,,jacquard                              
,,weaving ,,and ,,designing             
,,jacquard                              
,,weaving ,,and ,,designing             
,,by                                ,t4 
,f4 ,,bell                   ,,national 
,,scholar ,,in ,,design 7#ahge-h7 ,,and 
,,third ,,grade ,,certificated ,,art    
,,master1        ,,science ,,and ,,art  
,,department1 ,s4 ,k43 ,,medallist ,,in 
,,honours ,,and          ,,certificated 
,,teacher ,,in #8,,linen                
,,manufacturing1' ,,and ,,in            
#8,,weaving ,,and ,,pattern             
,,designing1' ,,city ,,and ,,guilds ,,of
 ,,london ,,institute                   
,,london                                
,,longmans1 ,,green1 ,,and ,,co4        
,,and ,,new ,,york3 #ae ,,east #afth    
,,street                                
#ahie                             ,all  
rights reserved          ,,preface      
,the contents of the following pages    
have been derived from a long  course of
 art and technical training1 together   

with a lengthened  practical experience 
in textile manufacturing and designing2 
during  which time ,i received much     
valuable assistance from many kind      
friends--especially ,mr4 ,b4            
,ashenhurst1 when master of the ,belfast
  ,technical ,school1 and his brother1  
of ,bradford2 also ,mr4 ,john ,mitchell1
  of ,belfast and ,glasgow--which ,i    
thankfully acknowledge4    ,to supply a 
treatise that would be alike suitable to
 the manufacturer1  the workman1 and the
 student would be a difficult matter4   
,to explain  each point so fully that it
 would be clear to every person would   
make it wearisome to those having a     
knowledge of the subject4 ,i  have      
therefore endeavoured to keep the       
descriptions as concise as  is          
compatible with a fairly clear          
explanation1 which ,i hope will be      
considered the wisest plan to adopt2    
and1 while quite aware of the  many     
shortcomings of the work1 ,i venture to 
hope that it will prove  a valuable     

assistance to those wishing to improve  
their knowledge of  jacquard weaving and
 designing4                             
,t4 ,f4 ,,bell4    ,belfast1 #ahid4     
,it affords me much satisfaction to add 
a few words of introduction to  this    
work of my friend ,mr4 ,bell4 ,i cannot 
pretend to criticise his  explanation of
 technical processes1 but1 from an      
examination of the  proof-sheets1 ,i am 
convinced that the book will be found an
 invaluable  aid to students of both art
 and technical schools4 ,we already     
possess  numerous text-books on         
designing as an art1 as also on the     
technical  processes of weaving1 c41 and
 on the materials of manufacture4 ,mr4  
,bell has aimed at bringing the         
technical and artistic sides of the     
subject together in a practical form1   
and has thus provided us with a         
valuable handbook4    ,though we have a 
,government ,department of ,science and 
,art1 a knowledge  of both branches is  
seldom united in the same individual4   

,the artist  is too often deficient in  
the science of his craft2 while the man 
of  science not unfrequently shows      
contempt for art4 ,the author of this   
volume is peculiarly qualified for the  
task he has set himself1 being  a       
practical manufacturer as well as a     
designer of long experience1 and        
thoroughly learned in the science of his
 subject4 ,his book will supply  a      
long-felt need4                         
,,george ,,trowbridge1    ,head-,master 
,government ,school of ,art1 ,belfast4  
,,contents        ,,chapter             
,,page         ,i4 ,,introduction       
#a        ,,ii4 ,,jacquard ,,machines   
#bg       ,,iii4 ,,full-,,harness       
,,mountings                  #fi        
,,iv4 ,,designing ,,and ,,draughting    
#aaj         ,v4 ,,card-,,cutting ,,and 
,,lacing                #aci            
,,vi4 ,,special ,,jacquards ,,and       
,,harnesses        #aee       ,,vii4    
,,gauze                                 
#aif      ,,viii4 ,,double ,,cloth      

#bcc        ,,ix4 ,,tapestry ,,and      
,,pile ,,work                 #bee      
,x4 ,,carpets                           
#bfd        ,,xi4 ,,lappets ,,and       
,,swivels                    #bid       
,,index                                 
#cja          ,,jacquard ,,weaving ,,and
 ,,designing          ,,chapter ,i      
,,introduction      ,though the term    
#8jacquard weaving' is properly applied 
to work done by  the jacquard machine1  
it will here be taken to apply to all   
harness  weaving1 or work that extends  
beyond the range of shafts1 or leaves of
  heddles4    ,the question arises1     
,when is the limit to the number of     
shafts that  ought to be used reached8  
,it apparently used to be when no more  
could  be got into the loom1 as up to   
ninety-six shafts were used2 and this   
seems to be quite enough for any weaver 
to get the yarn through1 or  for any    
loom to hold1 but it must be remembered 
that at present the  appliances are much
 more suited to the work than they      

formerly were2  and now1 except in      
woollen or worsted goods1 where it is   
desirable to  use shafts on account of  
their firmness in comparison with that  
of a  harness1 from twelve to sixteen   
shafts are as many as it is generally   
thought desirable to have in a power    
loom4 ,i have seen thirty-five  shafts1 
all in one tier or set1 working diaper  
very conveniently in a  hand loom1 and  
more than double that number of leaves  
working worsted  in a power loom2 but   
whether the latter was desirable1 or    
not1 ,i must  leave to the judgment of  
the manufacturer who possessed it4      
,many ingenious inventions have been    
made for the purpose of simplifying  the
 working of a large number of shafts1   
but as a description of them  would be  
out of place here1 we may pass on to the
 draw loom1 which  appears to be the    
first form of harness of which we have  
an accurate  description4 ,how the      
cloths of ,babylon were woven1 in which 
,men's figured counterfeits so like have

