We may -have eight griffe-bars in the machine, and arrange the comber-board 4, -6, 8, 10, 12 rows deep; or we may have 12 griffe-bars in the machine, -and arrange the comber-board 12, 10, 8, 6, 4 rows deep. - -RULE: The number of holes to one inch in the comber-board must equal -the texture of the fabric to one inch in loom. - -EXAMPLE: Suppose a fabric with a texture in the loom of 100 threads, -and we are to use a 600 Jacquard machine, with 12 rows. The width of -the fabric in the loom is to be 36 inches. - -_Required_: The number of holes in the width of the comber-board. - -_Answer_: 100 × 36 = 3600 holes in the comber-board. - -3600 ÷ 12 = 300, the number of holes in width. - -The width and depth of the comber-board are regulated by the width of -the cloth required and by the design to be used. - -The greater the number of rows in depth the closer they must be; the -same is true of the width. - -It is necessary to take care not to have the comber-board too deep, as -the consequence would be a bad shed; furthermore, we must not have the -holes too close together, as in a high texture this would make trouble -in the weaving through the catching of the heddles with the warp, and -also cause useless chafing of the warp-threads and the heddles. - - -The Changing of Solid Comber-boards for Different Textures. - -In Jacquard work we generally use the same texture, or as near as -possible, as the loom is tied up for; but changes are sometimes -unavoidable. If we reduce the texture of the fabric in a Jacquard loom -tied-up for a solid comber-board, we must reduce proportionally the -number of hooks and needles used in designing, and hence the number -of heddles used per inch. These heddles will thus be left empty when -drawing in the warp. To accomplish this lift the full machine and -throw the hooks not to be used from the knives, lowering in this way -every mail which is not to be used. Sometimes there may be only one, -two, three, or four hooks to be thrown off, on account of the design. -At other times it may be necessary that one-eighth, or one-fourth, or -even one-half of the whole number shall be dropped for this purpose. -For instance, suppose we have a dressgoods design of 596 threads and a -600 machine. These four ends left off the 600, if in 6, 7, 8, or more -inches in width, would not affect the fabric nor the cost to any great -extent; hence we may leave out the first or last four needles of the -600. - -Suppose we have a texture of 100 in the comber-board, to lower to 66 -ends per inch. 66 ends, or the nearest even part of 100 (66-2/3) is 2/3 -of 100; hence, we only need two-thirds of our machine; and as the same -is supposed to be arranged 12 rows deep, we need 2/3 of 12 rows, or 8 -rows. The four rows thus found necessary to drop may be dropped from -the ends, or alternately, as follows: - -Every alternate 2 rows taken, 1 row missed, 4 times over, = 12 rows. -Or, 2 rows missed, 8 rows taken, 2 rows missed, = 12 rows. - - -Comber-boards made in Strips and Adjusted afterwards in a Frame. - -By these comber-boards which are used to a great advantage on narrow -loom work up to 36 inch fabrics, we can change the texture for the -fabric; for the strips composing the comber-board may be drawn -apart, thus changing the higher texture to lower; whereas in a solid -comber-board this could only be done by re-tying the harness or -changing the number of needles used in the machine. To give a clear -understanding Figs. XVIII., XIX., XX. are needed. - -Fig. XVIII. represents an 8-row deep comber-board, _a_, _b_, _c_, _d_, -composed of 10 strips which are set close together. By examining each -strip 5 cross-rows of holes will be found, making the whole number of -holes 400. - -Suppose the comber-board as represented in Fig. XVIII. is intended for -a texture of 100 ends per inch; this will give for the width of the -fabric (_i_, _k_, to _l_, _m_,) 4 inches. - -[Illustration: Fig. XIX.] - -[Illustration: Fig. XVIII.] - -In Fig. XIX. the comber-board is arranged for a texture of half as many -ends, or 50 holes per inch, and the 10 strips are arranged accordingly; -the empty places between the strips are of same size as the strips -themselves, and the fabric design below the comber-board is arranged to -correspond. - -[Illustration: Fig. XX.] - -Fig. XX. illustrates the sectional cut of the comber-board used in -drawings, Figs. XVIII. and XIX., and the letters indicating the -different parts of these figures which correspond. - - -Divisions of the Comber-board. - -Under this heading we classify one repeat of the arrangement of -threading harness-cords in the comber-board, and therefore one repeat -of the design of the fabric. We find fabrics in which are used one -or more divisions of one system of threading harness-cords in the -comber-board; again, there are others in which one or more divisions of -one system are combined with one or more divisions of another, or even -of two or three other systems. - - -Heddles for the Jacquard Harness. - -[Illustration: Fig. XXI.] - -After the harness-cords are threaded through the comber-board the -heddles are adjusted. Of these there are two kinds: - -_A._ The twine heddle, containing the mail for holding the warp-thread. - -_B._ The wire heddle, similar in its construction to the regular -heddle, used in the common harness-loom. These are very little used, -and only in fabrics of a low texture. - -Fig. XXI. illustrates a regular twine heddle one-fourth of its actual -size. - -_b_ represents the mail, through the eye of which the warp-threads are -passed. - -_a_, the adjustment of the heddle to the harness-cord. - -_c_ indicates part of the lingo for weighting the heddle. - -[Illustration: Fig. XXII.] - -Fig. XXII. illustrates the method observed for combining heddle and -harness-cords. _a_, the guide-board, to get the mails regular in -height; _b_, the knot combining heddle and harness-cord. [See _a_ in -Fig. XXI.] _c_, the mail. _d_, the lingo. - -[Illustration: Fig. XXIII.] - -Fig. XXIII. illustrates the average position of the mail in a loom. -_a_, breast-beam of the loom. _c_, the warp-beam or guide-beam over -which the warp runs on its way towards the harness. _b_, the position -of the heddle. _d_, the lingo. - - -The “Leasing” of the Harness. - -[Illustration: Fig. XXIV.] - -This requires a clear conception of the rotation in which the different -heddles are threaded, according to the tie-up employed. Two methods are -in use: 1st. The heddle nearest the weaver is the first to be threaded, -and the heddle of the same row in rear of the comber-board is the last. -2d. This principle reversed, thus arranging the leasing from rear to -front. - -The latter method is the one most generally observed. Every row in -depth of comber-board is leased separately, and in rotation secured -to the lease-twines, _a_ and _b_, in Fig. XXIV., thus forming an -uninterrupted line of heddles through the entire Jacquard harness. -Through these heddles the warp is afterwards drawn in rotation. - - - - -TYING-UP OF JACQUARD HARNESS. - - -1. The Straight-Through Tie-up. - -This tie-up contains in its principle the foundation of all the others. -Three methods are in common use, which we will now explain. - - -1st. The Jacquard Harness threaded on the machine in the direction from -Front to Rear. - -This tie-up is represented in Fig. XXV. - -[Illustration: Fig. XXV.] - -As mentioned in the heading of this article, the Jacquard harness, -or the leashes, are fastened to the machine in rotation from front -to rear, the threading of the comber-board being done from rear to -front. The comber-board is in three divisions. The machine used for -illustrating is a 400 Jacquard 8-row machine, and the comber-board used -is also 8 rows deep. This method of tying-up of the leashes forms what -is technically known as “open harness.” As the drawing is designed to -explain a 400 machine, 8 rows drawn in the comber-board, also 8 rows -deep, one row in height of the cylinder will equal one row in depth on -the comber-board. In examining the illustration the eye must follow the -line connecting the numbers on the neck-cords to the corresponding -numbers near the holes on the comber-board. If this be done, the -tie-up will readily explain itself. It will also explain the method of -procedure if a machine is used containing a different number of needles -and hooks, and a comber-board having as many rows in depth as there -are griffe-bars in the machine. For example, a 600 machine, with 12 -griffe-bars, needs for this tie-up a comber-board 12 rows deep; and a -200 machine, with 8 griffe-bars, requires a comber-board 8 rows deep, -etc., etc. - -[Illustration: Fig. XXVI.] - -The drawing shows a comber-board with 3 divisions, each division -furnishing one harness-cord to each neck-cord, making in all three -harness-cords to every neck-cord. The same tie-up will apply should the -drawing contain a different number of divisions. The illustration shows -only the first and last rows of each division in the comber-board, and -also the first and last rows of neck-cords. - -The design below the drawing represents a damask fabric to be executed -on this tie-up, requiring the whole number of needles for one repeat -of the pattern of 400 threads. In designing for these tie-ups it is -necessary to arrange the design to repeat itself in the number of -needles that will be used in producing the fabric. The first and last -threads must connect with each other, without interruption, forming -a continuous design over all the divisions. Thus we find, in fabric -design of a damask towel, Fig. XXVI., the repeat (division) from _A_ -to _B_. In the centre of the design marked _a_, and the main part of -the border marked _c_, we find one repeat; whereas borders _b_ and _b´_ -repeat 8 times. - -In the fabric illustrated by design, Fig. XXVII., again a damask -towel, the repeat, or one division, is also indicated by _A_ to _B_. -The centre of the fabric, _a_, repeats twice in one division; borders -_b_ and _b´_ repeat four times in the same distance; whereas the main -design of the border indicated by _c_ requires one complete division. - -[Illustration: Fig. XXVII.] - - -2d. The Jacquard Harness threaded on the machine from Rear to Front. - -[Illustration: Fig. XXVIII.] - -This is the second method for the straight-through tie-up, and is -illustrated in Fig. XXVIII. The Jacquard harness is fastened to the -machine, at the neck-cords, from rear to front. The threading of the -comber-board is also from rear to front. In this method the work of -attaching the leashes to the neck-cords is commenced in the rear -instead of the front of the machine, thus giving a different view and -arrangement of the tie-up. This disposition of the threads is called a -“sectional harness arrangement.” - -The illustration shows a 400 Jacquard or 8-row machine, in connection -with an 8-row deep comber-board, with one row in the comber-board -requiring a corresponding row on the face of the cylinder. It will also -explain the method of procedure with this tie-up in Jacquard machines -with comber-boards of different sizes. - -Fig. XXIX. represents the perforated board at the bottom of the -machine through which the neck-cords pass, attaching the leash to the -neck-cords. The first row, containing neck-cords numbered 1, 2, 3, -4, 5, 6, 7, and 8, and the 50th row, containing those numbered 393, -394, 395, 396, 397, 398, 399, and 400, are the only ones shown in Fig. -XXVIII. illustrating the tie-up. The comber-board is divided into -four sections; hence, the drawing, as represented in Fig. XXVIII., -calls for a fabric with 1600 ends in width. 400 ends, or any number -dividing into 400, can be used for the repeat of the pattern. The -method followed in the illustration may be applied to any size of -Jacquard machine, and also to any required number of divisions in the -comber-board. - -[Illustration: Fig. XXIX.] - -In ascertaining the number of hooks or needles for one repeat of the -design, determine accurately if the repeat of the weave employed for -binding _the ground_ or the figure divides evenly into this number. For -example, take bottom board, Fig. XXIX., calling for 400 hooks and 400 -needles. Suppose the ground weave to be an 8-leaf satin, and the design -to repeat once in the 400 hooks. 400 ÷ 8 = 50 repeats, showing an equal -division But suppose a 12-leaf satin is used; it is obvious that 12 is -not an even factor of 400, as the division shows a remainder of 4. To -dispose of this remainder two methods are open: - -First. Omit last 4 ends and use only 396 hooks, a multiple of 12, -giving 33 repeats; or, - -Second. Add 8 hooks from the reserve rows, elsewhere previously alluded -to, thus increasing the number to 408, which is also a multiple of 12, -giving 34 repeats. - - -3d. The Straight-Through Tie-up on the English System. - -The English system, which is widely used, has the Jacquard machine so -adjusted upon the loom as to have the cylinder lengthways, running in -the same direction as the comber-board; or, what is the same thing, -running in the direction of the width of the fabric. [See Fig. XXX.] - -[Illustration: Fig. XXX.] - -The 8 hooks of one cross-row (one hook from each of the 8 griffe-bars) -run in the direction from the cloth beam towards the warp beam. -Having the same number of rows in depth, in comber-board as there -are griffe-bars, one may readily see the advantages of this tie-up. -The first row in depth of the comber-board contains harness-cords -from neck-cords 1 to 8. The second row deep of comber-board contains -harness-cords from neck-cords 9 to 16, finishing each division on the -last (25th) row, with harness-cords from neck-cords 193 to 200. - -Should we have a 600 machine, with 12 rows, the comber-board would also -have 12 rows, as the 600 machine contains 12 griffe-bars. The first row -of the comber-board receives the harness-cords from Nos. 1 to 12; the -second row from Nos. 13 to 24, and so on, finishing on the last (50th) -row of comber-board with 589 to 600. - - -II. Straight-Through Tie-up for Repeated Effects, in one Repeat of the -Design. - -This method of arranging the tying-up of the Jacquard harness is based -upon the necessity for producing patterns having a larger number of -warp-threads than the Jacquard used has needles. The principle to be -observed is found in producing small effects which repeat themselves in -the general design. - -The number of cords for the leashes depends upon the frequency with -which these repeats occur. Fabrics with stripe effects offer greater -opportunities for reducing the number of hooks and needles than other -designs. Fig. XXXI. illustrates such a design with its tie-up, using -a 400 Jacquard machine with 8 rows. The pattern shows four distinct -effects, as follows: - -_A_, requiring rows 1 to 16, inclusive; or harness-cords 1 to 128, -inclusive. - -_B_, requiring rows 17 to 21, inclusive; or harness-cords 129 to 168, -inclusive. - -_C_, requiring rows 22 to 34; or harness-cords 169 to 272, inclusive. - -_D_, requiring rows 35 to 50; or harness-cords 273 to 400, inclusive. - -In this fabric we find 2 full repeats of the design: first, _E_ to -_F_; second, _E´´_ to _F´´_, thus requiring two divisions in the -comber-board, as indicated by the vertical line between _F_ and _E´´_. - -[Illustration: Fig. XXXI.] - -The next subject to consider is the different arrangement of repeated -effects in one division. Commence at the left-hand side of the fabric -sketch with effect _A_, which repeats only once in one pattern or one -division. The illustration shows two divisions, and also that each hook -of rows 1 to 16, inclusive, in the first division can be connected with -each hook of rows 1 to 16, inclusive, in the second division, because -these rows produce the same effect in the design, which repeats itself -in these two places. This connection forms what is technically called a -leash, and it will always be found that for every harness-cord a leash -contains, there will be found a repeat in the design to correspond. - -Effect _B_ is repeated four times in the design, or in each division. -By having two divisions for the illustration we find that to produce -the necessary repeats in the design each hook of rows 17 to 21, -inclusive, requires 8 harness-cords to each leash. - -Effect _C_ repeats twice in one pattern or one division. Having two -divisions for the illustration, each hook of row 22, including row 34, -requires 4 harness-cords to each leash. - -Effect _D_ repeats once in pattern, once in division. This will give a -result similar to _A_, two divisions, row 35, including row 50, with -two harness-cords to each leash. This tie-up illustrates the first row -of every effect, and also the last leash, 400. - -Adding the number of warp-threads in the full repeat of the pattern, we -have: - - Effect A = 128 threads. - " B = 40 " - " C = 104 " - " B = 40 " - " D = 128 " - " B = 40 " - " C = 104 " - " B = 40 " - ---- - 624 threads. - -Or, in other words, we are producing with a “straight-through tie-up -for repeated effects” on a 400 Jacquard machine, a design, which would -require a 600 machine on a common straight-through tie-up, including -the two reserve rows, or 624 needles; in other words, a saving is made -of 224 needles in one full repeat of the pattern. - -In designing for looms tied up for similar styles, the repeats of -effects must be kept in mind. The general style of every design may be -changed, but the arrangement of the repeated effects cannot be altered -without changing the entire Jacquard harness. - - -III. Straight-Through Tie-up of a Jacquard Loom having Front Harness -Attached. - -As mentioned in the beginning of this work, every Jacquard machine -contains two reserve rows, which may be used for various purposes. -One of the purposes to which these rows are frequently put is the -enlargement of the design of the fabric by using harness on the front -of the comber-board, technically known as “front harness.” For example, -in damask table-cloths, we may use the Jacquard harness for producing -the border of the fabric. The centre part may be produced with front -harness, forming a checkerboard, or some similar effect. This process -may be reversed by designing the centre of the table-cloth for the -Jacquard harness, and the border for the front harness. - -[Illustration: Fig. XXXII.] - -A third method is to design part of the centre and part of the border -for the Jacquard harness, the other parts being designed for the front -harness. This tie-up is also used to a great extent in the manufacture -of dressgoods, etc., where stripe effects produced by the front -harness, alternate with floral or geometrical designs produced by the -Jacquard harness. - -In Fig. XXXIII. the centre of a table-cloth cover is shown to further -illustrate this method of tying-up. One-half of the width of the design -is for the Jacquard harness; the other half is for the front harness. -To produce the required checkerboard effect these front harness are -used here in two distinct sets. - -The 1st set = 5 harness, working on the 5-leaf satin warp for face, -alternating with the - -2d set = 5 harness, working on the 5-leaf satin filling for face. - -If only 8 front harness should be used for the design, we should have -the - -1st set = 4 harness, working on the 4 harness broken twill warp for -face. - -2d set = 4 harness, working on the 4 harness broken twill filling for -face. - -Set 1 to alternate with set 2 to form the check. Care must be taken -that the number of checks formed by the front harness are evenly -arranged to the figured part of the fabric. For example, Fig. XXXIII., -in the front harness part of the design shows 5 warp checks and 5 -filling checks in one row, = 10 checks. - -[Illustration: Fig. XXXIII.] - -Suppose 10 front harness are used and 20 warp-threads allowed for each -check; then 20 × 10 = 200 warp-threads, all used for effects by the -front harness. - -This requires 200 warp-threads for figure effects to be used by the -Jacquard harness. - -The repeat of the pattern is therefore 400 warp-threads, which is -produced by straight-through tie-up, front harness attached, with 200 -hooks and needles for FIGURE PART of the design, _plus_ 10 hooks and -needles for CHECKERBOARD PART of the fabric taken from the 16 hooks and -needles of 2 reserve rows, leaves 6 hooks and needles for selvedge, etc. - -As previously stated, the front harness may be used for dressgoods -fabrics. In this way the design may be enlarged to any required extent. - -Fig. XXXII. illustrates this method, using an 8-row Jacquard machine, -with 4 front harness adjusted, in common use for the manufacture of -dressgoods fabrics, damasks, etc. - -[Illustration: Fig. XXXIV.] - -Fig. XXXIV. shows a fabric designed for dressgoods forming an -all-over-set pattern. In this design parts _F_ and _F´´_ must be -executed with the Jacquard leashes; parts _G_ and _G_ can be executed -with front harness. For example: parts _F_ and _F´´_ require each 100 -hooks, the ground part to be woven in 4 harness broken twill. We find -the answer as to number of warp-threads in the repeat and number of -hooks required for weaving as follows: - - _F_ = 100 threads. - _G_ = 100 " (because covering the same distance as _F_ - in part of the fabric.) - _F´´_ = 100 " - _G_ = 100 " - --- - 400 warp threads in repeat. - - _F_ = 100 hooks. - _F´´_ = 100 " - --- - 200 hooks for figure. - 4 hooks for weaving the ground, front harness. - --- - 204 hooks required to weave design, Fig. XXXIV., - repeating with 400 warp-threads. - - -IV. The Centre Tie-up. - -[Illustration: Fig. XXXV.] - -The centre tie-up, also called the point tie-up, has for its purpose -the enlargement of the design in fabrics such as table-covers, -dressgoods, etc. This tie-up resembles in its principle that of a -common point-draw on the harness-loom. After drawing from front to -rear once straight through the entire set of harness, draw from rear -to front and repeat. The only difference between harness-work and -Jacquard work is in the fact, that with harness we commence to draw in -from the first harness straight through to the last, _A_ to _B_, and -back again, _B_ to _C_; but with the Jacquard tie-up on this method -this is arranged through the threading of the comber-board, having a -straight-through leasing of the heddles and drawing in of the warp. - -In Fig. XXXV. there is a clear illustration given of the principle of -the centre tie-up on an 8-row comber-board _A_, _A´_, _B_, _B´_. In -laying out the comber board, it must be divided by the line _C_, _C´_, -into two equal parts, _D_, _C_, and _C_, _D´_. In the part _A_, _A´_, -_C_, _C´_, of the comber-board, we commence threading with leash 1 at -the left-hand rear corner, running in succession towards the centre, as -indicated by the arrow on this part of the comber-board. - -In part _B_, _B´_, _C_, _C´_, the threading begins in the opposite -corner, to the right-hand in front, with number 1 leash, threading in -rotation the number of leashes from the front towards the rear, as -again indicated on the figure by an arrow. After leasing and threading -the harness, No. 1 leash will contain in its two mails the first -and the last of the warp-threads, as indicated in Fig. XXXV. by the -numbers, and the rotation by the arrows, _S_ and _S´_. - -[Illustration: Fig. XXXVI.] - -Fig. XXXVI. represents this centre or point tie-up applied to a 200 -Jacquard machine; comber-board, 8 rows deep; two full divisions; _A_, -_B_, the first division; _B_, _D_, the second division; _C_ and _C´_ -forming the centre in each division. This machine will, if tied-up -in this manner, produce a design requiring 400 warp-threads. We must -arrange the design for this tie-up so as to repeat forwards and -backwards respectively in the centre. Such a design will run upwards -at a given angle to a definite point, then it will return by the same -angle in an opposite direction until it reaches the base from which it -originally started. - -[Illustration: Fig. XXXVII.] - -In this manner design, Fig. XXXVII., is constructed. _A_, _B_, _C_, -_C´_, _D_, correspond with the same letters used in Fig. XXXVI.; -hence, it will readily explain itself, as well as the method to be -observed in designing for this kind of tie-up. The design runs straight -through from _A_ to _C_, and repeats itself backwards from _C_ to _B_, -finishing at _B_ the first full division. - - _B-C´_ equal _A-C_,} - _C´-D_ " _C-B_,} - -forming the second division. - -Any changes as to different sizes of machines, rows deep of -comber-board, or number of divisions, must be executed upon the -principle explained in this article. - - -V. “Straight-Through” and “Point” Tie-ups Combined. - -_A.--For fabrics requiring for their centres a straight-through tie-up -and for their borders a point tie-up, one-half division of it for each -border._ - -These tie-ups are used to a great extent for napkins, handkerchiefs, -scarfs, and similar damask fabrics, in which the centre part of the -fabric is worked on the straight-through method; the borders on each -side on the point tie-up, repeating equally from centre towards the -selvedge. In the other two borders to be woven at the beginning and the -end of the fabric, the same principle is observed, thus producing four -corner squares, only two of which need be designed, as the other two -repeat through the arrangement of the tie-up, which must repeat equally -towards both sides of the border at the connecting places. - -[Illustration: Fig. XXXVIII.] - -Fig. XXXVIII. illustrates this method of tying-up a 200 machine, using -192 hooks and needles, equal to 24 long rows of a regular 8-row deep -machine. The machine is divided into two sections, as follows: - - Needles 1 to 96 for the 1st section or centre. - " 97 " 192 " 2d " " the border. - 4 repeats of centre, = 4 x 96 = 384 ends. - 2 repeats of border, one for each side, = 2 x 96 = 192 - ---- - 576 ends in fabric, - not including selvedge. - -[Illustration] - -The drawing represents four divisions for the centre, hence four -harness-cords for each leash. The border, having only two repeats -in the fabric, will contain only two harness-cords to one leash. In -the drawing the first full row of the machine is indicated, which -is equal to the first row deep of every centre division; containing -harness-cords 1, 2, 3, 4, 5, 6, 7, and 8. We also show (heavy line) -the last centre leash, No. 96 being the last hook of row 12 of the -machine. The borders _A´_ and _A´´_ are from the same design, but -the figure runs in an opposite direction in each one, as indicated -by the arrows in the comber-board above. Border _A´_ commences with -harness-cord from leash 192, ending with harness-cord from leash 97, -near the centre design. Border _A´´_ commences with harness-cord from -leash 97, near the centre design, ending with harness-cord from leash -192 near the selvedge. The great difficulty to be overcome in arranging -these patterns for the loom is in the union of the two tie-ups, the -straight-through and the point. - -As previously stated, the borders _A´_ and _A´´_ are made with the -point tie-up, while the remainder of the borders are made with the -straight-through tie-up. The combination of these two tie-ups occurs in -the corner squares of the border, and the arrangement must be such as -will permit the two sides of the corner patterns to properly unite with -the design for the balance of the border. - -Ground plan for above fabric: Letters _A_, _C_, _D_, _B_, _F_, -correspond to same letters as used on the outside of fabric design. -_S_, _S´_, _S´´_, _S´´´_, _S´´´´_, also correspond for centre division. - -[Illustration: Fig. XXXIX.] - -For the purpose of giving a correct comprehension of the foregoing -explanation of tying-up, but under a different arrangement, Fig. XXXIX. -was designed for a 600 machine, having the same arrangement of the -borders, viz.: point tie-up, using one-half division for each side; the -centre a straight tie-up, but employing only one repeat. The following -particulars will explain the entire procedure: - -200 needles and hooks are used for borders, point tie-up, once through, -equals 1/2 division for each border. [See letters _B_ and _B´_ on -comber-board.] - -[Illustration: Fig. XL.] - -400 needles and hooks are used for centre, straight tie-up, one repeat. -[See letter _C_ on comber-board.] - - 200 ends for each border, = 400 warp-threads. - " centre, = 400 " - ---- - 800 warp-threads. - -In the ground plan of the fabric _A_ is the centre; _B_, _B´_, _B´´_, -_B´´´_, borders; _C_, _C´_, _C´´_, _C´´´_, corners. - -Fig. XL. is a fabric design executed on this principle: _a_ to _b_, -border; _c_ to _d_, centre; _b_ to _a_, repeat of the first border. - - -Straight-Through and Point Tie-ups Combined. - -_B.