file which includes the original illustrations4 ,see #cafcj-;h4htm or #cafcj-;h4zip3 7https3_/_/www4gutenberg4org_/cache_/epu b_/#cafcj_/pg#cafcj-;images4html7 or 7https3_/_/www4gutenberg4org_/files_/#ca fcj_/cafcj-;h4zip7 ,images of the original pages are available through the collection of ,facsimile ,books ,other ,digitally ,enhanced ,works1 ,the ,university ,of ,georgia ,libraries4 ,see http3_/_/fax4libs4uga4edu_/,t#hdhx,t#g_/ ,,hand-,,loom ,,weaving ,a ,manual ,illustration3 ,,weaving ,,on ,a ,,hand ,,loom ,showing the necessary positions4 ,the rug the little girl is weaving is made of heavy carpet wool4 ,the body of the rug is golden brown1 with stripes of deep blue and green1 separated by narrow stripes of white ,,hand-,,loom ,,weaving ,a ,manual for ,school and ,home by ,,mattie ,,phipps ,,todd ,of the ,motley ,school1 ,minneapolis1 ,minn4 ,with an ,introduction by ,alice ,w4 ,cooley ,formerly ,supervisor of ,primary ,schools1 ,minneapolis1 ,minn4 ,with ,fifty-seven ,illustrations ,illustration ,rand1 ,mc,nally ,company ,educational ,publishers ,chicago ,new ,york ,london ,copyright1 #aijb1 ,by ,mattie ,phipps ,todd ,,the ,,table ,,of ,,contents ,,page ,an ,introduction4 ,by ,alice ,w4 ,cooley #g ,chapter ,one4 ,the ,primitive ,loom #ac ,chapter ,two4 ,a ,chat on ,weaving #bb ,chapter ,three4 ,first ,steps in ,weaving #cj ,chapter ,four4 ,methods of ,stringing ,warp #db ,chapter ,five4 ,materials #ea ,chapter ,six4 ,directions for ,dyeing #eh ,chapter ,seven4 ,methods of ,splicing ,materials for ,weaving #hc ,chapter ,eight4 ,wool and ,silkoline ,rugs or ,mats #hf ,chapter ,nine4 ,hammocks #ic ,chapter ,ten4 ,face and ,dish ,cloths and ,bath ,rugs #ii ,chapter ,eleven4 ,raffia ,mats #aja ,chapter ,twelve4 ,oriental ,rugs #abb ,chapter ,thirteen4 ,navajo ,blankets #ace ,chapter ,fourteen4 ,songs1 ,games1 and ,stories #adc ,chapter ,fifteen4 ,a ,list of ,helpful ,books and ,magazine ,articles #aec ,the ,index #aei ,the highest aim of art is to make some useful thing beautiful4 ,kenyon ,cox4 ,,an ,,introduction ,for many years we1 the teachers of the ,united ,states assembled in village1 city1 ,state1 and national conventions1 have recited our creed and chanted it in all keys4 ,sidenote3 ,our creed ,we believe that man is a trinity1 three in one--head1 heart1 and hand1 one soul made manifest2 we believe that this union is vital and indissoluble1 since what ,god hath joined together may not be rent asunder2 we believe that this three-fold man1 being put to school on earth to grow1 may devise and bring to successful issue no scheme of education that is out of harmony with the plan of the ,creator4 ,congratulating ourselves upon our ready and distinct utterance of this lofty thought1 we have calmly returned to our man-devised book-schools for the acquisition of knowledge1 in order to forward some plan for the accumulation of more knowledge4 ,sidenote3 ,deeds1 not words1 are now necessary ,but wisdom lingered6 ,here and there voices were raised that would not be silenced3 ,you sang your beautiful song2 what are you going to do about it8 ,in the words of ,john ,stuart ,mill1 ,it is now time to assert in deeds1 since the power of words is well-nigh exhausted4 ,investigators1 studying this union of head and hand from the physiological side1 hurled truths at us that startled us from our lethargy4 ,sidenote3 ,physiological truths ,every stimulus poured into nerve cells through the avenues of the senses tends to pass out in motor action1 which causes muscular movement4 ,in every idea are vitally united the impression and the tendency to expression in action4 ,the nervous system consists of the fibres which carry currents inward1 the organs of central redirection1 and the fibres which carry them outward--sensation1 direction1 action4 ,since control means mental direction of this involuntary discharge of energy 7directed muscular movement71 control of the muscles means development of will as well as of skill4 ,to prevent or cut off the natural outflow of nervous energy results in fatigue and diseased nerves4 ,unrestrained and uncontrolled expenditure of nervous energy results in lawlessness and weakened will4 ,men of science said3 ,these are facts about man4 ,what account have you made of them in your elaborate system for educating him8 ,students of sociological and economic problems called out to us as the teachers of men3 ,sidenote3 ,labor must be respected ,these great problems concerning the relation of labor and capital 7the brotherhood of man7 will never be solved until there is greater respect for labor2 greater appreciation of the value of the products of labor2 until there is more joy to the worker in his labor1 which should be the expression through his hand1 of the thought of his head1 and the feeling of his heart2 until labor is seen in its true light1 as service2 until the man with money as well as the man without learns through experience to respect and appreciate labor and its products4 ,we absorb only so much as we can interpret in terms of our own active experience4 ,what contributions are our schools making to the bettering of social and industrial conditions8 ,philosopher and poet--thinker and seer--send their message3 ,that life is wisest spent ,where the strong1 working hand ,makes strong the working brain4 ,to create1 to make something1 is the instinct of divinity in humanity1 the power that crowns man as divine4 ,it is his impulse to create ,should gladden thee4 ,sidenote3 ,the will to do ,the practical business man thunders his protest at us against the inefficiency of the man with only the knowledge-stored brain4 ,he says3 ,we must have men that can will to do1 and then do something1 not merely men that can think of things 'twere good to do4 ,our public schools must train men and women to go out and take their place with the workers of the world1 to do something well and effectively4 ,sidenote3 ,systematic hand-training the work of to-day ,at last we are awake1 and throughout the country we are trying to heed these calls1 and to revive our own weakened thought by action1 singing our creed in deeds4 ,upon the foundations laid by ,friedrich ,froebel and his students in the kindergarten1 we are trying to build up a course in systematic hand-training1 through the primary1 to intermediate and grammar grades1 and thence to manual training in the high schools4 ,what to do and how to do it has now become the practical problem of the day4 ,everywhere the wide-awake primary teacher is sharing her thought and experience with her co-workers4 ,for little children1 the what must utilize material suitable for little fingers1 and tools must be large4 ,the finished product should belong to the maker1 or be made by him as a service rendered to others2 the result should also be worthy of keeping or giving1 from the view-points of both beauty and utility4 ,another important factor is the adaptation to present public-schoolroom conditions1 and to present public-school treasury conditions4 ,sidenote3 ,weaving the best hand work for primary schools ,more thoughtful study has led to the abandonment of the old-time sewing and fine handwork in kindergarten and primary school4 ,in its place we find the weaving of useful and beautiful articles1 out of various available materials1 and with simple1 primitive tools--allowing always for much and varied use of the great tools1 the fingers4 ,it is interesting to note that teachers in all parts of the country1 working independently of each other1 have come to practically the same conclusions1 viz41 that under present conditions1 weaving seems the best basis for a systematic course in industrial work that shall train head and heart as well as hand4 ,it is also of great interest to remember that the signboards along the pathway of race development1 by means of work1 exchange of labor and its products1 all point to this idea as the entering gateway4 ,weaving is the first industry of all primitive peoples4 ,sidenote3 ,this manual the result of study and experience ,being practically agreed as to what shall be the first industrial work in the primary school1 the next great question is the how4 ,with large numbers of little children in her own schoolroom1 the author of this manual has long sought a satisfactory answer4 ,believing that the results of her study and experience will be helpful to others in suggesting possibilities1 and in stimulating thought1 as well as in practical teaching and time-saving1 she sends forth this little book with the earnest hope that it may in these ways be of real service4 ,,alice ,w4 ,,cooley1 ,critic ,teacher and ,instructor1 ,university of ,north ,dakota4 ,august #ast1 #aijb4 ,,hand-,,loom ,,weaving ,chapter ,one ,,the ,,primitive ,,loom ,sidenote3 ,history of weaving ,weaving1 the oldest of the industrial arts1 dates back so far that no one can say when or where it had its beginning4 ,we read in ,genesis iii1 #ba1 that when ,adam was driven from the ,garden of ,eden he wore a coat of skin2 but1 not long after1 according to ,professor ,hurwitz1 the descendants of ,adam wore an upper garment called the simla1 which consisted of a piece of cloth about six yards long and two or three wide1 greatly resembling a blanket 7,ashenhurst74 ,this might have been woven from vegetable fibres1 perhaps from wool1 but in what manner we do not know4 ,the warp and woof of linen and woolen garments is mentioned in ,leviticus xiii1 #dg1 #dh4 ,sidenote3 ,dyeing ,spinning and weaving have been practised by the ,chinese1 ,hindoos1 and ,egyptians for thousands of years and carried by them to great proficiency4 ,the ,israelites were probably familiar with the art of weaving before their sojourn in ,egypt1 but it was there that they attained the skill which enabled them to execute the hangings in the ,tabernacle4 ,joseph's coat of many colors is a proof that dyeing existed at a very early period1 and the eloquent writings of ,ezekiel tell us of the beautiful colored cloths of ,tyre and ,damascus4 ,sidenote3 ,migration of weaving ,from the ancient world the art of weaving passed through ,europe and became known in ,england after the ,roman conquest4 ,no doubt primitive weaving with vegetable fibres1 and perhaps with wool1 was known in a very crude way before that time4 ,how the art developed1 and how improvement followed improvement1 makes very interesting reading for the student of textile fabrics4 ,sidenote3 ,weaving as the first industrial art ,we know that weaving is the first industrial art practised by primitive peoples1 from the fact that it is found among the savages of ,central ,africa 7,park7 and the islands of the sea4 ,clavigero1 in his history of ,mexico1 shows that on the conquest of that country1 weaving was found to be practised by the natives4 7,ashenhurst47 ,sidenote3 ,egyptian loom ,sidenote3 ,method of pushing the woof ,sidenote3 ,hindoo loom ,the ,egyptians are supposed to have been inventors of the loom4 ,there were two kinds in use1 one horizontal and the other perpendicular4 ,instead of a shuttle they used a stick with a hook at one end1 which was used also as a batten4 ,herodotus says that it was the practice of the ,egyptians to push the woof downwards1 and this method is pictured in many paintings2 but one representation found at ,thebes shows a man pushing it upwards4 ,the former method is1 ,i believe1 the one generally used by all nations1 and it certainly seems the easier way4 ,martin's description of a ,hindoo loom in his ,circle of the ,mechanical ,arts is interesting3 ,the loom consists merely of two bamboo rollers1 one for the warp and the other for the web1 and a pair of gears4 ,the shuttle performs the double office of shuttle and batten1 and for this purpose is made like a huge netting needle1 and of a length somewhat exceeding the breadth of the cloth4 ,this apparatus the weaver carries to a tree1 under which he digs a hole large enough to contain his legs and the lower part of the gear4 ,he then stretches his warp by fastening his bamboo rollers1 at a due distance from each other on the turf1 by wooden pins4 ,the balance of the gear he fastens to some convenient branch of the tree over his head4 ,two loops underneath the gear1 in which he inserts his great toes1 serve instead of treadles1 and his long shuttle1 which also performs the office of batten1 draws the weft through the warp1 and afterwards strikes it up close to the web4 ,sidenote3 ,crude implements used by primitive peoples ,sidenote3 ,patience and dexterity necessary ,ashenhurst says3 ,it is very evident that the implements used1 not only by the early ,egyptians1 but by other contemporaneous nations1 and even by the ,hindoos at the present time1 were of the rudest possible character1 and nothing but the most exemplary patience1 dexterity1 and great delicacy of hand1 acquired by long traditionary habit1 can account for the extraordinary beauty and fineness of their textile productions4 ,this exemplary patience1 dexterity1 and great delicacy of hand is exactly what we claim that weaving develops in our children to-day4 ,sidenote3 ,primitive loom in the public schools ,sidenote3 ,its disadvantages ,the primitive loom1 as it is made for use in the public schools1 is familiar to almost every teacher4 ,it consists of a wooden frame1 in the two ends of which are fastened brads at intervals of half an inch4 ,the warp is strung around these brads4 ,there is no variation either in the size of the rug or in the width of the warp to afford opportunity for different materials4 ,this is a decided objection1 as a new frame has to be made every time a change is desired4 ,the first difficulty encountered is the drawing in of the sides of the rug1 which is almost impossible to avoid1 even with the utmost care4 ,photographs of work in the leading educational magazines1 as well as samples of teachers' work1 all show the same defect4 ,the ,indians obviate this difficulty by twisting two stout cords in the edge of the woof during the process of weaving4 7,see illustration on page #ace47 ,in one school1 where the work in this respect was fairly well done1 the teacher was asked how she accomplished the result4 ,her reply was1 ,oh1 ,i make them pull it out every time it draws4 ,poor1 patient little fingers6 ,one can imagine the thoughts which were woven into that imperfect rug by the discouraged little worker4 ,another disadvantage of the primitive loom is that the child must bend over it while weaving1 and if1 by chance1 he turns it over to examine the other side of the work1 the brads are apt to leave an unsightly impression on the desk4 ,sidenote3 ,success in doing ,one of ,froebel's fundamental principles is that a child should never be allowed to fail--that his work should be so adapted that he will succeed every time1 and that he should be led step by step as his power grows1 to something more difficult4 ,one thing is forever good1 ,that one thing is success4 ,we have all experienced the joy of success in one way and another4 ,let us help the children to have the same experience4 ,sidenote3 ,idea of the new education ,sidenote3 ,small classes ,sidenote3 ,public school conditions ,the idea of the new education is that the child should work out his own salvation--that having wrestled with the difficulties involved in weaving on the primitive loom1 he should proceed not only to invent1 but to construct a newer and more improved loom4 ,in model schools1 where the classes are limited to ten1 or sometimes fewer children1 with one teacher and several assistants1 this idea1 if carried out1 is ideal1 and perhaps practical4 ,but what shall be said of the public-school teacher who has fifty children and no assistants2 or1 which is even more objectionable1 and which is the case in many of our crowded schools1 what of the teacher with two sessions of fifty children each8 ,it was the effort to solve a problem of this kind that led to the invention of the ,todd adjustable hand loom4 ,sidenote3 ,description of the ,todd loom ,illustration3 ,the ,todd adjustable hand loom1 ,style b ,sidenote3 ,the needle ,sidenote3 ,finishing the work ,sidenote3 ,removing the work ,the full size of the loom is #aj #ac inches1 upon which a rug #i #ab inches can be woven4 ,it is made adjustable to innumerable smaller square and oblong sizes1 by two devices4 ,to regulate the length1 the head piece1 which is movable1 can be let down on brass buttons1 which are disposed along the sides at intervals of an inch4 ,perforations are placed half an inch apart in the head and foot pieces so that the side rods can be moved inward to regulate the width4 ,they also insure straight edges1 since the woof threads are passed around them as the work progresses4 ,the rods also serve another important function as fulcrums upon which the needle may be pressed up and down1 so that it passes more easily over and under the successive warp strings4 ,the notches are one-sixteenth inch and the teeth one-eighth inch apart1 giving opportunity for warp one-half1 three-eighths1 and three-sixteenths inches wide4 ,the loom has an easel support1 so that the pupil need not bend over it--an important consideration in school classes1 and in home work as well4 ,this support makes it possible to use the loom for an easel in the painting lessons1 by resting a piece of pasteboard against it4 ,the needle1 which is longer than the warp is wide1 serves also as a heddle in pressing the woof threads together evenly4 ,it is furnished with an eye for worsted1 chenille1 carpet ravelings1 or rope silk1 and three slits for rags4 ,to thread the needle with rags1 pass the strip up and down through the slits and back again under the strip through the first slit4 ,this binds the strip securely4 ,in finishing the work weave the last few woof threads with a large tape needle1 putting it up and down1 over one thread at a time1 as you would sew on canvas4 ,it has been found desirable with children to push about an inch of woof threads close to the head piece and then fill in the space4 ,care should be taken not to pull the woof too tight4 ,if these directions are followed and the warp is strung correctly the strings will not slip out of the notches4 ,in adjusting the loom it will be found that the width from rod to rod is a little more than is required4 ,for instance1 for a rug nine inches wide1 the width from rod to rod will be about nine and one-half inches4 ,this is to allow for the springing together when the work is finished4 ,to remove it from the loom1 pull the rods gently upward and out4 ,then lift the warp strings out of the notches4 ,illustration3 ,the ,todd adjustable hand loom1 ,style a ,sidenote3 ,use of the primitive loom ,the primitive loom can be used by following these same directions1 but the work will1 of course1 be limited4 ,sidenote3 ,for school and home work ,while a great deal of the work is intended for the schoolroom1 many suggestions are given for home weaving1 in making various articles for birthday and holiday gifts4 ,chapter ,two ,a ,,chat ,,on ,,weaving ,sidenote3 ,weaving defined ,sidenote3 ,weaving trains both hands ,sidenote3 ,the three-fold development ,weaving is the art of interlacing threads1 yarns1 filaments1 or strips of different material1 so as to form a cloth or fabric4 ,it is an ideal occupation1 not only for little children1 but for older ones as well1 affording admirable opportunities for the development of head1 hand1 and heart4 ,it trains both hands in deftness and proves a delight to the left-handed child1 who for the joy of using his left hand again1 will plod patiently across with the right4 ,the fat little hands soon learn to grasp the large needle1 and the nerves and muscles of both hand and arm are strengthened by daily use4 ,both hand and eye are trained in accuracy1 and the training in patience1 perseverance1 industry1 economy in the use of materials1 perception1 concentration1 dexterity1 and self-reliance cannot be overestimated4 ,the heart1 too1 has its part in the joy of giving to others1 for the children are encouraged to make little gifts for the home4 ,a consciousness of power comes1 also1 with experience2 and a sense of self-respect arises when the child realizes that he is of some use in the world4 ,sidenote3 ,knowledge of principles necessary ,lois ,bates1 in her ,kindergarten ,guide1 says that in the manufacturing districts of ,england great numbers of the children who pass through the elementary schools are employed in mills where weaving is carried on1 or enter textile schools to learn designing in cloth4 ,if this occupation of mat-weaving could be continued until the children had a thorough knowledge of its principles1 how much intelligence might be brought to bear on the actual weaving and how much more pleasure might the worker draw from labor that is often looked upon as so much mechanical drudgery6 ,the keynote for this is the thorough knowledge which is necessary1 whether or not our children are to enter textile schools4 ,whatever they do1 let them do it thoroughly4 ,it should always be a question of quality1 not quantity4 ,sidenote3 ,simple weaving the first essential ,sidenote3 ,mats as a preparation for loom weaving ,sidenote3 ,slat interlacing and splint work lead to basketry ,for this reason ,i have taken