 been      ,that if the party's self had
 been in place1      ,yet ,art would vie
 with ,nature for the grace--    is not 
known1 though in ,gilroy's report of    
,arphaxad's description of  his loom to 
,deioces1 king of the ,medes1 it is     
stated to have been  accomplished by    
means of carved blocks of wood acting on
 needles1  which wrought the harness or 
heddles and thus formed the pattern2 but
  as ,gilroy has admitted that the      
introduction to his work on weaving  is 
a pure invention of his own1 for the    
purpose of making it appear  that the   
,ancients were acquainted with motions  
similar to those on our  modern looms1  
or as a #8take-off on those who angle   
hourly to surprise1  and bait their     
hooks with prejudice and lies1' we need 
not dwell  further on the subject4 ,in  
any case1 figured cloths must have      
attained  considerable excellence in    
very early ages4 ,the curtains of the   
,tabernacle were embroidered with       
figures1 and the veil of the ,temple    

was1 according to ,josephus1 embroidered
 with all sorts of flowers1 and         
interwoven with various ornamental      
figures1 the door curtain being         
embroidered with blue and purple and    
scarlet4 ,the ephod of the ,high        
,priest was similarly embroidered4      
,illustration3 ,fig4 #a    ,the         
,egyptians worked coloured patterns in  
the loom so rich that they  vied with   
the ,babylonian cloths1 which were      
embroidered with the  needle4 ,the      
method of working is unknown1 but cloths
 taken from the  tombs in ,egypt1 which 
may be seen in ,south ,kensington       
,museum and in the  ,gobelins tapestry  
manufactory1 ,paris1 appear to be made  
on a principle  similar to that of the  
,gobelins tapestry2 the warp is of flax 
and the  weft of coloured wool3 and the 
looms depicted on the catacombs in      
,egypt  are very similar in appearance  
to tapestry looms4    ,embroidering was 
practised in ,egypt prior to the ,exodus
 of the  ,israelites2 and gold and      

silver threads or wires were used both  
for  embroidering and weaving1 being    
known nearly #d1jjj years4    ,the      
,babylonish garment taken by ,achan1    
whose sin brought much woe upon  the    
,israelites1 is said1 by ,josephus1 to  
have been a ,royal garment  woven       
entirely of gold2 but it might only have
 been embroidered with  gold1 and was   
probably wrought in the plain of        
,shinar1 as it was not  till long after 
that ,babylon was celebrated for its    
manufactures4    ,pliny says that       
weaving cloth with gold thread was      
invented by ,attalus1  an ,asiatic king1
 and that the ,babylonians were most    
noted for their  skill in weaving       
coloured cloths4 ,this was in ,homer's  
time1 about #ijj  ,b4,c41 when weaving  
and embroidering appear to have attained
 great  excellence1 and to have been    
very gorgeous4 ,at that time the labour 
of the loom was considered an           
accomplishment1 which ladies and even   
princesses tried to excel in4    ,as    

before stated1 the draw loom is the     
first form of machine for  figured      
weaving of which we have any record4 ,it
 is not known where it  was invented1   
but it probably passed from ,china to   
,western ,asia with  the silk           
manufacture4 ,the ancient ,egyptians1   
,greeks1 and ,romans do not  appear to  
have known it4 ,the ,chinese have still 
in use a draw loom in  which the drawboy
 stands on the top and draws up the     
parcels of twines  which have been      
previously arranged for him4 ,after     
being established in  ,damascus 7hence  
the name damask71 the draw loom passed  
on to ,europe1  where the ,chinese      
method of working was used till #afjd1  
when ,m4  ,simblot1 in ,france1         
connected to the neck a separate series 
of cords1  called the #8,simple'        
7perhaps a corruption of his name71 so  
that the  drawboy could work when       
standing at the side of the loom4 ,it is
 said  to have been introduced into     
,england in #aefg4 ,the next improvement

 was  to dispense with the drawboy's    
services1 and for this purpose a patent 
was taken out in #afhg1 by ,joseph      
,mason1 for #8a draw boy engine by which
  a weaver may performe the whole worke 
of weaving such stuffe as the  greatest 
weaving trade in ,norwich doth now      
depend upon without the help  of a      
draught boy4' ,in #aggi ,william ,cheape
 patented a plan to dispense  with the  
drawboy by having the #8simple' above   
his head1 and drawing it  down with     
knots which were held in notches1 as    
described in ,fig4 #b4    ,before       
beginning to describe the draw loom it  
may be better first to  describe what it
 is required to do4    ,its principal   
use appears to have been for the weaving
 of damask1  which is one of the        
simplest forms of figured weaving4      
,reduce a damask  texture to its        
elementary form1 and it consists of     
twilling1 or1 more  correctly1 turned or
 reversed twilling4 ,if we take a common
 dice  pattern woven with shafts1 it    

will easily be seen that one dice is    
formed by a warp twill1 and the next one
 by a weft twill1 or that the  dices are
 formed by warp and weft twills         
alternately4    ,illustration3 ,fig4 #b 
,now1 what forms the pattern8 ,the yarn 
may be all of one colour1 the  threads  
may be so closely set together as to    
make them individually  invisible1 or to
 appear as a plain surface1 and yet the 
dices come  out distinctly in two shades
 of colour4 ,the play of light on the   
longitudinal and latitudinal threads    
produces this effect4 ,the dices  formed
 by the latitudinal or horizontal       
threads will always appear  darker than 
the yarn in the cloth when the latter is
 placed between  the observer and the   
light1 whether these threads be warp or 
weft1 as  there is a certain amount of  
shade on each of them1 and of shadow    
cast  by them1 whereas the longitudinal 
or vertical threads are illuminated1    
without any shade or shadow1 and appear 
lighter than the yarn did  before being 