--For fabrics requiring for their centres a straight-through tie-up, -and for their border on point tie-up one full division for each border._ - -This arrangement of both foundation tie-ups resembles the preceding. -The only difference is found in employing the full division of the -centre or point tie-up for each border instead of the half division. - -[Illustration: Fig. XLI.] - -Fig. XLI. illustrates this method of tying-up adjusted to a 600 -Jacquard machine. The centre of the fabric requires 400 needles and -hooks in 6 repeats or divisions, or 400 × 6 = 2400 warp-threads. The -border calls for 204 needles and hooks, point tie-up, one full division -for each side, or 204 × 2 x 2 = 816 warp-threads. The arrangement of -margin and selvedge, as applied on each side, is explained separately -through ground plan of comber-board by fig. XLII. The margin calls for -8 needles and 8 hooks in machine, 6 repeats of same for each side, or -96 warp-threads. The selvedge is formed by 2, 4 or 8 needles, (working -plain), and has 24 heddles for each side or 48 selvedge-threads in -warp. These selvedge ends may, if preferred, be drawn two ends in one -heddle. By adding these different systems of threads we find: - - Centre = 2400 warp-threads. - Borders = 816 " " (814 if point drawn only once.) - Margin = 96 " " - Selvedge = 48 " " - ----- - 3360 threads in warp. - - For the centre part of the fabric, needle and hook 1 to 400 are used. - " border " " " " 401 " 604 " - " margin " " " " 605 " 612 " - -Leaving one complete row of the reserve to use for selvedge, etc., if -required. - -[Illustration: Fig. XLII.] - -[Illustration: Fig. XLIII.] - -In drawing, Fig. XLI., we only illustrate centre and border of the -tie-up, so as not to confuse the eye by too many lines, and, as -mentioned at the beginning, employed Fig. XLII. for illustrating -the ground plan for selvedge and margin. In selvedge and margin the -harness-cords are indicated by consecutive numbers, thus: - - Margin, 1 to 48. - Selvedge, 1 " 24. - - When threading margin in comber-board: - 1, 9, 17, 25, 33, 41, call for the same leash. - 2, 10, 18, 26, 34, 42, " " " - 3, 11, 19, 27, 35, 43, " " " - 4, 12, 20, 28, 36, 44, " " " - 5, 13, 21, 29, 37, 45, " " " - 6, 14, 22, 30, 38, 46, " " " - 7, 15, 23, 31, 39, 47, " " " - 8, 16, 24, 32, 40, 48, " " " - - Leashes in centre part of fabric, 1 to 400 call for 6 harness-cords. - " border " 401 " 604 " 4 " " - " margin " 605 " 612 " 12 " " - " for selvedge if using 4 hooks, 613 " 616 " 12 " " - -This tie-up is the one most frequently employed in the manufacture of -damask table-covers. Not only will drawings and explanations lead to -a thorough understanding of the procedure, but they will also readily -show the great variety of textile fabrics to which the principle of -this tie-up may be applied. - -Fig. XLIII. illustrates the margin arranged 8 threads for each row, -and 5 rows or 40 threads for each side. The selvedge in this drawing -is illustrated by one complete row of 12 double threads for each -side. The selvedge and margin holes are all represented shaded. The -selvedge is marked _S_ in addition to the number. The five margin rows -are indicated each by figures 1 to 8. The nearest row of border is -also represented, being numbered 401 to 412, corresponding to Fig. -XLI. This method of using only 8 rows of the 12-row deep comber-board -is extensively used in fabrics of a common texture, employing an 8 -harness satin for the margin as weave, which repeats once for each row -in comber-board. Besides, a great advantage results from being able to -tie-up 8 leashes threaded 8 rows deep in comber-board to the 8 hooks in -1 row of the machine, which the weave calls for. - -[Illustration: Fig. XLIV.] - -[Illustration: Fig. XLV.] - -Fig. XLIV. and Fig. XLV. represent designs for fabrics executed on this -method of tying-up. - - Fig. XLIV.--_A_ to _B_ = border, _C_ the centre. - _B_ " _D_ = margin, between centre and border. - _D_ " _E_ = 1 repeat of the centre, 6 times - over in width of fabric. - - Fig. XLV.--_A_ to _B_ = border, _C_ its centre. - _B_ " _D_ = centre, 6 times over in width of fabric. - - -Straight-Through and Point Tie-ups Combined. - -_C.--For fabrics having the centre for straight-through, with the -border for straight-through and point tie-ups, (half divisions), -combined._ - -[Illustration: Fig. XLVI.] - -[Illustration: Fig. XLVII.] - -This method of tying-up is illustrated in Fig. XLVI., and the -fabric produced in Fig. XLVII. With this method of tying-up is -usually introduced an extra margin for the purpose of separating the -ornamentation of the design, so as to permit of a clearer definition. -This is tied-up on 8 needles and hooks, situated between border and -centre, (24 ends) shown at margin _B_ in the design. The centre of the -fabric, (two divisions only illustrated out of ten actually used), is -tied-up on the straight-through method, requiring for its working, -harness-cords 1 to 240. The border has the point tie-up in half -sections; these half sections have a straight-through tie-up design in -its centre. Harness-cords 241 to 456 are used for the straight-through -section, and 457 to 600 for the point tie-up section. The margin is -produced by harness-cords 601 to 608, leaving 16 needles and hooks -of the machine unemployed, which may be used for selvedge or other -purposes. The drawing of this tie-up and fabric illustrates only the -right-hand side. The complete design requires, in addition to the -borders and margins, 10 divisions or repeats in the centre. The figure -shows only two of these repeats and border and margins of one side. The -number of ends in the fabric is found as follows: - - Centre, 10 × 240 = 2400 ends. - - Border, {point, 4 × 144 = 576} = 1008 " - {straight, 2 × 216 = 432} - - Margin, {between border and centre, 24 × 2 = 48} = 144 " - {between border and selvedge, 48 × 2 = 96} - - Selvedge, not indicated in drawing of tie-up, = 48 " - ---- - 3620 ends in warp. - -Number of harness-cords required for each leash: - - Leashes 1 to 240 = 10 cords to 1 leash. - " 241 " 456 = 2 " 1 " - " 457 " 600 = 4 " 1 " - " 601 " 608 = 18 " 1 " - -Selvedge leashes, if worked by 4 needles and hooks, = 12 cords to 1 -leash. - -[Illustration: Fig. XLVIII.] - -Fig. XLVIII., on page 42, illustrates another fabric design to be -executed on this method of tie-up. - - _A_ to _D_ = Border { _A_ to _B_ = point tie-up with _C_ to _D_. - { _B_ to _C_ = straight-through part. - - _D_ to _E_ = Centre, first repeat, division, for straight-through. - - -Straight-Through and Point Tie-ups Combined. - -_D.--For fabrics composed of the straight-through tie-up for centre; -the point tie-up, half divisions, and the point tie-up, full divisions, -for borders._ - -This method of tie-up is used to a great extent in the manufacture -of damask napkins, containing in its centre the monogram of hotels, -restaurants, or private names. This effect is produced by floating the -filling. - -[Illustration: Fig. XLIX.] - -In this manner, we find tie-up, Fig. XLIX., and fabric sample, Fig. -L., executed, using for explanation a 400 Jacquard machine, certainly -very low texture for these fabrics. In case of a higher texture being -necessary, each effect must be proportionally increased. The machines -most generally used for this class of fabrics are of the 900-1200 -denomination. - -[Illustration: Fig. L.] - -Taking the present tie-up into consideration, we find the centre -for forming the monogram, containing 200 harness-cords tied-up -straight-through the borders on each side of the monogram, is -executed on the point tie-up, one-half section for each side, taking -100 needles and hooks, or harness-cords. The outside border on each -side is executed on the point tie-up, using one complete division of -it for each side; and in addition, 100 harness-cords for the working. -Adding these various divisions of the harness-cords gives the number of -warp-threads as follows, viz.: - - Border, _N_, 100 needles on point = 200 threads, - (199 if omitting the - point the second time). - " _M_, 100 needles on straight = 100 " - Centre, _L_, 200 " " straight = 200 " - Border, _M´_, 100 " " return = 100 " - " _N´_, 100 " " point = 200 " - (199 if omitting the - ----- double point.) - 800 threads. - -For number of harness cords to each leash we find: - - Needles and hooks, 1 to 100 = 4 cords to each leash. - " " 101 " 200 = 2 " " " - " " 201 " 400 = 1 cord " " - -Fig. LI. illustrates a fabric, damask table-cover, to be executed on -the same principle. - -[Illustration: Fig. LI.] - - Margin = _a_ to _b_ and _h_ to _i_. - { small = {_b_ to _c_ and return _c_ to _d_} Point. - Border { {_f_ " _g_ " " _g_ " _h_} - { main = _d_ " _e_ " " _e_ " _f_ " - Centre = 1st division _i_ to _k_, straight-through. - -This fabric can also be executed on the tie-up explained through Fig. -XLI., as follows: - - Border = _a_ to _i_ on point tie-up, _e_ for centre or point. - Centre = 1st division _i_ to _k_, straight-through. - - -Straight-Through and Point Tie-ups Combined. - -_E.--Mixed Tie-up._ - -Containing in one repeat of the design the straight-through tie-up and -the point tie-up, one full division, for the centre; the point tie-up, -in half divisions, repeating once through on each side of the fabric, -to make the border. These arrangements of tie-ups are used to a great -extent in the manufacture of damask fabrics of every denomination. - -The principle of using mixed tie-ups, Fig. LII., is found in the -necessity of producing large designs, containing varied effects, with a -proportionally smaller Jacquard machine. Under whatever management the -straight-through and the point tie-ups are combined, their principle -remains undisturbed. Every time we arrange a Jacquard loom on a mixed -tie-up, we must consider that any subsequent design must be arranged -with reference to the same principle as the one in use, otherwise the -work must all be rearranged, which would have to be done even for the -smallest change in the number of ends for each effect. - -[Illustration: Fig. LII. Fig. LIII.] - -Take for illustration a damask fabric, Fig. LIII., handkerchief, bureau -scarf, art square, etc. The details given will make the work quite -plain: - -Part of comber-board from _A_ to _B_, or _D_ to _C_, illustrates -one-half of the board and procedure of tying-up. The design below also -shows only one-half of the fabric. Arrow, _G_, near comber-board, -and arrow, _M_, near fabric, are placed to indicate the direction -in which a repeat is obtained. The fabric will form its centre at -_D_, repeating towards each border and selvedge. This is illustrated -in the comber-board by the 1-row deep, outside of line _A_, _D_. -Harness-cords indicated by dotted lines. The threading of this last -mentioned row, as well as the threading of the half division of the -point tie-up, is indicated by arrows _H_ and _K_, forming the centre -by means of harness-cords 193 and 193. The straight-through tie-up -part of the fabric is found between _E_ and _F_, containing 12 repeats -in the centre, and also the same number in the lower border. In the -comber-board is illustrated this arrangement, repeating the first row, -containing harness-cords 1, 2, 3, 4, 5, 6, 7, 8, twelve times, and -the last hole of the third row containing harness-cord No. 24, twelve -times. On the bottom of the comber-board these 12 repeats are indicated -by 12 small arrows between parts _E_ to _F_. - -The first row in the first division of the straight-through tie-up is -completely threaded; the other eleven have only the harness-cord from -leash 1, as indicated; this is done so as not to confuse the eye with -too many lines. The border of the fabric is arranged for harness-cords -25 to 192 on the point tie-up, having one-half division on each side. -Arrow _L_ indicates the right-hand border. The border on the left -requires the same harness-cords which are threaded in comber-board from -right to left; hence the borders of the fabric contain the same design -repeating from the centre towards the selvedge. - -At the beginning we stated that the use of mixed tie-ups made it -possible to employ a smaller size Jacquard machine for large designs -containing various effects. The following analysis of Fig. LII. shows -very clearly how this is done. - -Number of warp-ends in one complete repeat in width of the fabric: - - Border, right-hand, = 168 threads. - Centre, straight-tie, = 288 " - " point-tie, { = 168 " - { = 168 " - " straight-tie, = 288 " - Border, left-hand, = 168 " - ---- - 1248 ends warp in fabric. - -Number of needles required to produce the design: - - Border, = 168 needles. Centre on straight-tie, = 24 needles. - Centre on point-tie, = 168 needles. 360 needles required for - producing the complete design, thus saving the difference - between 1248 and 360, or 888 needles; all of which is - accomplished through the use of the mixed tie-up. - -Number of harness-cords required for each leash: - -Leashes 1 to 24 contain 24 cords for one repeat of the entire design. -Leashes 25 to 360 contain 2 cords for one repeat of the entire design. -It is not always practicable to reduce the effects in a design to -the lowest possible number of needles. On account of the changes in -styles, it is best to arrange these tie-ups with a view to giving as -much opportunity as possible to the designer. In the present tie-up -experience teaches that it will be more advantageous to arrange the -straight-through tie-up either for 6 divisions to 48 ends each, or 4 -divisions to 72 ends each. 360 needles, as figured at the beginning, -require a 400 machine, or, counting reserve rows, 416 needles; hence we -can, without disadvantage, increase 360 needles to 384 or 408, which -will give a greater scope, if required, to make a new design. - - -VI. The Straight-Through Tie-up in Two Sections. - -_A.--Using machine and comber-board in two equal sections._ - -[Illustration: Fig. LIV.] - -This tie-up, Fig. LIV., is used on fabrics having two different -kinds of warp, which, as a rule, are of different colors. One of -these warps is shown working at _B_ in the comber-board, and also at -the bottom-board. The other warp employed for the figure effect is -shown working at _A_. Fabrics that are made on this tie-up can also -be made on the common straight-through; but the work of designing -and card stamping will be largely increased. In the illustration -all the figure-threads, and also all the threads used for the -weave (binder-threads) can be designed without interruption to each -other. The breaking off of the figures is thus avoided, a thing -quite impossible where the regular straight-through tie-up is used. -The drawing given herewith represents this straight-through tie-up -in sections applied to a 200 Jacquard machine. The reserve rows are -omitted. The machine and the comber-board, it will be observed, are -divided into two even parts. In one part, the rear of _A_, of the -comber-board we thread only in the leashes from needles 1 to 100, -and in the other part, front of _B_, from needles 101 to 200. Hence, -the first row of the comber-board contains leashes 1 to 4 and 101 to -104; the second row will contain leashes 5 to 8 and 105 to 108; the -third row will contain leashes 9 to 12 and 109 to 112, and so on, each -division finishing on the last row (25th) with leashes 97 to 100 and -197 to 200. - -The leasing of the threads is always done by alternately threading the -harness-cords of section _A_ with section _B_. Hence, first thread of -the warp draws in first mail of leash No. 1; second thread of the warp -draws in first mail of leash No. 101; third thread of the warp draws -in first mail of leash No. 2; fourth thread of the warp draws in first -mail of leash No. 102. - -[Illustration: Fig. LV.] - -Fig. LV., a fabric design for cloaking for straight-through tie-up in -two sections. _A_, face warp, black silk; _B_, back warp, black cotton. - - -_B. Using two machines and a comber-board having equal sections._ - -[Illustration: Fig. LVI.] - -Sometimes two or more machines are employed in producing fabrics having -two systems of warps; each machine working on its own system. In this -manner Fig. LVI. is executed, representing a straight-through tie-up -arranged for two Jacquard machines, _S_ and _H_, in which the warp is -drawn in the Jacquard harness as follows: one end from machine _S_, -one end from machine _H_. For explanation two 100 Jacquard machines -are used for the purpose of simplifying the arrangements of laying -out and threading the comber-board. A larger Jacquard machine for the -illustrations would require more leashes, and the explanation would be -more difficult. - -The comber-board, _a_, _b_, _c_, _d_, is divided into two equal parts, -_S_ and _H_. Each part containing the harness-cord for one machine -only. The drawing of the tie-up is arranged for two divisions, and also -readily explains any tie-up for more divisions. - -The leasing of the Jacquard harness, _K_, is arranged (as illustrated -in the drawing by leash-rods _p_ and _r_) to commence as follows: - -1st end: harness-cord fastened to No. 1 needle of machine, _S_; 2d end -to No. 1º needle of machine, _H_; 3d end to No. 2 needle of machine, -_S_; 4th end to No. 2º needle of machine, _H_; 5th end to No. 3 needle -of machine, _S_; 6th end to No. 3º needle of machine, _H_; 7th end to -No. 4 needle of machine, _S_; 8th end to No. 4º needle of machine, _H_. - -These eight ends, forming the first complete row of the comber-board, -will use the first row of both machines; the second row of the -comber-board will use the second row of both machines; and so on, -until every row of the comber-board, with corresponding row of the -Jacquard machine, is taken up. In the drawing we have indicated, as -usual, besides the first row, the last row of the machine and the -comber-board; or, in other words, we show the threading of - - Warp end 193: harness-cord fastened to No. 97 needle of harness _S_. - " 194: " " " 97º " " _H_. - " 195: " " " 98 " " _S_. - " 196: " " " 98º " " _H_. - " 197: " " " 99 " " _S_. - " 198: " " " 99º " " _H_. - " 199: " " " 100 " " _S_. - " 200: " " " 100º " " _H_. - -This method of using two Jacquard machines, on the principle explained, -is employed on Jacquard looms for dressgoods figured with an extra -warp, on upholstery goods, and similar textile fabrics. - -[Illustration: Fig. LVII.] - -Fig. LVII. shows a fabric design for a curtain, to be executed on the -straight-through tie-up in two sections. - - -_C.--Using one machine and one comber-board: the machine unequally -divided and the comber-board equally divided._ - -To explain, take the regular upholstery fabric tie-up known as “petty -point,” on a 600 machine 12 rows in depth. 600 ÷ 12 = 50 + 2 rows -reserve = 52 rows in width. We find used-- - - 1 row for selvedge. - 10 rows for binders (_B_). - 41 rows for figure (_A_). - -- - 52 rows. - -41 (rows figure) × 12 (needles for one row) = 492 needles to be used -for figure. - -10 (rows binder) × 12 (needles for one row) = 120 needles to be used -for binder. - -Suppose we have four divisions in loom, hence, four harness-cords -to one leash, for the figure section, or 492 × 4 = 1968 ends of -warp used for figure. 1968 threads of figure warp require the same -number of threads of ground warp, which must be divided by 120, the -number of needles and hooks set apart for it in the machine, or--as -each needle and hook carries one leash--120 leashes. 1968 ÷ 120 = 16 -repeats; and 48 leashes, or four rows in the machine, must each have 17 -harness-cords carrying 816 threads; and 72 leashes, or six rows in the -machine, must each have 16 harness-cords carrying 1152 threads, = 1968. - - -VII. Tying-up a Jacquard Harness for Figuring Part of the Design with -an Extra Warp, (part for Two Sections, part for Single). - -This tie-up (the character of which is indicated in Fig. LVIII.) is -used for textile fabrics having two distinct warps in part of the -fabric, and a single warp in the remainder, for ground only. It will -readily be seen in the drawing which explains this tie-up that one -part of the fabric will have to contain more ends of warp per inch -than the other, as the figuring is done with an extra warp upon the -regular ground cloth. The number of ends of ground warp per inch will, -as a general rule, be the same throughout the fabric. In Fig. LVIII., -explaining this method of tying-up, the texture is twice as high in the -figure stripe as in the ground part of the fabric. If 40 ends of warp -per inch are used for the ground, 80 ends per inch must be used in the -figured part, _B_ to _C_, _B´_ to _C´_. - -[Illustration: Fig. LVIII.] - -A 200 machine is used in the illustration, divided as follows: - - 150 needles for the ground over the entire fabric, _A_ to _B´´_. - 50 needles for the figure effects, _B_ to _C_, and _B´_ to _C´_. - -The comber-board, therefore, must be arranged accordingly, (2-2/3 -divisions in drawing executed). The depth of the comber-board is -divided into two parts: _H_, _M_, _N_, _K_, the first; _M_, _N_, _O_, -_P_, the second. The first contains leashes fastened to neck-cords -attached to needles 151 to 200, or the figure part, _F_ and _F´_; the -second contains leashes fastened to neck-cords attached to the needles -1 to 150, or the ground part for the entire fabric. In the drawing of -lines showing the harness-cords of the Jacquard harness we have only -indicated: - -_A._ The ground part, leashes Nos. 1, 2, 3 and 4 in rotation, and No. -150. This last leash of the ground warp we have indicated by a heavy -line. - -_B._ For the figure part, needles 151 to 200 are used. Leashes 151, -152, 153, 154, are indicated in rotation, also the leash operated by -hook 200; this latter one being also lined more distinctly than the -others. - -These explanations readily show how to adapt the tying-up for any -textile fabric made upon this principle to any number Jacquard machine. - - -VIII. The Straight-Through Tie-up in Three Sections. - -The straight-through tie-up in three sections, which is illustrated by -drawings, Figs. LIX. and LX., is largely used in the manufacture of -fancy plushes and velvets, and also in the construction of any other -kinds of fabrics in which the face is figured in three systems of -warps, or in two systems of warps for the face and one system for the -binder. - -If it were required, these fabrics could be made on the straight -tie-up, (Figs. XXV., XXVIII. and XXX.), but, as will readily be seen, -they may be worked to much better advantage, both for designing and -card-stamping, upon the method shown here. - -[Illustration: Fig. LIX.] - -Fig. LIX. illustrates the method of adjusting the leashes to the -neck-cords and threading the comber-board. In the example, we use for -describing the method a 900 Jacquard machine, and follow the English -system for placing it on the loom. The machine is divided into three -sections: Section 1, using hooks and needles 1 to 300; Section 2, using -hooks and needles 301 to 600; Section 3, using hooks and needles 601 to -900, leaving the two reserve rows (generally found in every machine) -out of the illustration. - -The comber-board is divided into two divisions lengthways, (but the -same method must be observed if more than two divisions are used), and -also into three sections in its depth. The number of sections in the -comber-board must correspond to the number of sections in the machine. - -The threading of the machine is done from the rear towards the front, -and from the left towards the right. The threading of the comber-board -is done in a corresponding manner. 