up1 quite at length1 the subject of first steps in weaving1 believing that children should be kept at simple weaving until they understand the principles thoroughly4 ,the felt and paper mats prepare the way for loom-weaving2 the free paper weaving1 and the slats and splints for basketry4 ,a few suggestions on the use of the slats and splints have been given for two reasons3 ,first1 for the training which they afford in dexterity and great delicacy of touch1 to say nothing of exemplary patience2 and second1 because the preliminary training for basketry should be given in the lower primary grades4 ,the time necessary to train clumsy fingers can hardly be taken from the regular work in grades where basketry is a prescribed course4 ,skill in the fundamental methods of weaving is essential even as the fingers must be trained in music before the soul of the musician can find its expression4 ,make good baskets first1 simple in shape1 strong in texture1 suited to the purpose for which they are intended2 unconsciously they will grow beautiful4 ,the most intricate basket will fail in its purpose if the joinings are careless or flaws in workmanship permitted4 ,if originality is within the weaver1 it will find its expression1 once the principles of weaving are second nature4 7,c4 ,s4 ,coles47 ,this is also true of rug and mat weaving1 for the aim of all training should be to bring out the best there is in a child4 ,sidenote3 ,devotedness to duty ,the longer on this earth we live ,and weigh the various qualities of men1 ,the more we feel the high1 stern-featured beauty ,of plain devotedness to duty2 ,steadfast and still1 nor paid with mortal praise1 ,but finding amplest recompense ,for life's ungarlanded expense ,in work done squarely and unwasted days4 --,james ,russell ,lowell4 ,sidenote3 ,weaving the foundation for designing ,sidenote3 ,honest work begets sympathy with labor ,sidenote3 ,interdependence in life ,the ,kraus-,boelte ,guide has some good suggestions with regard to the value of paper mat weaving1 in number training1 and for following certain formul which will lead ultimately to invention4 ,mme4 ,kraus-,boelte says3 ,weaving leads to independent effort and offers the greatest scope for future technical work1 for it lays the foundation for designing4 ,even though it may not fan into flame a latent spark of genius1 this means of occupation at least tends to show the value of honest labor4 ,the child not only recognizes the value in honest labor1 but his sympathy with all labor is aroused through his own efforts and through the stories told of weavers in all lands4 ,he realizes1 also1 although in a limited way1 the interdependence of the whole world4 ,if the sun did not shine1 and the rain fall1 there would be no grass4 ,if there were no grass1 what would the sheep do8 ,if the sheep did not give any wool1 what would the weaver do8 ,if the weaver could not weave1 what would we do for clothes8 ,little children are always delighted to go back to the beginning of things4 ,oh1 the joy of looking back on one's school days6 ,as ,friedrich ,richter has truly said1 ,recollection is the only paradise from which no man can be driven4 ,sidenote3 ,some difficulties ,sidenote3 ,a bit of experience ,sidenote3 ,one solution ,sidenote3 ,community feeling continued ,one important thought in this whole subject is that the work should be so arranged as not to add any additional burden to the already crowded life of the teacher4 ,it is a lamentable fact that we have overcrowded rooms1 and only one pair of hands to do all that has to be done4 ,perhaps a bit of the author's own experience will be of some assistance4 ,after looking the subject squarely in the face and considering it on all sides1 the writer came to the conclusion that it would be an impossibility to do all the work alone4 ,so some helpers were called from the pupils of the higher grades1 and the request met such a hearty response that it was wondered why it had not been tried before4 ,as it is now arranged the older girls come in before school and at recess4 ,they wind worsted1 correct any knitting that may be wrong1 start new spools1 string looms1 cut material for rugs1 water plants1 keep the closets where the materials are stored in order1 and do many other things which relieve in a great measure the burden of detail4 ,when it is possible1 the teacher should choose girls who have a sister or brother in the room1 because their interest is stronger and more lasting4 ,of course1 some training is necessary1 but the result compensates for the trouble4 ,sometimes the work in other grades can be so planned that the children can make paper mats1 etc41 for use in the first grade4 ,the beautiful community feeling begun in the kindergarten can thus be continued in the public school4 ,the time will come when boys and girls in the higher grades will design patterns for the younger children to weave4 ,sidenote3 ,nature knows no hurry ,take plenty of time in the first part of the year to teach the children to work well4 ,time is nothing when power is growing4 ,there are some children who learn faster than others and they are always delighted to go about the room and help the slower ones4 ,it will sometimes be found that they know just how to explain a difficult point--perhaps because they have just conquered it themselves4 ,sidenote3 ,a child's work should be suited to his capacity1 without regard to grade ,sidenote3 ,train the individual ,no work has been specified as suited to any particular grade4 ,it should depend entirely upon the children4 ,while1 for convenience1 courses in industrial training are planned1 advising certain lines of work which experience has proved the best for first1 second1 or third grade1 there are in every school1 certain children who have more manual than mental ability4 ,these are left behind as the more favored ones are promoted1 and because a certain course has been recommended for that particular grade1 they must1 perforce1 do it all over again4 ,instead of bringing out the best in these less fortunate ones1 and developing and strengthening their minds through the hand by offering something not only new and interesting1 but which presents new difficulties to conquer1 we stunt their growth by giving them the same baby work term after term4 ,it is time that earnest teachers considered this important question4 ,let us give up training the mass and begin to train the individual4 ,through our interest in them they may find their life work4 ,if a child in the first grade is prepared to do any industrial work of a higher grade1 no matter how dull he may otherwise be1 by all means let him do it4 ,it is his way of expressing what lies within him4 ,not only will his hand and mind be trained thereby1 but his heart will be filled with the joy that always comes through achievement4 ,sidenote3 ,value of hand training ,sidenote3 ,if you would develop morality in a child1 train him to work ,sidenote3 ,making citizens ,hand training has been found to be of great value in all other work4 ,the children are brighter1 and seem better able to grasp an idea4 ,the slow children are also stimulated1 and in doing the simple work well are preparing for that which is more difficult4 ,impression and expression should go hand in hand4 ,we know nothing of the bad boy1 now that we have found something for his restless fingers to do4 ,the habit of methodical work is the basis of all ethics4 ,in teaching children to do their best1 we are training citizens4 ,some one has facetiously remarked that1 ,in the making of a good citizen it is necessary to catch your citizen early4 ,we cannot get hold of the anarchists1 but we can get hold of their children1 and in the training of them to work lies their salvation4 ,formation is better than reformation4 ,sidenote3 ,formation1 not reformation ,sidenote3 ,new applications for old teachings ,verily1 there is nothing new under the sun4 ,we hie ourselves to the summer schools1 and return laden with new ideas--when lo6 it dawns upon us that all we have done during the hot days has been to make a new application of what ,froebel taught the world before we were born4 ,so in this introduction1 an old story has been retold1 but ,i hope that it will come with a new meaning to my fellow teachers4 ,chapter ,three ,,first ,,steps ,,in ,,weaving ,sidenote3 ,felt mats and slats ,sidenote3 ,demonstration cards and diagrams ,the principles of weaving are very easily learned with felt mats and slats4 ,one-half a yard of felt two yards wide will make thirty-six mats six inches square4 ,these are very durable1 and can be used year after year1 if protected from moth during the summer4 ,some prefer leather or oil-cloth mats1 backed with heavy unbleached muslin1 but they are more expensive1 and not so pleasant to work with as the soft wool4 ,the slats1 which should be at least one-half an inch wide1 can be obtained at any kindergarten supply store4 ,buy the uncolored slats and dye them yourself4 ,dark green mats1 woven with deep red slats1 are pretty4 ,the slats are easier to handle if they are soaked and cut the required length before dyeing4 ,when the six-inch mats are cut1 allow a three-quarter-inch margin on all sides4 ,measure the mat for one-half-inch strips1 of which there will be nine1 and mark by snapping a chalked string upon the mat4 ,double it with chalked lines outside and commence to cut from the center2 then open and finish cutting to the margin4 ,it would be better for very little children if the strips and slats could be one inch wide4 ,in this case the mats would1 of course1 be larger1 and it might be necessary to have the slats made to order4 ,the slats should be kept in little bundles containing the required number1 and secured by rubber bands4 ,if one could have plenty of time and material it would be a good plan to have several sets of mats of different sizes1 so that the children would not always be confined to one number and its combinations in a certain set of patterns--in this case1 nine--but have the pleasure which comes from variety4 ,demonstration cards and diagrams for weaving can be obtained at the kindergarten and school-supply stores4 ,an illustration of an excellent demonstration frame can be seen in the ,kindergarten ,guide1 by ,lois ,bates4 ,sample mats can be woven by the older children from the designs in any of the ,guides1 and given to the smaller children to copy4 ,sidenote3 ,purpose of practice mats ,sidenote3 ,do not deceive the child ,when the purpose of these practice mats is understood there can be no objection to them on the ground that the work is destroyed by pulling out the slats each time4 ,it is not an unusual thing to see in schools1 and even in kindergartens1 faithful and conscientious teachers remaining after hours to pull out the slats1 on the principle1 perhaps1 that what the children do not see will not affect their development1 and the innocent little bundles are given out again on the morrow1 only to undergo the same experience at night4 ,one wonders sometimes if this is possibly within the definition of deception4 ,we mount to the summit1 round by round1 and when the children understand that in doing the work with the slats well1 they are only learning how1 and that each successful attempt brings the delightful day nearer when they may have a loom to work upon1 they are perfectly satisfied4 ,sidenote3 ,long slat weaving ,when the children have learned to weave the small mats1 further practice can be had by weaving long slats into a warp of cord on the loom4 ,it is better to conquer the mystery of over and under in this way than to undo the work and wear out the material after making a mistake4 ,sidenote3 ,paper mats ,many teachers prefer to make the practice mats of paper because they are cheaper4 ,heavy paper1 in desirable colors1 can be obtained at the wholesale paper houses1 and for a small sum can be cut in squares of any required size4 ,mats can be made more durable by pasting them on heavy muslin before cutting4 ,in many schools children in grades above the entering room prepare their own mats by measuring with tablets or rulers and then drawing and cutting on the lines4 ,when they have learned to do them well1 let each child make one for the entering room4 ,nothing strengthens the community feeling so much in a school as to encourage the older pupils to help the younger4 ,sidenote3 ,mat weaving in the kindergarten ,the mat-weaving1 as it is done in the kindergarten1 is very beautiful and fascinating work4 ,the mats can be obtained in any size and any width of strips at the supply stores4 ,the weaving is done with a long steel needle which has a spring at one end to hold the strip4 ,after preliminary work with the felt mats and slats the children find themselves able to weave quite independently1 particularly if demonstration cards or sample mats are placed before the class4 ,an infinite variety of patterns1 which later will be useful in wool-weaving1 can be found in the ,kindergarten ,guides4 ,in weaving patterns having a center1 it is better to weave two strips at once1 pushing one to the top and one to the bottom of the mat4 ,the old numbers of the ,godey and ,peterson magazines have patterns for ,berlin wool and bead work which can be used for the paper mats with good effect4 ,mrs4 ,kate ,douglas ,wiggin 7,mrs4 ,riggs7 has some good suggestions for invention in weaving1 in her ,republic of ,childhood 7,occupations74 ,the value of weaving in number work is also admirably set forth in this book4 ,sidenote3 ,gifts ,at ,christmas time many charming little gifts can be made of these mats4 ,sachet cases made of a six or eight inch square1 with four corners folded to the center1 are attractive4 ,inclose a square of wadding1 in which a pinch of heliotrope or white rose perfume powder has been hidden1 and fasten the corners together with a scrap picture of old ,santa ,claus4 ,slat work is useful in learning the fundamental principles of weaving1 although this work is more closely related to basket than to rug weaving4 ,it is an excellent preparation for the free-paper weaving1 and is also a step toward basket work4 ,sidenote3 ,interlacing slats ,in interlacing slats the mystery of over and under is solved and the dependence of one slat upon another in making a perfect whole is shown in a forcible way1 particularly when the form falls to pieces in the attempt to lift it from the table4 ,edward ,wiebe says in his ,paradise of ,childhood3 ,it was the one slat which1 owing to its dereliction in performing its duty1 destroyed the figure and prevented all the other slats from performing theirs4 ,one experience of this kind will teach more than a thousand precepts4 ,the geometrical forms learned in the sense-training lessons can be reproduced with the slats and will thus be impressed upon the mind during the period of busy work at the desk4 ,a series of beautiful designs is published by ,e4 ,steiger1 ,new ,york4 ,many designs may be grouped for decoration1 and single symmetrical figures can be mounted upon heavy paper4 ,sidenote3 ,free-paper weaving ,sidenote3 ,sequence ,free-paper weaving requires quite a little skill of hand and a great deal of patience before the child can achieve a successful result4 ,perhaps a few words regarding it1 and information about a simple sequence of paper patterns1 will not be out of place1 since so many are to-day taking it up4 ,strips of manilla paper forty inches long and one inch wide are used4 ,these are cut into strips eight inches1 sixteen inches1 twenty inches1 and twenty-four inches in length4 ,for the first pattern of the sequence take four strips eight inches long and double each one4 ,hold two of them side by side in the left hand1 so that the open ends of the outer strip are at the top while those of the other are at the bottom4 ,with the right hand inclose the first strip in the left hand with one of the remaining double strips and pass the ends of the latter between the two ends of the second strip4 ,then hold the work in the right hand and proceed in the same way with the left hand4 ,when both strips are in1 draw them tight and they will be firmly woven4 ,the ends can be cut in any way desired4 ,these little forms can be used for bookmarks4 ,they are very attractive when made in two tones of one color4 ,illustration3 ,sequence in paper weaving ,sidenote3 ,sequence weaving ,the second pattern of the sequence is made with sixteen-inch strips4 ,the first part is woven like the bookmark4 ,four double strips now project from the square4 ,begin at the bottom and fold back the upper one of each of these double strips4 ,as you do this you will find that you are weaving another square on top of the first one4 ,to secure the last strip pass it under the square next to it and pull it through4 ,you will now have eight single strips1 two on each side4 ,to form these into points for a star proceed as follows3 ,begin with the right-hand strip at the top and number all the strips from one to eight4 ,fold number one back toward the right1 making at the fold a right-angled triangle4 ,fold the strip down again towards you1 making another triangle which is folded back to the left on the first one4 ,slip the end of the strip under the square next to it and cut it off4 ,proceed in the same way with three1 five1 and seven4 ,then turn the form over and fold the strips two1 four1 six1 and eight in the same way1 cutting off the strips when finished4 ,many of these stars can be joined to make mats1 baskets1 picture frames1 etc4 ,they are pretty when made of gilt or colored paper for ,christmas decorations4 ,sidenote3 ,sequence weaving ,pattern number three1 a bookmark1 is made like the first1 except that eight strips of sixteen-inch length are used and the strips woven at right and left are finished as directed for the mat4 ,number four is another form like this1 with the long ends back and front slipped through squares to form a napkin ring4 ,number five is a six-inch mat made of twelve twenty-inch strips4 ,weave six double strips left and right into two strips and then add four to make the square4 ,to finish the edge cut off the under one of each double strip1 fold the upper one over it and then slip it under the square which comes next1 cutting it off even4 ,strips of felt can be woven in this way for table mats or holders4 ,the sixth pattern is a pencil holder or a basket1 as you may wish4 ,it may be round or square on the bottom--in the latter case the sides are creased to form a square prism4 ,double twelve twenty-four-inch strips1 weave eight right and left into four2 finish one long edge for the top of the basket as you did the edge for the mat4 ,bend in the form of a ring and slip the ends as you did for the napkin ring1 cutting them off4 ,to make the bottom1 crease all the projecting ends in and weave together as you did the second part of number two only double1 and fasten the strips on the outside of the basket4 ,this makes a good waste basket for the doll house4 ,with a cover it would make a fine hamper for ,miss ,dolly's clothes4 ,illustration3 ,examples of splint work ,sidenote3 ,weaving with splints ,this free weaving leads directly to weaving with splints4 ,these are much thinner than slats and can be obtained at the kindergarten supply stores4 ,many beautiful things can be made with splints4 ,they are easily dyed at home and many pleasing combinations of color can be obtained in this way4 ,celluloid strips make beautiful boxes and baskets4 ,sidenote3 ,jacob's ladder ,a delightful exercise with the small children is the making of a ,jacob's ladder1 or ,pussy-cat stairs1 as they are often called4 ,fold a forty-inch strip of paper1 one inch wide1 so as to form a right-angle in the middle4 ,or1 if a longer ladder be desired1 place one end of a forty-inch strip over the end of another one1 at right angles1 and fasten with a drop of paste4 ,fold from left to right1 one strip upon the other1 until you come to the end2 then pull out1 and behold the stairs6 ,the fat and clumsy little fingers will work patiently a long time to achieve this charming result1 and much skill of hand will be gained in the doing4 ,use colored paper for this whenever possible4 ,illustration3 ,a skirt for winter ,illustration3 ,a mitten and a cap ,the illustrations on this and on the following page show some fascinating work for little hands4 ,the looms are made of heavy pasteboard cut in notches1 in which the warp of the same material as the woof is strung4 ,care should be taken to keep the warp straight1 and to finish all the edges well4 ,the articles in the illustrations were made by first-grade children in the ,ericcson ,school1 ,st4 ,paul1 ,minn4 ,illustration3 ,a sweater for the doll ,chapter ,four ,,methods ,,of ,,stringing ,,warp ,sidenote3 ,warp of three widths ,the adjustable loom can be strung with warp of three widths1 one-half inch1 three-eighths inch1 and three-sixteenths inch1 thus giving opportunity for a variety of materials4 ,for heavy rags1 candle wicking1 etc41 wind the warp strings around three teeth in the head and foot pieces4 ,this will give a warp of one-half inch--that is1 one-half inch from one string to the other4 ,for silk1 silkoline1 finer rags1 carpet ravelings1 double