woven2 and this is the reason why a good
 side light is  the best for showing up 
the pattern on damask1 it developing the
 above  to the utmost4 ,in a good       
material the difference of shade between
 the  ground and figure is very         
considerable1 but in some thin1 coarse  
goods  it is hardly visible1 requiring  
them to be held in a favourable light   
to show the distinction3 the pattern    
will appear light on a darker  ground1  
or the reverse of this1 according as the
 surface threads  forming it run across 
the light or in the direction of it4    
,this is the reason of the pattern      
appearing on the cloth2 then it is  the 
business of the designer to regulate    
what form it is to partake of1  by      
preparing a suitable design2 and        
according to instructions furnished  to 
him by the design1 it is the duty of the
 drawboy to raise the warp  by          
regulating the cording of his harness1  
and drawing it so as to  reverse the    
twill from a weft one to a warp one     

wherever the figure is  to be formed on 
the cloth1 and to do so in such order as
 to produce the  pattern required4      
,the draw-loom mounting consists of two 
parts--the drawboy mounting1 or  the    
harness with its tail and simples1 to be
 wrought by the drawboy2  and the shaft 
mounting1 which is required to form the 
texture of the  cloth1 or to interlace  
the warp and weft through both ground   
and  figures2 the harness only          
interlaces them at the edges of the     
pattern1  or causes either warp or weft 
to be above1 to form the figure en      
bloc1 but without interlacing them      
together4    ,it is therefore a         
#8compound mounting1' and is known as a 
#8presser' or  #8pressure' harness4 ,for
 simplicity's sake let us suppose the   
principle  of the drawboy to be applied 
to shafts or healds1 and take a simple  
figure1 as ,fig4 #a4    ,for it there   
are #e parts1 or it could be wrought    
with #e leaves of  heddles with a       
straight draught4 ,fig4 #b shows the    

mounting2 ,a ,a is the  back mounting1  
which in this case is a shaft mounting1 
but would be a  harness for a more      
extensive pattern4 ,b1 ,b are the       
pressure heddles  or front mounting4    
,these are #e in number1 as the ground  
or texture is  taken as a #e-;end satin 
or twill1 ,c is the pulley box with the 
tail  cords1 ,d1 ,d1 passing over the   
pulleys1 and tied to the wall or to the 
loom framing as at ,e4 ,the knobs ,f    
hang over the weaver's head1 and are    
attached by cords ,h1 passing through a 
hole board ,g1 to the tail cords1  ,d1  
,d4 ,there are heads on the cords ,h1   
and the holes in the hole board  are    
made thus ,illustration3 keyhole2 so    
that when the weaver pulls  down a knob 
the bead can pass through the round     
hole1 and the shaft  or shafts of the   
back mounting attached to it will be    
raised1 and can  be kept in this        
position by drawing the cord into the   
notch or narrow  part of the hole1 which
 the bead will not pass through4 ,any   

number of  shafts can be raised that are
 required to form the pattern1 either by
  pulling down the knob for each shaft1 
or by having the knots corded to  the   
shafts1 so that each one will raise the 
proper number of shafts4  ,thus1 in the 
figure1 each knob is only tied to one of
 the tail cords2  therefore a knob must 
be pulled down for each leaf of heddles 
to be  raised1 but each knob might be   
attached to any number of the tail cords
  according to the number of leaves of  
heddles it is required to raise1  so    
that pulling down each knob in          
succession will complete the pattern4   
,it might require too many knobs to do  
this1 and then the former method  would 
have to be adopted4 ,when the weaver    
begins to work he draws the  first      
figure shed with the back mounting by   
pulling down one or more  of the knobs  
as is required2 he then works over the  
ground treadles1  b1 b1 till a change of
 pattern is required4 ,next he releases 
the drawn  shed by pulling the cord out 

of the notch in the hole board2 draws   
another shed1 and works over the ground 
treadles as before4 ,this gives  the    
principle of how the draw loom works1   
but the principle of forming  the       
texture with the back and front         
mountings combined will be fully        
explained under #8,pressure ,harness4'  
,fig4 #c gives the draw-loom harness2   
,a1 ,a is the carriage1 or the rails    
that support the harness1 which rests on
 the capes or side rails of the  loom4  
,supported by the carriage is the pulley
 box ,p1 which is a frame  fitted with  
small pulleys1 and must be sloped at    
such an angle as will  allow the tail   
cords to sink when opening the sheds    
without obstructing  the pulleys        
underneath them4 ,the neck twines extend
 from the figures  #a to #h to the knots
 above the hole board ,d ,d4 ,the cords 
which connect  the neck twines to the   
mails ,e1 ,e are called sleepers1 and   
those which  connect the mails with the 
leads ,f1 ,f are called hangers4 ,the   

hole  board is made of hardwood         
perforated with holes1 which run from   
front  to back in diagonal rows from    
right to left2 it should be a little    
finer than the set of the reed1 to allow
 for empty holes that are  sometimes    
caused by the tie of the harness ending 
with broken rows of  hooks in some or   
all of the repeats4 ,in ,scotland1 for  
this reason1  when the reed is set on   
#cg in41 the cumber board1 or hole      
board1 is set  on #cf in4               
,illustration3 ,fig4 #c    ,b1 ,b are   
the tail cords1 attached to the neck of 
the harness at one  end1 and at the     
other end all of them are fastened to   
the tail stick  ,m1 by means of which   
they are secured to the roof of the     
house4 ,there  must be a tail cord for  
each part of the harness2 here only     
eight are  shown for the front row of   
the harness1 and if there were eights   
rows  of harness in the hole board1 #fd 
tail cords would be required1 and the   
complete harness would be made up of    

several repetitions of the #fd neck     
twines2 four of these repetitions are   
here given for the first row of  the    
hole board4 ,of course there might be   
#djj to #fjj tail cords in a  full      
mounting4    ,from each tail cord       
descends a vertical cord to the ground1 
as shown  at ,g1 ,g4 ,these are the     
simple cords1 which1 taken collectively1
 are  termed the #8,simple4' ,it is on  
these cords that the pattern is read1   
or1  rather1 tied up4 ,the simple cords 
are gathered together1 according to  the
 pattern1 by passing twines round them  
and forming the twines into  lashes or  
leashes1 as shown at ,i1 ,i4 ,heads of  
stronger cord1 to which  the lashes are 
attached1 are shown at ,n1 ,n4 ,the     
leashes or lashes are  made of cotton   
yarn ,no4 #dh1 from six to eighteen     
plies of which are  moderately twisted  
together so that the twine will not     
curl2 the heavy  twine is used for      
coarse work1 where only a small number  
of lashes is  necessary4 ,the length of 