300 ends for each section in one -division, divided by 4 rows deep each section, making 75 cross-rows. -Threading of the Jacquard harness is as follows: - - No. 1 from Section 1, white. - 301 " " 2, shaded. - 601 " " 3, black. - 2 " " 1, white. - 302 " " 2, shaded. - 602 " " 3, black. - 3 " " 1, white. - 303 " " 2, shaded. - 603 " " 3, black. - 4 " " 1, white. - 304 " " 2, shaded. - 604 " " 3. black. - 5 " " 1, white. - 305 " " 2, shaded. - 605 " " 3, black. - -[Illustration: Fig. LX.] - -And so on; all of which are shown separately in Fig. LX. - -_R_ and _R´´_ are for the two-lease strings; _S_, the successive -order of threads; _S´´_, the number of leashes. Hooks and needles -correspond with drawing _A_. White warp-threads indicate section 1; -shaded warp-threads, section 2; black warp-threads, section 3. The fine -lines in Fig. LIX. indicate the leashes for the first row deep of the -comber-board; the heavy lines indicate the last leash for each section. - -Fig. LXI. illustrates a fabric designed for this tie-up. The various -small star effects are arranged on the principle of the 5-leaf satin. - -[Illustration: Fig. LXI.] - - -IX. The Point Tie-up in Three Sections. - -This method of tying-up Jacquard looms shows the point tie-up applied -to the three-section arrangement, on the same principle as the -straight-through in paragraph VIII. - -[Illustration: Fig. LXII.] - -Fig. LXII. shows the comber-board divided into three distinct sections, -marked _I._, _II._ and _III._ For explanation, take a 300 machine; -allow 100 needles and hooks for each section, distributed as follows: -Section I., 1 to 100; Section II., 101 to 200; Section III., 201 to -300. Each section contains 200 warp-threads; and the complete division -of three sections, 600 threads. The threading of three sections, -illustrated in Fig. LX., is applied to the present tie-up, as follows: - - 1st end, from section I., attached to No. 1 harness-cord. - 2d " " II., " " 101 " - 3d " " III., " " 201 " - 4th " " I., " " 2 " - 5th " " II., " " 102 " - 6th " " III., " " 202 " - 7th " " I., " " 3 " - 8th " " II., " " 103 " - 9th " " III., " " 203 " And so on. - - -X. Combination Tie-up in Two Sections. (“Tie-up Amalgamate.”) - -[Illustration: Fig. LXIII.] - -This tie-up illustrates the point tie-up and the straight-through -combined on the two-section system. In Fig. LXIII., a 600 machine is -used for illustration; the comber-board being divided into two parts: -_a_, _b_, _c_, _d_, for No. 1 section; _e_, _f_, _g_, _h_, for No. 2 -section. - -No. 1 section requires the use of needles and hooks 1 to 200 on the -straight-through principle, four divisions, taking 800 warp-threads. - -No. 2 section requires the use of needles and hooks 201 to 600 on -the point principle, one division, taking 800 warp-threads. The two -sections thus use 1600 warp-threads in one repeat. - -The threading of the harness is as follows: 1-201, 2-202, 3-203, etc., -ending with 200-201. - -This tie-up, as well as any changes in the arrangement and the number -of needles, (but not changed in its principle), is used for double -color figures of warps of large design, with a small all-over figure -effect (No. 1 section) for the ground. Fig. LXIV. is executed on this -tie-up. - -[Illustration: Fig. LXIV.] - - -XI. The Straight-Through Tie-up in Four Sections. - -Fig. LXV. shows 384 needles and hooks of the Jacquard machine, threaded -in four sections in comber-board, _A_, _B_, _C_, _D_. The threading of -comber-board is as follows: - -[Illustration: Fig. LXV.] - - 1st, No. 1 leash in section 1. - 2d, " 2 " " 2. - 3d, " 3 " " 3. - 4th, " 4 " " 4. - 5th, " 5 " " 1. - 6th, " 6 " " 2. - 7th, " 7 " " 3. - 8th, " 8 " " 4. - 9th, " 9 " " 1. - -And so on. The threading of the harness is explained below the -comber-board, _l_ and _m_ indicating the leash-strings; and -warp-threads 1, 2, 3, 4, from leashes 1, 2, 3, 4, are indicated as -threaded. - -384 times 4 divisions make 1536 warp-threads. - - -XII. Tying-up of Jacquard Looms with Compound Harness attached. - -Tying-up of Jacquard looms with extra compound harness, consists in -applying two separate systems of harness in the loom. The warp-threads, -after having passed through the Jacquard harness, are passed through -harness in front. Each system of harness performs special duty, -although they are both working the same warp. The Jacquard harness -is used for forming the general design on a large scale; the second -harness divides this pattern into detail, (twills, satins, or any other -desired weave). The above tie-up is necessary in the manufacture of -rich damasks and similar fabrics, where a large number of warp-ends -is required, with a correspondingly small number of picks per inch. -Suppose a damask fabric to contain 300 ends warp per inch, with only -75 picks per inch; or in the proportion of 4 to 1. Now, to employ this -principle of making four ends warp equal to one filling, the size of -the design would be produced in the fabric, but the richness, and also -the fineness, of the face of the fabric would be entirely lost. To -prevent this it should be the object of the designer to keep the fine -warp-threads entirely on the surface, to interweave the proportion -of ends varying between warp and filling (as in example above, four -warp-threads) separately. This principle of textures requires the -compound harness to be attached; or, in other words, a machine must be -used which is capable of raising not only every alternate thread, but -every third, fourth, or eighth thread, if required, for the formation -of the body of the cloth. - -Fig. LXVI. illustrates as plainly as possible the principle of -tying-up to do this work, using a 100 Jacquard machine for figuring, -comber-board threaded in three divisions, four heddles to each leash, -eight compound harnesses. - -[Illustration: Fig. LXVI.] - -[Illustration: Fig. LXVII.] - -In the tying-up of Jacquard harness four heddles to one leash are -generally used, as illustrated at _c_, in Fig. LXVI.; each heddle -containing one warp-thread. Fig. LXVII. shows the arrangement of these -four warp-threads, when using only one heddle to each leash, but in -which the mail contains four eyes. This method is less frequently -employed. Instead of using a 100 machine, as in Fig. LXVI., - - A 200 machine (straight-through) will require 800 warp-threads - for each division. - 300 " " " " " 1200 " " " - 400 " " " " " 1600 " " " - 600 " " " " " 2400 " " " - 900 " " " " " 3600 " " " - 1200 " " " " " 4800 " " " - -To change the tie-up principle from the straight-through method -to the point method, taking a 1200 machine using four heddles per -harness-cord, 9600 warp-threads will be required for each division for -repeat of pattern. - -This little example plainly shows the great advantage of this method of -tying-up looms for making the finest damasks, etc. - -To explain the general method of this tie-up, commence with Fig. LXVI., -which represents a 100 machine, three divisions, four heddles to one -leash, eight compound harnesses. - -It will not be necessary to explain the threading of the comber-board, -as this is always done on the same plain principles. The four heddles -of the first row deep of comber-board emerge below the board at the -beginning of the first division, marked _a_, _a´_, _a´´_, _a´´´_. The -first row deep in comber-board in the first division, and the last row -deep in comber-board in the third division only are shown; but as these -two rows also indicate the first and last rows in the Jacquard machine, -and as the principle of _a_, _a´_, _a´´_, _a´´´_, and _b_, _b´_, _b´´_, -_b´´´_, has to be observed in every one of these 75 rows deep in width -of comber-board _E´_ to _E´´_ taken, it will explain the tie-up for -the entire number. At _c_, in leash _a_, four distinct heddles are -adjusted; the same thing is repeated in every one of the eight leashes -extended in drawing below the comber-board, giving in return, thus: -four heddles and three divisions in a 100 machine = 4 × 3 × 100, or -1200 warp-threads for the entire fabric. - -Now, following the first heddle downwards on leash 1, _a_, _c_, -marked on drawing, _d_, (indicated by dotted lines), No. 1 harness of -the compound harness, _H_, is reached. The cross X on this harness -indicates that the warp-thread drawn through mail fastened on heddle, -_d_, must also be drawn through No. 1 harness; the next heddle from the -same leash will reach No. 2 harness; and so on until No. 4 harness is -taken up, which will finish No. 1 harness-cord of No. 1 leash in the -first division. The second harness-cord, _a´_, will use harness 5, 6, -7, 8; the third harness-cord, _a´´_, will use harness 1, 2, 3, 4, over -again, as used by a; the fourth harness-cord, _a´´´_, will use harness -5, 6, 7, 8, over again, as used by _a´_. - -Continue in this manner until leash 100 in the first division on -harness 5, 6, 7, 8, is finished. The second and third divisions -strictly repeat the first. - -[Illustration: Fig. LXVIII.] - -Fig. LXIX. represents the side elevation for Fig. LXVI. In both -of these drawings some of the letters and figures correspond, as -follows: harness-cords _a_, _a´_, _a´´_, _a´´´_, in first row deep of -comber-board, _E_, _E´_. _H_ shows compound harness set 1, 2, 3, 4, 5, -6, 7, 8; figures 1, 2, 3, 4, on top of comber-board represent the first -row deep from the front elevation in drawing. - -New letters: _B_, the warp-beam; _Z_, the lease of the warp formed by -rods, _Z´_ and _Z´´_; _O_, the distance between the Jacquard harness -and compound harness set, _H_. _D_, the shed, as formed in loom when -weaving. For illustration of this shed pick No. 7 in Fig. LXVIII., -shows that leashes 2 and 3, or _a´_ and _a´´_, are raised at the same -time. Leashes 1 and 4, or _a_ and _a´´´_, are not raised. - -The principle of forming the shed for picking the shuttle will be more -particularly explained later on by Figs. LXX. to LXXV. - -[Illustration: Fig. LXIX.] - -At _c_, in Fig. LXIX., the beginning of the shed is shown; also the -last woven part of the fabric, _c_, _c´_, _c´´_, which is indicated -as passing around the breast-beam, _F_. _L_, _L´_, _L´´_, _L´´´_, -indicate leashes 1, 2, 3, 4, extending to the Jacquard machine towards -neck-cords 1, 2, 3, 4. - -[Illustration: Fig. LXX.] - -Fig. LXX. represents a warp-thread forming the bottom part of a shed. -Mail, _L_, and harness, _H_, occupy a position similar to that of mail -and harness for warp-thread passing through No. 1 heddle of leash _a_, -and harness 1 in Fig. LXIX. - - Warp-thread passing through leash - No. 2, _a_, and harness 2, in Fig. LXIX. is the same. - " 4, _a_, " 4, " " " - " 13, _a´´´_, " 5, " " " - " 15, _a´´´_, " 7, " " " - " 16, _a´´´_, " 8, " " " - -[Illustration: Fig. LXXI.] - -Fig. LXXI. shows a warp-thread forming part of the top shed by raising -the leash; hence mail, _L_, is shown raised. The compound harness is -supposed to be resting, which allows the warp-thread to slide up to the -height of the required size of shed. This figure illustrates plainly -the following warp-threads in Fig. LXIX. - - Warp-thread passing through leash - No. 5, _a´_, and harness 5, in Fig. LXIX. is the same. - " 7, _a´_, " 7, " " " - " 8, _a´_, " 8, " " " - " 9, _a´´_, " 1, " " " - " 10, _a´´_, " 2, " " " - " 12, _a´´_, " 4, " " " - -[Illustration: Fig. LXXII.] - -Fig. LXXII. illustrates the side view of a warp-thread where the hook -of the Jacquard is not raised; hence, the mail remains in its resting -place. Following the warp-thread towards _c_, the compound harness is -shown raised, thus forming part of the top of a shed. This figure is -designed to show the passage of the warp-thread through mail No. 3 of -leash _a_, and harness No. 3, in Fig. LXIX. - -[Illustration: Fig. LXXIII.] - -Fig. LXXIII. illustrates a thread forming part of a lower shed. In the -drawing the mail is raised, but at the same time the heddle of harness -is lowered, compelling the thread to rest on the bottom of the lay. -This figure is designed to show warp-thread passing through mail No. 6, -of leash _a´_, and harness No. 6, in Fig. LXIX. - -Fig. LXXIV. is a side view of a thread forming the upper part of a shed -where mail and harness have been raised the same as in Fig. LXIX., the -warp-thread passing through mail No. 11 of leash, _a´´_, and harness -No. 3. - -Fig. LXXV. illustrates mail not raised and harness down. This change is -not necessary in Fig. IV.; the warp-thread forming the lower part of -the shed. - -[Illustration: Fig. LXXIV.] - -[Illustration: Fig. LXXV.] - -In Figs. LXX. to LXXV. the following letters correspond with the same -letters in Fig. LXIX.: _Z´´_, nearest lease-rod to Jacquard harness; -_D_, shed for picking shuttle; _C_, starting point of shed or last -woven place of fabric. - - -_The Kind of Heddles Required for Compound Harness._ - -The eyes of these heddles are much longer than those of common heddles. -They must be sufficiently long to allow the six movements illustrated -in Fig. LXX. to LXXV., hence the height of these heddle eyes will -influence the height of the shed. - - -_Working the Compound Harness by a Separate Machine._ - -For working compound harness a separate small witch-loom is generally -used, thus saving, to a great extent, the Jacquard cards. In this -manner the ground may be easily altered without changing any cards, it -being only necessary to change the small set of cards on the witch-loom -controlling one repeat of the body weave for the harness. The number of -picks for the harness can also be readily adjusted to one change in the -Jacquard figure without disturbing the cards of any consequence. For -example: in manufacturing a damask fabric, suppose four harness picks -make one change of figure in the Jacquard machine, and it is necessary -to reduce these four picks to one change of figure, on account of -having to use some heavier filling, or other similar reason; this -alteration can be easily made when using two separate machines. - - -_Number of Compound Harness to Use._ - -The number of harness used is regulated by the weave required for -raising, and the weave required for lowering. - -The number of harness may vary to a large degree, as we may use any -suitable weave from the 4-leaf twill up to the 16-leaf satin. As a -general rule, for fine damasks we use the 8-leaf satin, requiring 8 -harness. - - -_Positions of Compound Harness During Weaving._ - -There are three distinct positions for the harness: 1st, centre; 2d, -up; 3d, down. - -Fig. LXVIII., p. 60, illustrates the 8-leaf satin combining filling and -warp up in one design. - - -_A few Different Weaves for Working Compound Harness._ - -[Illustration: Fig. LXXVI.] - -[Illustration: Fig. LXXVII. Filling Weave as raised in the upper shed -by harness. [X] Risers. [O] Sinkers.] - - -[Illustration: Fig. LXXVIII. Warp Weave to interweave in lower shed -through harness. [O] Warp on face. X Warp down.] - -[Illustration: Fig. LXXIX. A. Filling up. B. Warp up.] - -[Illustration: Fig. LXXX. 5-Leaf Satin. Filling. Warp.] - -A great variety of combinations of different weaves for this class of -textile fabrics exist. It is only necessary to illustrate a few more -examples to guide us in finding the principles underlying these changes. - -[Illustration: Fig. LXXXI. 7-Leaf Satin. Filling. Warp.] - -[Illustration: Fig. LXXXII. 8-Leaf Satin. 8-Harness Broken Twill. -Filling. Warp.] - -[Illustration: Fig. LXXXIII. 8-Leaf Satin. 8-Harness Fancy Twill. -Filling. Warp.] - -Fig. LXXIX. is an example of warp and filling, binding in a 4-leaf -twill. Both systems are illustrated for a clear understanding: [X] Fig. -_A_, indicates the raising of the harness for forming the upper part of -the shed; [O] Fig. _B_, indicates the rotation of drawing warp-threads -from the upper shed into the lower shed. Drawing-in draft is for -4-harness (straight). - -[Illustration: Fig. LXXXIV. 10-Leaf Satin. 10-Leaf Satin. Filling. -Warp.] - -[Illustration: Fig. LXXXV. 10-Leaf Satin. 5-Harness Satin. Filling. -Warp.] - -[Illustration: Fig. LXXXVI. 12-Harness Satin. Filling. Warp.] - - -XIII.--Tying-up Jacquard Looms for Gauze Fabrics. - -Gauze fabrics are produced by a separate system of weaves, which -have the peculiar characteristic of warp-threads not lying parallel -to each other. One kind of this warp is called the “douping warp” -or “whip-threads;” these are twisted around the ground-warp. The -ground-threads, as well as the whip-threads, which work together, must -be drawn into one dent. - -Jacquard gauze can be worked in various ways; for example: One -whip-thread against one or more ground-threads. More than one -whip-thread against one or more ground-threads. - -There are two methods of tying-up for gauze fabrics: 1st. A tie-up in -which the doups are worked by one, two, three or four shafts in front -of the Jacquard harness. 2d. A tie-up in which the gauze figuring -is done all over the fabric, requiring each doup to be arranged for -working separately. If the ground-threads and whip-threads are worked -from the same Jacquard machine, the latter must be divided into two -sections: 1st section for the ground-threads with ground heddles; 2d -section for the whip-threads with standard heddles. - -If a fabric contains the gauze in the form of a stripe, arranged one -end ground and one end whip, the same number of hooks are required -for the ground and whip-threads of each section, and an extra dead -harness must be employed; but if this arrangement of one end ground -and one end whip must form figures, then the ground and whip-threads -must form the first section, and the whip-threads alone the second -section. In this case the second section requires only half as many -hooks as the first; and for the same reason, if we are forming figures -with two ground-threads and one whip-thread, the first section will -contain three times as many hooks as the second, etc. Very often two -whip-threads are used for twisting, in which case they must be drawn -together in the doup. If several whip and ground-threads are drawn -into one reed they usually work independently at first on a regular -weave; following this is the gauze weave formed by a certain number of -whip-threads raised either on the left or right of the ground-threads -contained in the same dent. This movement brings into operation the -second section of the machine containing the harness-cords for the -standard heddles. The technical terms for these various combinations -are: single-thread gauze, double-thread gauze, triple-thread gauze, etc. - -The tie-up most generally used requires two-thirds of the needles for -ground heddles and one-third of the needles for standard heddles; -hence, if using a 200 machine we find: 128 needles and hooks for the -ground heddles, and 64 needles and hooks for the standard heddles. [See -Fig. LXXXVII., p. 65.] - -[Illustration: Fig. LXXXVII.] - -The comber-board is divided into two sections. The rear part (2/3) is -used for the ground, the front part (1/3) is used for the standard. - - -_Threading of the Harness._ - -Thread the warp into the ground heddles in the same manner as a common -straight-through tie-up. Then take the first left-hand thread of the -warp and draw it through the doup. The next two warp-threads draw above -the first one on the left-hand side of the same doup. These three -warp-threads must be drawn together in one dent. After drawing the -first pair in one dent, leave one, two, or more dents empty, according -to the fabric. The 4th, 5th and 6th warp-threads, also each subsequent -pair, are threaded the same as the first. - -[Illustration: Fig. LXXXVIII.] - -[Illustration: Fig. LXXXIX.] - -[Illustration: Fig. XC.] - -Figs. LXXXVIII. and LXXXIX. are designed for illustrating this point. -The lingoes for the doups are about one-half the weight of those used -for the ground heddles. - -Fig. XC. represents a fancy gauze to be executed in this manner. - -[Illustration: Fig. XCI.] - -[Illustration: Fig. XCII.] - -[Illustration: Fig. XCIII.] - -[Illustration: Fig. XCIV.] - -[Illustration: Fig. XCV.] - -Fig. XCI. represents the threading of the harness for a gauze fabric: -_f_, _g_, first and second warp-thread, over the doup; _h_, _i_, third -and fourth, through the doup. - -Figs. XCII. and XCIII. illustrate the two movements of the harness in -the gauze weave. - -Figs. XCIV. and XCV. illustrate the movements of the harness in the -regular weave: _a_, _b_, represents the comber-board; _c_, the place -where the doup is fastened to the dead harness; _d_, _e_, the standard -heddle; _f_, _g_, _h_, _i_, the mails of the common heddles. - -The following are the fourteen different movements that might be -required in regular weaving. The figures show the number of threads up -and the number down, thus: [1/3] equal first warp-thread up; second, -third, and fourth down. - - 1. [1/3] = _f_ up. - 2. [1/12] = _g_ up. - 3. [1/21] = _h_ up, doup raised. - 4. [1/3] = _i_ up, doup raised. - 5. [2/2] = _f_ and _g_ up. - 6. [2/11] = _g_ and _h_ up, doup raised. - 7. [2/2] = _h_ and _i_ up, doup raised. [Illustrated by Fig. XCIII.] - 8. [11/11] = _f_ and _h_ up, doup raised. [See Fig. XCV.] - 9. [11/2] = _f_ and _i_ up, doup raised. - 10. [11/11] = _g_ and _i_ up, doup raised. [See Fig. XCIV.] - 11. [3/1] = _f_, _g_, and _h_ up, doup raised. - 12. [3/1] = _g_, _h_, and _i_ up, doup raised. - 13. [21/1] = _f_, _g_, and _i_ up, doup raised. - 14. [12/1] = _f_, _h_, and _i_ up, doup raised. - -These fourteen different movements cover all the possible changes in -regular weaving. The movement (7) illustrated in Fig. 8, in addition to -forming the regular weave, is also necessary to the formation of the -gauze weave. - -These few explanations clearly show the great variety of effects -possible for the designer; for he can figure with the regular method -of weaving, and can also figure gauze weaving to exchange with regular -weaving, forming a separate design on the fabric. - - - - -Modifications of the Single Lift Jacquard Machine. - - -Having thoroughly described the construction and action of the regular -Jacquard machine, it now remains to illustrate and explain its -modifications. Among the most prominent are: - -1st. The Double Lift Single Cylinder Jacquard Machine. - -2d. The Double Lift Double Cylinder Jacquard Machine. - -3d. The Arrangement of Substituting “Tail-cords” in place of the Hooks, -etc. - - -I. Double Lift Single Cylinder Jacquard Machine. - -The principle of this machine consists in raising the warp-threads any -number of times in succession without allowing the shed to close, thus -performing the work in nearly half the time, and with less wear and -tear on the warp. - -Fig. XCVI. represents the sectional cut of one row across all the -griffe-bars. The machine selected for the illustration is of the 12-row -type. Jacquard machines of this description have two hooks to one -needle; therefore in the drawing twenty-four hooks are represented. -Two griffes are provided, each working every alternate hook. - -[Illustration: Fig. XCVI.] - -[Illustration: Fig. XCVII.] - -In Fig. XCVI. the sectional cut of both griffes is shown, and in Fig. -XCVII. the top view of both griffes; the first set is represented -shaded, the second black. The former requires hooks Nos. 1, 3, 5, 7, 9, -11, 13, 15, 17, 19, 21, 23, and the latter Nos. 2, 4, 6, 8, 10, 12, 14, -16, 18, 20, 22, 24. - -This arrangement permits either hook to be lifted separately by the -griffes, and a corresponding elevation of the leash. As these griffes -work in opposition, one descends while the other ascends; this motion -prevents the leash from dropping the entire length of the cords, since -the ascending griffe catches it at half distance as the two griffes -pass each other. In this operation the shed is never entirely closed, -and a corresponding gain in speed is attained. It will thus be seen -that the “double lift” single cylinder has great advantages over the -ordinary machine. Of course, the warp-thread must make its complete -journeys up and down when called for by the design; but when once up, -it need not be brought down until absolutely required by the pattern. -The warp is thus subjected to less friction in working, and it is -possible to use yarns with less twist and obtain good results. - -The advantages arising from not closing the shed may be seen in the -following example of a warp-thread working on an 8-leaf satin, in which -seven picks are up in succession. - -By the single lift machine this warp-thread must travel seven times up -and seven times down, thus closing the shed absolutely seven times, -with a corresponding wear and tear. The double lift single cylinder -arrangement does not require the warp-thread to make these seven -complete journeys to the “race-board” of the lay, but instead it makes -seven half trips. The saving may be shown by the following analysis: -Single lift machine, warp-thread, seven picks up in succession, in -8-leaf satin (warp-face) requiring fourteen complete movements. - -Double lift single cylinder machine requiring for the same effect: - - Up the first time, = one complete movement. - Six times down, } half movements, = six complete movements. - Six times up, } - Down the last time, = one complete movement. - Or eight complete movements. - -Showing the utility of the two machines to be to each other as 8 to 14, -or 4 to 7. - -[Illustration: Fig. XCVIII.] - -Fig. XCVIII. illustrates the complete double lift single cylinder -Jacquard machine, as built by W. P. Uhlinger, Philadelphia. In this -drawing both griffes are distinctly visible; also their mode of -operation by means of the double-acting lever. This machine has the set -of hooks for each griffe-bar protected by a plate of sheet iron, thus -steadying the hooks in their motion, and enabling smaller crooks to be -used for the latter. - -[Illustration: Fig. IC.] - -Fig. IC. represents a double lift single cylinder Jacquard machine as -built by Thomas Halton, Philadelphia, attached to a regular broad loom, -(Knowles or Crompton), and tied-up for upholstery work. The griffe-bars -in this Jacquard machine are constructed of such height that when -lifted they never rise above the crooks of the hooks, which are thrown -out of operation by the descent of the other griffe. - -[Illustration: Fig. C.] - -[Illustration: Fig. CI.] - -[Illustration: Fig. CII.] - -Fig. C., hooks at rest. - -Fig. CI., hooks 1 and 3, etc., raised, = 2 and 4, etc., at rest. - -Fig. CII., hooks 2 and 4, etc., raised, = 1 and 3, etc., at rest. - - -II. Double Lift Double Cylinder Jacquard Machine. - -The principle of this machine consists in the combination of two -separate Jacquard machines. Two hooks (one of each machine) are -connected to one leash of the Jacquard harness, and as each machine is -operated alternately, a high speed is attained, which is the purpose -of the machine. For example: 140 picks per minute (speed of loom) only -requires 70 picks per minute from each part of the double lift double -cylinder. - -In Fig. CIII. this is clearly illustrated. It shows two 12-row machines -(_E_ and _F_) combined, thus giving 24 griffe-bars for the complete -double machine, as the griffes work within each other. As explained for -double lift single cylinder, every alternate bar is connected with a -separate griffe, and these two griffes are worked alternately on the -same double lever arrangement. - -_O_ to _P_ and _O´_ to _P´_, represent the two needle-boards; _P_ to -_R_ and _P´_ to _R´_, represent the two corresponding needle-boxes. - -These double lift double cylinder Jacquard machines are mostly used -in the manufacture of turkey-red goods and similar table-cover -fabrics, using tie-ups similar to the one illustrated below, which is -a combination of the straight-through and point tie-up, which may be -alluded to once more by way of explanation in this particular case. - -The illustration represents a double lift double cylinder machine -containing two 600 machines, which equals an ordinary 600 machine for -the tie-up. - -[Illustration: Fig. CIII.] - -This tie-up contains six divisions for the centre straight-through, -and requiring leashes 1 to 400 from each part of the double machine. -Leashes 1, 12, and 400 (heavy lines) only are illustrated in drawing. - -The borders are constructed on the point tie-up, and require leashes -401 to 604 from each part of the double machine. The first and last -leash only are illustrated. The margins between border and selvedge -are worked by leashes 605 to 612. Centre and border are 12 rows deep, -arranged in the comber-board; the margin 8 rows deep, on account of -working it (as is generally done) on an 8-leaf satin. One complete row -in machine, (both parts), as well as in the comber-board, (illustrated -on each side in drawing), is left for the selvedge. - -[Illustration: Fig. CIV.] - -Fig. CIV. represents this machine (built by Thomas Halton, -Philadelphia,) attached to a Clipper loom. In this drawing both sets -of cards (one to contain the even numbers, and the other the uneven -numbers) are clearly visible, and also the double lever arrangement for -working every cylinder alternately. As the cylinders run at only half -speed, the wear on the cards is reduced to a minimum. - - -III. The Substitution of Tail-cords for Hooks. - -Jacquard machines having this construction are generally employed in -the manufacture of ingrain carpets. - -[Illustration: Fig. CV.] - -Fig. CV. represents the sectional cut of one row of needles across -the machine; also the necessary boards for guiding and operating the -tail-cords. This machine consists of two divisions (I. and II.,) which -are worked alternately for the common 2-ply ingrain carpet. - -_A_, represents the top board, to which the tail-cords are fastened -around a wire by knot shown below the boards. Each board is 6-1/4 by -3/4 inches, with a distance of 1-1/4 inches between them. - -_B_, represents the “Lifter-boards” (trap-boards) which are shown in -top view in the special article devoted to the manufacture of ingrain -carpets. (Fig. CIX., p. 74.) Its dimensions are 6-1/4 inches by 1 inch. -Distance from top-boards to lifter-boards, 9-1/4 inches. _C_ to _D_, -needle-board. Arrow, _S_, the direction of working the cylinder towards -the needles. _F_ to _G_, the needle-box with its pin for holding the -needles in position. Each needle is connected to two tail-cords, as -indicated in the drawing, one for figure and one for ground. _H_ and -_L_ are the two guide-boards for the tail-cords. Distance from _B_ to -_H_, 7-1/4 inches, from _H_ to _L_, 8-1/2 inches. Dimensions of each -guide-board, 6-1/4 inches by 3/4 inch. Each tail-cord is weighted by a -small lead weight, as shown at _K_ in drawing. - -In this machine the springs for the needles are omitted, and a board -large enough to cover the ends of all the needles, substituted. [See -arrow, _P_.] - -[Illustration: Fig. CVI.] - -Fig. CVI. illustrates the rear view of the needle-box, _B_, and the -board for pressing the needles, _A_. _C_ shows the hanger, which is -attached (movable) to the top of the machine. [See _E_, in Fig. CV.] - - - - -Tying-up of Jacquard Harness for Two-ply Ingrain Carpets. - -With a General Description of the Working of the Loom and Construction -of the Fabric. - - -Two-ply Ingrain Carpet is an article composed of two fabrics, produced -on the regular double-cloth system. These two fabrics are arranged -in the loom to form figures by a simple exchanging of positions. -A great variety of colors may be put into each of these separate -fabrics, (ground and figure), and the most elaborate designs may be -used. On every part of the carpet where these two fabrics do not -exchange, each works on the plain weave. The exchanging of these two -fabrics binds both into one, thus forming the ingrain carpet. In the -manufacture of this carpet four sets of warp-threads, and also four -sets of filling-threads are generally employed; but, if occasionally -more or less should be used, in warp or in filling, or in both, in -the same fabric, the principle of exchanging is still observed. If -employing four sets in warp and filling, two sets of each are used -for forming the figure, the other two sets forming the ground, each -of the figure-threads having as its mate one of the ground-threads. -These threads are so arranged that when a figure-thread appears upon -the face of the fabric its mate appears upon the back, and when the -figure-thread appears upon the back the corresponding ground-thread -appears upon the face. - -[Illustration: Fig. CVII.] - -To give a clearer understanding of the foregoing, a sectional cut of an -Ingrain carpet fabric is given in Fig. CVII. - -Suppose the filling-threads for the figure to be: - - RED, indicated by heavy shaded circles; - picks 2, 6, 10, 14, 18, 22, 26, 30. - BLACK, indicated by full black circles; - picks 4, 8, 12, 16, 20, 24, 28, 32. - -And the filling-threads for the ground to be: - - WHITE, indicated by empty circles; - picks 1, 5, 9, 13, 17, 21, 25, 29. - OLIVE, indicated by light shaded circles; - picks 3, 7, 11, 15, 19, 23, 27, 31. - -A careful examination of the drawing shows that the white threads mate -with the red, and the black threads with the olive, so that when one of -these colors shows upon the face the mating color will show upon the -back, and _vice versa_. - -As a general rule, these warp-threads are of the same color as the -weft-threads; hence, every filling pick, appearing either on face or -back, is bound by a warp-thread of the same color. The sectional cut -represents four distinct effects with 32 picks, thus allowing 8 picks -for the illustration of each part. - - 1st effect, picks 1 to 8, - is ground up (white and olive). - 2d " " 9 to 16, - is figure up (red and black). - 3d " " 17 to 24, - is 1st effect in “_shot about_” (red and olive up). - 4th " " 25 to 32, - is 2d " " " (white and black up). - -Two methods of tying-up Jacquard harness are in use: - - 1st, the “straight-through” principle, - (known to the trade as “cross-point”). - 2d, the “point” method, - (known to the trade as “centre-tie”). - - -I. The Straight-Through Tie-up for Ingrain Carpets. - -[Illustration: Fig. CVIII.] - -Fig. CVIII., p. 73, represents the arrangement of the neck-cords with -the heddles (through the harness-cords). There are two separate bottom -boards in the machine, marked _A_, _B_, for ground and figure; also two -corresponding lifter-boards, which are illustrated separately by Fig. -CIX. - -[Illustration: Fig. CIX.] - -The four journals are clearly illustrated by Fig. CX. (each journal -carrying its own set of threads). - - The first thread in the loom (left side) - will be found on the first journal. - " second " " " - " " " third " - " third " " " - " " " second " - " fourth " " " - " " " fourth " - -[Illustration: Fig. CX.] - -This arrangement of threads, 1, 3, 2, 4, is repeated throughout the -fabric. For an example, a carpet is shown termed “extra fine,” executed -on 26 “designs,” requiring 26 × 8, or 208 small squares for warp on the -designing paper. Ingrain carpets are generally woven one yard wide, -having in this width two repeats or divisions; hence the number of -harness-cords for the present example is as follows: 26 × 8 = 208 × 2, -for ground and figure; 416 × 2, for two divisions, = 832 harness-cords -(or 416 leashes) required for tying-up. - -[Illustration: Fig. CXI.] - -Fig. CXI. illustrates the adjustment of heddle (mail) and lingo through -the journal, _J_, by means of the heavy knot at _b_. This knot must be -large enough not to pass through the hole of the journal. The average -measures for the present drawing are as follows: - - Lingo, _f_ to _g_ = 9 inches. - Heddle, _e_ to _f_ = 8 " - _c_ to _d_ = 10 " - Mail, _d_ to _e_ = 6/8 " - Height of journal, _b_ to _c_ = 1-1/8 inches. - Connecting cord of heddle to harness-cord, _a_ to _b_ = 6 inches. - -This drawing will explain the principle of raising the warp either by -means of the harness-board, (arrow 1), or by means of the knot through -raising the journal, (arrow 2). If raised by means of the harness-cord, -the connecting heddle slides upwards in the hole provided for it in -the journal; or the journal takes the place of a common comber-board; -but if the journal be used for raising, the knot, _b_, will rise with -it, carrying the heddle the same as before, the harness-cords becoming -slack by this movement. - -In Fig. CVIII., p. 73, the journals are arranged as follows: - - 1st journal, } for ground, { White, 1st set of threads. } For repeat, - 2d " } { Olive, 3d " " } -- 238 times - 3d " } for figure, { Red, 2d " " } over. - 4th " } { Black, 4th " " } - -In the same drawing are also represented the first eight heddles (in -both divisions), as connected with harness-cords 1, 2, 3, 4, 5, 6, 7, -8; also the last four heddles of the rear journal (fourth) connected -with their corresponding cords, 404, 408, 412, 416. - -The first row (1 to 8) illustrates the principle of tying-up the -harness and the leasing of the heddles; whereas the four heddles in the -rear (404, 408, 412, and 416) show the practical commencement of the -tie-up, _i. e._, four neck-cords in succession to four heddles of the -journal. - -_A_ represents bottom-board in the machine where the neck-cords for the -ground harness-cords pass through. _B_, the bottom-board in the machine -where the neck-cords for the figure harness-cords pass through. - -In Fig. CIX., showing the lifter-boards, _A_ is also used for the -ground, and _B_ for the figure; 26 rows of the machine are shown for -explaining the tie-up for a texture known as “extra fine,” or equal to -832 heddles in the width of loom (one yard). - -Jacquard machines for two-ply ingrain carpets are usually constructed -with 34 rows, and 33-1/2 of these are used. 33-1/2 rows have 33-1/2 -× 8, or 268 needles, which carry 1072 threads, the number actually -used in what is termed a full “extra super.” Should only 30 of these -be used, having 30 × 8, or 240 needles, and carrying 960 threads for -warp, the carpet is termed “super;” and if 25 rows, with 25 × 8 = 200 -needles are used, carrying 800 threads, the product is called “fine” -ingrain, and represents about the lowest grade of these carpets. It -frequently happens that we find slight variations in the number of -threads used in the various grades of carpet named. The pattern may -require such a change, or economy in production may induce the maker to -use a smaller number; or, as is done in a few instances, a manufacturer -may always make his “extra super” on 32 rows; but all such changes are -done by a corresponding depreciation of the value of the fabric, as -compared with a full “extra super” of 33-1/2 rows. - -[Illustration: Fig. CXII.] - -[Illustration: Fig. CXIV.] - -[Illustration: Fig. CXIII.] - -Fig. CIX., p. 74, illustrates the full 34 rows, and indicates 26 -rows used for illustration of tie-up (4 rows empty on each side). -In power-looms the raising of the different journals is generally -accomplished by an arrangement of cams, but in hand-looms it is done by -the lifter-boards. - -In Fig. CIX. the four large holes on each side are made for this -purpose, and the wires for raising the journals are shown by heavy -lines in tie-up in Fig. CVIII., p. 73. Fig. CXII. represents the -process of lifting the journals, as follows: - -First pick raises lifter-board _A_, journal 4; second pick raises -lifter-board _B_, journal 1; third pick raises lifter-board _A_, -journal 3; fourth pick raises lifter-board _B_, journal 2. - -The two positions of the four “tails” in these four picks are -illustrated as follows: Fig. CXIII., hole in cylinder; CXIV., no hole -in cylinder. The black spots represent the knots, either as caught in -the slot or passing free in the hole. - -Looms tied-up on the foregoing principles have but one operation of -the Jacquard needles for every two picks of the loom, there being an -operation of the ground and figure lifter-boards in succession between -the operations of the Jacquard needles. Each Jacquard needle controls -two tails, one connected with the warp for the figure, (red and black -in our example), and the other to the warp for the ground, (olive and -white in our example). The drawing of the lifter-boards shows the slots -for catching the tails in opposite directions from each other; hence, -when the figuring tail of the needle is adjusted so as to be lifted by -the figure lifter-board, the ground-tail will not be acted on by the -ground lifter-board when it rises. - -To give a clear understanding of the foregoing explanations, a detailed -statement of the operations of the loom necessary in weaving a piece of -the fabric is shown in sectional cut Fig. CVII., as follows: - - ------+-----+------------+------------+--------------+----------------- - Pick.| | Lift-board | Lift-board | | - +--+ | for | for | Journal | - | Color. | figure. | ground. | lifts. | Threads down. - ---+--------+------------+------------+--------------+----------------- - 1 | White. | Rises, | At rest. | White to bind| Red, black, - | | no lift. | | on face. | olive. - | | | | | - 2 | Red. | At rest. | Lifts white| Red. | Black for - | | | and olive. | | binding on back. - | | | | | - 3 | Olive. | Rises, | At rest. | Olive to bind| Red, black, - | | no lift. | | on face. | white. - | | | | | - 4 | Black. | At rest. | Lifts white| Black. | Red for binding - | | | and olive. | | on back. - | | | | | - 5 | White. | Rises, | At rest. | White to bind| Red, black, - | | no lift. | | on face. | olive. - | | | | | - 6 | Red. | At rest. | Lifts white| Red. | Black for - | | | and olive. | | binding on back. - | | | | | - 7 | Olive. | Rises, | At rest. | Olive to bind| Red, black, - | | no lift. | | on face. | white. - | | | | | - 8 | Black. | At rest. | Lifts white| Black. | Red for binding - | | | and olive. | | on back. - | | | | | - 9 | White. | Lifts red | At rest. | White. | Olive for - | | and black. | | | binding on back. - | | | | | - 10 | Red. | At rest. | Rises, | Red to bind | Black, white, - | | | no lift. | on face. | olive. - | | | | | - 11 | Olive. | Lifts red | At rest. | Olive. | White for - | | and black. | | | binding on back. - | | | | | - 12 | Black. | At rest. | Rises, | Black to bind| Red, white, - | | | no lift. | on face. | olive. - | | | | | - 13 | White. | Lifts red | At rest. | White. | Olive for - | | and black. | | | binding on back. - | | | | | - 14 | Red. | At rest. | Rises, | Red to bind | Black, white, - | | | no lift. | on face. | olive. - | | | | | - 15 | Olive. | Lifts red | At rest. | Olive. | White for - | | and black. | | | binding on back. - | | | | | - 16 | Black. | At rest. | Rises, | Black to bind| Red, white, - | | | no lift. | on face. | olive. - | | | | | - 17 | White. | Lifts red | At rest. | White. | Olive to bind - | | and black. | | | on back. - | | | | | - 18 | Red. | At rest. | Rises, | Red to bind | Black, white, - | | | no lift. | on face. | olive. - | | | | | - 19 | Olive. | Rises, | At rest. | Olive to bind| White, red, - | | no lift. | | on face. | black. - | | | | | - 20 | Black. | At rest. | Lifts white| Black. | Red to bind - | | | and olive. | | on back. - | | | | | - 21 | White. | Lifts red | At rest. | White. | Olive to bind - | | and black. | | | on back. - | | | | | - 22 | Red. | At rest. | Rises, |Red to bind | Black, white, - | | | no lift. | on face. | olive. - | | | | | - 23 | Olive. | Rises, | At rest | Olive to bind| White, red, - | | no lift. | | on face. | black. - | | | | | - 24 | Black. | At rest. | Lifts white| Black. | Red to bind - | | | and olive. | | on back. - | | | | | - 25 | White. | Rises, | At rest. | White to bind| Olive, red, - | | no lift. | | on face. | black. - | | | | | - 26 | Red. | At rest. | Lifts white| Red. | Black to bind - | | | and olive. | | on back. - | | | | | - 27 | Olive. | Lifts red | At rest. | Olive. | White to bind - | | and black. | | | on back. - | | | | | - 28 | Black. | At rest. | Rises, | Black to bind| Red, white, - | | | no lift. | on face. | olive. - | | | | | - 29 | White. | Rises, | At rest. | White to bind| Olive, red, - | | no lift. | | on face. | black. - | | | | | - 30 | Red. | At rest. | Lifts white| Red. | Black to bind - | | | and olive. | | on back. - | | | | | - 31 | Olive. | Lifts red | At rest. | Olive. | White to bind - | | and black. | | | on back. - | | | | | - 32 | Black. | At rest. | Rises, | Black to bind| Red, white, - | | | no lift. | on face. | olive. - ---+--------+------------+------------+--------------+---------------- - -[Illustration: Fig. CXV.] - -Fig. CXV., p. 76, illustrates a fabric design for an ingrain carpet, -straight-through tie-up, _a_ and _b_ forming one repeat, (or one -division), equal to one-half yard. - - -II. The Point Tie-up for Ingrain Carpets. - -This method of tying-up is based upon the straight-through tie-up -principle, arranged as follows: The design in the fabric repeats from -its centre equally towards each selvedge. - -[Illustration: - - Centre. - | ^ | - | / | \ | - | / | \ | - | / | \ | - / \ - Selvedge. Selvedge.] - -[Illustration: Fig. CXVI.] - -[Illustration: Fig. CXVII.] - -Figs. CXVI. and CXVII. illustrate two fabric designs, _a_ to _b_, the -width of the fabric or one yard on the loom; _c_ is the centre or point -of the design; _b_ to _d_ is the repeat of _a_ to _c_, where the widths -are sewed together. - -[Illustration: Fig. CXVIII.] - -Fig. CVIII., p. 73, shows the first and last rows, also the two centre -rows of the journals threaded to the neck-cords (tail-cords) of the -machine. Each cord is numbered to correspond. _a_, _b_, _c_, _d_, -represent the cords for lifting the journals, on the same principle as -in the straight-through tie-up. In power-looms this is done by a cam -arrangement. - -Fig. CXIX., p. 80, is designed to give a thorough understanding of -the adjustment of harness-cords to heddles, as well as the leasing of -the latter. The numbers selected for indicating the different cords -correspond with those used in Fig. CXVIII. - - Journal 1 = white, } ground. - " 2 = olive, } - " 3 = red, } figure. - " 4 = black, } - - Arrangement of threading; _a_ to _b_, 51 times repeated, = 408 cords. - The last row in the half width illustrated separately - by _c_ to _d_, which is the same as _a_ to _b_, = 8 " 416 - --- - _S_ forms the centre or point; _e_ to _f_, first row of - each journal, near centre, (repeat of centre-cord for - ground or figure omitted; see _o_ on - journals 2 and 4), = 6 " - _g_ to _h_, 50 times repeated, = 400 " - _i_ to _k_, last row, same as _g_ to _h_, = 8 " 414 - --- --- - Total number of cords used, 830 - -The following is the method employed in drawing for indicating the -different colors of warp-threads: - - Blank for white, } ground. - Light shaded for olive, } - - Heavy shaded for red, } figure. - Black for black, } - -[Illustration: Fig. CXIX.] - -[Illustration: Fig. CXX.] - -The beauty of an ingrain carpet consists in its color combination. -In hand-looms the common batten is used in connection with a shuttle -which is somewhat curved, a form most suitable to being thrown by the -hand. The batten naturally falls towards the weaver by its own gravity, -being usually worked a little out of a vertical line for that purpose. -In this method the shed forms its own shuttle-race, or bed upon which -the shuttle slides. When two or more shuttles are used, they are laid -on the woven piece of carpet before the weaver, and he selects them -as required. If a solid shuttle-race is connected to the batten, the -warp-threads are pressed down upon it and the shuttle slides upon the -ridge of the warp-threads. In this case the “fly-shuttle” is used, and -also the “drop-box;” the latter being operated by some of the reserve -needles of the Jacquard machine. - -[Illustration: Fig. CXXI.] - -Fig. CXX. shows a shuttle-box mechanism for carpet hand-looms. As -already stated, the four journals in power-looms are lifted by cams or -similar contrivances. In Fig. CXXI. (representing the Crompton carpet -loom) this cam arrangement is clearly visible; the cams are situated -above the journals, the latter being lifted by means of the journal -rods from above. The loom carries four shuttle-boxes at each end of the -lathe; any one of the series at either end can be brought into line -with the shuttle-race at any pick. - -[Illustration: Fig. CXXII.] - -In some looms the journals are also lifted from below, as shown in Fig. -CXXII., representing the “Knowles” carpet loom. In this the journals -are controlled by a chain motion, instead of a cam, operating either -journal at will, which can not be done on a loom where the journals are -actuated by cams. This permits the shading of a fabric to be changed -without cutting out the warp and re-drawing it. The box mechanism (four -boxes on each side of the lathe) is positive, and controlled by a chain -on the same shaft as the journals, and may be used with the chain -alone, or with the chain in combination with the cards. The motion can -be run forward or reversed at will, and any box called as desired. - -Before closing this article, it is necessary to mention the method -of working the loom built with a stationary “shuttle-raceway” and an -independent “comb,” the latter having a reciprocating movement for -beating up the filling, and a rising and falling motion for bringing -the comb up into, and taking it out of the warp; it has also yielding -racks and filling forks, and a cam so timed for operating the forks, -that the latter will seize the filling and carry it forward in front of -the range of the said comb. - -Fig. CXXIII. illustrates the side view of the comb and its lay; -also the parts necessary to be shown for working the same: _k_, the -independent lay; _d_, the comb; _c_, the reed; _a_, its lathe; _b_, -the shuttle-race; _c_, the breast beam of loom; oval ring, _d_, _e_, -_g_, represents the motion of the comb in beating up the filling; _e_, -_r_, upper shed of the warp; _e_, _t_, lower shed of the warp; _x_, -the shed; _h_, stud fixed to the loom framing; _h_, _i_, to _i_, _k_, -toggle connection of lay to stud, _h_; _i_, _m_, to _m_, _l_, crank -connected at _i_ to the toggles; _l_, crank shaft; _p_, _o_, lever for -raising and lowering the lay, _k_; _n_, its fulcrum; _s_, grooved cam -for working lever, _p_, _o_. - -[Illustration: Fig. CXXIII.] - -[Illustration: Fig. CXXIV.] - -The vibratory movement of the comb-lay for beating up the filling is -produced by the action of the cranks upon the toggle connections; and -the upward and downward movement of the lay, to produce the entrance of -the comb into the warp and its withdrawal therefrom, is produced by the -action of the lever upon the grooved cam. The comb, _d_, is constructed -of teeth, which are secured together by a bolt passing through them, -and which have their bases of dovetail form to enable them to be -secured between a dovetail lip, on the lay, and a dovetail clamping -plate, secured to the lay by bolts. - -Fig. CXXIV. illustrates the method of lifting the journals from below. -The journals, of which there are four, are arranged to work in upright -fixed guides on the loom framing, _d_, _e_, _f_, _g_, and are operated -by treadles, which are arranged in pairs below, each journal being -connected with one pair of treadles by two rods at its opposite ends. -These treadles are operated by cams for each pair of treadles and each -journal. - -[Illustration: Fig. CXXV.] - -Fig. CXXV. represents the top view of the “fixed guides” containing -the journals. This loom is provided with ten shuttle-boxes, (seven for -the revolver, three upright), for each side, and built by the Furbush -Machine Company, being a combination of their older carpet loom known -as the “Murkland,” and the “Duckworth Carpet Loom.” - -[Illustration] - - - - -APPENDIX. - - - - -Preparing and Stamping of Jacquard Cards. - - -_Preparing._ - -The Jacquard card consists of a strong, durable pasteboard cut to the -exact size of the cylinder. For cutting or preparing the cards to -the required size, a table is used with the different sizes of cards -indicated on its surface. A sharp steel blade is adjusted to the side -of the table. A heavy knife of sufficient length, and containing a -second steel blade, is secured to a projecting bolt on the rear end of -the table, allowing enough play for the knife to be easily raised and -lowered. The blade of the knife works close against the blade fastened -to the table; and when pressed down both blades rest close together. -On the front side of the table is a long groove in which is a guide, -fastened by a bolt and nut. This guide can be set to suit any of the -marks on the table, thus regulating the size of the cards to be cut. - -Two measures (the length and the width) are required to be cut for each -set of cards: 1st. The sheets of pasteboard are required to be trimmed -one way in sufficient number for the length of the cards. 2d. Each -trimmed sheet is afterwards separated in strips of the required width. - - -_Card Stamping._ - -The oldest method for stamping cards, now only occasionally used, -consists of two perforated steel plates, between which the blank -cards are placed, and the required holes stamped by hand by means of -punches. It will easily be seen that this method is not up to the -present advanced times, hence various machines have been introduced for -arranging the punches. Among those most generally used are: - -[Illustration: Fig. 1.] - - I.--Dobby Card Punching Machines. - II.--Piano Card Stamping Machines. - III.