wool1 etc41 wind the warp strings around two teeth1 thus making a warp of three-eighths inches4 ,sidenote3 ,kindergarten patterns ,for double wool1 worsted1 rope silk1 chenille1 or raffia1 where one wishes to reproduce kindergarten designs1 as in paper-weaving1 place the warp strings around one tooth only4 ,this makes a close warp of three-sixteenths inch1 which helps to form the design with the woof threads4 ,in this case the warp should be of the same material as the woof4 ,in kindergarten patterns the woof threads determine the color effect4 ,it is better to have the children weave the pattern first with practice mats and slats1 particularly if they have never had experience in the kindergarten4 ,suggestions for weaving kindergarten designs are given under the head of ,raffia4 ,sidenote3 ,plaids ,for a plaid effect1 string the warp at regular intervals1 with different colors4 ,then weave the same colors at equal intervals to form the plaid4 7,see illustrations1 pages #ib1 #ih1 and #aja47 ,shawls1 carriage blankets1 etc41 woven in this way are very attractive4 ,sidenote3 ,stripes ,a striped warp is strung in the same way4 7,see illustrations1 pages #aja and #aag47 ,the stripes could be continued through the mat1 if desired1 by weaving only one color in the woof4 ,by weaving two colors squares are obtained such as those seen in the corners4 ,sidenote3 ,materials for warp ,for weaving with carpet ravelings or rags1 and sometimes double wool1 where a plain effect is desired1 the warp should be of common twine1 as near the color of the work as possible4 ,carpet thread is good1 especially for the double warp in ,turkish rugs4 ,balls of warp string can be obtained at department stores4 ,oriental cord comes in several colors1 and can be had at a few cents a ball at the notion and stationery counters in department stores4 ,sidenote3 ,how to string a warp ,the warp should always be one continuous string1 and several inches should be left at each end in order to fasten securely when the work is finished4 ,if preferred1 the warp ends can be fastened before the weaving is commenced4 ,care should be taken to place the first and last strings of the warp directly over the rods1 and1 in weaving1 to pass the woof threads entirely around the rods and strings to insure straight edges4 ,the ends of wool warp threads should be wound in and out of the notches to the right and left of rods1 to fasten them until the weaving is finished4 ,it sometimes happens that little children1 and more especially those who are blind1 pull up the warp strings when near the end of the work4 ,in such cases it is a good plan to pass a rubber band over the warp strings at the top of the loom and behind the bars1 back of the head piece1 making it set up close by putting it around one tooth at each end4 ,in this way the warp strings cannot possibly slip out of the notches4 ,sidenote3 ,splicing with a weaver's knot ,sidenote3 ,a raffia warp ,some teachers splice the warp with a weaver's knot1 an illustration of which can be seen in any large dictionary4 ,the continuous string is to be preferred1 however1 as experience has proved that even a weaver's knot will sometimes fail to stand the stress of weaving4 ,it is very difficult to splice a warp of raffia4 ,it is better to knot the warp threads in pairs 7see directions1 page #df71 leaving two or three inches beyond the head and foot4 ,these ends may be used for a fringe by tearing very fine1 or they may be run down in the woven part with a darning needle1 as rattan is run down in basket work4 ,sidenote3 ,to fasten wool or silk warp strings ,sidenote3 ,when the warp is correct ,when the weaving is done and the mat lifted from the loom1 the ends of the wool warp strings can be run in along the sides with a tape needle4 ,if the warp be of twine1 it is better to tie the end to the next warp string and allow the fringe to cover the knot2 or1 as in the case of silkoline1 the woof strips can be caught over the warp strings with silk of the same color in order to hide them4 ,only experience can teach the tightness with which a warp should be strung4 ,worsted1 carpet thread and twine will stretch as the work progresses1 and raffia will not4 ,if the warp be too loose the work will be uneven and the strings will slip out of the notches4 ,if it be too tight it will be difficult to finish the last two or three inches and the woof threads will look crowded4 ,the best test is to place the hand upon the warp before commencing to weave4 ,if it feels firm and does not push down too easily1 but springs slightly beneath the hand1 it is probably correct4 ,sidenote3 ,to string a warp for fringe ,sidenote3 ,to string the warp threads in pairs ,where the warp is of the same material as the woof and it is desired to extend it to form a fringe1 it can be done in the following manner3 ,after the loom is adjusted for the size required1 cut the warp strings so as to allow two or three inches beyond the head and foot pieces4 ,if you intend to knot the fringe in some fanciful way after the weaving is finished1 allow four or five inches4 ,take two threads1 knot so as to leave the required length for fringe below the foot piece1 then pass around one or two teeth1 as the case may be1 draw tightly to the head piece and knot firmly on the upper side1 leaving a fringe of the same length there4 ,knot the strings in pairs in this way until the whole warp is strung4 ,it will be noticed that the rods are placed beneath the notches of odd numbers4 ,in knotting warp strings in pairs it will be found necessary1 when the last tooth is reached1 to do one of two things--either allow one string to lie beyond the rod1 or1 having strung the warp within one tooth of the rod1 to start the next string in the same notch1 bringing the two strings together4 ,this will bring one string on top of the rod and none beyond4 ,in the first case1 the string beyond the rod must be taken up in weaving with the one on top of the rod4 ,experience has proved the second method to be the better one4 ,sidenote3 ,double warp for ,turkish rugs1 etc41 with fringe ,kiz-,kilim rugs have perforated or open-work patterns4 ,to produce this effect string a double warp through every notch in the foot and head pieces2 that is1 use two strings in each notch1 tying in pairs for fringe as before4 ,use a brownish white carpet thread4 ,with strong black thread string through every other notch to outline perpendicular sides of squares in the pattern4 ,your warp will be strung three-sixteenths inch1 but the black threads will be three-eighths inch4 ,this will enable you to keep the patterns straight as the work progresses4 ,illustration3 ,a ,kiz-,kilim rug pattern ,sidenote3 ,patterns for ,turkish rugs ,in drawing designs for ,turkish rugs1 where the pattern is to be placed under the warp1 it is better to make a squared paper first4 ,lay the head piece of the loom upon unlined paper4 ,place a dot at every other notch4 ,draw perpendicular lines first1 then dot for horizontal lines4 ,the result will be a foundation to fit your loom4 ,if the squared paper of the kindergarten be used the squares will be either too large or too small to correspond with the notches in the loom4 ,it will be found very easy to transfer a pattern from a rug to the paper4 ,fasten the pattern under the warp by overhanding to the rods1 taking care to have the black strings directly over the perpendicular lines in the pattern4 ,sidenote3 ,patterns for ,navajo blankets ,patterns for ,navajo blankets are usually triangular4 ,draw on unlined paper and fasten under the warp as before4 ,sidenote3 ,to string a continuous warp for long strips ,rugs and similar articles may be made of any length by stringing a continuous warp4 ,after the length has been decided upon1 cut the warp strings twice as long4 ,place the middle of one string around the first tooth of the foot piece 7or two or three1 according to the width of warp desired7 and bring up the two ends firmly to the first tooth in the head piece4 ,knot securely and let the long ends extend beyond the head piece4 ,if desired they can be wound on spools1 or around the tops of the rods1 to prevent tangling4 ,continue until all the warp is strung4 ,observe the instructions given before for stringing warp strings in pairs4 ,it is not necessary to weave the loom full each time1 as the last inch is very slow work1 but when the weaving is near the head piece draw out the rods1 lift it from the notches1 pass it down to the foot piece so that the part which was at the head is now at the foot1 untie the knots so that the work will lie close to the foot piece and knot the warp strings as before at the head piece4 ,this can be done as many times as desired4 ,sidenote3 ,methods of fastening long strips together ,for afghans1 slumber robes1 couch covers1 etc41 crochet with plain stitch or baste on oil-cloth and weave together with tape needle1 making it as nearly like the original weaving as possible4 ,by studying ,turkish rugs and curtains one can learn how to put strips together with a fancy stitch somewhat like our feather stitch4 ,strips for floor rugs should be basted on oil-cloth and the warp strings in the two edges caught together at intervals1 running the connecting thread through the loops so as to be invisible4 ,finish the outside edges by stitching on a tape of the same color1 by machine4 ,sidenote3 ,table covers1 afghans1 slumber robes1 or large rugs ,by making several of these long strips and fastening them together one can have a table cover1 afghan1 slumber robe1 or a large rug4 ,sidenote3 ,floor rugs ,the floor rug shown in the illustration on page #ajj 7#a-a_/d yards by #c_/d yard7 is woven in strips with a continuous warp4 ,the center strip is one yard long and nine inches wide4 ,it is made of deep cardinal carpet wool4 ,the strips of black1 nine inches wide at the sides and ends1 terminate diagonally1 as seen in the illustration4 ,the black diagonal lines show where the weaving ends4 ,the warp is then tied and cut close to the weaving4 ,the strips are to be sewn or crocheted together4 ,sidenote3 ,fine weaving ,sidenote3 ,to produce a design with the woof ,for very fine weaving1 where it is necessary for the warp threads to touch each other in order to produce a design with the woof1 string a double warp in every notch with the same material4 ,then1 with a tape needle1 separate the warp threads1 twist one over the other so that all will lie side by side1 and secure them by weaving a few times across the loom4 ,by using this method1 one can have a close warp on the wooden looms4 ,sidenote3 ,warp for doll towels ,in stringing warp in pairs for doll towels1 have two strings on each bar and one extending one notch beyond at each side4 ,this makes a good fringe for the edges of the towel4 ,chapter ,five ,,materials ,sidenote3 ,silkoline ,plain and figured silkoline should be cut in bias strips one-half inch wide4 ,stretch and pull through the hands until both edges are raveled4 ,when these strips are woven1 the rug or mat will be reversible4 ,figured silkolines give a pretty mottled effect1 especially those in which ,turkish colors predominate4 ,rugs having plain centers and mottled borders are beautiful4 ,a full-sized rug requires nearly two yards of material4 ,sidenote3 ,cheese cloth ,strips of cheese cloth can be prepared in the same way4 ,cut them three-fourths inch wide on account of the tendency to ravel4 ,serviceable face and dish cloths can be made of white cheese cloth4 ,some of the colored cheese cloths make pretty rugs4 ,when a desirable color cannot be found1 the white cloth can be dyed at home4 ,sidenote3 ,dress linings ,soft dress linings come in many beautiful colors4 ,old pieces may be utilized by cleaning and dyeing4 ,the pieces are cut in bias strips1 one-half inch in width4 ,sidenote3 ,silk ,pieces of old silk can also be prepared in this way4 ,one can often obtain new pieces at dressmaking establishments4 ,sidenote3 ,candle-wicking ,table mats1 wash cloths1 and similar articles can be made from candle-wicking4 ,for lamp mats1 cushion covers1 and other articles the material may be dyed and woven in two colors1 or in two tones of one color4 ,a number of squares can be joined to make a hammock pillow4 ,by stringing a close warp with white or colored wicking and weaving over and under one string with the same material1 a coarse canvas can be made1 upon which the children can cross-stitch a pretty border and center piece1 or an all-over pattern by copying the kindergarten designs1 or even initials and monograms4 ,most of the canvas sold at the stores1 even the old ,java canvas of our childhood days1 is too fine for little children to work upon4 ,in canvas made of candle-wicking by the child himself1 the squares are large1 and to this there is the added pleasure of the child being able to say when the work is finished1 ,i did it all myself4 ,sidenote3 ,rope silk1 or ropetine ,beautiful silk canvas can be made of rope silk and cross-stitched with another color or tone1 or with chenille1 making a velvet figure4 ,this material is1 of course1 more expensive4 ,two colors or two tones may be woven with chenille and silk in a kindergarten design4 ,beautiful holiday and birthday gifts can be made from these materials1 such as mats1 cushion covers1 and sachet cases4 ,glove1 mouchoir1 necktie1 fan1 and trinket boxes can be made by weaving the top1 bottom1 and sides in panels4 ,foundation boxes1 which may be purchased for a few cents1 are excellent for this purpose1 or they can be made very well at home from three-ply cardboard4 ,make the hinges of ribbon and line the boxes with silk of a corresponding or contrasting color4 ,sidenote3 ,carpet ravelings ,carpet ravelings may be obtained from the carpet stores1 or pieces of carpet can be raveled by the children4 ,let them have the pleasure and benefit which come from sorting the ravelings4 ,it is an excellent lesson in color1 besides developing the patience1 concentration1 discrimination1 and judgment so much to be desired in other work4 ,after the wool is sorted--not before1 because it is not all fast color--dip in water1 wring1 and let the children straighten it gently1 one piece at a time4 ,this will make it as smooth and soft as new wool4 ,procure some small boxes--shoe boxes are a good size--place one color in a box with a sample fastened outside at one end1 and pile them upon a low shelf or window sill4 ,train the children to go to the play store to match their own wool4 ,if they go quietly1 one at a time1 no one is disturbed and each child gains in knowledge of color as well as in independence4 ,a little management of this kind helps the teacher as well as the child4 ,sidenote3 ,carpet wools ,new wools of various kinds and beautiful colors can be bought in large quantities from dealers in materials for industrial work4 ,in some carpet departments you will find oriental wools which are used to mend rugs1 and a small quantity can be bought4 ,some of the kindergarten supply stores and decoration companies have already advertised a stock of these materials4 ,sidenote3 ,double ,germantown wool ,sidenote3 ,germantown knitting yarn ,an ideal material for little folks is double ,germantown wool4 ,the soft wool1 used for both warp and woof1 is excellent for weaving kindergarten designs4 ,this should be done with a close warp1 which may be extended each side of the head and foot piece as a fringe4 ,by extending the warp any length desired beyond the head piece1 long strips for slumber robes1 afghans1 and such articles can be woven4 ,the warp may be strung with twine as near the color of the wool as possible1 and a plain rug be made1 with colored stripes at each end4 ,a very pretty and easy gift for a little child to make is a holder for the teapot1 as described on page #ib4 ,the ,germantown knitting yarn1 which is more tightly twisted1 makes very pretty rugs and mats4 ,it is sometimes used for ,navajo blankets4 ,sidenote3 ,darning cotton ,white dolls'-towels1 with red or blue stripes1 are made of darning cotton4 ,baste a small piece of canvas at one end and cross-stitch ,miss ,dolly's initial4 ,sidenote3 ,knitting cotton ,plain white bedspreads1 or white combined with a color in a kindergarten design1 can be made of knitting cotton which is a little coarser than darning cotton4 ,knot a fringe on all sides4 ,lunch cloths and table covers for ,miss ,dolly can be made in the same way4 ,sidenote3 ,macrem cord ,macrem cord is the best material for hammocks4 ,it comes in many beautiful colors1 at a few cents a ball4 ,sidenote3 ,leather strips ,to weave a kindergarten design in two colors of leather strips1 have the leather cut the desired width1 and fasten them to a piece of strong muslin at the top and bottom of the mat or panel4 ,fit the muslin over the teeth in head and foot pieces by cutting a small opening4 ,sidenote3 ,celluloid strips ,sidenote3 ,leather strips ,celluloid strips may be treated in the same way4 ,leather and celluloid strips can be woven free-hand like the paper strips4 ,sidenote3 ,raffia ,many beautiful articles can be made of raffia1 which is a palm fibre brought from the island of ,madagascar4 ,it can be obtained in the natural color at most of the department stores1 the kindergarten supply houses1 and the florists4 ,the cost is usually #bj cents or #be cents per pound1 although the florists will sell a few cents' worth4 ,it can be dyed easily1 and with little expense1 with ,diamond or aniline dyes4 ,it should first be washed4 ,care should be taken1 in the selection1 to obtain long1 smooth pieces which will be at least one-half inch wide when wet1 and of an even color4 ,some of the raffia is musty and badly spotted4 ,it is well to wet all of it first1 then straighten and allow it to dry4 ,while weaving1 keep the raffia moist by dipping the fingers now and then in a cup of water4 ,experience has proved this method to be more satisfactory than to allow the raffia to remain in water and become thoroughly soaked1 particularly the colored raffia4 ,if one cares to expend money instead of time and trouble1 the raffia can be dyed in very beautiful colors at the dye houses4 ,sidenote3 ,shetland wool ,blankets for ,miss ,dolly can be made of the soft ,shetland wool and ,germantown zephyr4 ,for bed blankets1 cream color1 with stripes of two or more colors1 are very attractive4 ,carriage blankets made with white centers and colored borders1 or with a tone for the center and a shade for the border1 are a great addition to the carriage1 as well as a source of comfort to the little occupant4 ,bind the edges with ribbon and run a narrow one through the beading formed by taking out the extra rods4 ,this ribbon can be run all around the center part by leaving out a few woof threads at the top and bottom4 ,sidenote3 ,knitting silk ,by stringing a close warp of knitting silk and extending it the required length1 shawl-straps1 suspenders1 belts1 and garters can be woven4 ,the rods should be adjusted for the desired width4 ,finish at each end with pieces of silk elastic of the same color1 and with buckles4 ,sidenote3 ,angora wool ,angora wool makes pretty ,tam ,o',shanters4 ,initials can be woven in any article4 ,sidenote3 ,books of patterns ,small books containing cross-stitch designs can be found at the ,german and ,french embroidery stores in large cities--sometimes1 but rarely1 at the art counter in department stores4 ,the ,kindergarten ,guides can be obtained at most public libraries1 or a kindergartner friend will be glad to loan one4 ,chapter ,six ,,directions ,,for ,,dyeing ,sidenote3 ,diamond dyes ,a few hints with regard to dyeing raffia1 cheese cloth1 white cord for hammocks1 and other materials1 may be found useful4 ,for raffia use the ,diamond dyes which are intended for wool or silk4 ,wash the raffia first4 ,the color will be improved by soaking the raffia a day in alum water1 one-half pound to the gallon4 ,dye once used can be kept in an air-tight dish and reheated whenever needed4 ,sidenote3 ,vegetable dyes ,should one be interested in vegetable dyes much information can be obtained at the public libraries4 ,dr4 ,washington ,matthews speaks of ,indian dyes in his article on the ,navajo weavers mentioned in this book4 ,how to ,make and ,how to ,mend also contains some good suggestions about dyes4 ,sidenote3 ,mrs4 ,candace ,wheeler's pamphlet ,in her little pamphlet1 ,home ,industries and ,domestic ,weavings1 published by the ,associated ,artists1 #aae ,east #bc;d ,street1 ,new ,york ,city1 ,mrs4 ,candace ,wheeler has an interesting chapter on ,rag-,carpet ,weaving4 ,her suggestions for dyeing rags apply equally to yarns and to other materials which may be used on hand looms for children4 ,through her kind permission ,i am allowed to quote the following suggestions3 ,sidenote3 ,uses of the indigo tub ,in the early days of this present century a dye tub was as much a necessity in every house as a spinning-wheel1 and the restablishment of it in houses where weaving is practiced is almost a necessity2 in fact1 it would be of far greater use at present than in the days when it was only used to dye the wool needed for family knitting and weaving4 ,all shades of blue1 from sky-blue to blue-black1 can be dyed in the indigo