the lashes is from #h to #ab in41       
according to  the breadth of the simple4
 ,the heads are about #d-a_/b in4 long1 
of good  cord1 as foot twine1 which is  
used finer or coarser according as more 
or less heads are required4 ,the heads  
are made with a noose on them  that will
 run up or down on the gut cord ,l1     
which is a strong cord1  generally      
extending from the ground to the roof of
 the house4 ,k1 ,k are  the bridles     
connected with the lashes1 and used to  
draw them down in  succession as they   
are wanted by the drawboy4 ,when there  
are a great  number of lashes1 two gut  
cords are used1 as shown at ,no4 #a     
7,fig4 #c71  and the lashes are looped  
alternately on each and bridled         
accordingly4  ,in coloured work1 where  
three or four draws are required for    
each weft  line of the pattern--that is1
 one draw for each colour--it is usual  
to  have two gut cords with cross       
bridles from the one to the other which 
will slide up and down on them4 ,on     

these1 cross bridles the heads of  the  
lashes are fastened1 about #a in4 apart1
 so that the drawboy can  take them in  
succession and draw the shed for each   
colour4    ,the method of preparing and 
mounting the draw-loom harness is much  
the  same as that now in use for        
jacquard harnesses1 and1 as it is       
entirely  out of use1 it is unnecessary 
to describe it4    ,in order to make the
 neck twines draw evenly1 rollers are   
placed  between each set of cords at the
 points #a1 #b1 #c1 c42 these rollers   
keep the cords straight and make them   
all rise the same height at the  mails1 
which they would not do unless they all 
sloped to the hole board  at the same   
angle4      ,,reading ,,or ,,lashing    
,,the ,,pattern    ,illustration3 ,fig4 
#d    ,the pattern1 painted on design   
paper1 same as for pressure-harness     
damask1 is fixed upon a lashing frame1  
as shown in ,fig4 #d1 and the  lower    
ends of the simples are passed over it  
and fastened to the  crossbar ,b4 ,the  

simple cords are held in position over  
the design by  the comb ,c1 ,c1 which   
must be of such a fineness as to make   
each simple  cord stand directly        
opposite that space of the pattern to   
which it  corresponds1 one simple cord  
being placed between each pair of teeth 
of the comb4 ,it will thus be seen that 
there must be a simple cord  for each   
vertical line on the pattern1 or rather 
for each vertical  space between the    
black lines4 ,in the same way1 there    
must be a  head of lashes for each      
horizontal space1 or line1 as it is     
usually  called1 and which would answer 
to a card for the jacquard or dobby4    
,the straight-edge ,e ,e is made so that
 it will slide up and down in  the      
frame1 to mark the line on the design   
paper that is to be next  read by the   
lasher4 ,now refer to the line of the   
pattern above the  straight-edge1 and it
 will be seen that the first square or  
check to  the left is blank1 and it is  
accordingly passed over by the lasher2  

the second and third checks are painted1
 and as the simple cords  corresponding 
to them have to be drawn to form the    
pattern1 the lasher  twists one end of  
his lash over the pin ,g1 and takes a   
turn of it round  the second and third  
simples1 again passing it round the pin 
,g4 ,the  fourth check1 being blank1 is 
passed over1 and a turn or tack of the  
lash twine is taken round the fifth1    
sixth1 and seventh simples1 as the      
checks on the design paper opposite     
these are painted4 ,the reading and     
lashing proceeds in this way till the   
line is finished1 as shown in the       
figure2 then the two ends of the lash   
twine are tied together round  the pin  
,g1 which is then taken out1 and the    
loop made round it by the  lash twine is
 twisted round and formed into a snitch 
for the purpose  of fastening it to the 
head4 ,the lash is now pushed down      
behind the  board ,h1 to make room for  
another2 the straight-edge is then      
shifted to  the next line1 and the      

lashing proceeded with as before4 ,if   
too many  painted squares of the design 
paper come together1 all the simple     
cords  corresponding to them must not be
 looped or lashed together1 but can  be 
taken in two or more loops or tacks1    
never taking more than six or  seven    
simple cords into one tack of the lash  
twine4    ,it will be observed that the 
board ,h is rounded at the back2 this is
  for the purpose of having all the     
simples at an equal distance from the   
pin ,g when they are tacked up by the   
lash twine1 and consequently a  more    
regular shed will be produced when they 
are drawn in the process  of weaving4   
,the method of fastening the head to the
 lash is to loop the cord for  the head1
 which should be double1 round the gut  
cord1 then knot the  two ends of it     
together1 and take this knot through the
 snitch formed  on the end of the lash1 
and when the snitch is drawn tight the  
knot  prevents the head from slipping   
out4    ,in weaving with the draw loom  

two persons are required--the weaver1   
who works over the ground treadles1     
throws the shuttle1 beats up the  weft1 
c42 and the drawboy1 who takes the      
lashes in succession as he  draws them  
down by the bridle1 and by pulling out  
the simples raises  the harness and     
holds it in this position till the      
weaver has worked as  many shots as are 
required to be given to each draught4   
,when some thousands of twines were     
required for the harness1 and with a    
simple of three or four hundred cords1  
the weight and friction made it  very   
severe work for the drawboy4 ,to assist 
him a fork1 as shown at ,v1  ,no4 #b1   
,fig4 #c1 was used4 ,it was made to run 
to and fro on a carriage1  so that when 
the simples were drawn forward by the   
lashes1 one spike of  the fork could be 
run in behind those drawn forward1 while
 the other  spike was in front of them4 
,when the fork was depressed1 till the  
handle ,t came to the position shown by 
the dotted lines1 it drew down  the     