--Repeating Machines. - - -I. Dobby Card Punching Machines. - -These machines, illustrated by Fig. 1., (W. P. Uhlinger, builder), are -used for stamping cards for the smaller Jacquard machines, technically -termed “Dobbies.” They are of very compact build, and operated by -belt-power. The whole card is punched at one revolution or stroke. The -rack on top of the machine holds the design. The punches for peg-holes -and lace-holes are immovable, while the key punches act independently, -at the will of the operator. Jacquard cards for these machines are -generally composed of the strongest pasteboard, and require a very -strongly constructed machine. - - -II. Piano Card Stamping Machines. - -These are operated in two ways, by the belt or foot-power. There are -two kinds of each: “French index” and “American index.” - -[Illustration: Fig. 2.] - -[Illustration: Fig. 3.] - -[Illustration: Fig. 4.] - -[Illustration: Fig. 5.] - -[Illustration: Fig. 6.] - -[Illustration: Fig. 7.] - -[Illustration: Fig. 8.] - -[Illustration: Fig. 9.] - -[Illustration: Fig. 10.] - -[Illustration: Fig. 11.] - -Figs. 2 to 11 are drawn to one-half the actual size of the “Uhlinger -Card Stamping Machine.” - -Figs. 13, 16, 17, 18, 19 are drawn to one-quarter the actual size of -the “Royle Card Stamping Machine.” - -Figs. 2 and 13 (_E_, _F_, _G_, _H_,) represent the top view of the head -(cover taken off), the twelve holes for holding the punches for one -row, also the large hole for holding the peg, _P_. Each punch works -vertically, and is guided by a key for stamping the hole. - -Fig. 14 illustrates the punch (actual size) as used in the “Royle” -machine: _a_ to _b_ = 3/4 inch; _b_ to _c_ = 2-7/8 inches; 7/32 inch -diameter of punch, _d_ to _c_. - -Fig. 15 illustrates a corresponding key: diameter of key 3/16 inch, -_d_ to _e_; diameter of head, 3/8 inch, _a_ to _b_; _c_ is the hole -for inserting the pin which holds the spring. The length of the keys -vary from 1-3/4 to 2-1/8 inches, according to the position they occupy -in the machine. The punch and key of the Uhlinger machine are shown -(one-half of actual size) in Figs. 4 and 5. - -_A_ and _B_, in Figs. 2 and 13, represent the piston for guiding the -head in its vertical motion. - -Fig. 3 represents the front view of the head. The numbers and letters -indicating the different parts correspond with Fig. 2. - -The principle of construction and action of the heads in both kinds of -machine are similar. Each key is provided with a fine spiral spring, -which, after every action of the key, returns it to its original -position. The key for the peg-hole is controlled by the larger spring, -_S_, _D_, in Figs. 2 and 13. The arrows in these two drawings indicate -the direction taken by the keys when under pressure. - -When cutting cards eight rows deep, the thumb of the right hand works -the key for the peg-hole; the eight keys in the rear of the machine -(which are the ones to be used) are worked by the four fingers of each -hand. - -When cutting cards twelve rows deep, the eight keys in the rear are -operated by the eight fingers in the same manner; but the thumb of the -right hand operates keys marked 1 and 2, and the thumb of the left -hand operates keys marked 11 and 12. - -During the cutting operation the fingers should not be removed from the -keys; they should always be in readiness to press the required key into -action, as this is the only way to become expert. - -The eye of the card stamper must rest uninterruptedly on his design; -and the keys are called at will by the fingers, without the eye leaving -the design, to find out where a certain key or finger is situated at -the time. - -Fig. 4 shows relative positions of punch, _S_, and key, _E_, when ready -for stamping a hole. - -Fig. 5 shows the relative positions of punch and key when no hole is -required. - -_O_ represents the Jacquard card as resting in the slot of the lower -head. II. in Fig. 3, marked _X to Z_, shows a full width view of this -card. - -The space _D_, in Figs. 4 and 5 permits the spring to be inserted -regulating the key. _A_, _B_, _C_, solid parts of the upper head, (I., -in Fig. 3). _F_, _G_, _K_, _L_, solid parts of the lower head, (II., in -Fig. 3). - -The cards are passed into and through the stationary part of the head -at _X_, _Z_, and are attached to a “carriage” in the rear of the punch -head. - -[Illustration: Fig. 12.] - -Two methods are employed for moving the carriage: - -1st. By a “skipper” at its rear fastened to the carriage, which -moves in a rack of pins secured to the cutting table. This method of -construction is used by the Uhlinger machine. Figs. 6 and 7 are front -and side views of this mechanism. Figs. 8 and 9, the top view and -sectional cut of the rack. - -2d. The rack is fastened to the carriage, and the skipper to the table, -thus reversing the first method. [See Fig. 19, top view.] This method -of construction is employed in the Royle machine. - -The distance of the pins in the racks in both systems of construction -(American and French) corresponds to the distance of the rows in -the card. The racks are generally constructed for 600, 900, and -1200 Jacquard machines. Of these three sizes the 1200 is the most -advantageous, as cards can be cut for any smaller size machine. The -rack of a 900 machine (French index) contains 88 pins, while that of a -1200 machine (French index) contains 114 pins. - -Fig. 10 illustrates the “catch” for holding the cards in the Uhlinger -machine. This is fastened to the carriage when pressed by the hand on -top in the direction of arrow, _S_; this catch will compress spring, -_D_, in the direction of arrow, _S´_, thus opening the “blade,” _C_, -(front view shown by Fig. 11), in the direction of arrow, _S´´_, thus -allowing the card to be inserted and held, securely fastened to the -carriage. - -Fig. 18 illustrates the side view of the carriage and its catch for -holding the Jacquard card as used in the Royle machine. Arrow, _S_, -indicates the pressure of the operator’s hand on lever, _B_, when the -card is inserted. This lever presses by means of presser, _D_, in the -direction of arrow, _S´_, on the double-acting lever, _E_, at _c_. -This lever moving around its fulcrum, _e_, will lift catch, _F_, in -the direction of arrow, _S´´_, thus allowing the card to be inserted. -Spring, _G_, fastened to main part of carriage, _A_, by means of screw, -_a_, secures the card to the catch. _C_, _C´_, are the carriage wheels, -of which there are four. - -[Illustration: Fig. 13.] - -[Illustration: Fig. 14.] - -[Illustration: Fig. 15.] - -[Illustration: Fig. 16.] - -[Illustration: Fig. 17.] - -[Illustration: Fig. 18.] - -[Illustration: Fig. 19.] - -Fig. 19 represents the top view of Fig. 18, and is designed to show -the arrangement of levers, wheels, and catches of the complete rack -as used for a 900 machine. The letters indicating the different parts -correspond with the ones used in Fig. 18. - -Fig. 16 shows top view and ground plan, and Fig. 17 the front elevation -of the “card-guide,” as constructed on the Royle machine. It is -universal and self-adjusting to any width of cards from 3/4 to 3-1/2 -inches; both guide-plates, _C_ and _D_, are caused to move equally -toward or away from the peg-punch, thus accurately centering the -peg-hole in all cards. - -Letters _A_, _B_, _P_, and numbers 1 to 12, correspond to those used in -Fig. 13. _E_, _F_, _H_, _K_, are the three levers moving around pin, -_G_, (the latter in even line with the centre of the peg-hole, _P_). -These levers are held by screw, _L_, in any required position. Spring, -_S_, holds lever, _F_, _H_, against pin, _T_, which in turn is fastened -to the same plate as screw, _L_. - -Fig. 16 indicates the card-guide set for a 12-row card. Let us suppose -it necessary to cut an 8-row card. Loosen screw, _L_, and spring, _S_, -will instantly contract until each side of the guide has moved the -required distance (two holes and two spaces between holes) towards the -centre. Much valuable time is saved by the use of this guide, as it -instantly adjusts itself to any width of card, and at the same time -centralizes each card passed through the machine. In factories where -broken cards require to be constantly renewed, the value of this guide -is especially noticeable, there being no material interruption of the -regular work of the operator, who can replace the damaged card at the -moment wanted. - -[Illustration: Fig. 20.] - -Letters indicating the different parts in Fig. 17, correspond to those -used in Fig. 16. As mentioned before, the pistons, _A_ and _B_, of -the cutting head are connected below the table to the cutting levers, -and by a simple combination of levers, the cutting pedal is brought -in direct relation to the cutting lever; all of which are illustrated -in the perspective view of the Royle machine in Fig. 20, and the -Uhlinger machine in Fig. 12. The working of the cutting pedal is very -simple. Pressing the pedal, situated at the right, causes the punch -head to descend, and the punch penetrates the card. Transferring the -pressure from the right to the left pedal raises the punch-head to its -former position, (punches above card), ready for a repetition of these -movements. The “skip” arrangement allows the carriage to advance the -distance from one pin to the other in the card-rack, thus placing the -card in proper position under the punches. - -At the proper height above the punch-head is the reading-board, on -which the guide-rules are moved across the design by screws, which are -connected by gearing and operated by means of the hand-wheel or crank -shown on the lower side of the board. As drawing-pins or thumb-tacks -are generally used as fastenings for the design, the reading-board is -made of soft wood, and its trimmings are made of hard wood. - -[Illustration: Fig. 21.] - -Fig. 21 illustrates the Uhlinger Card Stamping Machine operated by -belt-power. Being the same in principle as the foot-power machine, it -is only necessary to state that instead of working the machine by means -of the cutting pedals, it is done automatically by simply touching any -of the keys that operate the punches; thus the machine makes one stroke -and punches the required holes. - - -The Stamping of Cards. - -[Illustration: Fig. 22.] - -Before commencing this work a clear conception of the tie-up and -leasing of the heddles is required. The holes in the cards for the -needles to penetrate, or the spots in cards where no hole is to be -stamped, must be arranged in an uninterrupted chain from one row to -the other, until all the rows are taken up. As previously mentioned, -the method observed in tying-up the loom is the guide for stamping -the cards. The number of ends required in a certain design may repeat -only once in the number of hooks and needles employed in the Jacquard -machine; or they may repeat two, three, or more times. - -[Illustration: Fig. 23.] - -Fig. 23 illustrates a design upon 40 warp-threads. Fig. 22 shows the -corresponding card, (French index), one-fourth of its actual size, -for the first pick. In a 200 machine this design will repeat itself -five times. The lace-holes and the peg-holes are blank. The reserve -row (26th) is shaded, and the design as cut in card is indicated by -black dots. This cut also shows the direction of reading each row to -correspond with the numbering for the punch-heads, in Figs. 2, 3, -13, and card-guide in Fig. 16. The numbers 1 to 40, 41 to 80, 81 to -120, 121 to 160, 161 to 200, indicate the direction of stamping the -design, as well as the five repeats to form the complete card. In this -connection it will be of great advantage to examine Fig. XXIX., p. 28, -under the head of the Jacquard Machine and its Tie-ups. - -[Illustration: Fig. 24.] - -Fig. 24 illustrates a Jacquard card (American index) stamped for -ingrain carpets, one-half of actual size. This card illustrates the -stamping for two textures, 1´ to 208´ being for “extra fine.” The -26 rows needed are shown full black, and marked to correspond. The -peg-holes and lace-holes are left blank. In the other texture, or -what is termed “extra super” ingrain carpet, the additional rows are -represented by the shaded holes at the ends of the cards. Arrow, _S_, -indicates the direction for commencing to read off each row. - - -III. Repeating Jacquard Pattern Cards by the Positive Action Repeater. - -[Illustration: Fig. 25.] - -If several sets of cards of one design are required for starting a -corresponding number of looms, and the first set has been produced by -the “piano machine” exact duplicates can easily be obtained at small -cost to the manufacturer by the “Repeating Machine.” This machine is -built by Messrs. John Royle & Sons, Paterson, N. J., and is illustrated -by Fig. 25 in a perspective view. - -Fig. 26, p. 94, represents the front elevation of the throat-piece -through which the cards that are to be cut pass, the carriage on which -it is supported, and the mechanism employed for imparting a rising and -falling motion to the carriage. - -Fig. 27, p. 95, is a vertical longitudinal section of the upper portion -of the machine. - -Fig. 28, p. 95, gives a perspective view in detail of portions of a -selecting-needle and key-wire and a lever connecting them. - -Fig. 29, p. 95, gives a view in detail of the mechanism employed to -turn the pattern cylinder. - -The cards to be duplicated (_N_, _N_, Fig. 26, p. 94,) are arranged -upon the card race-arms (_M_, _M_, Fig. 26,) in the same manner as -upon a loom. The uncut or blank cards, having been previously laced -together, (_E_, _E_, Fig. 26), are piled in the rear at the base of the -column, and thence passed forward through the machine, and delivered -finished in front. - -The perforating of the cards is performed by a vertically reciprocating -die, (_D_, Fig. 26), and a set of punches (_C_, Fig. 26,) carried in a -fixed punch-head, and capable of being pushed upward when such movement -is not prevented. The cards commonly used are of a size to receive 600 -holes, and hence that number of punches are required. - -The cards (_E_) to be cut are drawn over a “reel” or “idler” (_F_, Fig. -26,) at the back of the machine, and thence pass through openings in -the base frame to the front of the machine, and over a square cylinder -having a step-by-step rotary motion. By each quarter turn of this -cylinder, the chain of cards is drawn forward sufficiently to bring -a new card in the die. By the rising movement of the die (carriage), -which takes place as soon as the intermittent feed of the cards has -ceased, the card in the throat of the machine is carried up against the -lower ends of the punches, and is cut or perforated by all such punches -as have their upward movement prevented by the keys; while such punches -as are not arrested by the keys are carried upward, and do not puncture -the card. The pieces of card cut off fall through a throat or opening -in the carriage (_F_, Fig. 27,) into the hollow base frame, (_A_, Fig. -27), and can be taken out at the door, (_A_, Fig. 26). - -It will therefore be apparent that the variations in the cards are -produced simply by holding down different punches in successive -punching operations. This is regulated by the original set of cards, -(_N_, Fig. 26), which are passed over the pattern cylinder (_O_, Fig. -26). The latter has also a step-by-step rotary motion similar to the -cylinder first described. Its four faces are covered with holes the -same distances apart as the perforations in the pattern cards. This -pattern cylinder is mounted in bearings in a carriage on the top of -the machine, and is reciprocated back and forth between the successive -rotary movements of the feed and pattern cylinders. - -[Illustration: Fig. 26.] - -In the upper part of the machine are arranged what are termed selecting -needles, (_C_, Fig. 27), which consist of wires arranged in horizontal -rows, with their ends opposite to the pattern cylinder, and which -are the same distance apart as the holes in the cylinder, so that if -the cylinder were moved up by the carriage against the ends of the -needles, the latter would enter the holes in the cylinder, and would -not be moved longitudinally. There are the same number of selecting -needles as punches in the machine--six hundred. When, however, a -perforated pattern card is on the cylinder, and it is moved against -the ends of the selecting needles, such needles as are opposite the -perforations of the cards will enter them, and will not be moved, while -such needles as are opposite the blank spaces of the cards will be -moved longitudinally. [See Fig. 27 for illustration.] At the reverse -movement of the carriage, an “evener,” which is secured to it at the -end opposite the pattern cylinder, strikes against the ends of all -the needles so moved and pushes them back to their original position. -Above each of the punches before described is a horizontal sliding key -(_D_, Fig. 27,) attached to a horizontal key-wire (_D´_, Fig. 27), and -the 600 key-wires are arranged in horizontal rows below the selecting -needles, and are each connected by a lever (_B_, Fig. 27,) with the -corresponding selecting needle. Consequently, a longitudinal motion of -any selecting needle will move the key-wire with which it is connected -in a reverse direction. - -[Illustration: Fig. 27.] - -Fig. 28 gives a clear demonstration of the connection of a selecting -needle, _c_, to the key-wire, _f_ by means of the lever, _e_, movable -around the fixed pin, _d_. Each key (_D_, Fig. 27,) consists of a -cylindrical plug of metal, which, projecting over a punch, forms an -abutment to keep that punch from rising, but if withdrawn, allows the -punch to rise without resistance. - -[Illustration: Fig. 28.] - -[Illustration: Fig. 29.] - -A step arrangement of the punches and keys is adopted; that is, the -upper ends of the outer rows of punches are highest and the punches -in the several rows decrease in height till the inner row is reached, -where the punches are the lowest. Hence, the keys of the upper rows, -which correspond to the outer rows of punches, are carried over the -inner rows of punches and terminate over the punches in the outer rows. - -Normally, all the keys are above the punches, and all would punch when -the die ascends, but when a pattern card is carried by the pattern -cylinder against the ends of the selecting needles, certain needles are -moved and produce a reverse movement of the corresponding key-wires, -and draws certain keys out of reach of their punches; no resistance -being offered to the upward movement of such punches, they do not -perforate the cards. - -The carriage on which the pattern cylinder is carried being mounted -directly on the top of the machine, can be readily lifted off to afford -access to the parts below, and it is provided with a movable hood, -which may be lifted to inspect the selecting needles. - -The keys and key-wires are arranged farther apart vertically than the -selecting needles, thus enabling larger keys and heavier and stronger -key bearings to be used, and avoiding any liability of the punches -striking the keys in the tier next above when those of their own tier -are withdrawn. - -Instead of applying a separate spring to each punch to move it downward -or return it as the die recedes, a positively operated returning plate -is used, which moves down as the die recedes and acts on collars on -the punches, [see _d_, Fig. 27], and forces all the punches down. This -is very important, for if any of the punches should fail to descend, -the movement of their keys would be prevented, and thereby the machine -would fail to properly repeat. - -The bearings of the pattern cylinder are so constructed that the -cylinder can be instantly changed to allow either a 400 or a 600-hole -cylinder to be used, so that the bearings can be adjusted to adapt them -for either size cylinder. - -The bearings of the feed cylinder, whereby the chain of cards to be -cut is moved, are constructed and supported so as to enable them to be -readily adjusted to suit slight variations in the tightness with which -the cards are laced, or in a greater degree to suit large or small -cards, and the mechanism whereby the cylinder is operated is capable of -ready adjustment for the same purpose. - -It is well known that the punching of a great number of holes -simultaneously, even in cardboard, requires great power, and entails -enormous shock and great wear on the machine; to obviate this -difficulty, the punches are slightly varied in length relative to their -keys, so that they will not all act on the cards at exactly the same -instant, and the strain on the machine and power required are thereby -greatly reduced. - - -_A Lace-Hole Press_ - -Is indispensable to the machine. This is a separate little machine, -designed to set upon a bench or table, and is used especially for -cutting the peg and lace-holes. It may be operated very readily by -hand, but if desired, is easily adapted to run by power. The feeding -is done by one motion of the hand, and once handling of the card; the -cards leave the press by gravitation, and arrange themselves in piles. -The press is arranged to cut cards for 400 or 600 machines. - - - - -The Lacing of Cards. - - -Two methods are observed for lacing Jacquard cards: _A_, hand-lacing on -a common frame; _B_, lacing by power. - - -A. Lacing of Jacquard Cards by Hand. - -For this purpose the cards are put on a common frame containing on its -surface pegs of a corresponding size to those used on the cylinder. The -pegs on the frame are made of hard wood, and the pegs of the cylinder -of brass. These pegs on the frame are located at exact distances apart, -and the frames are built to hold from 30 to 50 cards, superficially -arranged. - -Figs. 30 and 31 illustrate the frame under _S_, showing at _a_ three -cards arranged for a fabric, with a twill effect from left to right; -and at _b_ the same cards arranged for a twill in the opposite -direction, from right to left. These frames are arranged to slide into -each, so as to adapt them to the distances of the peg-holes in the -cards. To give a clear understanding as to the distance of these pegs -from each other a few measures most generally used for lacing frames -are given. - -[Illustration: Fig. 30.] - -[Illustration: Fig. 31.] - -1. For a 200 Machine (French Index.) - -The centre of the pegs are 2-9/16´´ apart. Width of cards 2-5/16´´, -allowing 1/4´´ for distance between the cards. Diameter of the pegs -at the bottom, 3/8´´. Distance of the centre of one peg to the centre -of the corresponding one across the frame, 7-1/2´´. Length of card, -9-5/8´´. - -2. For a 600 Machine (French Index). - -The centre of the pegs are 3-5/8´´ apart. Width of cards, 3-3/8´´, -allowing 1/4´´ for distance between cards. Diameter of the pegs at the -bottom, 3/8´´. Distance of the centre of one peg to the centre of the -corresponding one across the frame, 14-5/8´´. Length of card, 16-7/8´´. - -3. For an Ingrain Carpet Machine (American Index). - -The centre of the pegs are 3´´ from each other. Width of cards 2-3/4´´, -allowing 1/4´´ for the distance between the cards. Diameter of the pegs -at the bottom, 3/8´´. Distance of the centre of one peg to the centre -of the corresponding one across the frame, 11-3/8´´. Length of card, -13-1/4´´. - - -B. Lacing of Jacquard Cards by Machine. - -Different styles of machines are constructed for doing this work, among -which we find machines requiring two needles for each series of holes -in the Jacquard cards, and machines using one shuttle in connection -with each needle. The Jacquard cards mostly needed are for machines -containing 400, 600, etc., hooks and needles. - -The Jacquard cards for these sizes have three series of lace-holes, and -the number of needles, or needles and shuttles, used in the machine, is -proportionally increased. - - -_The Method of using Two Needles for Lacing each Series of Holes_ - -Is the one most extensively employed, hence we will take this machine -(W. P. Uhlinger, Phila., builder,) for the subject. - -[Illustration: Fig. 32.] - -Fig. 32 represents the perspective view of a lacing machine for 600 -Jacquard cards. The table is located at a convenient height, and is -33-1/2 by 36-1/2 inches. Two grooves, each 1-1/16 inches by 26-1/2 -inches, are located five inches from front and rear respectively, -and 9-1/8 inches from each side. A third groove of the same size is -situated in the centre, 6-1/32 inches from the others. An endless chain -runs in each groove, consisting of 24 links, corresponding in length to -the width of the card to be laced. Each link of the two outside chains -has a peg of a size corresponding to the one used on the cylinder in -the Jacquard machine. - -[Illustration: Fig. 33.] - -Fig. 33 illustrates the side view of a link, and the method of -jointing: _a_, the peg; _c_, the joint of link; the length of each link -being 3-1/2 inches, and the height 1/3 inch at the joint; the diameter -of the pegs at the bottom, 3/8 inch; the height of each peg, 1/2 inch. - -[Illustration: Fig. 34.] - -Fig. 34 shows the top view of Fig. 33, illustrating two complete links. -The body of each link is 2-3/8 inches long; the head, 5/8 inch long; -the slot, 1 inch long. _a_ represents the peg; _e_ the empty spaces -between each pair of links, to receive the teeth (1/2 inch high) of -wheel (8 inches diameter, Fig. 36). This wheel holds and guides the -endless chain; also imparts the required movement to the cards. It is -regulated by a cam arrangement. [See Fig. 35.] - -[Illustration: Fig. 35.] - -[Illustration: Fig. 36.] - -Two needles are required for each of the three series of lace-holes, or -six needles in all. The process of lacing each series is the same; as -the three horizontal working needles are connected to one rod; thus, by -working this rod, they are operated correspondingly. The three vertical -working needles are arranged in the same manner, and also the three -loop-guides. - -[Illustration: Fig. 37.] - -Fig. 37 shows a top view of one of the loop-guides, _d_, _a_, _c_. -The dotted lines near a represent the position of the corresponding -“presser” for the cards during the lacing process. Length of strip _c_, -= 5 inches; length of strip _d_, = 13 inches; width of each strip, = -3/4 inch; width of empty space, between _c_ and _d_, = 3/4 inch. _b_ -indicates the top view of the vertical working needle. Arrow, _S_, -direction the cards run while being laced. As previously mentioned, two -needles are required for each series of lace-holes. - -[Illustration: Fig. 38.] - -Fig. 38 shows the top view of the needle, which works in a horizontal -direction. Fig. 39 side view of the same. Fig. 38 is shown threaded, -whereas Fig. 39 is not threaded, so as to give a clear view of the eye. -This needle is fastened to its holder by means of screw, _d_; the blade -of the needle extends 3-1/2 inches; width of needle at bottom, 3/16 -inch. - -[Illustration: Fig. 39.] - -Two different sets of lacing twines are used, viz.: - -1st. Set of fine thread running from three spools shown in a vertical -position on the side of the machine, used for threading the needles -running in a horizontal direction. In our explanation we denote this -twine with “_a_.” (7-ply, No. 14 soft laid mule yarn.) - -2d. The set of heavy twine running from spools arranged horizontally -near the bottom in rear of machine is threaded to the vertical needles. -This twine is indicated by “_b_” in our explanations. (No. 24 braid -banding.) - -[Illustration: Fig. 40.] - -In Fig. 38, arrow, _e_, illustrates the twine, “_a_,” as coming off -the spools. On the bottom of the “holder” is an extension which is -separately illustrated in its front view by Fig. 40. This extension -contains a pin marked _k_, which guides the twine into the hole, _l_; -(_e_ and arrow in Fig. 38 correspond with _e_ and arrow in Fig. 40). - -[Illustration: Fig. 41.] - -The position of this twine in working is shown in Fig. 38. _C_, -the crossing of the two twines preparatory to forming the loop, is -illustrated. The mechanical construction is such that needle, _a_, is -withdrawn from loop at the same time needle, _b_, commences to rise, -placing the twines in position shown in Fig. 41. Needle, _b_, will in -turn pull down as soon as needle, _a_, is ready for moving forward. By -moving needle, _b_, down, its twine will form a loop, [see Fig. 42], -held in its position by the “loop-guide,” Fig. 37. Through this loop, -needle, _a_, is again inserted. Needle, _b_, will leave the card below -as soon as needle, _a_, is in its loop. At this juncture the cards will -be moved by means of the catch and chain of links one hole or one space -between cards, whichever may be required. After this is done, needle, -_b_, will