tub2 and it has the merit of being a cheap as well as an almost perfectly fast dye4 ,it could be used for dyeing warps as well as fillings1 and ,i have before spoken of the difficulty1 indeed almost impossibility1 of procuring indigo-dyed carpet yarn4 ,sidenote3 ,blue universally used ,sidenote3 ,green ,blue is1 perhaps1 more universally useful than any other color in rag-rug making1 since it is safe for both cotton and wool1 and covers a range from the white rug with blue warp1 the blue rug with white warp1 through all varieties of shade to the dark blue1 or clouded blue and green rug1 also1 upon white warp4 ,it can also be used in connection with yellow or orange1 or with copperas or walnut dye1 in different shades of green2 and1 in short1 unless one has exceptional advantages in buying rags from woolen mills1 ,i can hardly imagine a profitable industry of rag-weaving established in any farmhouse without the existence of an indigo dyeing tub4 ,sidenote3 ,red ,sidenote3 ,copperas ,sidenote3 ,dull green ,the next important color is red4 ,fortunately1 red warps can be bought which are reasonably fast1 but the only way to procure red rags in quantity is to dye them1 and1 although the dye is somewhat expensive1 there are two colors1 turkey red and cardinal red1 which are extremely good for the purpose4 ,probably these could be bought at wholesale from dealers in chemicals and dyestuffs at much cheaper rates than by the small paper from the druggist or the country store4 ,copperas gives a fast nankeen-colored dye1 and this is very useful in making a dull green by an after dip in the indigo tub4 ,sidenote3 ,domestic dyes ,sidenote3 ,nut stains ,sidenote3 ,leaf stains ,sidenote3 ,iron rust ,sidenote3 ,ink stains ,there are some valuable domestic dyes which are within the reach of every country dweller1 the cheapest and best of which is walnut or butternut stain4 ,this is made by steeping the bark of the tree or the shell of the nut until the water is dark with color1 and setting it with alum4 ,it will give various shades of yellow1 brown1 dark brown1 and green brown1 according to the strength of the decoction or the state of the bark or nut when used4 ,if the bark of the nut is used when green1 the result will be a yellow brown2 and this stain is also valuable in making a green tint when an after dip of blue is added4 ,leaves and tree-bark will give a brown with a very green tint1 and these different shades used in different rags woven together give a very agreeably clouded effect4 ,walnut stain will itself set or fasten some others2 for instance1 pokeberry stain1 which is a lovely crimson1 can be made reasonably fast by setting it with walnut juice4 ,iron rust is the most indelible of all stains1 besides being a most agreeable yellow1 and it is not hard to obtain1 as bits of old iron left standing in water will soon manufacture it4 ,it would be a good use for old tin saucepans1 and various other house utensils which have come to a state of mischievousness instead of usefulness4 ,ink gives various shades of gray according to its strength1 but it would be cheaper to purchase it in the form of logwood than as ink4 ,sidenote3 ,vegetable dyes ,there is a strong and well-founded preference among art producers in favor of vegetable dyes1 and yet it is possible to use certain of the aniline colors1 especially in combination1 in safe and satisfactory ways4 ,sidenote3 ,the variety of shades ,everyone who undertakes domestic weaving must know how to dye one or two good colors4 ,black1 of course1 and the half-black1 or gray1 which a good colorist of my acquaintance calls a light black4 ,indigo blue equally1 of course1 in three shades of very dark and light4 ,here are seven shades from the three dyes1 and when we add white we see that the weaver is already very well equipped with a variety of color4 ,the eight shades can be still further enlarged by clouding and mixing4 ,the mixing can be done in two ways1 either by carding two tints together before spinning1 or by twisting them together when spun4 ,sidenote3 ,carding and twisting ,carding together gives a very much better effect in wool1 while twisting together is preferable in cotton4 ,sidenote3 ,blue ,sidenote3 ,pink ,sidenote3 ,gray ,sidenote3 ,clouding ,dark blue and white and medium blue and white wool carded together will give two blue grays which cannot be obtained by dyeing1 and are most valuable4 ,white and red carded together give a lovely pink1 and any shade of gray can be made by carding different proportions of black and white or half-black and white4 ,a valuable gray is made by carding black and white wool together1 and by black wool ,i mean the natural black or brownish wool of black sheep4 ,mixing of deeply dyed and white wool together in carding is1 artistically considered1 a very valuable process1 as it gives a softness of color which it is impossible to get in any other way4 ,clouding1 which is almost an indispensable process for rug centers1 can be done by winding certain portions of the skeins or hanks of yarn very tightly and closely with twine before they are thrown into the dye pot4 ,the winding must be close enough to prevent the dye penetrating to the yarn4 ,this means1 of course1 when the clouding is to be of white and another color4 ,if it is to be two shades of one color1 as a light and medium blue1 the skein is first dyed a light blue1 and after drying1 is wound as ,i have described1 and thrown again into the dye pot1 until the unwound portions become the darker blue which we call medium4 ,sidenote3 ,mrs4 ,albee's manual ,through the courtesy of ,mrs4 ,helen ,r4 ,albee1 who has done much to revive an interest in rug-weaving1 ,i am allowed to quote the following detailed suggestions on the subject of dyeing from her helpful manual1 ,abnkee ,rugs4 ,this little manual treats fully of the ,abnkee ,rug ,industry1 the ,materials1 ,methods of ,work1 and ,dye ,formulas4 ,it was issued through the ,riverside ,press in #aija4 ,speaking of combinations of color1 ,mrs4 ,albee says3 ,sidenote3 ,combinations of color ,sidenote3 ,safe tones ,sidenote3 ,colors in rugs ,sidenote3 ,use of white ,a careful study of the effects of colors upon each other will show that colors which are in themselves beautiful are often inharmonious when combined4 ,also1 a little of a color may be good1 when a larger proportion seems to destroy the balance or harmony4 ,success in this matter is largely a matter of close observation and experience1 although some persons have a natural feeling or instinct regarding color which is seldom in error4 ,strong colors should never be used1 especially greens4 ,though they may be modest in the piece1 when worked in with other colors1 they have an unfortunate way of becoming intensified tenfold4 ,the safest tones for an amateur to deal with are dull gray green1 yellow green1 and a soft1 full1 but dark olive4 ,in striking a certain key in color it should be maintained throughout4 ,thus1 if a full rich color predominates1 rich dark colors should be used through the whole scheme4 ,if a light tone is the body color1 soft light tones of other colors will be found most harmonious4 ,thus1 for example1 a rug for a library1 or a hall1 in which a good deal of rich terra cotta appears1 should have a border or design worked in dark blues1 full shades of olive green1 and dull yellow4 ,there is an apparent exception to this in the use of dull reds1 old ivory1 and black as seen in ,bokhara rugs4 ,but if studied1 the cream color is very dull1 and is used in such small quantities as to be quite subdued by the black that is used freely in the pattern4 ,old rose1 warm golden browns1 and olive may be used effectively4 ,a light ,gobelin blue may be worked with ivory1 old pink1 light dull olive1 and the outlines can be either a dark yellow brown or very dark bronze green4 ,an ivory center is lovely with an old pink border worked in green4 ,a tan center may be combined with old rose1 sage green1 bronze green1 light yellow1 cream color1 and dark brown outlines4 ,indigo blue1 forest green1 and dull yellow are excellent colors when combined4 ,a great variety of beautiful rugs may be made by using only blue and white1 and unless one wishes to go extensively into dyeing1 it might be well to choose a certain simple color scheme such as blue and white1 red1 black1 and ivory1 and abide by it4 ,let it be remembered that white in rugs is not white1 neither is it a delicate cream4 ,unless it is decidedly yellowish or even grayish in tone1 when in combination with other colors1 it becomes a staring white that is anything but artistic4 ,i dye my cream colors1 just as much as ,i do dark reds or greens4 ,sidenote3 ,planning a color scheme for a rug ,i have been asked many times what is the best way to plan a color scheme for a rug4 ,this is a point ,i cannot determine for another4 ,some may find help in making water color sketches of what they wish to do4 ,in my own work ,i never use them1 as it requires making a reduced drawing of great accuracy1 and much time to color it4 ,often ,i plan a combination mentally1 and match it up from the dyed flannels ,i always have on hand4 ,other times ,i vary the scheme of some rug ,i have already made1 experimenting with different combinations1 using other rugs as if they were books of reference4 ,i have discovered one rather curious thing1 which is1 that when all my experimenting is done ,i find some particular color scheme fits a certain rug as no other does4 ,it seems to clothe or to fulfill the pattern as if it belonged personally to it4 ,when ,i once discover this elective affinity of a pattern for its special coloring1 ,i never make it again save in that one guise4 ,sidenote3 ,shading ,sidenote3 ,directions for shading ,much skill can be shown by an artistic worker in the use of slight shades of difference in the same color4 ,for example1 in the plain center of a rug1 several tones representing shades of the same color will give the effect of a play of light on a silky surface1 which is very beautiful4 ,by using material that has been dyed a trifle darker at one end of the rug1 and working in gradually lighter tones1 the result is surprisingly effective4 ,to do this1 each three or four yards should be dyed with these slight differences of tone2 then when within thirty strips of the end of one color 7more or less1 according to the width of the rug71 work in a broken line of the next tone all across the rug4 ,then use a few rows 7not worked in single rows1 however7 of the first color across the entire rug1 then a wider broken line of the second color4 ,broken lines blend better than continuous lines do4 ,the portions of the second line should fall above the broken spaces left in the first line 7in the same way that masons lay bricks71 then a little more of the first color1 using less and less of it1 and increasing the width of the second in masses1 until the first color has become only broken lines upon the ground of the second color4 ,all the way through1 any changes of color should be merged in this way4 ,be sure to work this method from side to side across the rug1 as the frameful is filled4 ,sidenote3 ,coloring ,this is the most difficult feature of the whole handicraft1 the actual coloring1 and yet for fine effects ,i should recommend only the use of hand-dyed materials4 ,goods dyed by professional dyers are perfectly uniform in color throughout1 and rugs made of such material will have nothing of that difference of tone1 that play of color1 that is absolutely necessary for beauty4 ,sidenote3 ,dye kettles ,in dyeing use only brass1 copper1 granite1 or porcelain kettles1 unless one goes into it on a large scale and uses regular machinery4 ,brass and copper vessels are to be preferred1 while iron1 or tin showing iron1 are to be carefully avoided1 as the mordants have a great affinity for iron and ruin the color4 ,i use a large brass kettle holding about five gallons4 ,sidenote3 ,mordants ,for mordants ,i use ,glauber salts and sulphuric acid1 and with the weight of cloth ,i use1 it takes #c oz4 of ,glauber salts and #c_/d oz4 of sulphuric acid 7full strength7 to each six yards of flannel4 ,i use a one-ounce ,phenix graduate 7,american standard7 measuring glass1 and as full strength sulphuric acid has about twice the specific gravity of water1 one should measure by the scale engraved on the right-hand side of the glass4 ,the left-hand scale is based upon the standard unit of weight1 which is water4 ,sidenote3 ,uses of acids ,in using sulphuric acid ,i dilute it in a little cold water in a cup by pouring the acid on to the water1 as sulphuric acid in uniting with water causes a chemical reaction4 ,where a large quantity of acid is used this reaction is accompanied by a sudden burst of steam1 if the water falls upon the acid4 ,but in a small quantity as this1 there is no possible danger of accident if the acid is poured on the water4 ,sulphuric acid should be closely stoppered and used with care1 as it is corrosive1 eating holes in cotton or linen fabrics4 ,with ordinary precautions it can be used without the least difficulty4 ,sidenote3 ,salts set the dyes ,glauber salts are too well known in commerce to need description1 and are used to neutralize the acid4 ,the two in combination do not injure woolen fabrics1 but merely set the dyes4 ,sidenote3 ,preparation of a dye bath ,in preparing the dye bath allow three gallons of water1 and #c_/d oz4 of sulphuric acid2 stir thoroughly and add #c oz4 ,glauber salts to six yards of cloth4 ,then add the dyestuff in required proportions4 ,stir thoroughly as each ingredient is added1 for the evenness of the dye depends upon the thorough distribution of the mordants and color in the dye bath4 ,generally it is advised to strain the dye before it is added1 but1 as an even tone is not the desired result for this special handicraft1 ,i never follow this suggestion4 ,sidenote3 ,coloring depends on temperature ,the proper temperature for introducing the color in the bath is not over #aej ,f41 but if one has not a bath thermometer1 the temperature must be very hot1 yet far below boiling point4 ,temperature plays a great part in dyeing1 for if the dye bath is too hot when the cloth is introduced1 the dye1 having a great avidity for wool1 will be absorbed unequally by the cloth1 the ends and outside folds of the cloth absorbing more color than is desired1 and the inner folds will have less4 ,i am not discussing the process of dyeing as it should be done on a large scale with vats and suitable reels1 etc41 but as it is likely to be done by an amateur1 in a small way4 ,when the bath is too hot1 the cloth takes the dye unequally and is quite spotted4 ,a little irregularity is necessary for a play of color1 but it should be secured in a definite way and only to a certain degree1 and not as the result of accident4 ,if the cloth has come out spotty1 it may be redipped1 having added more dye and mordants to the bath1 but it will come out a darker shade4 ,if the bath is anywhere near the boiling point before the cloth is dipped1 reduce it by adding a quart or two of cold water4 ,sidenote3 ,process of dyeing yarn or raffia ,sidenote3 ,clear days are best for dyeing ,before dyeing yarn or raffia1 bind the skeins loosely in several places to prevent tangling4 ,having prepared the bath1 gather the cloth in the right hand at half a dozen places along one selvedge1 and drop it in1 spreading it at once1 using two stout sticks1 lifting it up and down continually so as to expose all parts to the dye4 ,the temperature should be increased to the boiling point and continued for three-quarters of an hour4 ,then lift the cloth up and drain it1 then rinse in cold water1 wring dry1 but do not press with an iron1 as the soft wooly texture is very desirable4 ,when a quantity of the same color is desired1 the same water can be used again by adding acid and ,glauber salts1 together with more dyestuff with each fresh dip of cloth4 ,it must be stated1 however1 that the color will not be so clear with succeeding dips1 but that does not matter1 as a difference is desired4 ,the process of dyeing is very delicate1 and the utmost precision must be observed in following proportions and directions regarding temperature1 etc4 ,dyeing is more successful in clear weather than on rainy days1 and soft water is required to get good results4 ,if water contains much lime or earthy salts it is unfit for dyeing1 and must be neutralized by acetic acid4 ,in such cases it would be still better to use rain water4 ,sidenote3 ,vegetable dyes and chemical dyes compared ,there is a curious conviction prevailing in some quarters that beautiful durable colors are obtainable only from vegetable dyes4 ,my first experiments were with barks1 mosses1 etc41 but the difficulty of getting them1 the enormous amount necessary to dye any quantity of goods1 the tedious process in their use1 and the fact that after all only a narrow range of colors is obtainable from them1 compelled me to abandon them altogether4 ,i began to investigate chemical dyes1 and to gain information ,i applied to one of the largest woolen mills in ,new ,england1 one which maintains a high reputation for the class of goods it manufactures2 also to two wholesale houses dealing in all kinds of dyestuffs2 and finally to one of the best experts in color in the country4 ,their verdict was unanimous1 and is summed up in the opinion of the expert which he expressed in a letter to me on this question3 ',in regard to the use of vegetable dyes1 ,i would say that they have almost disappeared from commerce1 certainly for the purpose of dyeing fabrics4 ,sidenote3 ,aniline colors ',we know1 of course1 that there are strong prejudices still existing in the layman's mind in regard to the use of aniline colors1 who supposes that they are not only fugitive1 but that the resulting tones are harsh and unattractive4 ,this1 unfortunately1 was so twenty-five years ago1 and the impression made then upon the layman's mind has not been changed during all these years2 but ,i can assure you that all the beautiful silk goods1 tapestries1 cloths1 and all the colors which we see in fabrics to-day1 are made1 without exception1 from aniline colors1 which are immeasurably more permanent than are the vegetable dyes used up to1 say1 #ahge4' ,sidenote3 ,formulas to be followed ,in using my range of eight colors ,i provide myself with large1 strong glass bottles in which ,i keep my diluted colors4 ,i use a pint measure for diluting the dyes4 ,in preparing the fluid ,i put one half or one quarter of an ounce of dry color1 whichever amount the formula calls for1 into the pint measure and mix it thoroughly with a little cold water4 ,the reason for using cold water is that the dyes are a tar product1 and if mixed with hot water first1 they are apt to grow waxy under the heat and not dissolve readily4 ,having dissolved them1 ,i fill up the measure with hot water1 stirring all the time4 ,this makes a pint of liquid which is of uniform strength under all circumstances1 and every formula is based upon this invariable pint measure of water4 ,these formulas ,i have tried over and over again4 ,they are made with special reference to the grade of flannel ,i have adopted1 and doubtless will vary in results if used on other weights or weaves of wool goods4 ,,dye ,,formulas ,,no4 #a4 ,,dark ,,terra ,,cotta ,sidenote3 ,dark terra cotta ,dissolve #a_/b oz4 of dull red in #a pint of water4 ,dissolve #a_/d oz4 of green in #a pint of water4 ,take full pint measure of dull red dye and #d tablespoonfuls of green dye to #f yds4 of cloth4 ,mordants3 #c_/d oz4 sulphuric acid and #c oz4 ,glauber salts4 ,boil #c_/d of an hour4 ,,no4 #b4 ,,full ,,terra ,,cotta ,sidenote3 ,full terra cotta ,dissolve #a_/b oz4 of dull red in #a pint of water4 ,use full pint measure of dull red dye to #f yds4 of cloth4 ,mordants3 #c_/d oz4 sulphuric acid and #c oz4 ,glauber salts4 ,,no4 #c4 ,,lighter ,,terra ,,cotta ,sidenote3 ,lighter terra cotta ,dissolve #a_/b oz4 of dull red in #a pint of water4 ,use #bb tablespoonfuls of dull red dye to #f yds4 of cloth4 ,mordants3 #c_/d oz4 sulphuric acid and #c oz4 ,glauber salts4 ,,no4 #d4 ,,rich ,,old ,,red ,sidenote3 ,rich old red ,dissolve #a_/b oz4 of dull red in #a pint of water4 ,dissolve #a_/d oz4 of green in #a pint of water4 ,use #bd tablespoonfuls of dull red dye and #c tablespoonfuls of green dye to #f yds4 of cloth4 ,mordants3 ,same as ,no4 #a4 ,,no4 #e4 ,,dull ,,old ,,rose ,sidenote3 ,dull old rose ,dissolve #a_/d oz4 of dull red in #a pint of water4 ,dissolve #a_/d oz4 of bright blue in #a pint of water4 ,dissolve #a_/d oz4 of dull yellow in #a pint of water4 ,use #af tablespoonfuls of dull red dye1 and #a tablespoonful of bright blue dye1 and #c tablespoonfuls of dull yellow dye to #f yds4 of cloth4 ,mordants3 ,same as in ,no4 #a4 ,,no4 #f4 ,,old ,,pink ,sidenote3 ,old pink ,dissolve #a_/d oz4 of dull red in #a pint of water4 ,dissolve #a_/d oz4 of dull yellow in #a pint of water4 ,dissolve #a oz4 of dark blue in #a pint of water4 ,use #f tablespoonfuls of dull red dye1 and #c tablespoonfuls of dull yellow dye1 and #a-a_/b teaspoonfuls of dark blue dye to #f yds4 of cloth4 ,mordants3 ,same as in ,no4 #a4 ,,no4 #g4 ,,full ,,yellow ,sidenote3 ,full yellow ,dissolve #a_/d oz4 of bright yellow in #a pint of water4 ,dissolve #a_/d oz4 of dull yellow in #a pint of water4 ,dissolve #a_/d oz4 of green in #a pint of water4 ,use #f tablespoonfuls of bright yellow dye1 and #e tablespoonfuls of dull yellow dye1 and #b tablespoonfuls of green dye to #f yds4 of cloth4 ,mordants3 ,same as in ,no4 #a4 ,,no4 #h4 ,,rich ,,dull ,,yellow ,sidenote3 ,rich dull yellow ,dissolve #a_/d oz4 of bright yellow in #a pint of water4 ,dissolve #a_/d oz4 of dull red in #a pint of water4 ,use #ab tablespoonfuls of yellow dye and #f tablespoonfuls of dull red dye to #f yds4 of cloth4 ,mordants3 ,same as in ,no4 #a4 ,,no4 #i4 ,,dark ,,tan ,,yellow ,sidenote3 ,dark tan yellow ,dissolve #a_/d oz4 of dull yellow in #a pint of water4 ,use #ad tablespoonfuls of dull yellow dye to #f yds4 of cloth4 ,mordants3 ,same as in ,no4 #a4 ,,no4 #aj4 ,,light ,,olive ,,tan ,sidenote3 ,light olive tan ,dissolve #a_/d oz4 of bright yellow in #a pint of water4 ,dissolve #a_/d oz4 of dull yellow in #a pint of water4 ,dissolve #a oz4 of dark blue in #a pint of water4 ,use #f tablespoonfuls of bright yellow dye1 #d tablespoonfuls of dull yellow dye1 #a-a_/b tablespoonfuls of dark blue dye to #f yds4 of cloth4 ,mordants3 ,same as in ,no4 #a4 ,,no4 #aa4 ,,old ,,ivory ,sidenote3 ,old ivory ,dissolve #a_/d oz4 of bright yellow in #a pint of water4 ,dissolve #a_/d oz4 of drab in #a pint of water4 ,dissolve #a_/d oz4 of dull red in #a pint of water4 ,use #a teaspoonful of yellow dye1 and #a teaspoonful of drab dye1 and #a_/d teaspoonful of dull red dye to #f yds4 of cloth4 ,mordants3 ,same as in ,no4 #a4 ,,no4 #ab ,,rich ,,navy ,,blue ,sidenote3 ,rich navy blue ,dissolve #a oz4 of dark blue in #a pint of water4 ,use full pint measure of dark blue dye to #f yds4 of goods4 ,mordants3 #a oz4 sulphuric acid1 #c oz4 ,glauber salts4 ,boil #a hour4 ,,no4 #ac4 ,,dark ,,persian ,,blue ,sidenote3 ,dark ,persian blue ,dissolve #a oz4 of dark blue in #a pint of water4 ,dissolve #a_/d oz4 of green in #a pint of water4 ,use #aj tablespoonfuls of dark blue dye1 #f tablespoonfuls of green dye to #f yds4 of cloth4 ,mordants3 ,same as in ,no4 #ab4 ,,no4 #ad4 ,,gobelin ,,blue ,sidenote3 ,gobelin blue ,dissolve #a oz4 of dark blue in #a pint of water4 ,dissolve #a_/d oz4 of green in #a pint of water4 ,use #f tablespoonfuls of dark blue dye1 #d tablespoonfuls of green dye to #f yds4 of cloth4 ,mordants3 ,same as in ,no4 #ab4 ,,no4 #ae4 ,,light ,,gray ,,blue ,sidenote3 ,light gray blue ,dissolve #a oz4 of dark blue in #a pint of water4 ,dissolve #a_/d oz4 of green in #a pint of water4 ,use #c tablespoonfuls of dark blue dye1 #b tablespoonfuls of green dye to #f yds4 of cloth4 ,mordants3 ,same as in ,no4 #ab4 ,,no4 #af4 ,,light ,,sage ,,green ,sidenote3 ,light sage green ,dissolve #a_/d oz4 of green in #a pint of water4 ,dissolve #a_/d oz4 of bright yellow in #a pint of water4 ,dissolve #a_/d oz4 of dull red in #a pint of water4 ,use #aj tablespoonfuls of green dye1 #b tablespoonfuls of bright yellow dye1 and #a-a_/b tablespoonfuls of dull red dye to #f yds4 of cloth4 ,mordants3 ,same as in ,no4 #a4 ,,no4 #ag4 ,,light ,,olive ,sidenote3 ,light olive ,dissolve #a_/d oz4 of green in #a pint of water4 ,dissolve #a_/d oz4 of bright yellow in #a pint of water4 ,dissolve #a_/d oz4 of dull red in #a pint of water4 ,use #af tablespoonfuls of green dye1 #d tablespoonfuls of bright yellow dye1 and #c tablespoonfuls of dull red to #f yds4 of cloth4 ,mordants3 ,same as in ,no4 #a4 ,,no4 #ah4 ,,dark ,,moss ,,green ,sidenote3 ,dark moss green ,dissolve #b level teaspoonfuls of green in #a pint measure of water4 ,dissolve #a_/d oz4 of bright yellow in #a pint of water4 ,use full pint measure of green dye and #ae tablespoonfuls of bright yellow dye to #f yds4 of cloth4 ,mordants3 #c oz4 of ,glauber salts and #a oz4 of sulphuric acid4 ,boil #c_/d of an hour4 ,,no4 #ai4 ,,golden ,,brown ,sidenote3 ,golden brown ,dissolve #a_/d oz4 of dull yellow in #a pint of water4 ,dissolve #a_/d oz4 of dull red in #a pint of water4 ,dissolve #a_/d oz4 of green in #a pint of water4 ,use #bj tablespoonfuls of dull yellow dye1 #e tablespoonfuls of dull red dye1 #ae tablespoonfuls of green dye to #f yds4 of cloth4 ,mordants3 ,same as in ,no4 #ah4 ,,no4 #bj4 ,,dark ,,bronze ,sidenote3 ,dark bronze ,dissolve #a_/d oz4 of green in #a pint of water4 ,dissolve #a_/d oz4 of dull red in #a pint of water4 ,dissolve #a oz4 of dark blue in #a pint of water4 ,dissolve #a_/d oz4 of bright yellow in #a pint of water4 ,use #h tablespoonfuls of green dye1 #ab tablespoonfuls of dull red dye1 #d tablespoonfuls of dark blue dye to #f yds4 of cloth4 ,mordants3 ,same as in ,no4 #ah4 ,redip in #d tablespoonfuls of green dye and #e tablespoonfuls of bright yellow dye4 ,mordants3 ,repeat the one above4 ,sidenote3 ,these formulas are the basis for numerous tones ,these formulas can be taken as the basis of many other tones and shades which can be secured by a slight alteration of proportions4 ,by adding a trifle more dull red1 green1 indigo1 or drab liquid dyes1 a color can be darkened4 ,by using less of these than the formulas call for1 the colors will be lighter4 ,by using more of dull or bright yellow a color can often be made richer without darkening it4 ,beginners are cautioned against making changes until they become familiar with the dyes4 ,in making new experiments1 try them on yard lengths1 carefully subdividing any given formula for both dyes and mordants1 and increasing the proportion of any particular color desired4 ,if the cloth should fail to take up the dye properly after boiling the full time1 increase the quantity of acid1 lifting the cloth out when adding the acid to the dye bath4 ,excellent suggestions by ,miss ,albee for color schemes in stripes may be found on pages #fd and #fe4 ,mrs4 ,albee is prepared to furnish any of the foregoing dyes at #bj cents an ounce4 ,her address is ,mrs4 ,helen ,r4 ,albee1 ,pequaket1 ,silver ,lake ,p4 ,o41 ,n4 ,h4 ,illustration3 ,a deep blue wool rug made of carpet yarn ,chapter ,seven ,,methods ,,of ,,splicing ,,materials ,,for ,,weaving ,sidenote3 ,woolens1 fine worsteds1 ravelings1 and cottons ,such materials as carpet and oriental wools1 fine worsteds1 carpet ravelings1 darning and knitting cotton should1 in splicing1 be run past each other4 ,in weaving1 run the wool through the warp to the very end4 ,start the new piece a few warp threads back1 being careful to go over and under exactly the same warp threads as you did when finishing the end4 ,as you pass these threads you will find that you are taking up the right warp threads1 and that no mistake has been made4 ,it is best to run the threads past each other in the middle of the mat rather than on the sides4 ,the children learn this method of splicing very quickly and the result is much more satisfactory than knotting1 because the back of the rug or mat will be smooth4 ,as ,mrs4 ,wiggin says3 ,there should never be a wrong side to work any more than there should be to folks4 ,sidenote3 ,silkoline1 cheese cloth1 rags ,sidenote3 ,candle-wicking1 chenille1 and macrem cord ,in splicing such materials as silkoline1 rags1 candle-wicking1 chenille1 and macrem cord1 lay the end of one piece over another1 each lapping about one-quarter inch1 and sew securely with silk or thread of like color4 ,cut off the selvedge ends of rags4 ,these strips can be run past each other1 but the work will not be so smooth4 ,sidenote3 ,germantown wool1 heavy worsteds1 and rope silk ,in splicing ,germantown wool1 heavy worsteds1 or rope silk1 thread a worsted needle with one strand obtained by unwinding the wool or silk1 lay one end over the other1 and sew over and over4 ,twist the part just sewn between the thumb and finger and the splicing will be hardly visible4 ,when weaving stripes1 splice the wool so that the piecing will come on top of the rod4 ,in this way the new color will start at the edge of the rug1 as it should1 and the number of loops on the rod will be the same on each side4 ,consider the under side of the weaving as the right side4 ,it is always smoother and cleaner1 and the splicing can be done more neatly on top of the rod4 ,sidenote3 ,raffia ,splicing raffia is the most difficult of all1 and the method used in braiding and basket weaving is the best4 ,as you near the end of a strip in weaving it usually becomes narrower4 ,find another strip having a narrow end1 and place one over the other1 securing1 if necessary1 by winding a very narrow piece--just a thread torn from a long piece--and fastening this by sewing a few times over and over4 ,or1 the two narrow ends may be run past each other1 as in carpet ravelings4 ,care should be taken to have the splicing the same width as the other parts of the weaving1 so that the spliced parts will not be noticeable4 ,sidenote3 ,leather1 leatherette1 and celluloid strips ,leather1 leatherette1 and celluloid strips should be long enough to extend the entire width and length of the frame without splicing4 ,the ends can be cut1 as is done in paper weaving1 or turned in some pretty way like that in the splint work4 ,chapter ,eight ,,wool ,,and ,,silkoline ,,rugs ,,or ,,mats ,illustration3 ,silkoline rug with three white stripes ,sidenote3 ,plain rug with end stripes ,sidenote3 ,finishing the ends ,silkoline rugs or mats are by far the prettiest for doll-house use4 ,the method of preparing the strips is explained under ,materials 7page #ea74 ,make the warp with twine of the same color as the silkoline4 ,it should be a three-eighths-inch warp4 ,choose a plain color for the body of the rug1 and a short distance from each end weave several stripes of a contrasting color4 ,the rug in the illustration is of deep cardinal4 ,the stripes can be of olive green1 black1 or any preferred color4 ,mottled stripes are also attractive and effective4 ,when the stripes at the foot are woven1 ascertain the distance from the foot piece to the last one4 ,to know where to commence the first stripe at the head1 measure the distance just found from the head piece down1 and mark on both rods by tying or sewing a colored string to the warp4 ,this helps the child to understand where the stripe should begin1 which he soon learns to measure for himself2 and this training in accuracy and independence is most excellent4 ,there is nothing better than learning self-reliance1 and the child who has been taught it1 is not apt to ask others to do his examples for him4 ,to learn the manner of making the stripes and spaces each of the same width1 count the loops on the rods 7one has to weave twice across the loom to have one loop on a rod71 and have the same number on each side4 ,care should be taken not to twist the strips in weaving4 ,the method of splicing the strips and fastening the warp strings is explained in ,chapter ,v4 ,the rug may be finished with a wool or silk fringe of the predominating color1 or a fringe of the combined colors4 ,if desired1 it may be left plain1 catching the woof strips together at each end to conceal the warp strings4 ,when a mistake has been made1 run the needle back under the same strings instead of pulling out what is wrong4 ,it prevents stretching and a destruction of the material4 ,sidenote3 ,mottled rugs made of figured silkoline ,mottled rugs are made of figured silkoline4 ,choose oriental colors1 no matter how gaudy the silkoline may look in the piece4 ,it will have a beautiful effect when woven4 ,portires are pretty made in this way4 ,these rugs should always be plain--that is1 without stripes4 ,illustration3 ,a mottled rug of figured silkoline1 in which the colors brown1 blue1 and old gold predominate ,sidenote3 ,plain rugs with mottled borders1 or mottled rugs with plain borders ,plain rugs with mottled borders1 or mottled rugs with plain borders1 are the delight of the children4 ,adjust the frame for the size required1 and decide how wide the border is to be4 ,it is necessary to have an extra pair of rods1 if one desires a smooth and well-finished rug4 ,the border of the rug represented in the illustration is two inches4 ,this should be woven with a tape needle4 ,weave the border at the foot of the loom4 ,this extends the entire width4 ,place the extra rods two inches toward the center from the side rods on the outside of the rug1 keeping them back of the border already woven at the foot4 ,this will outline the sides of the plain oblong in the center4 ,weave the left and right hand borders up to a point two inches from the head piece1 taking care to go around the rods just placed4 ,then begin the plain center4 ,as you come to the border on each side1 run your tape needle through the loops of mottled silkoline which are around the rod1 but do not go around the rod itself with the plain silkoline1 since doing so would make a ridge in the rug4 ,draw the woof strips tightly and firmly1 so that the work will lie flat and smooth when removed from the loom4 ,be sure to weave the center far enough1 remembering that the upper woof strips in the border will crowd it down4 ,when the center is finished1 remove the extra rods and finish weaving the border to the head piece4 ,in selecting a color for the center1 match one of the colors in the figured silkoline4 ,the color for the center in the rug of the illustration on page #ij is green1 and the same color appears also in the mottled border1 with yellow and brown4 ,the ends should be left plain1 the warp strings being concealed as directed4 ,these rugs are very beautiful1 and can be made in an infinite variety through the use of different colors1 and by reversing the center and border4 ,they can be made of carpet or ,germantown wool1 in two colors or in two tones of one color4 ,in weaving rugs with centers and borders1 weave a little farther than the exact measure1 because the next woof threads will push down the woof already made1 and you may find that you have not woven the correct measure4 ,these rugs are useful as heel rugs2 they are placed under the piano near the pedal to protect the carpet from the pressure of the heel4 7,see also page #hb47 ,illustration3 ,a plain silkoline rug1 with a mottled border ,sidenote3 ,holder or mat ,sidenote3 ,many squares joined together ,sidenote3 ,small rug with fringe ,sidenote3 ,stair and hall carpets ,adjust the loom for the size required4 ,the plaid effect in the holder illustrated on page #ib is obtained by stringing a close warp with green and white carpet wool1 alternating two of white with four of green4 ,in weaving1 use two woof threads of white and four of green to make the square correct4 ,the kindergarten designs make pretty holders4 ,if you have woven a holder1 it will be finished when it is removed from the loom and the warp strings have been fastened4 ,if you wish your holder to be very thick1 weave two of these pieces1 lay a square of felt or flannel between and sew or crochet the edges together4 ,if the work is to be a mat1 knot a pretty fringe all around it4 ,many of these squares can be joined to make sofa pillows1 afghans1 slumber robes1 and other dainty articles4 ,with a continuous warp1 one can weave long strips for the same articles4 ,if a small rug for ,miss ,dolly's bedroom is desired1 string the warp so that the two ends will have a fringe4 ,stair and hall carpets for the doll house can be woven in these pretty designs by adjusting the loom for a narrow strip1 and1 if necessary1 a continuous warp4 ,illustration3 ,holder of green and white carpet wool ,chapter ,nine ,,hammocks ,illustration3 ,back of loom1 showing method of stringing warp through rings for a hammock ,sidenote3 ,method of adjustment ,sidenote3 ,use of stripes for various colors ,sidenote3 ,lengthwise stripes ,to weave a hammock1 one must first adjust the loom to its full size4 ,tie two rings together and fasten them at the back of the loom1 to head1 foot1 and sides1 as in the illustration4 ,one must then decide how close the warp is to be strung4 ,measure the string1 which should be continuous1 allowing enough to go to the rings at the back and make a buttonhole stitch each time4 ,then wind on a long thin stick or dress steel1 in such a way that it will pass easily through the rings4 ,in stringing the hammock in the illustration1 a penholder was used4 ,the rings are tied1 with white cord1 to the four sides of the loom4 ,by doing this1 all tangling of the warp string is avoided1 and it is far preferable to splicing4 ,tie the first warp string to the top ring4 ,draw it tightly through the first groove1 over the face of the loom to the opposite groove1 then to the back of the loom through the bottom ring4 ,make a buttonhole stitch and return in the same manner over the face of the loom1 around to the top ring1 where you make a buttonhole stitch and return1 until the whole warp is strung4 ,care should be taken to make it firm and tight4 ,hold the string and ring firmly in the left hand while making the buttonhole stitch with the right4 ,cut the woof cords long enough to allow a fringe on each side of the hammock4 ,weave each cord separately1 tying in pairs around the rods4 ,stripes of one or more colors can be woven at each end or at intervals through the hammock4 ,by weaving two colors alternately1 the stripes will be lengthwise instead of crosswise4 ,knot the fringe at each side4 ,to fasten the top and bottom woof cords so that they will not pull out of place1 thread a tape needle with cord and tie each warp string close to the woof4 ,another way to secure the top and bottom woof cords is to weave two cords at one time1 twisting one over the other between the warp strings4 ,the bottom one should be woven before the hammock is commenced4 ,the top one can be woven before the hammock is finished1 and pushed up close to the head piece4 ,then fill up the space4 ,illustration3 ,a hammock made from strings of different colors in lengthwise stripes ,sidenote3 ,making the fringe ,sidenote3 ,the stretcher ,sidenote3 ,the head-rest ,sidenote3 ,hammock with lengthwise colored stripes ,sidenote3 ,knotted hammocks ,instead of knotting the fringe as suggested1 two cords can be twisted at each side of the hammock in the same way that the woof cords are secured at the top and bottom4 ,this forms a heading for the fringe4 ,take up two cords of the fringe at a time4 ,if desired1 the strings which extend from the rings to the hammock may be woven for the space of an inch or so close to the rings instead of making a buttonhole stitch4 ,make a stretcher for the head by covering a piece of rattan with buttonhole stitch4 ,fasten this to the hammock4 ,a head-rest can also be woven and adjusted4 ,to remove the hammock from the loom1 cut the two rings apart1 and then lift the warp strings from the grooves4 ,a very pretty hammock can be made by stringing the warp of different colors1 in order to make lengthwise stripes4 ,weave a neutral color through them4 ,in this case1 have a close warp4 ,pretty hammocks can be made by knotting instead of weaving4 ,sidenote3 ,to string warp for hammock in order to have the sides shorter than the center ,cut two semi-circular pieces from light wood or pasteboard4 ,these should suit the width of the hammock to be made4 ,if this is the width of the loom1 then #i-a_/b inches long and two inches at the widest part4 ,cut the curved edge in notches to correspond with the number taken in the head piece4 ,these pieces will be firmer and more satisfactory if made of wood and finished at the lower edges like the metal head piece4 ,this can be easily done by glueing them to a narrow piece of wood so that they will stand4 ,if furnished with perforations1 they can be laced to the head and foot pieces or the rods can be run through them4 ,by stringing the warp in this way1 the sides of the hammock will be shorter than the center1 and there will be no danger of ,miss ,dolly falling out4 ,the warp can be strung more quickly and easily if hammock hooks similar to those in the two illustrations below are used4 ,measure the right length--#bb warp strings #ca inches long for the metal loom1 or #bi the same length for the wooden loom--and wind as before4 ,illustration3 ,hook ,no4 #a ,illustration3 ,hook ,no4 #b ,sidenote3 ,hammock hooks ,sidenote3 ,weaving ,in using hammock hook ,no4 #a1 knot half the number of warp strings in the left-hand ring and half in the right-hand ring4 ,if hook ,no4 #b be used1 unpin the part at the right1 knot the warp strings along the straight edge at the bottom1 and then pin the right-hand part again4 ,weaving each cord separately across the loom makes a heavy fringe at the sides4 ,if a lighter fringe be desired1 cut the woof cords twice the width of the loom plus twice the length of the fringe4 ,weave across the loom1 leaving enough for the fringe at the side1 then around the rod and back again1 drawing the cord through to the same length as the part left at first4 ,weave in the same way with the second color1 having the loop on the same rod and the fringe at the same side as the other4 ,weave the next two cords with loops on the opposite rod and fringe on the opposite side4 ,continue in this way until the hammock is finished4 ,make a heading at the sides as described1 only carry the two cords through the loops1 crossing them between on top of the rods4 ,the