simple cords1 and they could easily be  
held in that position till a  change of 
draught was required4    ,illustration3 
,fig4 #e    ,when the mounting of the   
draw loom was very extensive1 it was    
necessary  to employ from two to ten    
pulley-boxes and as many drawboys1 so   
that  it is not surprising that many    
endeavours were made to work without    
the aid of a drawboy4 ,one of these     
machines1 known as the #8,parrot' or    
#8,pecker1' is shown in ,fig4 #e4 ,it is
 wrought by the treadles ,t1 which  are 
attached to the marches ,m1 and these   
are connected by the pulley ,p1  on the 
rocking shaft ,r1 by a cord which passes
 over and is fastened to  it4 ,when one 
of the treadles is pressed down the     
pulley rocks and turns  the shaft to one
 side1 and when the other treadle is    
pressed down the  shaft will rock to the
 other side4 ,the parrot or pecker ,k is
 movable  on the rocking shaft--that is1
 it can slide along it--but it must rock
  from one side to the other with the   

shaft4 ,the cords ,c1 ,c are passed     
through holes in the boards ,b1 ,b1 for 
the purpose of keeping them in          
position1 and they have knots or beads  
on them at m1 m1 and weights1  ,w1 ,w1  
at their ends to keep them in tension4  
,fastened to the cords  ,c1 ,c is       
another set of cords1 ,s1 connected with
 the tail cords of the  draw-loom       
harness1 and so corded or arranged as to
 draw those tail  cords required to be  
sunk to raise the harness to form the   
pattern4 ,as  the shaft ,r is rocked    
from side to side by depressing the     
treadles in  succession1 it carries with
 it the pecker ,k1 and the groove or    
notch  at the point of the pecker1 shown
 clearly in ,nos4 #b and #f1 coming     
into contact with the knots or beads on 
the cords1 draws them down  alternately1
 first at one side of the machine and   
then at the other1  until the pecker1 as
 it slides along the rocking shaft1 has 
passed  over all the cords2 it is then  
released and drawn back to its original 

position by means of the weight ,d1     
attached to it by the cord e4 ,at  the  
end of the rocking shaft is a ratchet   
wheel1 ,n4 ,the cord e passes  from the 
pecker through the segmental hole in the
 pulley ,p1 as shown in  ,no4 #d1 and is
 fastened to a boss1 ,o1 on the inner   
side of the ratchet  wheel4 ,this wheel 
receives its motion from a catch1 as    
shown at ,e1 ,no4  #e1 which is simply a
 pin fixed in a slotted piece of wood4  
,the pin y  forms the catch1 and the    
slot acts as a guide1 which passes over 
the  edge of the ratchet wheel1 and     
keeps the catch in position4 ,the catch 
is attached to the marches and works    
vertically4 ,it is raised by the        
treadles1 and when released is drawn    
down by the weight attached to  it1 the 
wire y catching one of the teeth of the 
ratchet and moving  it round4 ,there are
 two pins1 z and t1 in the ratchet1 as  
shown  in ,no4 #c1 and it is according  
to their distance apart that the length 
of traverse of the pecker is determined4

 ,the bar q1 shown in ,no4 #c  attached 
to the pulley ,v1 which is loose on the 
axle1 is raised by the  stud t1 as the  
ratchet wheel is advanced tooth by      
tooth1 till it  comes into contact with 
the catch ,s1 and raises it2 this allows
 the  ratchet wheel to be reversed by   
the weight ,d on the end of the cord  e 
till the stud z comes round and draws   
away the bar1 which allows  the catch to
 fall into position again and stops the 
pecker where the  pattern is to begin4  
,thus1 the distance between the studs z 
and t  must be arranged to suit the     
number of cords the pecker has to pass1 
or  to give the number of threads in the
 pattern4 ,the teeth of the ratchet     
wheel and traverse of the catch must be 
of such a pitch that as each  tooth is  
moved round the pulley will be turned   
the exact distance  required to move the
 pecker from one cord to the next one4  
,no4 #b1 ,fig4  #e1 is an elevation of a
 #8parrot' arranged for a single row of 
cords1  as these machines were first    

made4 ,there was only one treadle1 as   
shown in section at ,m1 ,no4 #b1 and the
 pecker only rocked to one side4        
,either this or the double machine could
 be used for a shaft mounting  where a  
large number of treads are necessary4   
,the cords ,c pass over  pulleys1 and   
are fastened to long coupers or levers  
with their fulcrum  at the side of the  
loom1 and to these the shafts are hung  
from jacks or  otherwise4 ,these        
machines were made to work very exactly4
 ,in the double  machine the pecker     
would travel over three or four hundred 
cords in  consecutive order4    ,to     
avoid confusion the beads are not shown 
on the front cords in ,no4 #a4          
,,cross',s ,,counterpoise ,,harness     
,about the year #ahaf ,mr4 ,james       
,cross1 of ,paisley1 invented a machine 
to  do away with the drawboys4          
,illustration3 ,fig4 #f    ,this machine
 is fully described by ,murphy and      
,gilroy in their works  on weaving4     
,only the general principle of it will  

be given here1 as  an introduction to   
the jacquard4 ,the detail of drawing the
 lashes and  treading1 though ingenious1
 is not of any practical importance now1
 and  it requires rather a lengthy      
description to explain it4 ,the harness 
,f  is the same as in the common draw   
loom till it reaches the tail cords1    
where the counterpoise apparatus        
commences4 ,the framing ,b ,b 7,fig4 #f7
  of this machine is supported by the   
carriage ,a ,a1 which rests on the      
capes or top rails of the loom4 ,in this
 frame are two boards1 ,c and  ,d1      
perforated with holes corresponding in  
number with the tie of the  harness or  
cords in the simple4 ,the top board is  
called the suspension  board1 and is    
mortised into the bar ,e4 ,from this    
board the harness  hangs1 the neck being
 taken up through the holes in it1 and  
fastened  above them4 ,the lower board1 
,d1 which is mortised into the bar ,g1  
is  called the neck board1 or directing 
board1 as it keeps the harness in  its  