rise in its new place, and at the same time needle, _a_, -commences its backward journey through the loop shown and explained in -Figs. 38 and 41 at the beginning; thus ready for a repetition of the -two movements. - -[Illustration: Fig. 42.] - -The foregoing explanations will give the principle of this card-lacing -machine as follows: “_One needle holds the other’s twine until the -other needle has moved one point ahead._” - - -_Lacing Machine working with One Needle and One Shuttle for each Series -of Holes._ - -[Illustration: Fig. 43.] - -Fig. 43 illustrates the side elevation. Fig. 44 illustrates the front -elevation. The construction of this machine and its working are as -follows: - -Over the prisms, _B_, _C_, _D_, of the same size and shape as a -cylinder of the Jacquard machine, run three endless chains. Surrounded -by this endless chain is the shuttle-box, _E_, with three shuttles, one -of which is illustrated in Fig. 45. On each of these shuttles a toothed -rod, _K_, is fastened, the teeth of which work in the circles, _H_, -_H_, as soon as a shuttle is put in its lay, _J_. This toothed rod, -which runs underneath the circles, _H_, is used to move the shuttles -to and fro. _L_ indicates the pulleys for driving the machine. _M´_ -and _O_, _O´_, the gear-wheels; _Q_, the lever, and _P_, its guide, -connected as shown. The bent needles, _Z_, work in connection with the -shuttles, _E_. These needles are tubes through which the twine for -lacing from spools, _A_, are passed. These tubes are adjusted to rod, -_S_, which swings around pin, _T_, and gets its motion from rod, _U_, -_V_, _W_. - -[Illustration: Fig. 44.] - -The Jacquard cards are placed on the machine at _B´_, and move -in rotation under needle, _Z_. The movement of the cards must be -so regulated that, notwithstanding the want of uniformity in the -arrangement of the holes, each hole in turn must come directly under -the lacing needles. - -The lacing of the cards is produced as follows: After the cards have -moved one hole, the needles, _Z_, lower to _P´_, Fig. 43, making the -shed. The shuttles move with their points under the thread thus -lowered by the needle, and pass clear through the loop. After the -needles rise, they will in turn tighten the loop, the shuttles return -to their original position, and the work repeats. - -This method of lacing Jacquard cards has the disadvantage of compelling -the machine to be stopped oftener than if using the two-needle system -(Fig. 32), as the shuttles will only hold a small quantity of lacing -twine. - -[Illustration: Fig. 45.] - - - - -PRACTICAL HINTS - -TO - -LEARNERS OF JACQUARD DESIGNING. - - -Designers for Jacquard work, in addition to being good draughtsmen, -must be thoroughly acquainted with the three systems of weaves: plain, -twills and satins, and their sub-divisions; also with the structure -of double cloth, three-ply cloth, four-ply cloth, etc. He must know -the influence of the texture upon the weaves and the fabric; the -arrangement of the threads in the dents of the reed; the different -systems of tying-up the Jacquard harness; and the stamping of the -Jacquard cards for the various kinds of textile fabrics. - - - - -Squared Designing Paper for the Different Textile Fabrics Executed on -the Jacquard Machine. - - -The classifying of the [O] designing paper is done by enclosing a -number of small rectangles, horizontal and vertical, within a certain -distance by a heavy line. Such enclosures are known in practice -as “squares.” The spaces between the vertical lines indicate the -warp-threads, and those between the horizontal lines the filling -threads. As a rule the warp dimension is indicated first; and a design -paper having five rectangles vertical with ten horizontal, is variously -read and indicated as 5 by 10, 5 × 10, or 5/10. - -Figs. 46 to 68 represent some of the styles of [O] designing paper -most frequently used. The size of the square may vary in each kind of -paper, and must be selected according to the fabric to be sketched. -For example: There are three styles of 8 × 8 [O] designing paper in -general use: One forming 1/2 inch heavy squares, (Fig. 48), one forming -3/4 inch heavy squares, (Fig. 64), and the other forming 1 inch heavy -squares. These sizes may still be varied. - -The principle of these three kinds of [O] designing paper is identical, -the size preferred being left to the pleasure of the designer. If a -design is to be made for a great number of needles, say 600, 900, 1200, -etc., it will be best to use the smallest size; whereas in a design for -only 100 to 200 needles the larger sizes may be employed. - -[Illustration: _Fig 46. 8×6_] - -[Illustration: _Fig 47. 8×7_] - -[Illustration: _Fig 48. 8×8_] - -[Illustration: _Fig 49. 8×9_] - -[Illustration: _Fig 50. 8×10_] - -[Illustration: _Fig 51. 8×12_] - -[Illustration: _Fig 52. 4×8_] - -[Illustration: _Fig 53. 4×12_] - -[Illustration: _Fig 54. 4×20_] - -[Illustration: _Fig 55. 4×24_] - -[Illustration: _Fig 56. 5×8_] - -[Illustration: _Fig 57. 6×10_] - -[Illustration: _Fig 58. 6×12_] - -[Illustration: _Fig 59. 9×10_] - -[Illustration: _Fig 60. 10×10_] - -[Illustration: _Fig 61. 10×12_] - -[Illustration: _Fig 62. 12×12_] - -[Illustration: _Fig 63. 24×12_] - -[Illustration: _Fig 64. 8×8_] - -[Illustration: _Fig 65. 10×14_] - -[Illustration: _Fig 66. 8×15_] - -[Illustration: _Fig 67. 8×16_] - -[Illustration: _Fig 68. 5×16_] - - -Practical Use of the Heavy Square in Designing Paper. - -The heavy square serves as a unit of measurement, as well as a means of -calculation, and shows readily and exactly the size of the design. The -eye becomes accustomed to grasping the meaning of this large square, -and comprehends at a glance the situation. For instance: - -On 8 × 8 paper, 25 squares means 8 × 25, or 200 rectangles each way. -10 × 10 paper, 10 × 25, or 250 rectangles each way. 10 by 12 paper, 10 -× 25, or 250 rectangles one way, and 12 × 25, 300 rectangles the other -way. - -These rectangles in actual work represent threads or ends, thus: - - 200 ends on 8 × 8 paper require 25 squares. - 300 " 10 × 10 " " 30 " - 450 " 10 × 12 " " 45 squares one way, - and 450 ÷ 12, or 37 squares + 6 lines the other way. - -The squares will also assist in putting the weave in a design. For -example: Suppose a design for a damask table-cover is required, having -for weaves the 8-leaf satin. By using the 8 by 8 paper the “risers” -or “sinkers” of the 8-leaf satin are found in the same place in each -square, thus any error in forming the weave is at once detected. -Sometimes more than one square is required for ascertaining this fact; -suppose in the preceding example the [O] paper to be 10 by 10, then the -number of threads represented by four successive squares = 4 times 10, -or 40, being five repeats of the 8-leaf satin, as 5 times 8 = 40. - - -Selection of Designing Paper for Single Cloth. - -For single cloth the character of the designing paper is ascertained -by the number of warp and filling threads required per inch in the -finished fabric. For example: A damask fabric with a texture, when -finished, of 80/120 (80 ends warp and 120 picks filling per inch) will -require a designing paper of corresponding proportion, or as 80 is to -120, = 8 × 12. - -In stripes, checks, etc., the texture in part of the fabric is changed; -such changes require separate designs. If the difference is only -slight, one kind of paper is used. Select the paper derived through the -proportion of the two as required. For example: A dressgoods fabric -forming two distinct effects in one repeat of 400 warp-threads (200 -successive ends required for each effect). - - The first effect made on a texture 60/80. - " second " " " 80/80. - -Two distinct designs (one for each effect) are required: - - For the first effect use a paper proportioned as 60 to 80, or 6 × 8. - " second " " " " 80 to 80, or 8 × 8. - -If only one kind of [O] designing paper be used for both effects, find -the average of the warp, thus: 6 + 8 = 14, and 14 ÷ 2 = 7, showing that -paper 7 × 8 is the substitute. If using a designing paper under similar -circumstances the sketch must be squared to correspond. - - -Selection of Designing Paper For Double Cloth. - -In fabrics where one line (visible across the face) is produced by two -or more different colored threads, (each pick forming part face, part -body or back of the fabric), the designing paper to be used is shown -by the proportion of the line effects to the warp-threads (figure) per -inch. Example: Take a dress-goods fabric, extra figured in the filling, -having the following texture: Warp, 60 ends per inch; filling, 100 -picks per inch, double system, 1 pick for ground, 1 pick for figure. -The paper required is as 60:(100 ÷ 2) or as 60:50 = 12 × 10, or 6 × 5. - -The figure is painted upon the paper in various colors and by the -card-stamping when cutting the ground cards. The extra colors are -treated as if they were ground. When cutting for the extra figure, deal -with it alone. - -If a fabric has the double-cloth system applied to the warp, only -using one filling for both kinds of warp, and the Jacquard-harness is -tied-up for “single sections,” the squared designing paper required is -found from the proportion of the number of face and back warp-threads -per inch, to the number of picks per inch. Example: Take a dressgoods -fabric constructed on the following texture: 80 ends warp, 1 end -ground, 1 end figure, and 60 picks to 1 inch. The proportion for the -paper is as 80:60, or 8 × 6 designing paper. - -If the tie-up in the loom is for double sections, (Fig. LIV. or LVI.), -the fabric in the previous example requires the comparison of the -face-warp with the filling, and the answer is: 80 ÷ 2 or 40 ends of -face-warp per inch, 60 picks filling per inch, giving the proportion of -40 to 60, requiring 8 × 12, or 4 × 6 designing paper for the figure. -The ground part of the design is executed separately on the same kind -of paper; or if the weave is of a short repeat, stamped without design. - -In selecting the [O] designing paper for double cloth, such as -cloakings, coatings, etc., made with a back-warp, and executed on any -of the single section tie-ups, use the lines between the squares to -indicate the back-warp and back-filling. The proportion of ends of -face-warp to face-filling in one inch of the finished fabric indicates -the kind of paper needed. - -Example: If a fabric has the following texture: - - Warp, 2 ends face, 1 end back, 90 ends per inch. - Filling, 3 " 1 " 132 picks " - -The kind of designing paper needed is found by dividing 90 by 3, and -multiplying by 2, thus: 90 ÷ 3 × 2 = 60, number of ends of face-warp -per inch, and 132 ÷ 4 × 3 = 99, number of picks filling per inch, -giving a 60 × 99 paper, or its equivalent, 6 × 10. - -Face cards for these fabrics must be stamped twice, first for the face -weave, and afterward for the binder. If using a 12-row machine, use -punches 1, 2, 4, 5, 7, 8, 10, and 11, for face; 3, 6, 9, and 12, for -the back of the fabric. - - -Selection of Designing Paper for Two-ply Ingrain Carpets. - -Always observe the proportion existing between the number of warp and -filling-threads. For instance, take a carpet having 1072 ends warp -(536 ground and 536 filling) per yard, with 30 picks per inch (1 pick -ground and 1 pick filling, or 15 pair). Then, 1072 ÷ 36 = 29-28/36 -ends of warp per inch. The proposition is as 29-28/36: 30; or, what is -practically the same, 30: 30, showing that the paper must be equally -divided, and 8 × 8 may be used, as is usually done. - -Again, take a carpet having 832 ends warp (416 ground, 416 figure) per -yard with 20 picks per inch (1 pick ground, 1 pick figure, or 10 pair). -Then 832 ÷ 36 = 23-4/36, and the proportion is as 23-1/9: 20, or as -7-19/27: 6-2/3, practically 8: 7; and 8 × 7 paper may be used. - - NOTE.--It will always be advantageous for the card stamping if - the designing paper be selected so that the number of warp-ends - in one square equals the number of griffe-bars used in the - Jacquard machine. - - -Selection of the Proper Brush for the Different [O] Designing Papers. - -The brush used by the designer must be clipped according to the size -of the rectangles of the paper. It should cover the rectangle in warp -direction at one sweep of the hand; hence each size of the squared -paper requires a specially prepared brush for quick, good, and perfect -work. - - -Colors used For Painting Textile Designs. - -For this purpose take common colors (in powder), and mix with water and -mucilage to avoid rubbing off after application. Use no more mucilage -than necessary, as too much will be followed by slow and imperfect -work. Colors mixed in this manner must be kept moist by adding a few -drops of water daily. The colors most generally used for painting -textile designs are: - - Vermilion. - Lamp Black. - White Lead. - Emerald Green. - Chrome Yellow. - Burnt Umber. - Cobalt Blue. - Carmine, etc. - -A few drops of alcohol will greatly assist the mixing of vermilion, -umber, and similar colors which have no affinity for water. Chloride -of lime is used on colors having a vegetable basis (as carmine, etc.,) -for correcting imperfections, applying weaves or changes in the colored -part of a design. - -If the designing paper becomes greasy, the colors will not adhere. To -cure this take a moist sponge and wipe off the paper. - - -Preservation of Textile Designs. - -To prevent textile designs (painted on the [O] designing paper) from -being soiled, apply a thin solution of white shellac varnish, which -dries almost instantaneously. A design preserved in this manner can be -cleaned off at any time with a wet sponge, and after years have passed -will appear bright and distinct. - - - - -Sketching of Designs for Textile Fabrics to be Executed on the Jacquard -Machine. - - -The first work to be done in making an _original_ design, or in -reproducing a design by making an _analysis_ of a woven fabric, is to -prepare the “_sketch_.” This sketch may be arranged the exact size of -pattern needed, or it may be proportionally larger or smaller. If the -design is a reproduction from a woven fabric, a correct duplicate on -the regular drawing paper is required; for this sketch is of the same -value to the designer for Jacquard work as the correct picking out of a -weave is to the designer for harness loom-work. - -In preparing an _original sketch_, the points to be considered are: -_The setting of the figure, and the most practical size_. - - -Methods of Setting the Figures. - -To give a clear illustration of this, Figs. 69, 70, 71, 72, 73, 74, 75, -and 76 are designed, representing a few of the methods most frequently -used. A separate explanation of each will familiarize the student with -this part of the work. - -[Illustration: Fig. 69.] - -[Illustration: Fig. 70.] - -[Illustration: Fig. 71.] - -[Illustration: Fig. 72.] - -Fig. 69 illustrates the setting of a figure in “_plain_.” The space -allowed for one repeat (outline of the square) is shown divided -horizontally and vertically into two equal parts each way. [See dotted -lines _a_, _b_, and _c_, _d_, thus giving the centre for the square -at _S_.] The design contains two circles in its repeat; one of these -circles is shown with its centre at _S_, and the other circle is -illustrated divided into four quarters, as shown in the four corners of -the square. - -Fig. 70 represents another “_plain_” setting, but the figure employed, -a half-moon with a small circle near it, is set in two directions. - -Fig. 71 illustrates a design having in its repeat two different -figures, each set by itself in “plain.” A third figure, ring _e_, _f_, -_g_, _h_, is used four times to break the general prominence of the -effect. - -[Illustration: Diagram for Fig. 72.] - -Fig. 72 shows the setting of a figure in a design similar to a -“_four-harness broken twill_.” - -Fig. 73 shows a combination of one figure set in four-harness broken -twill style, the other set in plain. - -Fig. 74 shows the setting of a figure in the “_five-leaf satin_” style. -[See diagram, p. 109.] - -Fig. 75 shows the setting of two figures in the “_six-leaf satin_” -style. - -Fig. 76 illustrates the setting of one figure in the “_eight-leaf -satin_” method. - -[Illustration: Fig. 73.] - -[Illustration: Fig. 74.] - -[Illustration: Fig. 75.] - -[Illustration: Fig. 76.] - -[Illustration: Diagram for Fig. 74.] - -[Illustration: Diagram for Fig. 76.] - -In setting figures in a sketch the appearance of “_streaks_” must be -avoided. To do this it will be found advantageous to sketch more than -one repeat of the pattern; if possible, sketch two each way, that the -streaking, if any, may show itself in the sketch, and be corrected -there. Nearly all the patterns seen in fabrics which show streaks can -be traced to designers who prepare their designs without sketches; for -if a sketch had been made, the streaking of the fabric might have been -foreseen had the designer exercised proper care in the examination and -perfecting of his sketch. Figures taken from plants, or from life, can -be set in the same manner as explained for Figs. 69 to 76. For example, -Fig. 77, the figure for design. Fig. XXXIV., p. 32, the latter being -set after the method illustrated by Fig. 70. - -[Illustration: Fig. 77.] - -Figs. XXV., XXVI., XXXIII., XXXVIII., XLI., XLIV., XLV., XLVII., -XLVIII., LI., LV., LVII., LXI., etc., all show sketches for fabrics -executed on one or the other methods of construction just explained. - - -Size of Sketch Required. - -This is regulated by the number of harness-cords in one repeat -or division, the method of tie-up employed, and the texture of -the finished fabric. For example: Take 400 harness-cords for one -division. Texture of the fabric when finished 100/90. Tie-up employed, -straight-through. _Required_: The size of one repeat for the sketch. - -_Answer_: 400 ÷ 100 = 4 inches. The figures may be arranged in this -sketch to repeat one, two, three, four, or more times in the 4 inches -thus available. - - -Enlarging and Reducing Figures for Sketches. - -[Illustration: Fig. 79.] - -[Illustration: Fig. 78.] - -Figures are not always enlarged or reduced by free-hand drawing. Some -designers always use the “_squaring off_” process. The latter is -clearly illustrated by Figs. 78 and 79. Fig. 79 shows the reduction of -Fig. 78, and Fig. 78 the enlargement of Fig. 79. - -[Illustration: Fig. 80.] - -[Illustration: Fig. 81.] - -The method observed is of different size squares for each design. Each -square of Fig. 78 containing the same proportion of the whole design as -is shown by the corresponding squares of Fig. 79. - -[Illustration: Fig. 82.] - -Fig. 80 illustrates another method of ruling off a figure preparatory -to enlargement, reduction, or duplication. - -[Illustration: Fig. 83.] - -[Illustration: Fig. 84.] - -This “squaring off” is not always done in a sketch for the reasons -just mentioned, it being frequently done to assist the designer in -the original construction of his figure. Such an application of its -utility may be observed in Fig. 81, centre for Damask; Fig. 82, border -for Damask; and Figs. 83 and 84, sketches for Damask table-cover, -centre, with side border. The design of a border for a centre, or _vice -versa_, must be selected to correspond (Fig. 85). - -[Illustration: Fig. 85.] - -Fig. 86 shows a horizontal and vertical border, both of the same -design. It is obvious that it would be a very imperfect design if -either border should be allowed to form the corner, hence a union must -be carefully constructed embodying the same general features as the -design. - -[Illustration: Fig. 86.] - - -Transferring of the Sketch to the Squared Designing Paper. - -Having obtained a perfect sketch of the design as it appears in the -fabric, or as it is desired to show, the outlines are transferred -to the [O] designing paper. This always requires an enlargement of -the design, and to accomplish this the sketch itself must be ruled -proportionally to the heavy squares found on the [O] designing paper. -If these squares should be too small for the sketch, they may be -enlarged by throwing 4, 9, or 12 of the “squares” into one large one; -which is indicated by extra ruling off with pencil upon the required -heavy lines. In this case the sketch is ruled off corresponding -to these pencil lines. The transfer of the sketch to the required -[O] designing paper is governed by rules already explained for the -enlargement of a design on the regular drawing paper. After the design -is transferred to the [O] designing paper it must be “_outlined in -squares_.” - - -Outlining in Squares. - -This consists in painting the small squares forming the outline of the -figure as called for by the outline of the drawing. Two methods are -observed: One “_outlining in squares” inside the “drawing outline;”_ -the other _“outlining in squares” outside the “drawing outline.”_ - -If painting outside the outline, no small squares are taken, in which -the drawing outline, taken from inside the figure, encloses more than -one-half of their surfaces. If painting the “outline in squares” -_inside_ the “drawing outline,” this rule is reversed, thus no small -square can be taken which is overrun by the drawing outline more than -one-half from the outside of the design. The most difficult part of the -outlining in squares is to obtain the nearest possible reproduction of -the drawing outline. If circles, curves, etc., are to be made, they -must be reproduced as nearly correct as possible; no bunches, cuts, -etc., should disturb its symmetry. - -[Illustration: Fig. 87.] - -Fig. 87 shows the variations and methods to be resorted to in -“outlining by squares” the five circles, each of different size. - -Fig. 88 shows the formation of projected straight lines varying from -a horizontal to a vertical direction. The full changes by 8^s, 7^s, -6^s, 5^s, 4^s, 3^s, 2^s, 1^s are shown in full black. The half changes -between the 2^s and 3^s are formed of 2^s and 3^s taken alternately as -shown by the shaded line. Another half change between 1^s and 2^s, also -represented by the shaded effect, shows the change to be a repetition -of the step 1, 1, 2. Between this last mentioned change and the regular -2^s change, we find the direction of a straight line as derived from -a repetition of 2, 2, 1, indicated by the [.] Below the regular -change by 1^s the straight line is formed by using 7 times 1 and once -2 repeated. Above the regular change by 1^s as shown by the black -diagonal, these same changes will form straight lines running from 45° -to 90°. - -[Illustration: Fig. 88.] - - -Rules for “Outlining in Squares” Inside or Outside the Drawing Outline. - -The outlining in squares outside the drawing outline is observed in -designs having the figure produced by the filling. The outlining in -squares inside the drawing outline is observed in designs having the -figure produced by the warp. By reversing these two rules, the figure -in the design would be changed from the sketch, for if outlining -in squares inside the drawing outline, using filling for figure, -the figure would be reduced proportionally to the reduction made or -taken away by the outline squares. Thus, also, if the warp formed the -figure, and the “outlining being done in squares,” outside the drawing -outline, the figure would increase proportionally the size of the -squared outline. These rules refer to painting the squares for warp -only. Some fabrics require also the painting of the filling squares. - -The foregoing explanation may be reduced to the following _Rule_: If -the figure is required to be in white, “outline by squares” outside the -drawing outline; if the figure is required to be painted, “outline by -squares” inside the drawing outline. - -After the design is outlined by full small squares, either the figure -or the ground (as required, but generally the figure) is painted all -over. The paint required for this work has been previously described. -It is only necessary to mention that it must have body enough to be -clearly visible, but not sufficient to obscure the black ruled lines -of the paper, which must show clearly through the paint. The weave, if -necessary, is next put on the required spots, either in white or black -paint. - - -Illustration of a Sketch. - -[Illustration: Fig. 89.] - -_Outlining on [O] paper--finished design and fabric sample. For -single-cloth fabrics, as damasks, dressgoods, etc._ - -To give a clear illustration of the entire process from sketch to -finished design, Figs. 89, 90, and 91 are designed. Fig. 92 showing the -effect of the design on the fabric after being woven. - -[Illustration: Fig. 90.] - -[Illustration: Fig. 91.] - -Fig. 89 represents a sketch for a fabric supposed to be executed with -80 warp-threads in one repeat; thus, if using 8 by 8 [O] designing -paper, (texture in this example supposed to be equal in filling and -warp), the sketch must be divided and ruled off into eight parts each -way. - -Fig. 90 illustrates the sketch transferred to the [O] designing paper. -Fig. _A_ represents the “drawing in outline.” Fig. _B_, the “outlining -in squares.” Fig. 91, the complete design; and Fig. 92, the fabric -sample. - -[Illustration: Fig. 92.] - - -Design for Damask Fabrics to be Executed on a Jacquard Loom, with -Compound Harness Attached. - -[Illustration: Fig. 93.] - -These designs require no special weave, as that is taken care of by -the compound harness in front of the Jacquard harness, as explained in -Chapter XII., page 58. After painting in the design, it is finished, -ready for card-stamping. Fig. 93 shows us a leaf, taken from sketch -(Fig. 80), which may be used in connection with a larger design, but -will clearly illustrate this division of textile work. - - -Designs for Two-ply Ingrain Carpet. - -In these fabrics, when the ground and figure are indicated in the -design, the same is considered as finished. As previously stated in -the article devoted to these fabrics, a two-ply ingrain carpet is -composed of two fabrics, in which the journals introduce the weave, and -the double-acting Jacquard machine the exchange of ground and figure -effect. - -Fig. 94 represents a small portion of a design illustrating the three -principal effects of this operation. - -[Illustration: Fig. 94.] - - I. = figure up. - - II. = ground up. - - III. = effect technically known as “shot-about,” derived from - one pick, figure up; one pick, ground up; and repeated. - -In Fig. 95 a detailed description or analysis of the interlacing warp -and filling of Fig. 94 is given. - -[Illustration: Fig. 95. - - [X] = figure up. } Produced by the - [D] = ground up. } Jacquard machine. - × = weave for ground. } Produced by - [.] = weave for figure. } journals.] - -The two-ply ingrain carpet can also be made upon a Jacquard loom, -tied up for double sections. [See Chapter VI., page 48.] This is also -extensively used in the manufacture of upholstery fabrics; in fact, the -latter mentioned method is almost exclusively used in Europe. - -In Fig. 95 the weave of the “shot-about” effect calls for two picks -face, and two picks back. An examination of this part of the draft -shows that the warp-thread represented by the light pick [1/3] is -to be raised, or has been raised in the adjoining heavy pick [3/1]; -further, we find the two light picks separated by the raising of a -different warp-thread in each pick, which is also effected between the -two heavy picks by the lowering of another warp-thread. This places the -ground-thread below its corresponding figure or mate thread, or the -figure thread below its corresponding ground-thread. - -If these mate threads introduced in succession are required to show -side by side, either on the face or the back of the fabric, these -changes must be indicated on the design by different colors. If such -effects are to be introduced when using the common ingrain Jacquard -machine, the needles of the latter must be operated at each pick; this -requires twice as many cards as are used in designs where the mate -thread is always placed below or above its corresponding thread. - - -Designs for Dressgoods Figured with Extra Warp (one end Ground, one end -Figure), and Executed on the Double Section Tie-up. - -In the article explaining the double section tie-up, [see Chapter VI., -p. 48], as well as the one on the selection of the proper squared paper -required for these fabrics, the general character of these fabrics has -been explained. - -As mentioned in Chapter VI., the machine is divided in two parts, -figure and ground; the Jacquard harness is leased one end figure, one -end ground, and repeated. - -[Illustration: Fig. 96.] - -[Illustration: Fig. 97.] - -[Illustration: Fig. 98.] - -Fig. 96 illustrates a part of such a design, and is to be cut for the -figure part of the needles. - -Fig. 97 shows the plain weave, which is cut without a design in that -portion of the card which operates the ground of the Jacquard harness. - -Fig. 98 shows the analysis of the woven fabric for the design referred -to in Fig. 96. - -[N. B.