warp strings can be passed through the rings without buttonholing4 ,a firm pretty finish can be made at the sides by cutting two cords--one of each color two yards long and buttonholing around the rods on top of the woof cords which extend at each side4 ,fasten these long cords at the bottom of the loom4 ,after two pairs of woof cords have been tied1 buttonhole the edge over them and around the rods and continue this until the hammock is finished4 ,illustration3 ,a square of silk canvas ,chapter ,ten ,,face ,,and ,,dish ,,cloths ,,and ,,bath ,,rugs ,illustration3 ,a face cloth made from cheese cloth ,sidenote3 ,materials ,the materials for making face and dish cloths are3 cheese cloth cut bias1 darning or knitting cotton1 or candle-wicking4 ,those made from cheese cloth resemble the ,turkish rags4 ,cut and splice the cheese cloth according to directions on page #hc4 ,the face cloth in the illustration is made from white cheese cloth1 cut bias4 ,string the warp #c_/af inch with white twine4 ,it being desirable to have face and dish cloths as soft as possible1 do not push the woof threads too closely together4 ,when the cloth is removed from the loom1 conceal the ends of the warp strings as previously directed4 ,fine white thread should be used4 ,if preferred1 the edges can be bound with tape4 ,cloths of candle-wicking are very quickly woven1 but they are not so soft4 ,face cloths of cheese cloth with borders of knitting cotton would be durable and satisfactory4 ,make them according to directions given for rugs with centers and borders4 ,cross-barred face cloths made of knitting cotton ,no4 #d1 in two colors1 are very pretty4 ,sidenote3 ,bath rug made with continuous warp ,serviceable bath rugs can be made by making three strips as long as desired1 and then fastening together4 ,they are made of cheese cloth cut bias1 but the woof threads are packed much tighter than in the face cloths4 ,finish the edges by stitching a white tape all around4 ,floor rugs of any kind can be made firmer by finishing in this way with tape of the same color4 ,illustration3 ,a pattern for a floor rug ,chapter ,eleven ,,raffia ,,mats ,illustration3 ,method of weaving a raffia mat on the loom1 showing colored stripes ,sidenote3 ,method of making raffia mats ,sidenote3 ,the rods and the warp strings in kindergarten patterns ,mats of raffia are made like all the other mats4 ,the warp may be of twine or carpet thread4 ,in this case1 the mat should be woven of raffia in the natural color1 with stripes of bright color at each end2 or1 it may be of some dark tone with stripes of a contrasting color4 ,by using a warp of raffia1 many of the beautiful kindergarten designs can be produced4 ,use one color for the warp and another for the woof4 ,the method of stringing a warp of raffia is described in ,methods of ,stringing ,warp1 on page #de4 ,the illustration shows a raffia mat in process of making4 ,the natural color of raffia is used1 with stripes of cardinal1 and the method of stringing color in the warp to obtain this effect is clearly seen4 ,the children will have no difficulty in carrying out the pattern1 if they remember that the rods correspond to the border of the paper mat4 ,before stringing the warp for a kindergarten pattern1 count the strips in the paper mat and begin to count on the loom from the rods4 ,in this kind of work the string on top of the rod does not count4 ,it forms the border of the mat4 ,illustration3 ,a woven mat of raffia1 from a kindergarten pattern in green and the natural color of the raffia ,sidenote3 ,stringing the warp ,in making mats1 or matting1 of raffia1 the material can be carried over the rods as in wool-weaving1 or it can be finished on the edges in the same way as the real matting is done4 ,this will be easily understood by examining a piece of matting4 ,in stringing the warp1 have three strings over each bar instead of one4 ,cut the woof strips several inches longer than the width of the loom4 ,weave the first strip1 leaving a piece at each side4 ,thread a tape needle with one end and weave it in and out the three warp threads on the rod4 ,then cut it off close to the edge4 ,finish off all the ends in this way4 ,when the work is removed from the loom1 press the edges flat with a warm iron4 ,it is a little easier to keep the pattern right by weaving in this way1 and the work resembles the real matting more nearly4 ,use a tape needle for weaving raffia4 ,sidenote3 ,porch curtains ,if the doll house which we are fitting is a large one with porches1 one could complete the furnishings with a porch curtain1 for sunny afternoons4 ,sidenote3 ,glove1 trinket1 and mouchoir boxes ,boxes of all kinds can be made of raffia woven in panels4 ,it will make the box stronger and firmer to overhand a piece of rattan around the edges of the panels before joining them in the form of a box4 ,thread a worsted needle with a narrow strip of raffia and buttonhole the edges of the panels together2 or1 sew them over and over and cover with a braid of raffia4 ,spiral-weaving is pretty for this finishing4 ,it is described in an article entitled ,straw-,weaving1 in ,american ,homes for ,september1 #aijj1 a magazine published in ,knoxville1 ,tenn4 ,glove1 trinket1 and mouchoir boxes are pretty for holiday gifts4 ,by using different patterns and colors a great variety of them can be made4 ,sidenote3 ,rugs of carpet wool ,for rugs made of carpet wool1 string a three-eighths-inch warp of twine1 or oriental cord1 the color of the body of the rug4 ,use a deep tone of red1 olive green1 or any preferred color1 with a stripe at each end4 ,a study of rugs will soon enable one to get the right proportion of rug and stripe4 ,beautiful rugs are made with a succession of ,roman stripes separated by a narrow one of deep red1 green1 or blue1 the ends of the rug being woven of the same color4 ,center and corner patterns can be woven by placing the pattern under the warp4 ,by stringing a close warp of the same material all the designs for paper-weaving can be easily reproduced4 ,lengthwise stripes are also pretty4 ,string the warp with different colors and weave a neutral color through them4 ,the rug in the frontispiece is woven of heavy carpet wool1 some of which is seen on the table4 ,sidenote3 ,patterns for rugs ,sidenote3 ,fundamental form ,no4 #a ,beautiful patterns for rugs can be made by cutting squares and triangles of paper according to directions given in the ,kindergarten ,guides4 ,the ,paradise of ,childhood has some very pretty ones4 ,there are two fundamental forms for this paper-cutting4 ,the first is made from a nine-inch square4 ,fold one diagonal1 place the right acute angle upon the left so as to produce four triangles resting upon each other4 ,the form now lies before you with the right angle at the right and two acute angles 7one on top of the other7 at the left4 ,lift one of these acute angles and place on top of the angle at the back1 creasing the fold2 then fold the remaining acute angle under to the same angle at the back1 creasing as before4 ,now place the form with the right angle at the back and hold all the open edges to the left while cutting4 ,illustrations in the ,kindergarten ,guides show a network drawn on the triangle at the top as an aid to transferring the pattern4 ,illustration3 ,a rug pattern from an equilateral triangle ,sidenote3 ,fundamental form ,no4 #b ,the second fundamental form is made from a six-fold equilateral triangle4 ,directions for folding and cutting this from the square are given in the ,paradise of ,childhood4 ,it can be cut1 also1 from a circle whose diameter is equal to the width of the rug desired4 ,in drawing and cutting the pattern1 hold the form with the entirely open sides toward you4 ,the whole pattern is cut at once and the unfolding often reveals a charming design for a rug1 which can be woven in tones or contrasting colors4 ,if cut from colored paper1 it can be mounted on white and placed under the warp4 ,beautiful original designs in conventional leaf and flower patterns can also be made4 ,sidenote3 ,conventional leaf forms ,to make a conventional leaf form1 use fundamental form ,no4 #a4 ,cut the leaf on the mid-rib and lay this part on the base of the triangle with the point of the leaf on the open edges at the left1 and the stem on the closed part at the right4 ,draw around the edges of the leaf and cut1 taking care not to separate the leaf forms at the center1 which is at the closed part at your right hand4 ,some excellent suggestions for this leaf-cutting in centerpieces and borders can be found in the ,pratt ,institute ,monthly for ,april1 #aijj4 ,sidenote3 ,dusters ,dusters for hardwood floors are best made of strips of old flannel4 ,they can be made of stocking strips1 or cheese cloth4 ,make two mats the full size of the loom1 sew on three sides and run a gathering-string around the top4 ,it will fit better if it has a piece of cheese cloth sewn at the top through which the gathering-string can be run4 ,this makes a fine duster to slip over a broom4 ,if one prefers1 a continuous warp can be strung--the length to be twice the length of the broom part--and a long piece woven which will require sewing on two sides only4 ,illustration3 ,a doll towel with fringed ends ,sidenote3 ,doll towels ,sidenote3 ,patterns for towel borders ,sidenote3 ,lunch cloths ,sidenote3 ,bedspreads ,sidenote3 ,quilts ,doll towels are very fascinating things to make4 ,adjust the loom for the required size4 ,the exact proportion can be ascertained from a large towel4 ,string the close warp with fine darning cotton and have the strings in pairs with fringe at each end4 ,allow several inches for fringe so that it can be knotted easily4 ,the woof threads1 which are also of fine darning cotton1 should be pushed very closely and smoothly together4 ,plain stripes of red or blue1 or fancy stripes made with a kindergarten design1 can be woven4 ,observe the same directions for spacing the stripes which are given with the silkoline rug4 ,the towel in the illustration is made of white darning cotton1 with the stripes and initial of red4 ,the children will be delighted to lay towel borders with their tablets1 and after cutting and pasting with colored paper1 weave them in towels for ,miss ,dolly's housekeeping4 ,cross-stitch the initial as previously directed4 ,lunch cloths and bedspreads can be made in the same way4 ,these should be fringed all around4 ,a cross-barred cloth or spread can be made by putting the color in the warp at regular intervals and weaving across with color and white to form squares4 ,pretty quilts of coarse cotton can be made with kindergarten designs4 ,by weaving many squares1 a large quilt can be made4 ,see directions on page #ej4 ,sidenote3 ,bed and carriage blankets ,bed and carriage blankets are best made of single zephyr1 although ,germantown wool will do4 ,the heavy carpet wools are also pretty4 ,some suggestions for this work have already been given under the head of ,materials4 ,these blankets are really mats1 but made only for another use1 and are to be woven in a similar way4 ,those with centers and borders are pretty1 and the plaid ones are always attractive4 7,see illustration of the holder on page #ib47 ,sidenote3 ,doll shawls ,for doll shawls choose a pretty ,scotch plaid and match the colors in fine wool4 ,string a close warp with wool1 copying the ,scotch plaid exactly4 ,weave the colors across so that a truly plaid shawl may grace ,miss ,dolly's shoulders on the cold winter mornings4 ,a striped shawl is pretty1 or one having one color for the center and another for the border4 ,sidenote3 ,doll skirt ,miss ,dolly may have a lovely petticoat1 too4 ,string a continuous warp long enough for the width of the skirt4 ,adjust the rods for the length4 ,by using a little color in the warp near the right edge of the weaving1 the skirt will have some stripes4 ,twist a cord of the wool and run in the top for a draw-string4 ,sidenote3 ,reins ,to make reins1 adjust for a narrow strip and string a close1 continuous warp the length desired4 ,make a piece1 also1 to go across the front4 ,use ,germantown knitting yarn4 ,a black warp with a bright red woof is pretty4 ,sidenote3 ,a square ,tam ,o',shanter ,in order to obtain a ,tam ,o',shanter for ,dolly1 first weave a square the required size4 ,string a close warp with wool and weave a kindergarten pattern with two colors4 ,when completed1 remove from the loom1 fold four corners to the center1 turn them in to form an opening for the head1 and fasten the edges by sewing1 or by lacing with a cord made of the two colors4 ,fasten a tassel on the top and it is finished4 ,angora wool is pretty for these caps4 ,illustration3 ,fringe for a rug in red and black ,sidenote3 ,fringe ,sidenote3 ,threading the needle ,sidenote3 ,making the fringe into tassels ,sidenote3 ,removing the fringe from the loom ,the head piece of the loom should be adjusted for the width of the rug for which the fringe is required4 ,a rug nine inches wide would require fringe nine inches long4 ,adjust the rods one inch apart--that is1 with one perforation between the rods4 ,string the warp in every groove1 one string over each rod and three between1 making five in all4 ,weave over and under one until the heading is finished4 ,if you have an extra side rod1 place it in the sixth perforation from the right-hand rod4 ,this will make tassels a little over two inches long4 ,if a shorter fringe is preferred1 adjust accordingly4 ,if you have not an extra side rod remove the left one and place as directed1 leaving the right one in the heading until the whole fringe is finished4 ,thread a large tape needle with two pieces of worsted1 as long as the two can be conveniently managed4 ,if the fringe is made of two colors1 take one of each for the tassels1 weaving the heading with the one which predominates in the rug4 ,run the ends in the grooves to fasten them4 ,wind under the right rod1 which was left in the heading1 through the first stitch1 which includes the warp string over the rod1 then over the extra rod to the right4 ,wind under again through the next stitch in the heading 7always around the rod7 and so on until the end is reached4 ,to make this fringe into tassels1 separate six strands of each color and tie with the two colors1 running the tape needle and worsted along from one tassel to another1 or tie each one securely and cut4 ,the fringe will need no finishing at the ends4 ,run the short ends1 which were wound through the grooves in the beginning in order to fasten them1 through a few stitches in the heading4 ,the fringe can be made of one color1 and of any width4 ,to take the fringe from the loom1 first remove the rod at the end of the tassels and cut the fringe before removing the rods from the heading4 ,this will insure straight cutting at the ends of the tassels4 ,if one prefers a knotted fringe1 cut and knot before removing the heading4 ,by examining rug fringes in the furniture stores one can get a very good idea of the manner of knotting4 7,see also directions for splicing ,germantown wool on page #hd47 ,sidenote3 ,knotting ,a simple fringe can be knotted quickly and easily in the ends of the warp strings1 after the rug is taken from the loom4 ,first decide upon the length of the fringe when finished4 ,add at least two inches to allow for knotting4 ,cut each piece of wool twice this length1 double1 and thread a tape needle4 ,pass the needle from the right side of the rug to the wrong1 through the warp strings at the end of the rug4 ,draw the loop of wool through and unthread the needle4 ,pass the two ends of the wool down through the loop and draw it tight4 ,when this has been done in every pair of warp strings1 knot every other piece of the fringe together1 in the same way that towel fringe is made4 ,this question of whether a rug should have fringe or not is much discussed at present4 ,it is largely a personal one4 ,the best way1 perhaps1 is to study different kinds of rugs and know which ones are usually made with fringe and which are not4 ,illustration3 ,bed shoes made of white wool ,sidenote3 ,bed shoes1 or socks ,sidenote3 ,bed shoes ,sidenote3 ,baby shoes ,bed shoes of all sizes are easily woven1 and make a useful holiday gift4 ,they are made without soles and are intended to be drawn up around the ankle like a high moccasin4 ,use the soft double ,germantown wool4 ,white1 fastened together with pink or blue1 or white striped with a color1 may be used1 and are attractive4 ,the socks in the illustration are of white wool with a pink seam up the instep and pink scallops around the top4 ,one sock is shown on a last1 and the other as it appears off the foot4 ,the stripes in the knitting can be shown in the weaving by using a color4 ,the full size of the loom makes a shoe of medium size4 ,string a close warp with white wool4 ,if the shoe is to be all white1 weave with the same1 leaving the color for the finishing4 ,if it is to be striped1 weave perhaps eight or ten times across with color and then with white2 when the weaving is finished you will have a mat #i #ab inches4 ,double one of the short edges and sew over and over on the wrong side with white wool4 ,this is the toe4 ,the two long edges now lie together4 ,they may be crocheted1 or knitted1 with colored wool by holding them close and fulling in1 or by puckering a little4 ,if this is done in color1 it makes a pretty seam on the top of the foot and front of the ankle4 ,the top may be finished by crocheting a beading and scallops of the colored wool4 ,run a ribbon or worsted cord through the beading4 ,if desired1 the long edges may be laced together with ribbon one-half inch wide4 ,baby shoes are made in the same way4 ,to ascertain what length to adjust the loom1 measure the sole1 then up1 back of the heel1 to a point above the ankle4 ,for the width1 measure around the foot4 ,finish the cord with tassels or balls4 ,sidenote3 ,worsted balls for bed shoes1 and other articles ,to make worsted balls1 first cut two small circles from cardboard4 ,from the center of each cut a smaller circle4 ,hold one circle over the other1 and with a worsted or tape needle threaded with wool1 wind over and over very closely until the hole in the center is completely filled4 ,always piece the wool on the outside edge4 ,cut the wool all around on the outside4 ,make a cord of the wool and slip between the two circles4 ,then tie so as to fasten all the pieces of wool in the middle1 leaving the cord long enough to tie in a bow if desired4 ,tear the pasteboards1 remove them1 and trim the wool evenly4 ,a second ball should be fastened on the other end of the cord1 after it has been laced through the beading4 ,sidenote3 ,photograph frames ,to weave photograph and picture frames of silk1 chenille1 raffia1 celluloid1 or leather1 proceed in the same way as for a bordered rug1 having the oblong or square center the required size for the picture4 ,foundation frames for mounting the work can be purchased1 usually1 at the stores where tissue paper and flowers are sold4 ,sidenote3 ,table mats ,square and oblong table mats for hot dishes can be made of candle-wicking1 knitting cotton1 or cheese cloth4 ,sidenote3 ,tippet or scarf ,to-day1 tippets and scarfs are very little used1 but they are very comfortable things to wear to school on a cold day4 ,in order to make them1 string a continuous warp of the required length with ,germantown dark colored wool4 ,weave the same color for the woof1 and brighten it at intervals with ,roman stripes4 ,a plaid scarf can be woven1 if preferred2 while with a close warp one can have a kindergarten pattern in another1 or contrasting color4 ,sidenote3 ,wristlets ,in making wristlets1 one must decide how long they are to be1 and adjust the length on the loom4 ,measure around the wrist for the width1 remembering that the wristlets will stretch when pulled over the hand4 ,weave in stripes or plaid1 or1 if desired1 plain1 stringing the warp with the same wool as is used in weaving4 ,remove the mat and sew the edges together4 ,sidenote3 ,sleeve protectors ,sleeve protectors can be woven of raffia in the same way as wristlets4 ,make them so they can be fastened on the outside of the sleeve1 like a cuff4 ,illustration3 ,a table mat made from carpet wool ,sidenote3 ,purses1 or chatelaine bags ,purses1 or chatelaine bags1 are made of knitting-silk4 ,beads can be added1 if desired4 ,adjust the loom for the required size1 and string a continuous warp1 if necessary4 ,one can obtain the silver or nickel tops1 which open and close1 at the department stores4 ,illustration3 ,borders for rugs or squares ,sidenote3 ,shopping and school bags ,sidenote3 ,opera glass bags ,it will be better to use heavier material for shopping and school bags4 ,raffia makes a strong bag2 silk strips are serviceable1 and leather strips are good for school bags4 ,for opera-glass bags1 make two mats and lace or weave them together1 or string a continuous warp4 ,use rope silk1 chenille1 or knitting silk with beads4 ,illustration3 ,borders for rugs or squares ,when one has mastered the mysteries of weaving thoroughly enough to make a good mat1 it is very easy to turn them into various articles4 ,there is no sleight of hand about it4 ,sidenote3 ,panels of silk