proper place4 ,h and ,k are two other   
boards1 perforated as shown  in ,fig4   
#g1 mortised into the sliding bars ,i   
and ,l respectively2 these  are called  
the trap boards1 ,m1 ,m and ,n1 ,m are  
four bars1 called  pushers1 which are   
fastened to the sliding bars ,i and ,l  
as well as  to the pulleys ,p1 ,p1 and  
when the pulleys are oscillated by means
 of  a treadle the sliding bars will be 
moved up and down4 ,the knot cords  or  
tail cords ,o1 ,o are fastened to the   
suspension board ,c1 and pass  through  
the two trap boards1 then through the   
neck board1 and are tied  to the        
harness4 ,only two of these cords are   
shown tied to the harness1  to avoid    
confusion4 ,these knot cords have knots 
or beads on them as  shown1 and the     
round holes in the trap boards ,h and   
,k1 as shown in ,fig4  #g1 must be      
sufficiently large 7about #a_/d in4 in  
diameter7 to allow the  knots or beads  
to pass freely through4 ,there are      
notches or saw-cuts at  the sides of the

 holes to admit the cords1 but support  
the knots4 ,t1  ,t#a is the simple1     
extending horizontally through the knot 
cords4 ,it  is fastened to the ceiling  
beyond ,t1 and to the frame of the      
machine  beyond ,t#a4 ,s is a half-leaf 
of heddles for the purpose of supporting
  the simple cords4 ,each simple cord is
 tied to a knot cord1 and beyond  ,t#a  
the simple is lashed according to the   
pattern4 ,in working the  machine the   
lashes are drawn by means of hooked     
levers1 wrought by a  treadle connected 
with the pulley ,v1 and those simple    
cords that are  drawn down pull the knot
 cords into the notches or saw-cuts in  
the trap  boards1 so that when the trap 
board is raised the harness fastened to 
those knot cords that are drawn into the
 saw-cuts will also be raised4  ,r is a 
set of cords with weights on their ends 
for the purpose of  drawing the knot    
cords out of the saw-cuts as soon as the
 simple is  released by the lashes4 ,the
 two trap boards rise and fall          

alternately1  and this is why the       
machine is called a counterpoise4       
,illustration3 ,fig4 #g    ,some time   
after an improvement was made upon this 
machine which was  known as      ,,the  
,,comb ,,draw ,,loom    ,illustration3  
,fig4 #h    ,this machine appears to    
have been invented in both ,scotland and
  ,ireland1 as ,gilroy describes it as  
an invention of ,dr4 ,mc,laughlin1 of   
,ballyshannon1 ,county ,donegal2 and    
,murphy describes a similar machine     
invented by ,mr4 ,bonnar1 of            
,dunfermline4 ,the machine is shown in  
,fig4  #h4 ,a1 ,a are the posts of the  
loom1 and ,b ,b the top rail2 ,c ,c is  
the framing of the machine4 ,the harness
 ,g1 ,g is suspended from the           
suspension board ,d1 and passes through 
the guide board ,e and the cumber  board
 ,f4 ,the upper portion of the harness  
is composed of tail or knot  cords1 as  
in ,cross's machine4 ,from each of the  
tail cords a simple  cord1 ,h1 extends  
horizontally over the weaver's head1 and

 is fastened  to the board ,i4 ,the     
lashes ,k hang from the simples over the
 weaver's  head1 and have a knob on the 
end of each1 so that the weaver can     
catch  them and draw his own draught4   
,illustration3 ,fig4 #i    ,the lash    
cords have a knot or bead on them1 so   
that when drawn they can  be held in the
 cuts of the board ,l1 also shown in    
plan at ,l 7,fig4 #i74  ,m1 ,n 7,fig4   
#h7 is a side view of the comb and      
handle1 or lever1 shown in  plan at ,m1 
,n 7,fig4 #i74 ,s is a cord or chain    
attached to the end of the  lever ,m1   
and passing down to a treadle4 ,when the
 weaver draws one of  the knobs1 the    
tail cords connected with the simples in
 this lash are  drawn between the teeth 
of the comb1 as shown by the dotted     
lines in  ,fig4 #h4 ,he then depresses  
the treadle1 which raises the comb1 and 
the  harness along with it2 he holds the
 treadle down with his left foot1  and  
works over the ground treadles with his 
right one4 ,the comb is  recovered or   

counterbalanced by the cord ,o1 which   
passes from the comb  through the board 
,p1 and has a weight1 ,r1 suspended on  
it4 ,d 7,fig4 #i7  is a plan of the     
boards ,d1 ,e1 ,f and ,i 7,fig4 #h74    
,,the ,,barrel ,,or ,,cylinder ,,loom   
,this machine was introduced by ,mr4    
,thomas ,morton1 of ,kilmarnock4 ,the   
harness and tail or knot cords are      
arranged similarly to those in the  comb
 draw loom2 but instead of the simple   
cords for drawing out the  tail cords1  
each tail cord in the barrel loom passes
 through a slide1  or horizontal wire4  
,the points of these slides are acted   
upon by the  pattern cylinder or barrel1
 and those held back press out their    
tail  cords from the others1 and the    
knots on these tail cords are caught by 
the teeth on the comb or roller1 and the
 harness raised4    ,the pattern is     
arranged upon the barrel much in the    
same way as a  tune is arranged on the  
cylinder of a barrel organ or musical   
box4 ,a  section of the barrel is shown 