--The plain weave used for explaining the present example may be -substituted by other weaves, as a [2/1] twill, [2/2] twill, or the four -harness broken twill, etc., without changing the figure design.] - - -Designs for Figured Pile Fabrics. - -Designs for figured pile fabrics (terry or velvet), Plushes, -Astrakhans, etc., are also executed without introducing a weave in -the design. The design is only intended for the pile-threads, which -are raised when introducing the wire; the front harness operating the -ground-warp. The pile-warp, when raised over the wire, is bound by -means of the previous pick, as well as by the pick following by the -filling to the ground cloth. - - -The Shading of Textile Fabrics by the Weave. - -[Illustration: Fig. 99.--Shading of Flowers in Sketches for Damask -Fabrics.] - -This is generally done in the “figure” part (especially in flowers, -leaves, etc.), of damasks and similar textile fabrics. The shading can -be applied to the satin weaves to the best advantage. - - -_Rule for Shading with Satin Weaves._ - -Put the ground weave (filling for face) over the entire part of the -[O] designing paper, which is required to be shaded; afterwards add -one, two, three or more horizontal or vertical (connecting) spots to -the one spot which forms the foundation or satin filling for face. The -heaviness of the shade is regulated by the sketch or the fabric. For -example: In an 8-leaf satin the difference between filling for face and -warp for face may be made with three or four changes only; or with the -entire seven changes. - -For shading twill weaves no rule can be given. - -[Illustration: Fig. 100.--5-Leaf Satin. - - [4/1] - [3/2] - [2/3] - [1/4]] - -Fig. 100 shows the shading of the 5-leaf satin, four changes, each -eight threads, giving 4 × 8, or 32 threads for the effect. - -[Illustration: Fig. 101.--8-Leaf Satin.] - -Fig. 101 illustrates the 8-leaf satin applied for shading a circle, -using in rotation every possible change. - -[Illustration: Fig. 102.--10-Leaf Satin.] - -[Illustration: Fig. 103. 8-Harness Twill.] - -Fig. 102 illustrates the shading of the 10-leaf satin from filling for -face [1/9], to warp for face [8/2], and back again to filling for face. - -Fig. 103 represents the [7/1] eight harness twill, shaded from the -filling for face to the warp for face effect; the change occurring -every eight picks. - - - - -Glossary and Index. - - -[Illustration: decorated horizontal rule] - - Technical words, names and terms given in the Index, with - reference to the number of the page where explained, are a - complete collection used in the work. - - The Glossary, connected with the Index, contains those terms - (mostly technical words) which to some extent have been - mentioned in the book, or terms which, in the course of study, - will appear alone. They are treated in a short but thorough and - comprehensive manner in this Glossary. - - - PAGE - - =American Index=, Piano Card-stamping machines for, 86 - - =Analysis=, the art of resolving a machine, fabric, or substance of - any kind, into its constituent parts. - - =Arrangement= of hooks, needles, griffe-bars, springs, spring-frame - and needle-board in the single-lift Jacquard machine, 14 - - - =Backing=, the filling of the lower fabric in a double cloth. - - =Batten=, the frame which carries the cylinder in its motion to and - from the needle-board, 15 - - =Batten Motion=, 15 - - =Binder-warp=, the warp-threads producing the foundation of a - fabric; interior warp; this warp is generally not visible in the - finished fabric. Used in astrakhans, velvets, plushes, Brussels - carpets, upholstery fabrics, etc. - - =Bobbin.= The filling is wound on the bobbin, and the latter placed - in the shuttle. - - =Bonchon, M.=, the inventor of the principle of the Jacquard - machine, 7 - - =Border=, the outer part of a fabric. - - =Brush=, as required for perfect work, 107 - - - =Camel Hair= is the hair of certain camels, and is used either - combed or carded. - - =Card-guide=, used in the Piano Card-stamping machine, 90 - - =Card-rack=, 19 - - =Card-wire=, 19 - - =Carriage=, technical name for a part of the Piano Card-stamping - machine, 88 - - ---- Technical name for a part of the Repeating machine, 93, 96 - - =Cashmere=, or _Kashmere_ wool, is the fine hair of the Cashmere - goat, which thrives upon the Himalaya mountains and surrounding - country, in Asia. _Cashmere_ is also used to indicate certain - fabrics made of wool or silk warp and goat hair, or fine merino - wool filling. - - =Catch=, a part of the Carriage in the Piano machine, 88 - - =Catches=, a part of the Jacquard machine, 13 - - =Centre Tie-up or Point Tie-up=, 33 - - =Colors= used for painting textile designs, 107 - - =Comber-board=, (_Cumber-board_ and _Compart-board_ are also - technical terms frequently used for it); a perforated board which - guides and keeps the harness-cords in the required positions. - Lately, wires crossing each other and adjusted in a frame are used - with advantage; this latter style is patented by The G. W. Stafford - Manufacturing Co., Providence, R. I., 20, 130 - - ---- Made in strips and adjusted in a frame, 21 - - ---- Made of a solid piece of material, 20 - - =Combination Tie-up= in two sections, 56 - - =Compound Harness.= Designs for fabrics executed on a Jacquard - loom with Compound Harness attached, 116 - - ---- General arrangement and application, 58 - - ---- Number to use of, 63 - - ---- Positions during weaving, 63 - - ---- Their operation by a separate machine, 62 - - ---- Weaves for working, 63 - - =Cotton= is the white, downy, fibrous substance which envelopes - the seeds of various species of the cotton plant, _gossypium_, - belonging to the natural order _malvaceæ_. - - ---- The size of the yarn when spun is calculated by numbers, - commencing with No. 1, which requires 840 yards to 16 ounces; every - successive number requiring 840 yards additional for the original - 16 ounces. - - =Cow Hair=, mixed with a suitable fibre like wool, is spun into the - filling for coarse ingrain carpets, and similar coarse fabrics, as - backing-filling for cloakings, etc. - - =Cylinder=, a part of the Jacquard machine, 7, 9, 16 - - - =Damask=, a fabric originally made at Damascus, and composed of - rich silk. The name is at present applied to various textile - fabrics composed of cotton, linen, etc., which are of common - household use, as table-covers, towels, etc. - - =Designing Paper= for the different textile fabrics, 103 - =Divisions= of a comber-board, 22 - - =Dobbies=, Index machines, Witches, etc., are small Jacquard - machines, or machines constructed upon its principles. - - =Dobby Card-punching Machine=, 86 - - =Double Cloth=, selection of designing paper for, 106 - - ---- Two separate fabrics fastened together in the process of - weaving. The advantages of double cloth are various, amongst which - we find: To produce a heavier and thicker cloth; using materials to - their best advantage; producing effects impossible to be procured in - single cloth, etc. There are three divisions of double cloth:-- - _a_, using one system of warp and two systems of filling; - _b_, using two systems of warp and one system of filling; - _c_, using two systems of warp and two systems of filling. - - =Double-lift Double-cylinder Jacquard Machine=, principle of - construction, advantages over the single-lift, and method of - operation, 69 - - =Double-lift Single-cylinder Jacquard Machine=, principle of - construction, advantages over the single-lift, and method of - operation, 67 - - =Doup=, an arrangement used in the manufacture of gauze fabrics - which compels certain warp-threads to cross each other, 64-66 - - =Douping Warp=, also known as _Whip-thread_, and used in connection - with the ground-warp or standard thread in the construction of - gauze fabrics, 64 - - =Drawing-in Draft=, method to be observed in drawing-in a warp in - the eyes of the heddle. - - - =End=, the technical word for a thread which is used often in its - place. - - =Expert in Card-stamping=, how to become, 86, 88 - - =Extra Fine=, a two-ply ingrain carpet constructed with 832 threads - warp, (36 inch wide fabric), exclusive of the selvedge, 74 - - =Extra Super=, a two-ply ingrain carpet constructed with 1072 - threads in warp, (36 inch wide fabric), exclusive of the selvedge, 75 - - =Extra Warp=, designs figured with, 117 - - - =Fabric=, the structure of anything; the manner in which the parts - of anything are united by art and labor; workmanship, texture, - make, etc. - - ---- Manufactured cloth of any kind or material. - - =Fabrics= for which the Jacquard machine must be used, 9 - - =Falcon, M.=, the inventor of the cylinder and the Jacquard cards, 7 - - =Feed Cylinder=, a part of the Repeating machine, 96 - - =Filling=, the threads running crosswise in a cloth. - - =Flax.= This term is used to designate the flax or linen fibre, - and also the plant from which it is obtained. - - =Frame=, a part of the Jacquard machine, 11 - - =French Index=, Piano Card-stamping machines for, 86 - - - =Gauze Fabrics=, their peculiar characteristic construction, 64 - - ---- Threading of the harness for, 64-66 - - ---- Tying-up for, 64 - - =Griffe=, a part of the Jacquard machine; also called Knife Box, - 7, 9, 10, 13 - - =Griffe-bars=, a part of the Jacquard machine; - also called Knives, 9, 10 - - =Guide-board=, used for regulating the height of the mails by - tying-up a Jacquard harness, 23 - - =Guiding-rod.= See Jacquard Plunger. - - - =Hammer=, a part of the Jacquard machine, 16 - - =Harness cords=, the cords of each leash, 9 - - =Heavy Square=, its practical points of use on designing paper, 105 - - =Heddle and Harness-cord=, combining, 23 - - =Heddles=, as required for compound harness, 62 - ---- For the Jacquard harness, 9, 22 - - =Hook=, a part of the Jacquard machine, 9, 10, 13 - - - =Index Machines.= See Dobbies. - - =Ingrain=, as applied to carpets, was originally intended for a - fabric where the wool was colored before carding and spinning, but - which is not true at present, as the yarn is mostly manufactured - before coloring. The great variety of colors used in an ingrain - carpet at the present time, the constant changing of styles, - besides the saving of expense by coloring the yarn after - manufacture, are the general reasons for it. Ingrain carpet in our - country means the same as Scottish or Kidderminster in Europe. - - =Ingrain Carpet=, two-ply, construction of the fabric, 72 - - ---- Two-ply, designs for, 116 - - ---- Two-ply, Jacquard Machine, 71 - - ---- Two-ply, selection of designing paper, 106 - - ---- Two-ply, tying-up of its Jacquard harness, 72 - - =Ingrain Carpet Loom=, two-ply, built with a stationary - shuttle-raceway and an independent comb for beating up the filling, 82 - - ---- Two-ply, in which the journals are lifted from above by means - of a cam arrangement, 81 - - ---- Two-ply, in which the journals are lifted from below and - controlled by either a chain or cam motion, 81, 82 - - - =Jacquard Cards=, general arrangement and application, 7, 9, 17, 18 - ---- Preparing of, 85 - ---- Stamping of, 85, 91 - - =Jacquard Designing=, practical hints, 103 - - =Jacquard Harness=, general arrangement and application, 20 - - =Jacquard, Joseph Marie=, life of, 7, 8 - - =Jacquard Loom=, a loom furnished with the Jacquard arrangement. - - =Jacquard Plunger=, a part of the Jacquard machine; also known as - Guiding-rod, 12 - - =Journals=, peculiarly constructed harness frames used in the - manufacture of two-ply ingrain carpets, 75 - - =Jute= is a native plant of China and the East Indies; its long - fibre, which is of a brown to silver gray color, is used largely in - the manufacture of Brussels and tapestry carpets, rugs, etc., for - the body--ground structure of the fabric. It is distinguished from - flax by being colored yellow under the influence of sulphuric acid - and iodine solution. The size of the thread when spun is indicated - by the same rule as wool--_Cut system_--300 yards to 16 ounces. - - - =Keys=, as used in the Piano Card-stamping machine, 86 - - =Keys=, as used in the Repeating machine, 93 - - =Key Wire=, used in the Repeating machine, 95 - - - =Lace-hole Press=, 96 - - =Lacing= of Jacquard cards, 97 - - =Lacing Frame=, 97 - - =Lacing Machines=, using two needles for lacing each series of - holes, 98 - - ---- Using one needle and one shuttle for lacing each series of - holes, 100 - - =Lacing Needles=, 100 - - =Lacing Twine=, the kind to use for machine lacing, 100 - - =Lantern=, an iron extension put on the cylinder of the Jacquard - machine. The cylinder is turned by means of the catches working on - the lantern, 16 - - =Leaf=, a harness; thus: 3-leaf twill or 3-harness twill, etc. - - =Lease=, or leas. - - =Leasing= of the Jacquard harness, 23 - - =Leash=, two or more harness-cords combined and adjusted to one - neck-cord. For every harness-cord a leash contains there will be - found a repeat in the design to correspond, 9 - - =Lifter-boards=, or _Trap-boards_, used in the Jacquard machine for - two-ply ingrain carpet, 71 - - =Lifting= of the griffe, 12, 17 - - =Lingo=, a small iron weight for each harness-cord, 9, 22, 23 - - =Loom Pickers= are generally made of raw hide; less frequently of - sole leather or wood. The picker stick, which is operated by means - of cams or arms on the loom, drives the picker, and the latter the - shuttle. - - =Loop-guide=, a part of the lacing machine, 99 - - - =Mail=, made of metal, forms the centre part of a twine heddle; in - the eye of the mail the warp-thread is drawn, 22, 23 - - ---- Its position in the loom, 23 - - =Margin=, plain part between border and selvedge, or centre and - border in a damask table-cover, etc. - - =Mate Threads=, technical name used in two-ply ingrain carpets; one - ground-thread and its corresponding figure-thread, 72-80 - - =Merino=, originally the wool of the Spanish Merino sheep, and - known as some of the finest wool. _Colonial wools_, as Australia, - Cape of Good Hope, New Zealand, bear the character of the Merino, - derived through introducing and breeding the original stock in - those countries. - - =Modifications= of the single-lift Jacquard machine, 67 - - =Mohair=, the fleece of the Angora goat. It is largely used in the - manufacture of light-weight dress goods, which are characterized - by their lustre. In pile fabrics, as plushes, velvets, astrakhans, - etc., of a plain or figured denomination, mohair is often used for - the “pile-warp,” whereas the ground or body of the fabric is made - of cotton. - - - =Neck-cord=, the cord combining leash and hook, 9 - - =Needle=, a part of the Jacquard machine, 9, 10, 14 - - =Needle-board=, a part of the Jacquard machine, 17 - - - =Open Harness=, tie-up, 23 - - =Outlining in Squares=, methods and rules for, 113-115 - - - =Pattern-cylinder=, a part of the Repeating machine, 94-96 - - =Perforated Bottom-board=, a part of the Jacquard machine; through - this board the neck-cords are passed, combining the hooks to the - leash, 12 - - =Petty-point Tie-up=, 51 - - =Piano Card-stamping Machine=, operated by belt power, 91 - - ---- Operated by foot power, 86 - - =Pick=, one filling thread; one passage of the shuttle through the - shed. - - =Pile Fabrics= can have the pile produced either by the warp or - the filling. If the pile has to be produced by the warp, a certain - number of warp-threads are raised on certain picks over wires. - These elevated threads are interwoven in the pick preceding the - interweaving of the wire, and also in the pick following it, with a - filling-thread to the ground cloth. After a certain number of wires - have been inserted, the first interwoven wire is drawn out of the - fabric to be used over, which operation is repeated in rotation - with every wire. We find terry and velvet piles. If the pile is - produced by the filling, some or all filling-threads must float in - certain places to allow the thread to be cut at this place, or its - fibres to be raised during the process of finishing the fabric, - 53, 118 - - ---- Designs for, 118 - - =Plain-weave=, also known as cotton-weave; in this weave, warp - and filling cross each other at right angles, and interweave - alternately. Frequently used for ground-weave in Jacquard designs. - - =Point Tie-up or Centre Tie-up=, 33 - - =Point Tie-up=, for two-ply ingrain carpets, 78 - - =Point Tie-up in three Sections=, 55 - - =Preserving= of designs executed on [O] paper, 107 - - =Presser=, a part of the Lacing machine, 99 - - =Punch=, as used in the Piano Card-stamping machine, 86 - - ---- As used in the Repeating machine, 93 - - =Punch-head=, a part of the Piano machine, 86 - - ---- A part of the Repeating machine, 93 - - - =Rack=, a part of the Piano Card-stamping machine, 88 - - =Reed=, a series of narrow strips of metal, between which the - warp-threads pass in the loom. The purpose of the reed is to keep - the warp evenly divided, also to strike the filling in many places - at the beating the reed towards the breast-beam of the loom. The - reed is known by numbers, the number in each case indicating how - many splits are in one inch. RULE for ascertaining the _reed - number_, if the number of ends in the warp and the width in the - reed are known; the threads per dent either given or to be selected - according to the fabric:--Divide the number of ends in the warp by - the width in the reed, which gives the number of threads per inch; - divide this result again by the number of threads in one dent, - according to the weave or rows deep of comber-board. Whole numbers - or half numbers are generally used for grading reeds only. - - =Reel=, or =Idler=, a part of the Repeating machine, 93 - - =Repeat=, that which is to be repeated; as the repeat of a pattern, - the repeat of an effect in a design, etc. - - =Repeating Machine=, for Jacquard cards, 92 - - =Reserve Rows.= Nearly every Jacquard machine contains two extra - rows of needles in addition to the number as classified, 10 - - - =Satin-weaves= are characterized by a smooth face. The stitch - of the threads is opposite to that of the twill weaves. The - foundations for designing a satin-weave are, in the first place, to - arrange as much as possible distributed stitching; in the second, - to have this as regular as possible. The satin-weaves commence - with the five-harness, and can after this be made on any number - of harness. To find the run of stitching in the easiest way, use - the following rule: Divide the number of harness into two parts, - which must neither be equal, nor the one a multiple of the other. - Afterwards take one result and add it, commencing to count from - 1 until all threads or harnesses are taken up, as example: Five - harness--5 = 2 + 3. Commencing with one and adding two points, we - have as follows: 1 + 2 = 3 + 2 = 5 + 2 = 7, or 2 + 2 = 4. This - will give the stitch as: 1, 3, 5, 2, 4, which means: the first - pick stitches in the first warp-thread, the second pick stitches - in the third warp-thread, the third pick stitches in the fifth - warp-thread, the fourth pick stitches in the second warp-thread, - the fifth pick stitches in the fourth warp-thread. - - ---- Are frequently employed for ground-weaves in Jacquard designs. - - =Section= of the comber-board, dividing the comber-board in its - depth. - - =Sectional Harness Arrangement=, 26 - - =Selecting Needle=, used in the Repeating machine, 94 - - =Selvedge=, the edge of cloth, woven in such a manner as to prevent - ravelling, and often closed by complicating the threads; also - called List, Listing. - - =Setting of Figures= in a sketch, 108 - - =Setting of the Cylinder=, 18 - - =Shading= of textile fabrics by the weave, 118 - - ---- Rules for, 119 - - =Shed=, the separation of the warp to allow the shuttle to pass - through. - - =Shot-about=, the alternate exchange (filling ways) of figure up - and ground up in two-ply ingrain carpet, 72, 117 - - =Shuttles= are the means for carrying the filling into and through - the shed. - - =Shuttle-box Mechanism=, for carpet hand-looms, 80 - - =Shuttle-raceway=, the part of the lay on which the shuttle travels - to and fro. - - =Silk= consists of the pale yellow, buff colored, or white fibre, - which the silk worm spins around about itself when entering the - _pupa_ or _chrysalis_ state. _Spun Silks_ are calculated as to size - of the thread on the same basis as cotton. The adopted custom of - specifying the size of raw silk is by giving the weight of 1000 - yards in drams, avoirdupois. - - =Single Cloth=, selection of designing paper, 105 - - =Single-lift Jacquard Machine.= By it warp-threads, as called for, - according to the Jacquard cards, are raised and lowered each pick. - - =Sizes of Jacquard Machines=, 10 - - =Sketches=, enlarging and reducing figures for, 110 - - =Sketch=, principles for, 108 - - ---- Size required, 109 - - ---- Transferring to the [O] designing paper, 112, 115 - - =Skipper=, technical name for a part of the Piano Card-stamping - machine, 88 - - =Spools.= This technical term applies to a barrel, having a head on - each end. - - =Spring Frame=, a part of the Jacquard machine, 14 - - =Springs=, as used in connection with the needles in the Jacquard - machine, 9, 10, 15 - - =Squaring-off=, a process employed for enlarging and reducing - figures in sketches, 110 - - ---- A process employed in the construction of original sketches, 111 - - ---- A process employed in transferring the sketch to the [O] - designing paper, 112, 115 - - =Straight-through Tie-up.= The Jacquard harness threaded on the - machine in the direction from front to rear, 23 - - ---- The Jacquard harness threaded on the machine in the direction - from rear to front, 26 - - ---- On the English system, 28 - - ---- For repeating effects in one repeat of the design, 29 - - ---- For two-ply ingrain carpets, 74 - - ---- In four sections, 57 - - ---- In three sections, 53 - - ---- In two sections (for double cloth), 48, 50, 51 - - ---- Of a Jacquard harness, having front harness attached, 32 - - ---- Single and double sections combined, 51 - - =Straight-through Tie-up and Point Tie-up=, - combined, 35, 39, 42, 43, 46 - - ---- Applied to a double-lift double-cylinder Jacquard machine, 70 - - =Stop Motions=, for looms, are attachments for stopping the loom - when the filling breaks or runs out. The _Protector_, an additional - attachment to the loom, might also be classified as a _stop - motion_, as it stops the loom in case the shuttle fails to reach - its box. - - =Super=, a two-ply ingrain carpet constructed with 960 threads warp - (36 inch wide fabric), exclusive of the selvedge, 76 - - - =Tail-cords=, the substitutes of the regular hooks used in the - ingrain carpet machine, 71 - - =Temples=, attachments to the loom on each side of the selvedge, - for holding the last woven part of the fabric in even width, with - the width of the fabric in its reed, thus preventing as much - useless chafing of the warp as possible. - - =Terry=, a loop; an uncut pile fabric. - - =Textile=, a woven fabric. - - =Texture=, changing, for fabrics using a Jacquard harness threaded - in the solid comber-board, 21 - - ---- Number of warp and filling-ends in one inch; there are two - textures: - _a_, for the fabric in the loom (reed). - _b_, for the finished fabric. - - =Twills= are frequently employed as ground-weaves for Jacquard - designs. - - ---- A weave running diagonally across the fabric. They are divided - into even-sided, uneven-sided, broken, and fancy twills. - - =Twist.= The amount and the direction of the twist in yarns of - any kind of material is very important; thus it should never be - overlooked in the preparation of a design for textile fabrics. - - =Tying-up of Jacquard Looms=, with compound harness attached, 58 - - - =Vaucanson=, the inventor of the griffe, 7 - - =Velvet=, a cut pile fabric. - - - =Warp=, the threads running lengthwise in a cloth; the yarn which - passes through the Jacquard harness and the reed. - - =Weave=, the way the two systems of threads (warp and filling), - composed of any kind of material, are interlaced. - - =Whip-thread.= See Douping Warp. - - =Witches.= See Dobbies. - - =Wool.