canvas for boxes ,silk canvas panels are made by adjusting the loom for the required size of the sides of the box1 and weaving a plain mat for the top4 ,a number of suggestions have been given on page #eb1 under the head of ,materials4 ,pretty neckties of fine knitting silk can be made on the loom by using a continuous warp of the same material4 ,illustration3 ,a square of silk canvas with cross-stitched pattern of chenille ,sidenote3 ,sofa pillows1 cushions1 sachet cases and veil cases ,the accompanying illustration1 and another on page #ih1 and also the vignette on the title page1 show squares of silk canvas1 and will give one many ideas of how they may be used4 ,one has a cross-stitched pattern of chenille1 and in another the chenille was alternated with silk in the warp1 and both chenille and silk were used in the woof4 ,the squares can be made up in cushion and box covers1 sachet cases1 sofa pillows1 or the larger squares can be used as veil cases4 ,a number of them can be joined for large sofa pillows4 ,in the latter case they can be made of wool1 and many of them could be crocheted together for an afghan or slumber robe4 ,illustration3 ,pattern for rugs or squares ,the design in the illustration is a pattern which may be used for either a ,wilton or ,axminster rug1 or for mats1 sachet cases1 cushion or box covers1 or cross-stitch embroidery on burlap1 or silk1 or wool canvas4 ,the patterns given on pages #abj1 #abe1 #acj1 and #acd will be found adaptable for rugs or squares4 ,sidenote3 ,slumber robes or afghans ,sidenote3 ,portires ,slumber robes or afghans have been previously mentioned on page #ed1 under the head of ,materials4 ,it will be found very easy1 after a little experience with a continuous warp1 to make strips of any length4 ,it is better to wind the extra lengths of warp upon spools1 as has been suggested1 or around the tops of the rods4 ,large portires can be made of long strips of silk or silkoline cut bias4 ,fasten the long strips together horizontally in imitation of ,bagdad curtains4 ,illustration3 ,borders for rugs or squares ,sidenote3 ,hair receivers ,hair receivers are easily made from raffia4 ,make a square mat and fold it in cornucopia form4 ,chapter ,twelve ,,oriental ,,rugs ,sidenote3 ,rugs and draperies ,to be quite up to date1 ,miss ,dolly should have oriental rugs and draperies in her house beautiful4 ,these are easily made on the loom1 and the little girl or boy1 who has first copied a pattern and then seen it grow under patient fingers1 has a thing of beauty and a joy forever4 ,what could give more pleasure than to be able to say fifty years from now3 ,i wove that1 my dear1 when ,i went to school8 ,truly the grandchildren would reply3 ,how ,i wish ,i could have gone to grandma's school6--only they may have something equally beautiful which will take its place in that far-off time--who knows8 ,illustration3 ,border for rugs or squares ,illustration3 ,borders for rugs or squares ,sidenote3 ,patterns ,sidenote3 ,oriental colors ,the patterns for oriental rugs familiar in the ,east have descended through hundreds of years1 and the exquisite colors1 produced by vegetable dyes1 and increasing in richness and beauty with age1 are only to be seen in old rugs4 ,we have nothing in our modern dyes to compare with the old color4 ,one is soon interested in the study of these ,eastern treasures1 and it becomes second nature in a short time not only to chat familiarly of ,kermans1 ,serebends1 ,khivas1 ,bokharas1 and ,kiz-,kilims1 ad infinitum1 but to jot down now and then in one's notebook1 or still better in one's design book 7made of the kindergarten squared paper1 one-eighth inch71 a pretty border or centerpiece for the rug which is to grace some doll house4 ,the patterns of ,turkish rugs 7see page #abg7 are of geometrical or arabesque designs--an edict from the ,koran having prohibited the reproduction of living things4 ,the ,persians1 however1 weave animals1 birds1 etc41 as their ancestors did in days gone by4 ,sidenote3 ,inscriptions on ,persian rugs ,there is some very interesting reading in ,oriental ,rug ,weaving1 by ,v4 ,kurdji1 on the subject of inscriptions often found on ,persian rugs4 ,he says3 ,if the possessors of some of the rare pieces that are sold in this country knew the meaning of the inscriptions woven in their rugs1 the knowledge would add a charm and interest which would make them more valuable than the harmonious colors so beautifully blended4 ,illustration3 ,pattern for border of ,persian rug ,sidenote3 ,bokkara rugs ,sidenote3 ,khiva rugs ,oriental rugs take their names from the countries or provinces in which they are made4 ,bokhara rugs are made in mountainous districts of ,turkestan1 and have never been successfully imitated1 because the dyes used are made from a plant grown only in that district4 ,the designs are geometrical1 and the colors deep maroon or blue4 ,the pile is woven as close as velvet4 ,they are noted for the superior quality of their dyes4 ,khiva rugs1 sometimes called afghan1 are made in ,turkestan4 ,they resemble the ,bokhara rugs1 but are coarser in texture and heavier in pile1 and they differ from them in having a wide selvage at each end4 ,some ,khivas have a small pattern in red mosaic over the surface with a circle in the center4 ,one often sees a rug made of a rich golden yellow with a background of dark red4 ,illustration3 ,a ,kiz-,kilim rug pattern ,illustration3 ,pattern for a ,kiz-,kilim stripe ,sidenote3 ,kiz-,kilim rugs ,the ,kiz-,kilim rugs have no nap1 and are woven with a needle4 ,they are thin and almost alike on both sides4 ,the larger sizes are woven in two strips fastened together so that they can be taken apart and used for curtains4 ,these ,kiz-,kilims are woven by ,armenians and ,turks in ,anatolia 7the land of sunrise1 and the ,greek name for ,asia ,minor74 ,the literal translation of the word ,kiz-,kilim is bride's rug1 it being a custom in that country for a bride to present to her husband one of these rugs1 which she has woven during her engagement to him4 ,the quality of the rug is supposed to measure the quality of the husband's affection for his bride1 consequently we have many beautiful specimens of this class1 the brilliant hues and intricate designs of which could only have been inspired by the whisperings of ,cupid4 ,they are in open-work patterns--called perforated--and often have long tufts of colored silk tied to the rugs with blue beads1 in order to keep them from the effects of the ,evil ,eye4 ,the ,kiz-,kilim rug in the illustration was copied from a genuine rug4 ,the filling is a deep blue and the borders are in oriental colors4 ,the center figure is white1 with red1 brown1 and yellow inside4 ,there are four kinds of ,kilims4 ,much interesting and valuable information can be found in ,john ,kimberley ,mumford's ,oriental ,rugs2 ,new ,york3 ,charles ,scribner's ,sons1 #aijj1 where directions for weaving ,kiz-,kilims1 ,khivas1 and ,bokharas are given1 with a few patterns4 ,illustration3 ,a ,kiz-,kilim rug ,sidenote3 ,materials used ,sidenote3 ,perforations ,illustration3 ,pattern for a ,turkish rug ,oriental wools or carpet ravelings are used for these rugs4 ,copy your figures and colors from genuine rugs4 ,the accompanying patterns were obtained in this way4 ,see directions on page #dg for stringing a double warp with fringe at each end4 ,first fasten the pattern under the warp2 then weave about one-quarter inch at each end with carpet thread like the warp4 ,this will make it look like a truly ,kiz-,kilim4 ,next to this1 weave a very narrow strip of several colors each twice across1 regarding the double strings as one4 ,then weave each part of the narrow border4 ,to make the perforations1 take up one thread of the double warp for one side of the pattern1 and the other thread for weaving the pattern next to it4 ,for instance1 the steps1 as the children call them1 of triangle ,no4 #a1 when finished1 will stand close to the steps of triangle ,no4 #b1 with a little slit between4 ,these perforations occur only where one pattern joins another of a different color1 or the dark filling4 ,for instance1 in the white figure in the center1 where three or five squares come together1 the slits occur at each end1 the part between being woven over the double strings as if they were only one4 ,in this way the perforations of other parts are closed top and bottom4 ,use a tape needle and weave each section of the pattern separately4 ,weave the filling last4 ,as this peculiar tone of blue could not be obtained in carpet ravelings1 an eighth of a yard of terry was raveled for the purpose4 ,take care not to draw any part of the pattern too tight1 or the perforations will be too large4 ,the right and left edges of the rug are woven over the rods to keep them straight4 ,both narrow borders were woven before the center was commenced4 ,the pattern in the illustration is for a ,wilton or ,axminster rug1 but can be used for mats1 or box1 sachet1 and cushion covers4 ,it is made with cross-stitch embroidery on burlap1 silk1 or wool canvas4 7,see also page #abj47 ,illustration3 ,a pattern for a rug or square ,sidenote3 ,turkish patterns laid with tablets ,the children can lay these ,turkish patterns with square tablets upon their desks1 the pattern being drawn upon the board1 or on paper with a rubber pen4 ,it will be a delight to the children to transfer them to paper by drawing and then coloring1 or by cutting and pasting colored papers4 ,sidenote3 ,stitches for ,khiva and ,bokhara rugs ,the genuine ,khiva and ,bokhara rugs are made by weaving and knotting alternately4 ,it will be easier at first to weave a web1 or foundation4 ,choose a tight twisted yarn about the color of the rug to be woven4 ,string a close warp of the wool and weave plain up and down1 one string at a time1 until you have a rug of the desired size4 ,put in the pattern first1 and then the filling4 ,this work will be almost too difficult for little children4 ,carpet wools and ,germantown wool can be used4 ,it will not be found difficult to follow the pattern1 especially if one is used to cross-stitch embroidery4 ,each stitch counts for one of cross-stitch4 ,keep the stitches very close together so that the nap will stand up well when finished4 ,silk rugs can be copied in the same way1 using floss or rope silk for the pile4 ,if one prefers1 a piece of burlap may be stretched across the loom and secured to the rods1 instead of weaving a foundation1 as suggested4 ,illustration3 ,stitches for pile weaving ,sidenote3 ,stitches for pile weaving ,sidenote3 ,the first stitch ,stitches for pile weaving are very easily made4 ,this illustration showing examples of stitches for pile weaving illustrates the methods used in the stitches1 and may be used for ,axminster or ,wilton rugs1 for boxes1 sachet cases1 and other articles4 ,the tape needle is the kind used for weaving when the large needle cannot be used4 ,it is preferable to use one of this kind on account of the eye and blunt point1 and it may be obtained at the notion counter in department stores for a few cents4 ,there are two stitches1 each occupying half of the illustration and numbered from left to right1 beginning at the top4 ,make ,no4 #a by passing a tape needle threaded with wool down through the web1 leaving a short end1 then up one stitch to the left4 ,this is the first step4 ,in ,no4 #b continue over on the right side1 past the stitch where you started1 to the stitch on the right2 then down and up through the first hole1 and cut off the wool the same length as the end you left at first4 ,no4 #c shows a stitch completed4 ,no4 #d1 one row of stitches1 and ,no4 #e1 three rows1 showing how one row overlaps another4 ,when the rug is finished1 the ends should be cut evenly1 so that the nap is like velvet4 ,the children would say that this stitch looks like a two-legged stool1 and so it does4 ,sidenote3 ,the second stitch ,the second stitch is made so that the nap lies sideways from left to right4 ,no4 a is just like the preceding stitch4 ,no4 b shows the needle passing down the stitch where you started and up one stitch to the right4 ,cut off the wool and pull the end left at first over the last one4 ,this pile should stand very straight and even4 ,no4 c shows a completed stitch2 ,no4 d one row1 and ,no4 e three rows4 ,these stitches are useful in mending ,khiva and ,bokhara rugs4 ,sidenote3 ,wilton and ,axminster rugs ,wilton1 ,axminster1 or any rugs having a pile1 can be woven with the same stitches4 ,the pattern in the illustration may be used for either a ,wilton or ,axminster rug1 for a box cover1 cushion1 sachet case1 or mat2 and can be cross-stitched embroidery1 on burlap1 silk or woolen canvas4 ,illustration3 ,pattern for a rug1 mat or cover ,chapter ,thirteen ,,navajo ,,blankets ,illustration3 ,a miniature ,indian loom ,sidenote3 ,a sketch ,sidenote3 ,indian weaving ,sidenote3 ,the colors used ,sidenote3 ,old ,indian blankets are rare ,sidenote3 ,description of the illustration ,navajo blankets were first made by the ,pueblo ,indians1 from whom the ,navajo ,indians learned the art1 and not long after the latter excelled in the making of them4 ,among the ,pueblo ,indians the men do the work2 but women are the weavers among the ,navajos4 ,in the illustration on this page is seen a miniature ,navajo loom with the blanket commenced4 ,the two cords woven at the sides with the woof can be easily seen4 ,simple looms are suspended between two posts or trees1 and the weaver sits upon the ground4 ,a twig is used for a shuttle1 and a reed1 fork-shaped like a hand1 is used to push down the woof threads4 ,the blanket is made waterproof by pounding down the threads with a batten1 a good picture of which is seen in ,dr4 ,washington ,matthews' article on ,navajo weavers in the ,third ,annual ,report of the ,bureau of ,ethnology4 ,separate balls of color are used to carry out the pattern1 which is sometimes traced in the sand before the work is commenced4 ,as many as twenty-nine different balls have been seen hanging from a single blanket4 ,some of the designs have been handed down from one generation to another1 and are carried entirely in the memory4 ,they are often symbolical and unfold a whole legend to the knowing eye of the native4 ,the weaving is done from the bottom up1 some working in one direction1 while others weave first at the bottom1 then turn the loom upside down1 and1 after weaving about the same distance there1 finish in the middle4 ,the last part of the weaving is like darning1 and is often done with a needle4 ,the colors most used are white1 gray1 black1 a bright yellow1 red 7a scarlet1 generally obtained by raveling bayeta cloth71 and sometimes blue4 ,in former times1 when the ,indians used vegetable dyes1 the colors were beautiful and lasting4 ,these old blankets are becoming more and more rare1 and to-day in their places we have the bright and not always satisfactory results of aniline dyes4 ,the blanket in the illustration facing this page has narrow stripes in the following colors3 ,on each end 7seven stripes7 red1 black1 white1 orange1 green1 white1 black4 ,the two groups of six stripes in the middle are3 ,black1 white1 red1 green1 white1 black4 ,before the advent of the present squaw dress1 the black1 red1 and dark blue blankets were used as clothing1 but the best blankets were1 and still are1 worn at sacred dances4 ,dr4 ,matthews1 in his report1 gives an interesting description of the method of making these blankets1 with several pictures of the better examples4 ,navajo blankets are finished with four border cords1 which are secured as the weaving progresses1 and the ends are fastened at the four corners by small tassels4 ,illustration3 ,a ,navajo ,indian woman weaving a blanket ,sidenote3 ,method of making ,sidenote3 ,indian blankets ,small ,navajo blankets can be woven on the loom4 ,draw the pattern and place under the warp1 fastening it to the side rods4 ,use warp or carpet thread for the warp1 and weave with a tape or upholstery needle4 ,one may weave all the pattern first1 and then put in the filling2 while another will weave as the ,indians do1 filling in from one part of the pattern to the other by threading the needle with a different color4 ,this can be done1 without running the thread underneath1 by hooking it in the loop of the pattern just finished4 ,these little blankets are very fascinating things to make1 and the children become much interested in them1 and in ,indian life as well4 ,illustration3 ,a ,navajo blanket ,sidenote3 ,the colors in the blanket on page #ada ,this very beautiful ,navajo blanket1 shown in the illustration1 has three broad red stripes1 two narrow red stripes about one-half the width of the former1 and four gray stripes about one-half the width of narrow red stripes4 ,the centers of all the figures are red1 like the filling--a brilliant scarlet4 ,the colors of the large figures1 beginning at the center of each1 and counting from left to right1 are as follows3 ,nos4 #a1 #c1 and #e1 red1 green1 and light yellow4 ,nos4 #b and #d1 red1 white1 and black4 ,the small figures1 counting the same way1 are3 ,nos4 #a1 #c1 and #e1 red1 white1 and black4 ,nos4 #b and #d1 red1 yellow1 and green4 ,the four corners are finished with twisted red cord-like tassels4 ,this cord also extends across the warp ends4 ,dr4 ,matthews tells in his article on ,navajo ,weavers how two cords are twisted and woven at the sides with the woof4 ,illustration3 ,a very beautiful ,navajo ,indian blanket1 showing the manner of decoration ,the two ,navajo ,indian blankets illustrated in this chapter1 and the pattern on the following page1 may be easily adapted for the loom4 ,germantown knitting wool or carpet ravelings can be used1 although to obtain softer wool is better4 ,some of the handsomest ,navajo blankets have a long nap4 ,sidenote3 ,navajo patterns laid with tablets ,the children will take pleasure in laying ,navajo patterns with triangular tablets1 and then transferring the pattern to paper by drawing and coloring1 or by cutting and pasting in colors4 ,illustration3 ,a pattern for a ,navajo blanket ,chapter ,fourteen ,,songs1 ,,games1 ,,and ,,stories ,there are many beautiful songs which can be sung during the weaving4 ,thomas ,carlyle has said3 ,sidenote3 ,songs and games lighten work ,give us1 ,o give us the man who sings at his work6 ,he will do more in the same time2 he will do it better2 he will persevere longer4 ,one is scarcely sensible of fatigue whilst he marches to music1 and the very stars are said to make harmony as they revolve in their spheres4 ,sidenote3 ,songs for the children ,there are songs about the birds' nests1 always pleasing to the little folks1 and doubly so when they have held in their own hands the wonderful bit of weaving1 so strong and yet so soft1 woven by the mother-bird for the baby-birds4 ,mrs4 ,spider is also very interesting with her lace-like webs which are to be found even in well-regulated schoolrooms1 and the songs of the bleating sheep who give us their wool fill every little heart with delight4 ,miss ,poulsson's ,finger ,play1 ,the ,lambs1 gives the restless fingers something to do and the eight white sheep all fast asleep afford a chance for a good laugh over the two old dogs close by 7the thumbs74 ,one has the opportunity1 too1 of noticing whether the eight white sheep on the tiny hands are really white enough to do the weaving4 ,a smiling allusion to some small black sheep will bring them back clean for the next session4 ,sidenote3 ,a weaving game ,the following weaving game can be played in several ways4 ,this extract is from the ,kindergarten ,guide1 by ,lois ,bates3 ,six children stand in a row2 a tall one at each end for the border of the mat and the other four representing the strips4 ,the child who is to be the weaver holds one end of a long tape1 while the other is fastened to the left shoulder of the first child4 ,the weaver weaves the tape in and out among the children1 placing the second row lower down4 ,it will be easily seen that the children who had it passed in front of them in the first row1 had it behind them in the second1 and vice versa4 ,the following weaving song in the ,walker and ,jenks book can be sung during the weaving4 ,to be sure it is not really over and under when you think of them as children4 ,remember that they represent a mat1 and they are for the time the strips and border4 7,sung to the tune of ,nellie ,bly47 ,over one1 under one1 ,over one again4 ,under one1 over one1 ,then we do the same4 ,hi1 weavers6 ,ho1 weavers6 ,come and weave with me6 ,you'll rarely find1 go where you will1 ,a happier band than we6 ,kate ,douglas ,wiggin 7,mrs4 ,riggs7 in her ,republic of ,childhood describes the game in this way3 ,sidenote3 ,explanation of the game ,first choose a row of children for threads of the warp1 standing at such a distance from each other that a child may pass easily between them4 ,second1 choose a child1 or children1 for thread of woof4 ,after passing through the warp1 each child takes his place at the end and other children are chosen4 ,in this way more children can take part than if a tape were used4 ,some teachers play it in a different way1 using the desks with the seats turned up for the warp and the