at ,a 7,fig4 #aj71 with wire staples    
driven  into it to form the pattern4    
,illustration3 ,fig4 #aj    ,each of    
these staples represents so many lines  
of the design paper1 or  so many lashes 
or draughts4 ,the pattern is ruled out  
and painted on  the barrel1 and staples 
are driven into it so as to cover the   
painted  squares of the pattern4 ,the   
barrel is so arranged on the loom that  
exactly the space of one line of the    
design paper is turned round for  each  
draught1 and the slides are drawn back  
by cords attached from  their ends to a 
roller when the shift of the barrel is  
being made4 ,b is  a section of the     
comb2 it is a cylinder with teeth1 ,c1  
like a parrot's  beak fixed to it4 ,the 
teeth are made of this shape to hold the
 knot  cords when they are caught by    
them1 and they rise or fall as the      
roller  is rocked upwards or downwards  
by a treadle4    ,whilst these          
improvements on the draw loom were being
 made in this  country for the purpose  

of producing a convenient method of     
harness  weaving1 the ,french were      
endeavouring to obtain the same result1 
but on  a different principle1 and their
 method has proved successful4    ,in   
#agbe ,m4 ,bouchon employed a band of   
pierced paper1 pressed by hand  against 
a row of horizontal needles1 so as to   
push back those which  were opposite the
 blank spaces1 and thus bring loops on  
the extremities  of vertical wires into 
connection with a comb-like rack below1 
which1  being depressed1 drew down the  
wires1 pushed on the pins in it1 and    
raised the harness4    ,illustration3   
,fig4 #aa    ,fig4 #aa is a sketch of a 
model of this loom in the ,conservatoire
 des  ,arts1 ,paris4 ,a is the          
pulley-box with two rows of pulleys in  
it2 ,b the  tail cords2 ,c the simples1 
tied to rings on their upper ends1 which
 run  on the tail cords at ,b2 the other
 ends of the simples pass over a small  
roller at ,d to prevent them rubbing    
against the side of the loom1 then  down

 through the hole board ,f1 under which 
they are tied to wire hooks  or loops1  
as shown under ,a 7,fig4 #aa;,a74 ,next 
these wires pass through  the needle box
 ,g1 also shown at ,b1 ,fig4 #aa;,a1 and
 down to the comb ,h  7,fig4 #aa71 and  
,c 7,fig4 #aa;,a74 ,the perforated paper
 is rolled on the  roller ,e1 and       
passing downwards1 is pressed against   
the needles with a  hand bar1 as shown  
at ,l1 ,fig4 #aa;,b4 ,the roller ,k is  
for rolling up the  paper as it passes  
down from the upper roller4    ,fig4    
#aa;,b is a back view of the mounting4  
,a shows where the simples are          
connected with the tail cords ,p2 ,b    
shows the connection of the tail  cords 
with the harness2 ,c is the cumber      
board2 ,d the mails and ,e the  leads4  
,f and ,k are the two rollers for the   
paper1 ,h the needle box1 and  ,i the   
comb4 ,this was the first attempt at    
forming the pattern by means  of        
perforated paper acting upon needles and
 wires4    ,in #agbh ,m4 ,falcon adopted

 a chain of perforated cards in lieu of 
the  perforated paper1 and placed his   
horizontal wires or needles in several  
rows or ranks1 thereby admitting the use
 of a greater number of them  in a      
moderate space4 ,he also used a square  
prism or cylinder1 as it is  called1 for
 the cards to pass over4                
,illustration3 ,fig4 #aa;,a             
,illustration3 ,fig4 #aa;,b    ,fig4 #ab
 is a sketch from a model of his loom1  
also in the ,conservatoire  des ,arts4  
,the principle of it is much the same as
 the preceding4 ,a is  the pulley box   
for four rows of pulleys1 ,b the        
connection of the simple  with the tail 
cords1 ,c the hole board for the simple 
to pass through  and also the support   
for the cylinder ,h1 ,d is the needle   
box1 ,e the  comb or griffe1 ,f the     
levers for drawing down the griffe1 and 
,g the  treadle4 ,the cards are laced in
 a chain and pass over the cylinders ,i 
and ,h1 but they are pressed against the
 needles by a hand bar1 similar  to that

 used by ,bouchon4 ,there are two racks 
or receptacles for holding  the cards1  
as shown4 ,the cylinders ,h and ,i are  
simply used as rollers  to support the  
cards1 and not for pressing them against
 the needles1 as  in the jacquard4      
,illustration3 ,fig4 #ab    ,figs4      
#ab;,a and #ab;,b give detailed views of
 the hooks1 etc41 for drawing  the      
harness3 the letters in both refer to   
the same parts as are marked  with      
similar letters in ,fig4 #ab4 ,the      
simples ,b are tied to loops on  the    
hooks under the hole board ,c4 ,in ,fig4
 #ab;,b it will be clearly seen  how the
 needles in four rows act upon the      
hooks4 ,the griffe consists  of four    
round iron rods or wires set in the     
frame ,e1 ,fig4 #ab;,a1 which  can be   
drawn down by the treadle ,g1 connected 
with the levers ,f by the  cords #c and 
#d4 ,one of the levers has its fulcrum  
at one side and the  other has it at the
 opposite side1 and the points of the   
levers are  tied to the griffe frame by 

the cords #a and #b4 ,the griffe1 when  
sunk1  is brought back to its place     
again by weights hanging on cords       
running  over pulleys4 ,it may be seen  
that the hooks hang in front of the rods
  or bars of the griffe2 therefore1     
those hooks will be pushed on the       
griffe whose needles come against the   
solid portions of the cards1 thus       
acting similarly to ,bouchon's machine4 
,the hand bar for pressing the  cards   
against the needles is shown at ,f4 ,the
 needles can pass through  the slot in  
it1 and1 when a card is pressed against 
the needles1 the  bar can be fastened   
with hooks for the purpose1 so that the 
operator is  free to depress the        
treadle4 ,there are no springs on the   
needles1 but  a clap board comes behind 
them1 which is pressed in by means of a 
cord  passing over each end of it and   
fastened to a spiral spring4 ,there are 
ten leaves of heddles in front of the   
harness4 ,they are plain clasped        
heddles1 and apparently act as five1 the