= By the term wool we comprehend the hairy covering of - several species of _mamalia_, more especially that of the sheep. - It is more flexible, elastic and curly than hair. Wool as used - for warp and filling is either _combed_ or _carded_, technically - known as _worsted_ or _wool-spun_ yarn. The size of the thread - for worsted is calculated by 560 yards to 16 ounces for No. 1, - and the same number of yards is added for each successive number - balanced by the original 16 ounces. For woolen yarn two methods - of calculating the size are in use: The _Cut_ system, having 300 - yards to one cut (16 ounces); the _Run_ system, having 1600 yards - to one run (16 ounces). The same number of yards are added to - each successive number of cut or run, also to be balanced by the - original 16 ounces. - - - - - The Bridesburg Manuf’g Co. - TEXTILE MACHINERY BUILDERS, - 201-203 Chestnut Street, Philadelphia. - - Stockton Bates, President. Wm. D. Shubert, Secretary. - - -[Illustration: LOOMS:] - - Roller, Goodyear, and Witch Harness, Sheeting, Duck, Bag, - Clipper, Gebhart, Ticking, - - AND ALL KINDS ARRANGED FOR JACQUARD TOPS. - - WOOL AND WORSTED CARDS, - PICKERS, RENOVATORS, MULES. - SHODDY AND HAIR PICKERS. - - - Foss & Pevey,--Wellman,--and Iron Roller Cards. - Drawing,--Railway Heads,--Spinning Frames, - Reels,--Mill Warpers,--Spoolers. - - - Plans for all kinds of Mills made. - - - JAS. H. BILLINGTON & CO., - ---- Established 1848.---- - - MANUFACTURERS’ SUPPLIES - OF EVERY DESCRIPTION, FOR - COTTON, WOOLEN, SILK, AND WORSTED MACHINERY. - - MANUFACTURERS OF - Bobbins, Spools, Shuttles, and Skewers, - Oak Leather Belting, Machine Cards, and Specialties. - - GENERAL MILL FURNISHERS. - - No. 113 Chestnut Street, Philadelphia, Pa. - - CORRESPONDENCE SOLICITED. - - - BARBOUR’S IRISH FLAX THREAD, - -[Illustration:--1784--FLAX--1887--Trade Mark] - - BARBOUR’S JACQUARD HARNESS THREAD, - Noted for Strength and Smoothness, and Warranted not to Stretch. - - THE BARBOUR BROTHERS COMPANY, -New York, Boston, Philadelphia, Chicago, St. Louis, and San Francisco. - - -[Illustration: BONAKER & JONES MANUFACTURERS OF DESIGN PAPER FOR CARPET -& UPHOLSTERY DESIGNERS; 58 N 4TH ST. PHILADELPHIA. Represented by -VINCENT T. RAFFERTY.] - - _Having the experience and facilities for making Design Papers in all - sizes, we are enabled to supply manufacturers with the best at the - lowest rates. Special sizes made to order._ - - _Will be pleased to give you prices for any quantity - or size you may need._ - - - Jacquard Machines - (Single and Double Action) - Of Improved Construction. - - -[Illustration] - - We give great attention to the workmanship, use only the best - materials, and produce - - The Best Machine in the Market. - - Our prices compare favorably with those more cheaply built. - - We furnish machines constructed on the English plan--leaving - out bottom board and glass rods--when desired. - - Geo. W. Stafford Mfg. Co., - Nos. 3 and 5 Point Street, Providence, R. I., - MACHINE BUILDERS. - - Single and Double Action Jacquards, - Single and Double Action Dobbies, - The only Double Action Open Shed POSITIVE Dobbie, - Equalizing Spring Jacks, - Cottrell’s Positive Let-off Motion, etc., etc. - - Sketches and Designs furnished and Cards Cut. Mail Eyes, Twine, - Lingoes, Wires, Springs, etc., furnished. Leno Weaving--both - simple and compound--a specialty. - -[Illustration: (Patented September 6, 1887.) This Comber-board can be -seen at the TEXTILE SCHOOL, 1336 Spring Garden Street, Philadelphia.] - - STAFFORD’S PATENT - COMBER BOARD. - - The divisions are made with wires crossing each other, giving - the least possible wearing surface on the twine, thus reducing - friction on the outside of the harness, and consequent wear; - preventing bagging and the jumping of lingoes; Jacquards can - be run at much higher speed where this board is adopted. Five - years’ use has sustained the above claims and demonstrated its - practicability. - - - THE TEXTILE RECORD, - - 425 WALNUT STREET, PHILADELPHIA. - - - THE FOREMOST TEXTILE JOURNAL OF THE UNITED STATES. - _Covering every Department of Textile Manufacture._ - - Weaving and Jacquard Work Fully Discussed. - -[Illustration: - - Each Number The largest staff - filled with of - Original and Practical Expert Contributors. - Articles.] - - THE TEXTILE RECORD has positive practical value to every mill owner and - mill worker. - - Its contributions to the literature of the textile industry surpass - in value and interest everything yet attempted on this side of the - Atlantic. - - - RICHLY ILLUSTRATED IN EACH NUMBER. - - SAMPLE COPIES ON APPLICATION TO - - THE TEXTILE RECORD, - No. 425 Walnut Street, - PHILADELPHIA, PA. - - - ROYLE’S - - [Illustration: _Highest Award at the American Institute, 1873, The - Special Medal of Silver. Highest Award at New Orleans, The Gold Medal - with First Degree of Merit._] - - - IMPROVED PIANO MACHINES - --AND-- - Automatic, Positive Action, - POWER REPEATERS, - For Cutting Jacquard Pattern Cards. - - IMPROVED SILK MACHINERY: - WARPERS, BEAMERS, QUILLERS, DOBBIES, COVERING - OR “GIMP” MACHINES, TWISTERS, &c. - - JOHN ROYLE & SONS, - PATERSON, N. J. - - - [Illustration: NEW HIGH-SPEED POWER LOOM FOR INGRAIN CARPETS. Built by - THE M. A. FURBUSH & SON MACHINE CO., Philadelphia, Pa., U. S. A. - - -->One Hundred Picks per Minute.<-- Fifteen Shuttles Pick and Pick. ] - - --NEW-- - HIGH-SPEED POWER LOOM FOR INGRAIN CARPETS. - - Built by THE M. A. FURBUSH & SON MACHINE CO., Philadelphia, Pa., U. S. A. - - -->ONE HUNDRED PICKS PER MINUTE.<-- FIFTEEN SHUTTLES PICK AND PICK. - - This Loom combines the best features of the Duckworth and Murkland - Looms; while possessing the shading capacity of the latter, it is - easier in its operation, and of a considerably higher speed than either. - - The following points as to the construction and operation of this Loom - will prove to any manufacturer, superintendent, fixer or weaver the - superiority of the same over any other style: - - =Runs light.= THERE IS NO HEAVY LAY TO OPERATE, AS IN OTHER LOOMS. The - lay (raceway and boxes) are stationary, and the filling is beaten up - by means of a comb, which is the only part that swings; being light, - it can easily accomplish the movements necessary for the _one hundred - picks per minute_, which could never be attained by operating the lay - as in any other loom. - - =No tearing of cloth= BY THE SHUTTLE CATCHING IN THE WARP AND BEING - DRAWN UP BY THE REED, as the comb for beating up the filling passes in - front of the shuttle. - - =Easy on filling.= The peculiar shape of the filling fork allows the - shuttle to pass under it, at the same time merely opening wide enough - to admit the filling. The motion is easy and delicate, and will not - break the poorest filling--a great point of superiority over all other - high-speed looms, in which there is always more or less tendency to - chop the filling. - - =Shuttle boxes.= The box mechanism is the same as in the Murkland Loom, - there being a revolver of seven boxes and three upright boxes, thus - giving ten boxes on each side, or twenty in all. - - =The Jacquard machine= is constructed principally as in the Duckworth - Loom, although the cylinder gauge, boards and journals are like those - of the Murkland. The cylinder is worked with the rock shaft of the - Duckworth Loom, instead of a cam shaft. - - =The change gears= FOR TAKE-UP, instead of being worm gears, are - ratchet; but the number of teeth to number of picks is the same as in - the Murkland. - - =Power back-off.= The Loom has a power back-off, as in the Duckworth, a - pressure of the foot being sufficient to reverse the Loom. - - =Separate cams= are provided for each arrangement of boxes, instead of - segment cams as in the Murkland Loom. - - =The Loom is pick and pick. Journals are operated from below by cams - and treadles.= - - The new Loom covers all the features demanded in a perfect Ingrain - Carpet Loom, including =ability to make all the new weaves=. - - - [Illustration: Parker Patent Drop Box Picker.] - - [Illustration: Pressed Centre.] - - Loom Picker Co. - Biddeford, Maine, - MANUFACTURERS OF - RAW HIDE AND LEATHER - Loom Pickers and Strapping, - - Including many varieties of Raw Hide Pickers never - before made in this country, such as - - Scoops, Centre Scoops, Pressed Centres, Feathered Feet Bows, XL Bows, - - All of which are a superior substitute for the ordinary Bow Picker. - - - Sole Manufacturers of the - PARKER PATENT DROP BOX PICKER, - - Which is so constructed that the blow is against the edge of the - hide forming the body of the Picker. These Pickers have no plug in - the Shuttle Strike to be driven out or worked loose, and they are - guaranteed not to break at the head. - - Also, Manufacturers of - LOOM HARNESSES OF SUPERIOR QUALITY. - - All Harnesses are made of the very best quality of twine and stock, - and are carefully finished. They are guaranteed to possess all the - requirements of a superior article. - - An Illustrated Catalogue giving a detailed description of our goods - will be mailed on application. - - - CHAS. ASHOFF, - - MANUFACTURER OF - REEDS AND HEDDLES, - And Dealer in - Manufacturers’ Supplies, - - _Nos. 191 and 193 Berks Street_, - PHILADELPHIA, PA. - - - Patent Jacquard Machines - - Applied to any Style or Make of Power Looms, for any Kind of Figured - Goods. - - Single Lifts, Double Lifts, Raise and Drop Jacquards, - - WITCH MOTIONS (DOBBY MACHINES), SINGLE AND DOUBLE-LIFT HEDDLE MACHINES. - - JACQUARD CARD-STAMPING MACHINES. - - [Illustration: Piano Steam-Power Card-Stamping Machine, For Jacquard - Cards. - - The speed is completely at the will of the operator, and will punch as - high as 170 strokes per minute. The capacity is about double that of a - foot-power machine. Two cards can be stamped at once.] - - [Illustration: Dobby Card-Punching Machine - - This machine is built for punching Jacquard or Dobby Cards of the - strongest pasteboard, punching the whole card at one revolution or - stroke. After the keys are set, any number of duplicates can be - punched. It is well constructed, simple, and a most effective machine.] - - [Illustration: Piano Foot-Treading Card-Stamping Machine. - - I have lately reconstructed this machine, making it more compact by a - novel and durable escapement of the rack.] - - The only successful machine ever introduced for this purpose. - - Far superior to hand lacing for regularity and durability. - - Light-running, simple and durable. - - Can be operated by a small girl or boy. - - [Illustration: Jacquard Card-Lacing Machine.] - - Will lace 800 to 2000 cards per hour. - - Thoroughly and satisfactorily tested. - - Weighs about 500 pounds. - - Machines now in operation and ready for the inspection of manufacturers. - - Machines placed on trial with responsible parties. - - W. P. UHLINGER, - Nos. 14 to 36 Canal Street, Philadelphia, Pa. - (Take red car on Third Street to Frankford Avenue and Canal Street.) - - - Knowles’ New Ingrain Power Carpet Loom. - - Designed to meet a want long felt in the manufacture of Ingrain - Carpets, for a loom that should be simple in its construction, easy of - operation, positive in its motions, and could be run at a high rate of - speed. - - The =KNOWLES LOOM WORKS= take pleasure in calling the attention of - carpet manufacturers to their new INGRAIN CARPET LOOM, as one in which - all the above features are combined in such a manner as to make a loom - that meets the requirements mentioned above, and one that will be - highly appreciated by manufacturers of those goods for which the loom - is designed. - - [Illustration] - - The following are among the important features: - - _The journals on the loom are controlled by a cam motion_, or by the - same efficient chain motion that is used on our Worsted Loom instead of - the cam motion, handling the warp with the greatest ease and _calling - either journal at will_, which cannot be done on other carpet looms, - thus giving a wider range of pattern and design than on other looms; - and should it be necessary to change the shading, it can be done by - changing the chain, instead of cutting out the warp and re-drawing it. - - _The box mechanism is positive_, and controlled by a chain on the same - shaft as the journals, and may be used with the chain alone, or with - the chain in combination with the cards. The motion can be run forward - or reversed at will, and any box called as desired, thus giving a wide - range to the shading facilities of the loom, and _any combination of - colors_ can be produced on this loom that can be done _on any_ 4 × 4 - _box loom in the world_. - - _The Jacquard is of our own manufacture_, and of the most improved - pattern. Great care is used in its construction, thus making it a very - efficient part of the loom, and is driven from the same shaft as the - journals and box motion, thus working in harmony with them. - - _The take-up motion is positive_, and is very substantial and accurate, - consisting of fluted rolls, and operated by the usual train of gearing, - while the goods are wound up on a roll below. - - _The let-off_ is controlled by the tension of the warp over a rocking - whip roll, operated by a cam on the bottom shaft, held by a clamp - friction, geared to the head of the beam. - - _Two filling motions are used_, one at each end of the lay, _each - working independently_ of the other, inside the selvedge, so that the - breakage of the weft is _instantly detected_, and these motions are - so combined with friction pulley and brake, that the loom is stopped - instantly “_on the pick_,” and consequently, when filling is replaced, - the loom is ready to start without loss of time in finding the pick, or - setting of Jacquard or box motion. - - _The shuttle-smash protector_, which knocks off the loom when the - shuttle does not box properly, thus preventing what are known as - “shuttle smashes;” _a shuttle check_, for easing the force of the - shuttle as it enters the box; _a foot lever_, for throwing the lay - back when the loom is stopped, making it very easy for the weaver, and - the _speed at which the loom can be run_, together with the features - mentioned above, combine to make this loom the best in the market for - the purpose for which it is designed. - - Correspondence solicited and circulars sent on application. - - KNOWLES LOOM WORKS, - No. 57 Jackson Street, Worcester, Mass. - - - Schaum & Uhlinger, - - 1030-1038 New Market St., Philadelphia, Pa. - - MANUFACTURERS OF - RIBBON, TAPE AND WEBBING LOOMS, - - LATEST IMPROVEMENTS. NEW PATTERNS. - - LATHES OR BATTONS, - - For Ribbons, Fringes, Tapes, Suspender and Goring Web, &c. We construct - our Lathes on correct mechanical principles, use only the best - materials, and produce THE BEST LATHE IN THE MARKET. Write to us for - estimates: it will pay you. - - JACQUARD MACHINES, - - With any desired number of hooks. Applied to any manufacture of loom. - - _Harness Tied up for all Figured Weaving._ - - A FULL LINE OF WEAVERS’ SUPPLIES: - - Mails, Lingoes, Heddles, Harness Twine, Compart-Boards, Glass Rings, - Shuttle Eyes, &c. - - If you contemplate manufacturing Figured Goods, write to us for - information, or send us samples of the goods you desire to make, and we - will furnish you estimates for a complete equipment, including Jacquard - Machines, with harness tied-up, designs made, cards cut, &c. - - Fifteen years’ practical experience in this line of business enables us - to give our customers the BEST RESULTS with the LEAST EXPENSE. - - Schaum & Uhlinger, - - 1030-1038 New Market St., Philadelphia, Pa. - - - TEXTILE SCHOOL - OF THE - PENNSYLVANIA MUSEUM AND SCHOOL OF INDUSTRIAL ART, - - Classrooms: {No. 1336 Spring Garden Street, - {S. E. Cor. Broad & Spring Garden Sts. - - THE LEADING TEXTILE SCHOOL IN AMERICA. - Founded in co-operation with the Trustees of the Penna. Museum - and School of Industrial Art, - - WM. PLATT PEPPER, President, - - by the following members of the Philadelphia Textile Association: - - Thomas Dolan & Co., - John & James Dobson, - William Wood & Co., - William Arrott, - John Yewdall, - Fiss, Banes, Erben & Co., - Conyers Button & Co., - George & James Bromley, - Seville Schofield, - Alexander Crow & Son, - James Smith & Co., - M. A. Furbush & Son, - John Bromley & Sons, - Thomas L. Leedom, - James Doak, Jr. & Co., - Charles Spencer & Co., - H. Becker & Co., - Andreas Hartel, - S. B. M. Fleisher, - Grundy Bros. & Campion, - H. W. Butterworth & Sons, - Stead & Miller. - - Extract from =COURSE OF STUDY= for Day Class, requiring three years’ - attendance at School. - - FIRST YEAR’S COURSE. - - The hand-loom, analyzed and explained. - - Elementary principles of “dressing” warps; beaming the same; fixing of - harness; drawing-in; reed and reed calculations, etc., for single cloth. - - A general study of the nature of materials used in weaving textile - fabrics; explanation of the necessary materials and instruments used by - designers. - - Weaves.--_Ground or Foundation Weaves._ - - I. Plain, or cotton weave, and fancy figuring through color - arrangements in warp and filling, for light-weight fabrics. - - II. Twill weaves--_a_, one-sided twills; _b_, even-sided twills; and - fancy figuring with same through color arrangements in warp and filling. - - III. Satin weaves--_a_, single satins; _b_, double satins; _c_, - figuring in single satins. - - _Drafting Weaves_. - - Lectures, with practical examples and rules observed. - - _Derivative Weaves_. - - Basket, rib, and granite weaves; steep, curved, broken, skip, - corkscrew, and fancy twills; pointed twills and honeycomb weaves; pique - weaves, and combinations of miscellaneous weaves. - - Standard sizes of cotton wool and worsted yarns, with calculations. - - Picking out samples of textile fabrics constructed on single weaves, - with methods and rules employed in duplication. - - Original weaves for single cloth; complete orders for manufacturing. - - Instrumental drawing in elementary exercises, with instruments; - construction of plane figures; line shading, etc. - - Freehand drawing; enlargement and reduction of designs; analysis of - plants for the purpose of design for textile fabrics. - - Work in color; lectures on color harmony. - - SECOND YEAR’S COURSE. - - The power-looms analyzed and explained, and practical weaving and - fixing; _a_, the Thos. Wood roller loom, for ginghams, shirtings, - cottonades, dress goods, etc.; _b_, the Crompton loom, and _c_, the - Knowles loom, for worsted and woolen fabrics of every description; - single and double beam work. - - Double Cloths--Study of the best methods of combining different weaves, - as: Designs backed with weft; designs backed with warp; designs backed - with warp and weft; designs for double cloth, double faced. - - Calculation: ascertaining the cost, production, etc., of the different - fabrics. - - Analyses of single cloth (fancy), and double cloth fabrics, and - reproduction with various changes, as requested. - - The Jacquard Machine Analyzed and Explained; principles of construction - and method of operation of the single lift machine; the various - modifications, such as double lift single cylinder, double lift double - cylinder; “laying out” of comber-boards, and figuring for various - changes in texture; tying-up of harness for single cloth. - - The Bridesburg Clipper Loom analyzed and explained, and practical work - on it, with special reference to its use in connection with the double - lift double cylinder Jacquard machine for damask table-covers, etc. - - Card-stamping machines (French index) analyzed and explained, and - actual work for single cloth on the machine; explanation of, and - practical work in card-lacing. - - Theoretical work; designing paper with reference to the different - textures of single cloth fabrics. - - Sketching of designs for single cloth, and transferring sketch to the - [O] designing paper. - - Shading of fabrics by the weave. - - Analysis of Jacquard work for actual reproduction; also for - reproduction with various (given) changes. - - Study of special fabrics, such as dress trimmings, fringes, etc. - - Study of processes for textile fabrics before and after weaving. - - Instrumental drawing in lettering; drawing plans for machinery, rooms, - mill buildings, etc. - - Illustrating processes of weaving. - - Illustrating sectional cuts of textile fabrics, etc. - - Freehand drawing; sketching for the different textile fabrics on - Jacquard work. - - Work in color; lectures (advanced course); practice in the use of color. - - _Chemistry._ - - Theory of Chemistry applicable to the textile art. - - THIRD YEAR’S COURSE. - - The two-ply ingrain carpet machine analyzed and explained. - - The ingrain carpet hand-loom, and the ingrain carpet power-loom, built - by the M. A. Furbush & Son Machine Co., analyzed, explained, and - practical work. - - Card-stamping machine (American index) analyzed, explained, and - practical work. - - Tying-up of Jacquard harness (French index) machines for double cloth; - three and four-ply fabrics. - - _Advanced Work for the Harness Loom._ - - Study and practical work of cut pile fabrics--velvets, plushes, etc.; - terry pile fabrics, with wires and without wires; terry and velvet pile - combined. - - Astrakans, cut, uncut, also cut and uncut combined. - - Chenille, rugs, curtains, etc. - - Gauze fabrics, plain, figured, and combined with other weaves. - - Designing for upholstery fabrics, Jacquard gauze, Brussels carpet, - tapestry carpet, double face Brussels carpet, etc. - - Card-stamping on the French index stamping machine for two, three, and - four-ply fabrics. - - Instrumental and freehand drawing similar to second year’s course, but - for more difficult objects in textile fabrics and machinery. - - Work in color; application of theory of harmony to dyeing. - - _Chemistry._ - - Theory and practice of chemistry, including actual work in the - laboratory and dyeing of fabrics. - - T. C. SEARCH, - - _Chairman Committee on Instruction of the School, - and Pres. Phila. Textile Association_. - - The Circular of the Committee on Instruction will be mailed upon - application. - - - PRESS COMMENTS. - - A Model School of Industrial Art. - - We cannot, at this time, speak of its provisions by which drawing, - modeling, designing, etc., are taught; but we desire to call particular - attention to the facilities that are offered for a practical - instruction in _weaving and textile design_. Special courses are - provided for _teaching designing_ for all varieties of _textile - fabrics_, and its _practical application to loom work_. As a complete - course in its theoretical and practical utility we do not hesitate to - say it _is without an equal in America_. A school of this kind is of - the highest importance to the manufacturing community that centres - about Philadelphia.--_Boston Journal of Commerce._ - - An American Textile School. - - _The Textile Department_ of the Pennsylvania Museum and School of - Industrial Art clearly fulfils the requirements of a good Textile - School, and the promise is that it will speedily become one of the best - in the world, as it is now decidedly the most advanced in this country. - Pupils are taught _designing for all varieties of textile fabrics_, and - to make them _thoroughly familiar with loom work_, so that they may be - able not only to prepare their own designs, but also to reproduce their - own patterns in the cloth. - - This institution, by fitting young Americans for exact scientific work - in the textile industries, will confer a huge benefit upon them and - upon the nation.--_The Textile Record of America._ - - The Textile Department of the School of Industrial Art, - 1336 Spring Garden St. - - Many scholars who have been at this school in former years are now - filling responsible and profitable positions.--_The Bulletin, Phila._ - - - Thomas Wood & Co., - FAIRMOUNT MACHINE WORKS, - Twenty-Second and Wood Streets, Philadelphia, Pa. - - POWER LOOMS. - - [Illustration] - - Patent Bobbin Winding Machines. - Patent Cop Winding Machines. - Improved Presser Beaming Machines. - Plain Beaming Machines. - Improved Reels for Wool, Worsted, Cotton, Linen, etc. - Improved Presser Spoolers. - Plain Spoolers. - Warp Splitting Machines. - Hank Twisting Machines. - - [Illustration] - - Warping Mills with Patent Driving Heads and Improved Hecks. - Single and Double Warp Sizing Machines. - Dyeing Machines for Warp and Piece Goods. - Cradle and Cone Indigo Mills. - Fulling Mills. - Calendering Machines. - Self-acting Wool Scouring Machines. - Yarn Bundling Presses. - Loom Beam Trucks. - - Shafting, Hangers, Pulleys, etc. - - Adjustable Self-oiling Bearings. - Patent Friction Pulleys. - Improved Cut-off Coupling. - Patent Couplings. - Patent Loose Pulleys. - Gearing. - - ELEVATORS. - Plans Made and Factories Completely Equipped with Machinery. - - - Mill and Manufacturers’ Supplies. - SOLE PHILADELPHIA AGENT FOR - - STODDARD, LOVERING & CO., - Boston, Massachusetts, and Bradford, England. - - Importers of English Worsted Machinery, and Hattersley Looms, - for every class of work. Also, Pickers, Temples, Loom Springs, - and White’s Picker Leather in the side or by the strap, - Torlotin’s Sizing; also, all other English Supplies. - - ALSO AGENT FOR - - CHARLES L. IRESON, - Boston, Massachusetts. - - Pure Oak-tanned Leather Belting and Findings, Wire-sewed - Belting, and maker of Ireson’s Patent Self-adjusting Leather - Link Belting. - - STEDMAN & SMITH, - Lawrence, Massachusetts. - - Machinists and makers of Machine Castings, and every kind of - Mill work. - - JOHN W. BARLOW, - Lawrence, Massachusetts. - - Bow, Drop Box, English Scoop, or other Pickers of best quality. - - BANNING, BISSELL & CO., - New York, N. Y. - - Porcelain Department:--Pot Eyes, Steps, Shuttle Eyes, and - Pottery Goods of every description. - - Single and Double Belting, Belt Hooks, Springs, Temples, Picker and - Lace Leather (Coupes), Cleaning Cloths, Belt Dressing, (both American -and Hepburn & Gale’s English), Felt Cloth, Porcelain Goods, Fibre -Washers, Banding, Gears, &c., &c., in stock at all times. All Supplies -not in stock can be procured at once. - - WORSTED MILL MACHINERY AND SUPPLIES A SPECIALTY. - - DAVID B. DOUGLASS, - - 201 Church St., Philadelphia, Pa. - - - - -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, - -In the html version, dittos have been replaced by the repeated text so -that text alignes for easier reading. - -In the html version, adverts (unless all plain text) have been -reproduced as illustrations to demonstrate layouts, decorations -and fonts. The text from each illustration is given below each -illustration, unformatted. - -The following mistakes have been noted: - - p. 9. Towards the end of paragraph 6, there is an unclear word, I - have used “on”. - p. 19. atttached changed to attached. - p. 33. F´´ = 100 , a repeat of “hooks” has been added. - p. 42. 3620 ends in warp. This adds up to 3600 rather than 3620 but - has been left as printed - p. 46. harness-cords 193 and 193. Checking with Fig. LIII it appears - to be 193 and 194, but left as printed. - p. 52. B to C, B´ to C´. Trailing “)” removed. - p. 57. Illustration: Fig. LXXV. is mislabeled, there is another LXXV - further on and this one should be LXV. - p. 68. lattter changed to latter - p. 72. reg lar changed to regular. - p. 76. arangement changed to arrangement. - p. 77. Lifte changed to Lifts and puntuaction made consistent. - p. 127. know changed to known - - - - - - -End of the Project Gutenberg EBook of The Jacquard Machine Analyzed and -Explained, by E. A. 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