whole number of children for the woof1 winding in and out all over the room4 ,this is very delightful1 indeed1 if there is enough space for the children to pass easily without tripping on the iron supports of the desks4 ,this is a good game for a rainy day1 when there is no outdoor recess4 ,sidenote3 ,bird games ,the bird games are beautiful and leave a wholesome impression of home life and home love on the children1 which will have a lasting influence4 ,few children1 brought up in this tender and beautiful way1 will ever feel an inclination to harm the birds1 or indeed any animal4 ,sidenote3 ,interesting stories ,the fund of stories of birds and birds' nests is almost inexhaustible4 ,miss ,poulsson's ,in the ,child's ,world contains many stories of the weaver 7pages #djg-dab71 and several about birds and birds' nests 7pages #bib-cja74 ,her talks to teachers with regard to the presentation of each subject are very helpful1 as well as her suggestions for the teachers' reading4 ,stories of the weaving birds1 particularly the ,african weaver1 are interesting4 ,it is said that two birds work together1 one on the inside of the nest and the other on the outside1 passing the grass and twigs in and out1 until the home is completed4 ,the children will enjoy1 too1 stories of weaving in other lands1 material for which can be easily obtained4 ,in fact1 no one need to be without stories in these days of books and magazines4 ,sidenote3 ,conversation ,sidenote3 ,never repress the children ,last1 but not least1 is the conversation during the weaving4 ,anyone who has attended a teachers' meeting1 where the industrial work was being given1 has not failed to remark the sociability all over the room4 ,how are you getting on8 ,let me see yours4 ,oh1 ,i cannot get it at all1 etc41 etc41 are heard everywhere1 and yet those same teachers go into their class rooms the next day and expect the children to work without whispering4 ,if they will read what ,mrs4 ,wiggin says in the ,republic of ,childhood1 in her talk on ,sewing1 they will never be guilty of it again4 ,a good plan is to have the room perfectly quiet while a dictation is being given1 and then allow a period of relaxation when the little folks can compare and admire the work to their hearts' content4 ,beware of too much repression4 ,a child when asked why a tree grew crooked1 replied3 ,somebody stepped on it1 ,i suppose1 when it was a little fellow4 ,the answer is painfully suggestive4 ,mrs4 ,wiggin truly says3 ,if the children are never to speak except when they answer questions1 how are we to know aught of their inner life8 ,the following list of songs1 games1 and stories suggests interesting material to correlate with the work in hand-loom weaving4 ,,songs ,,and ,,games ,,atkinson1 ,,frank ,h41 ,,jr4 ,singing ,songs for ,children4 ,see ,,coonley4 ,,beebe1 ,,katherine4 ,schoolroom ,plays4 ,chicago3 ,thomas ,charles ,co4 #be cents4 ,a ,weaving ,game4 ,,brown1 ,,kate ,l4 ,stories in ,song4 ,see ,,emerson4 ,,coolidge1 ,,elizabeth4 ,after ,supper ,songs4 ,chicago3 ,herbert ,s4 ,stone ,co4 #b4jj4 ,,coonley1 ,,lydia ,a42 ,,smith1 ,,eleanor2 ,,gaynor1 ,,jessie ,l42 ,,root1 ,,frederick ,w42 and ,,atkinson1 ,,frank ,h41 ,,jr4 ,singing ,verses for ,children4 ,new ,york3 ,the ,macmillan ,co4 #b4jj4 ,,davis1 ,,katherine ,,wallace4 ,singing ,rhymes and ,games4 ,chicago3 ,clayton ,t4 ,summy ,co4 #ce cents4 ,,emerson1 ,,elizabeth ,u41 and ,,brown1 ,,kate ,l4 ,stories in ,song4 ,boston3 ,oliver ,ditson ,co4 #a4jj4 ,the ,oriole's ,nest4 ,,forsythe1 ,,clarence4 ,old ,songs for ,young ,america4 ,new ,york3 ,doubleday1 ,page ,co4 #aija4 #b4jj4 ,needle's ,eye4 ,,gaynor1 ,,jessie ,l4 ,songs of the ,child ,world4 ,new ,york3 ,the ,john ,church ,co4 #a4jj4 ,the ,bird's ,nest4 ,the ,happy ,lambkins4 ,song of the ,shearers4 ,spinning the ,yarn4 ,grandma's ,knitting ,song4 ,weaving ,song4 ,,gaynor1 ,,jessie ,l4 ,see also ,,coonley4 ,,hill1 ,,patty ,s4 ,song ,stories for the ,kindergarten4 ,chicago3 ,clayton ,t4 ,summy ,co4 #a4jj4 ,the ,children and the ,sheep4 ,,hofer1 ,,mari ,,ruef4 ,children's ,singing ,games ,chicago3 ,published by ,mari ,ruef ,hofer1 ,kindergarten ,magazine ,co4 #ej cents4 ,,hubbard1 ,,clara ,,beeson4 ,merry ,songs and ,games4 ,st4 ,louis3 ,balmer ,weber ,music ,co4 #b4jj4 ,,jenks1 ,,harriet ,s4 ,songs and ,games for ,little ,ones4 ,see ,,walker4 ,,neidlinger1 ,w4 ,h4 ,small ,songs for ,small ,singers4 ,new ,york3 ,g4 ,schirmer4 #a4jj4 ,the ,spider4 ,the ,bee4 ,the ,rainy ,day4 ,,nursery ,,stories and ,rhymes for the ,kindergarten and ,home4 ,springfield1 ,mass43 ,milton ,bradley ,co4 #a4jj4 ,the ,song of a ,baby's ,blanket4 ,the ,song of a ,baby's ,shirt4 ,,pratt1 ,,waldo ,s4 ,st4 ,nicholas ,songs4 ,new ,york3 ,the ,century ,co4 #b4jj4 ,,root1 ,,frederick ,w4 ,singing ,songs for ,children4 ,see ,,coonley4 ,,smith1 ,,eleanor4 ,first ,book in ,vocal ,music4 ,chicago and ,new ,york3 ,silver1 ,burdette ,co4 #cj cents4 ,oriole's ,nest ,song4 ,spinning ,song4 ,,smith1 ,,eleanor4 ,a ,primer of ,vocal ,music4 ,chicago and ,new ,york3 ,silver1 ,burdette ,co4 #be cents4 ,the ,lazy ,sheep4 ,the ,spider4 ,the ,silkworm4 ---- ,see also ,,coonley4 ,,songs ,,in ,,season4 ,plan ,book4 ,chicago3 ,a4 ,flanagan4 #ej cents4 ,the ,lambkin4 ,,walker1 ,,gertrude1 and ,,jenks1 ,,harriet ,s4 ,songs and ,games for ,little ,ones4 ,boston3 ,oliver ,ditson ,co4 #a4ej4 ,birdies in the ,green ,wood4 ,fly1 ,little ,birds4 ,in the ,branches of a ,tree4 ,eight ,white ,sheep4 ,weaving ,song4 ,,stories ,,andrews1 ,,jane4 ,each and ,all4 ,boston3 ,ginn ,co4 #ej cents4 ,boston3 ,lee ,shepard4 #a4jj4 ,new ,work for ,pense4 ,,chase1 ,a41 and ,,clow1 ,e4 ,stories of ,industry4 ,boston3 ,educational ,publishing ,co4 #b vols4 #fj cents each4 ,stories of ,cotton1 ,wool1 ,silk1 and ,carpets4 ,,clow1 ,e4 ,stories of ,industry4 ,see ,,chase4 ,,farmer1 ,,lydia ,,hoyt4 ,boy's ,book of ,famous ,rulers4 ,new ,york3 ,thomas ,y4 ,crowell ,co4 #a4ej4 ,robert ,bruce and the ,spider4 ,,miller1 ,,olive ,,thorne4 ,little ,folks in ,feathers and ,fur1 and ,others in ,neither4 ,new ,york3 ,e4 ,p4 ,dutton ,co4 #b4ej4 ,the ,spider ,speaks for ,herself4 ,stories of ,caterpillars and ,butterflies4 ,a ,funny ,little ,log ,house4 ,,pierson1 ,,clara ,,dillingham4 ,among the ,farmyard ,people4 ,new ,york3 ,e4 ,p4 ,dutton ,co4 #a4be4 ,the ,lamb with the ,longest ,tail4 ,the ,twin ,lambs4 ,why the ,sheep ,ran ,away4 ,,poulsson1 ,,emilie4 ,nursery ,finger ,plays4 ,boston3 ,lothrop ,publishing ,co4 #a4be4 ,the ,lambs4 ---- ,child ,stories and ,rhymes4 ,boston3 ,lothrop ,publishing ,co4 #a4be4 ,the ,story of ,baby's ,blanket4 ---- ,in the ,child's ,world4 ,springfield1 ,mass43 ,milton ,bradley ,co4 #b4jj4 ,stories of ,caterpillars and ,butterflies4 ,a ,visit to the ,weaver4 ,john's ,trousers4 ,how a ,little ,boy got a ,new ,shirt4 ,molly's ,lamb4 ,sequel to an ,old ,story4 ,cotton ,field ,stories4 ,the ,flax4 ,the ,flax ,flower4 ,the ,silk ,worm4 ,the ,sparrow's ,nest4 ,the ,life of a ,silk ,worm4 ,the ,goddess of the ,silk ,worm4 ,the ,nest of ,many ,colors4 ,the ,little ,worm that was ,glad to be ,alive4 ,,smith1 ,,nora ,a4 ,the ,story ,hour4 ,see ,,wiggin4 ,,stories ,,in ,,season4 ,plan ,book4 ,chicago3 ,a4 ,flanagan4 #ce cents4 ,the ,bramble ,bush and the ,lambs4 ,,wiggin1 ,,kate ,,douglas 7,mrs4 ,george ,c4 ,riggs71 and ,,smith1 ,,nora ,a4 ,the ,story ,hour4 ,boston3 ,houghton1 ,mifflin ,co4 #a4jj4 ,the ,child and the ,world4 ,,wiltse1 ,,sara ,a4 ,kindergarten ,stories and ,morning ,talks4 ,boston3 ,ginn ,co4 #ge cents4 ,stories of ,wool1 etc4 ,chapter ,fifteen ,a ,,list ,,of ,,helpful ,,books ,,and ,,magazine ,,articles ,,books ,,albee1 ,,mrs4 ,,helen ,r4 ,abnkee ,rugs4 ,boston3 ,the ,riverside ,press4 ,issued by the author1 ,pequaket1 ,silver ,lake ,p4 ,o41 ,n4 ,h4 ---- ,mountain ,playmates4 ,boston3 ,houghton1 ,mifflin ,co4 7,chapter on ,rug-making47 ,,ashenhurst1 ,,thomas ,r4 ,designs in ,textile ,fabrics4 ,london3 ,cassell ,co4 ---- ,weaving and ,designing of ,textile ,fabrics4 ,london3 ,simpkin1 ,marshall ,co4 7,chapters on ,history of ,weaving1 ,color1 and ,combination and ,arrangement of ,designs47 ,,bates1 ,,lois4 ,kindergarten ,guide4 ,new ,york3 ,longmans1 ,green ,co4 ,,benjamin1 ,s4 ,g4 ,w4 ,persia and the ,persians4 ,boston3 ,houghton1 ,mifflin ,co4 ,,birdwood1 ,,sir ,,george4 ,industrial ,arts of ,india4 ,london3 ,chapman ,hall4 ,,bishop1 ,,mrs4 ,i4 ,b4 ,journeys in ,persia and ,kurdistan4 ,new ,york3 ,g4 ,p4 ,putnam's ,sons4 ,,caine1 ,,william ,s4 ,picturesque ,india4 ,new ,york3 ,george ,routledge ,sons4 ,,collins1 ,,treachor ,e4 ,in the ,kingdom of the ,shah4 ,london3 ,t4 ,fisher ,unwin4 ,,davie1 ,,oliver4 ,nests and ,eggs of ,north ,american ,birds4 ,columbus1 ,ohio3 ,the ,landon ,press4 ,,dellenbaugh1 ,,frederick ,s4 ,north ,americans of ,yesterday4 ,new ,york3 ,g4 ,p4 ,putnam's ,sons4 ,,dixon1 ,,charles4 ,curiosities in ,bird ,life4 ,london3 ,george ,redway ,son4 ---- ,curious ,nests4 ,london3 ,george ,redway ,son4 ,,dugmore1 ,a4 ,,radclyffe4 ,bird ,homes4 ,new ,york3 ,doubleday1 ,page ,co4 ,,earle1 ,,alice ,,morse4 ,home ,life in ,colonial ,days4 ,new ,york3 ,the ,macmillan ,co4 ,,firth1 ,,annie4 ,cane ,basket ,work4 ,london3 ,l4 ,upcott ,gill4 #ahii4 ,new ,york3 ,charles ,scribner's ,sons4 ,,grinnell1 ,,george ,,bird4 ,indians of ,to-day4 ,new ,york3 ,d4 ,appleton ,co4 ---- ,story of the ,indian4 ,new ,york3 ,d4 ,appleton ,co4 ,,gurdji1 ,v4 ,oriental ,rug ,weaving4 ,new ,york3 ,f4 ,tennyson ,neely ,co4 ,,herrick1 ,,francis ,,hobart4 ,the ,home ,life of the ,wild ,birds4 ,new ,york3 ,g4 ,p4 ,putnam's ,sons4 ,,holt1 ,,rosa ,,belle4 ,rugs3 ,oriental and ,occidental4 ,chicago3 ,a4 ,c4 ,mc,clurg ,co4 ,,how ,,to ,,make and ,how to ,mend4 7,directions for dyeing47 ,new ,york3 ,the ,macmillan ,co4 ,,hummel1 ,,prof4 ,the ,dyeing of ,textile ,fabrics4 ,new ,york3 ,cassell ,co4 ,,james1 ,,george ,,wharton4 ,indian ,basketry4 ,new ,york3 ,henry ,malkan4 #aijb4 ,,knapp1 ,,elizabeth ,s4 ,raphia and ,reed ,weaving4 ,springfield1 ,mass43 ,milton ,bradley ,co4 ,,kraus-,,boelte1 ,,mme4 ,kindergarten ,guide4 7,occupations47 ,new ,york3 ,steiger ,co4 ,,mason1 ,o4 ,t4 ,woman's ,share in ,primitive ,culture4 ,new ,york3 ,d4 ,appleton ,co4 ,,morris1 ,,william4 ,some ,hints on ,pattern ,designing4 ,new ,york3 ,longmans1 ,green ,co4 ,,mumford1 ,j4 ,k4 ,oriental ,rugs4 ,new ,york3 ,charles ,scribner's ,sons4 ,,sheldon1 ,,william ,e41 and others4 ,illustrated ,lessons with ,paper ,folding4 ,springfield1 ,mass43 ,milton ,bradley ,co4 ,,walker1 ,,louisa4 ,varied ,occupations in ,string ,work2 comprising ,knotting1 ,netting1 ,looping1 ,plating1 and ,macrem4 ,new ,york3 ,the ,macmillan ,co4 ---- ,varied ,occupations in ,weaving4 ,new ,york3 ,the ,macmillan ,co4 ,,wheeler1 ,,mrs4 ,,candace4 ,home ,industries and ,domestic ,weavings4 ,new ,york3 ,associated ,artists1 #aae ,east #bc;d ,street4 ,,white1 ,,mary4 ,how to ,make ,baskets4 ,new ,york3 ,doubleday1 ,page ,co4 #aijb4 ,,wiebe1 ,,edward4 ,paradise of ,childhood4 ,springfield1 ,mass43 ,milton ,bradley ,co4 ,,wiggin1 ,,kate ,,douglas 7,mrs4 ,george ,c4 ,riggs74 ,republic of ,childhood 7,occupations74 ,boston3 ,houghton1 ,mifflin ,co4 ,,worst1 ,,edward ,f4 ,construction ,work4 ,chicago3 ,a4 ,w4 ,mumford4 #aija4 ,,fine ,,art ,,books ,the following books can be found in the ,fine ,art ,collections in some public libraries4 ,they are very valuable and contain many very beautiful illustrations of oriental rugs and carpets1 which are helpful in the study of design and of harmony in color3 ,,burty1 ,p4 ,masterpieces of ,industrial ,art4 ,,coxon1 ,,herbert4 ,oriental ,carpets4 ,,lessing1 ,,julius4 ,ancient ,oriental ,carpet ,patterns4 ,,robinson1 ,,vincent ,j4 ,eastern ,carpets4 ,,vienna ,,imperial ,,and ,,royal ,,austrian ,,museum4 ,oriental ,carpets4 ,,magazine ,,articles ,a ,,profitable ,,philanthropy1 by ,mrs4 ,helen ,r4 ,albee4 ,review of ,reviews1 ,july1 #aijj4 ,,art ,,of ,,the ,,american ,,indian4 ,chautauquan1 ,march1 #ahii4 ,a ,,study ,,of ,,the ,,textile ,,art1 by ,wm4 ,h4 ,holmes4 ,sixth ,annual ,report1 ,bureau of ,ethnology1 ,washington1 ,d4 ,c4 7pp4 #hd1 #he47 ,,domestic ,,art ,,number4 ,pratt ,institute ,monthly1 ,february1 #aija4 ,,home ,,industries ,,and ,,domestic ,,manufactures1 by ,mrs4 ,candace ,wheeler4 ,the ,outlook1 ,oct4 #ad1 #ahii4 ,,industrial ,,classes ,,in ,,settlement ,,work1 by ,george ,w4 ,r4 ,twose4 ,pratt ,institute ,monthly1 ,november1 #ahih4 ,sidenote3 ,magazine articles ,,industrial ,,education ,,as ,a ,,social ,,force1 by ,h4 ,w4 ,stebbins4 ,educational ,review1 ,may1 #aijb4 ,,juvenile ,,portiere ,,makers4 ,new ,york ,tribune1 ,new ,york ,city1 ,march #aj1 #aija4 ,reprinted in ,minneapolis ,journal ,junior1 ,april #bj1 #aija1 ,minneapolis1 ,minn4 ,,leaf ,,cutting 7for rug designs74 ,pratt ,institute ,monthly1 ,april1 #aijj4 ,,mrs4 ,,volk ,,and ,,her ,,work4 ,good ,housekeeping1 ,september1 #aija4 ,,navajo ,,weavers1 by ,dr4 ,washington ,matthews4 ,third ,annual ,report of ,bureau of ,ethnology1 ,washington1 ,d4 ,c4 7,this volume also contains a number of fine illustrations of blankets1 etc47 ,,new ,,england ,,rugs4 ,minneapolis ,journal1 ,minneapolis1 ,minn41 ,march #bh1 #aijj4 ,,on ,,the ,,designing ,,and ,,making ,,of ,,carpets1 by ,f4 ,j4 ,mayer4 ,the ,artist1 ,july and ,august1 #ahii4 ,,prehistoric ,,textile ,,art ,,of ,,eastern ,,united ,,states1 by ,wm4 ,h4 ,holmes4 ,thirteenth ,annual ,report of ,bureau of ,ethnology1 ,washington1 ,d4 ,c4 7pp4 #ia1 #ib47 ,,some ,,social ,,aspects ,,of ,,education1 by ,g4 ,stanley ,hall4 ,educational ,review1 ,may1 #aijb4 ,,straw ,,weaving4 ,american ,homes1 ,knoxville1 ,tenn41 ,september1 #aijj4 ,teachers' ,college ,record4 ,teachers' ,college1 ,columbia ,university1 ,new ,york4 7,containing a number of articles on weaving47 ,,textile ,,industries ,,of ,,the ,,united ,,states4 ,chautauquan1 ,march1 #ahii4 ,,textile ,,industry ,,since #ahij4 ,forum1 ,may1 #ahii4 ,,textiles1 ,,old ,,and ,,new4 ,the ,craftsman1 ,the ,united ,crafts1 ,eastwood1 ,n4 ,y41 ,january1 #aijb4 7,contains ,notes from the ,history of ,textiles1 ,a ,revival of ,english ,handicrafts1 and ,brain and ,hand47 ,the ,elementary ,school ,record1 by ,dr4 ,john ,dewey4 ,numbers #a to #i4 ,the ,university of ,chicago ,press1 #aijj4 7,containing a number of articles on weaving and a record of industrial work done in the ,university ,elementary ,school of the ,university of ,chicago47 ,,the ,,labor ,,museum ,,at ,,hull ,,house1 by ,jessie ,luther4 ,the ,commons1 ,hull ,house1 ,chicago1 ,vol4 ,,vii41 ,no4 #gj1 ,may1 #aijb4 7,containing valuable illustrations of old looms1 and the methods of spinning and weaving47 ,,weavers ,,of ,,the ,,philippines1 by ,g4 ,e4 ,walsh4 ,the ,catholic ,world1 ,march1 #aijb4 ,,what ,,is ,,being ,,done ,,in ,,textile ,,education4 ,chautauquan1 ,august1 #aijj4 ,many topics interesting to teachers of industrial work are dealt with in the instruction papers of the ,international ,correspondence ,schools1 ,textile department4 ,communications should be addressed to ,christopher ,p4 ,brooks1 ,new ,bedford1 ,mass4 ,the ,index ,abnkee ,rug ,industry1 #fc ff4 ,accuracy1 weaving develops1 #bb4 ,acids1 used in dyeing1 #fi1 #gd ff4 ,action1 relation to ideas1 #h4 ,afghans1 weaving of1 #di1 #ed1 #abj1 #aba4 ,albee1 ,mrs4 ,helen ,r41 #fc1 #fd ff4 ,angora wool1 #eg4 ,aniline dyes1 #gc4 ,ashenhurst1 quotations from1 #ac1 #ad1 #af4 ,axminster rugs1 #abj-aba1 #aca1 #acb1 #acd4 ,baby shoes1 #aae4 ,balls1 worsted1 #aae4 ,basketry1 preparation for1 #bc1 #bd4 ,bates1 ,lois1 #bc1 #ca1 #add4 ,bath rugs1 #ajj4 ,batten1 ,the1 ,hindoo and ,egyptian1 #ae4 ,bed shoes1 #aac1 #aad4 ,bed spreads1 #aji4 ,blankets1 #ef-eg2 carriage1 #aji4 ,blue dye1 #ei-fj2 wool carded1 #fb4 ,bokhara rugs1 #abc1 #abd-abe1 #abh1 #aca1 #acd4 ,bookmark1 #ce-cf1 #cg4 ,borders1 #hi1 #aji1 #aah1 #aba1 #abb1 #abc1 #abd4 ,candle-wicking1 #eb1 #hc-hd1 #ajh4 ,cap1 #dj4 ,carding1 #fb ff4 ,carpet ravelings1 see ,ravelings4 ,carpet wool1 rugs of1 #aje4 ,carriage blankets1 #aji4 ,celluloid strips1 #ee-ef1 #he4 ,chatelaine bags1 #aag-aah4 ,cheese cloth1 #ea1 #eh ff41 #ii1 #ajh4 ,chenille1 #db1 #ec2 splicing of1 #hc-hd4 ,chinese1 weaving practiced by1 #ac4 ,clavigero1 on weaving in ,mexico1 #ad4 ,clouding1 #fc4 ,coles1 ,c4 ,s41 #bd4 ,colors1 #fb1 #fd-fe1 #acf-ach2 color scheme1 #ff2 shading1 #fg-fh2 see also ,dyes1 ,formulas1 and names of colors4 ,concentration1 weaving develops1 #bb4 ,conversation in class room1 #adg4 ,copperas1 #fj4 ,cotton1 darning1 #ee2 knitting1 #ee4 ,couch covers1 weaving of1 #di4 ,creed1 ,the1 #g2 disregarded1 #g-h4 ,cushions1 #abj4 ,demonstration cards1 #ca4 ,designing1 weaving prepares for1 #bc1 #be4 ,designs1 #bg1 #ca1 #cc1 #ce1 #dg-dh1 #eg1 #aje ff41 #abj1 #abb4 ,dexterity1 weaving develops1 #bb1 #bd4 ,discouragement1 ,froebel's theory1 #ag4 ,dish cloths1 #ii-ajj4 ,doll's shawl and skirt1 #aji-aaj4 ,doll's towel1 #ee1 #ajh-aji4 ,dusters1 #ajg-ajh4 ,dyeing1 #ad1 #eh-hb2 formulas1 #gc ff4 ,dyes1 kinds of1 #eh1 #fj1 #fa1 #gb1 #gc2 see also names of colors4 ,easel support for loom1 #ai4 ,egyptians1 inventors of the loom1 #ad4 ,face cloths1 #ii-ajj4 ,felt mats1 #bc1 #cj-cb4 ,finger ,play1 #adc4 ,floor rugs1 weaving of1 #di-ej4 ,formulas for colors1 #gc ff4 ,frames1 photograph and picture1 #aaf4 ,free-paper weaving1 #ce4 ,fringe1 #aaa-aac4 ,froebel1 ,friedrich1 #aj1 #ag4 ,games1 #adc-aeb2 list of1 #adh ff4 ,germantown wool1 #ed1 #ee1 #hd1 #aji1 #aad4 ,gifts1 made by children1 #ba1 #cd1 #cg1 #ee1 #aac4 ,glauber salts1 #fh1 #fi1 #ga1 #gd ff4 ,glove boxes1 #ajd4 ,gray1 wool carded1 #fb-fc4 ,green dye1 #ff2 dull shade1 #fi4 ,hair receivers1 #aba4 ,hammocks1 #ic-ih4 ,hand-training in kindergarten1 #aj1 #bb4 ,hindoo loom1 #ae-af4 ,holders1 #ia1 #ib4 ,hurwitz1 ,professor1 #ac4 ,indian dyes1 #eh4 ,indian loom1 #ace1 #acg4 ,individual1 ,the1 training of1 #bh4 ,industrial training1 #aa1 #bh-bi4 ,ink stains1 #fa4 ,iron rust1 #fa4 ,jacob's ladder1 #ci4 ,kerman rugs1 #abc4 ,khiva rugs1 #abc1 #abe1 #abh1 #aca1 #acd4 ,kindergarten1 hand-training in1 #aj4 ,kindergarten ,guides1 #bc1 #ca1 #cc1 #add4 ,kiz-,kilim rugs1 #dg1 #abc1 #abe1 #abf-abi4 ,knotting fringe1 #aac4 ,kraus-,boelte1 ,mme41 #be4 ,kraus-,boelte ,guide1 #be4 ,kurdji1 ,v41 #abd4 ,leaf forms1 #ajg4 ,leaf stains1 #fa4 ,leather strips1 #ee1 #he4 ,linings1 #ea4 ,loom1 ,the1 #ac-ba4 ,loom1 ,the ,todd ,adjustable ,hand1 see ,todd4 ,lunch cloths1 #aji4 ,macrem cord1 #ee2 splicing of1 #hc-hd4 ,making1 instinct for1 #i4 ,manual training1 #aj4 ,materials1 #aj1 #ea-eg4 ,mats1 see ,felt1 ,paper1 and ,table4 ,matthews1 ,dr4 ,w41 #eh1 #acf1 #ach1 #adj4 ,measuring glass1 #fh-fi4 ,mill1 ,john ,stuart1 #h4 ,mitten1 #dj4 ,mordants1 #fh4 ,mottled rugs and borders1 #hg ff4 ,mumford1 ,john ,kimberley1 #abh4 ,navajo blankets1 #dh1 #ace-adb4 ,needle1 used with loom1 #ai1 #bj4 ,nut stains1 #fj-fa4 ,opera-glass bags1 #aah4 ,oriental cord1 for warp1 #dc4 ,oriental rugs1 weaving of1 #abb-acd4 ,oriental ,rugs1 #abh4 ,oriental ,rug ,weaving1 #abd4 ,panels1 of silk canvas1 #aai4 ,paper mats1 #bc1 #be1 #cc ff4 ,paradise of ,childhood1 #ce1 #aje1 #ajg4 ,patterns1 see ,designs4 ,pencil holder1 #ch4 ,persian rugs1 designs for1 #abd4 ,photograph and picture frames1 #aaf4 ,pile weaving1 #acb-acd4 ,pink1 wool carded1 #fb4 ,porch curtains1 #ajd4 ,portires1 #aba4 ,poulsson1 ,miss1 #adc1 #adf4 ,practical training1 need of1 #aj4 ,principles1 value of learning1 #bc4 ,public schools1 practical training in1 #aj1 #ah1 #bf-bg4 ,purses1 #aag-aah4 ,pussy-cat stairs1 #ci-dj4 ,quilts1 #aji4 ,raffia1 #db1 #de1 #ef1 #eh ff41 #ga1 #hd-he4 ,raffia mats1 method of weaving1 #aja-aba4 ,ravelings1 #dc1 #ec1 #hc4 ,red dye1 #fj4 ,reins1 #aaj4 ,republic of ,childhood1 ,the1 #cd1 #ade4 ,rope silk1 #db1 #eb-ec2 splicing of1 #hd4 ,sachet cases1 #abj4 ,scarf1 #aaf4 ,school bags1 #aah4 ,scientific facts as applied in schools1 #h4 ,sequence weaving1 #ce ff4 ,serebend rugs1 #abc4 ,shawls1 #aji-aaj4 ,shetland wool1 #ef4 ,shoes1 bed1 #aac-aad2 baby1 #aae4 ,shopping bags1 #aah4 ,shuttle1 ,egyptian1 #ac2 ,hindoo1 #ae4 ,silk1 #eb2 knitting1 #eg4 ,silk canvas1 #aai-abj4 ,silkoline1 #ea1 #hc2 for rugs or mats1 #hf-ib4 ,skirt1 doll's1 #aaj4 ,slats1 weaving with1 #bc-bd1 #ca-cb4 ,sleeve protectors1 #aag4 ,slumber robes1 #di1 #ed1 #abj1 #aba4 ,socks1 #aac-aad4 ,sofa pillows1 #abj4 ,songs1 games1 and stories1 #adc-aeb1 #adh ff4 ,splicing1 methods of1 #hc-he4 ,splints1 weaving with1 #bc-bd1 #ci4 ,star1 #cg4 ,steiger1 ,e41 publisher1 #ce4 ,stories1 #adc1 #aeb2 list of1 #adh ff4 ,straw ,weaving1 #ajd4 ,success1 ,froebel's theory1 #ag4 ,sweater1 doll's1 #da4 ,table cover1 #di4 ,table mats1 #ch1 #aaf1 #aag4 ,tam ,o',shanter1 #aaj4 ,tassels1 #aab4 ,tippet1 #aaf4 ,todd ,adjustable ,hand-loom1 #ah-ba4 ,towels1 doll's1 #ee1 #ajh-aji4 ,turkish rugs1 designs for1 #dg-dh1 #abc-abd4 ,vegetable dyes1 #eh1 #fa1 #gb4 ,vegetable fibres1 for weaving1 #ac1 #ad4 ,veil cases1 #abj4 ,walker and ,jenks1 song by1 #add1 #ade4 ,warp1 #bj1 #db-ej4 ,weaving1 its advantages1 #aa1 #bb2 oldest of the industrial arts1 #ab1 #ac1 #ad2 defined1 #bb2 first steps in1 #bc1 #cj-da2 free paper1 #ce4 ,wheeler1 ,mrs4 ,candace1 #eh4 ,wiebe1 ,edward1 #cd1 #ce4 ,wiggin1 ,mrs4 ,kate ,douglas1 #cd1 #ade4 ,wilton rugs1 #abj-aba1 #aca1 #acb1 #acd4 ,woof1 stringing of1 #bj4 ,wool1 for weaving1 #ac1 #ad1 #ed1 #fb ff4 ,worsted1 splicing of1 #hc4 ,wristlets1 #aaf-aag4