 front five being raised by the  top    
levers connected with the treadles1 as  
shown in ,fig4 #aa1 and the  back five  
are held up by a set of levers at each  
side1 with weights on  the ends of them1
 similarly to those now used for        
hand-loom damasks1  and tied to the     
treadles below1 so that sinking a       
treadle would cause  one of the back    
leaves to sink and one of the front ones
 to rise4 ,only  the harness mechanism  
of ,falcon's loom is given in ,fig4 #ab1
 the front  portion being similar to    
that of ,bouchon1 or to any hand loom4  
,illustration3 ,fig4 #ab;,a             
,illustration3 ,fig4 #ab;,b    ,in #agdf
 the accomplished mechanician1          
,vaucanson1 altogether dispensed  with  
the cumbrous tail cords and simple of   
the draw loom1 and made the  draw-boy   
machine completely self-acting by       
placing the hooks upright  on the top of
 the loom1 and hanging the harness from 
them4 ,this loom  may be seen in the    
,conservatoire des ,arts1 as well as a  

model of it on  the same scale as those 
already mentioned--viz41 one-third the  
size4  ,the machine for drawing the     
harness is exactly like a small         
jacquard1  with two rows of hooks and   
two rows of needles1 as shown in ,fig4  
#ac4  ,instead of a square cylinder and 
cards1 the pattern is punched on  a band
 of paper1 which passes over a round or 
true cylinder4 ,this  cylinder is fitted
 with a rack wheel1 so that a tooth can 
be passed for  each change of pattern1  
the cylinder moving out and turning one 
tooth1  then pressing in against the    
cards again4 ,the diameter of the       
cylinder  is about twelve inches4 ,the  
hooks are raised with a griffe1 similar 
to that in a jacquard1 which is fastened
 to a lever connected to a  treadle     
below4 ,this treadle1 and four others   
for working the heddles1  is wrought by 
tappets1 made of wood1 on a shaft       
running along the side  of the loom and 
turned by a wince handle in front4      
,altogether1 the loom  is a nice        

mechanical contrivance1 and a great step
 in advance of its  predecessors4       
,illustration3 ,fig4 #ac    ,joseph     
,marie ,jacquard1 a working mechanic of 
,lyons1 having invented  a fishing net  
loom1 turned his attention to improving 
the means of  drawing the harness in    
looms for figured weaving1 about #agij4 
,a model  of a machine by him1 dated    
#agij1 to dispense with the drawing of  
the  harness1 is in the ,conservatoire  
des ,arts4 ,it is made with cords and   
rollers1 and has no resemblance to the  
machine bearing his name4 ,he was       
brought to ,paris to repair ,vaucanson's
 loom about #ahjd1 and it appears  to be
 then that he combined the best         
qualities of the machines of his        
predecessors1 and produced the jacquard1
 a model of which1 dated #ahjd1  is in  
the ,conservatoire des ,arts4 ,this is  
very much like our present  jacquard1   
but with four rows of hooks and needles 
made similar to those  of ,vaucanson1   
,fig4 #ac4 ,he dispensed with           

,vaucanson's cylinder and band  of      
paper1 and used instead a square prism  
with a chain of cards passing  over it4 
,the cylinder 7or prism7 he set in a    
frame or carriage1 made to  run on four 
wheels or pulleys on the top of the     
frame of the loom4 ,the  carriage is    
drawn out by depressing a treadle1 and  
brought back again  to press the        
cylinder against the needles1 by means  
of weights tied  to cords running over  
pulleys4 ,the griffe is raised by means 
of two  levers1 one at each side2 one   
end of each is connected with the       
griffe1  and the others to a crossbar at
 the bottom of the loom1 and this       
crossbar is fastened from its centre to 
a treadle4 ,in all these looms  the     
cards or paper hang at the side of the  
loom1 the mounting being on  the        
principle known as the ,london tie4     
,jacquard was born in #ageb1 and  died  
in #ahcd4 ,vaucanson died in #aghb4     
,,french ,,draw ,,loom    ,shortly after
 the introduction of ,cross's           

counterpoise harness1 a  machine was    
imported from ,france1 which is shown in
 ,fig4 #ad1 and  described in ,murphy's 
#8,art of ,weaving' as a ,french draw   
loom4 ,this  machine far surpassed any  
attempts at the improvements at the draw
  loom that had hitherto appeared1 in   
simplicity of construction and          
operation4 ,from the neck upwards the   
harness is similar in construction  to  
,cross's counterpoise1 having the knot  
cords arranged in the same  manner1 but 
with only one trap board4 ,instead of   
the cumbrous tail1 the  knot cords are  
acted upon by wires or needles1 on each 
of which is a  loop1 through which one  
of the knot cords passes4 ,d is the     
cylinder or  barrel1 perforated with    
holes1 as in the common jacquard        
cylinder1 and  ,c1 ,c shows the chain of
 cards for forming the pattern2 ,e is   
the lever  for raising the trap board1  
to which it is connected by means of    
pieces  of iron at each side1 with a bar
 across between them1 to the centre of  

which the lever is connected with a     
piece of wire4 ,o ,o are crossbars of   
wood1 with holes in their centres1      
through which run pieces of strong  iron
 wire1 which are fixed into the trap    
board at each end to keep it  steady    
while in operation4 ,there is no spring 
box for the needles as is  now used in  
the jacquard1 but into the crossbar or  
frame ,f is inserted  a flat piece of   
wood moving on springs1 which yields to 
the pressure  of the needles that are   
forced back by the barrel1 and recovers 
them  again when the barrel is          
withdrawn4 ,the lever ,e is drawn down  
by the  cord ,h1 attached to a treadle1 
when the trap board is to be raised1 and
  the barrel is drawn back by the cord  
,g1 which is attached to another        
treadle4 ,the barrel is pressed against 
the needles by springs1 and when  it is 
relieved by the treadle and is moving   
inwards1 it is turned by  one of the    
catches shown in ,fig4 #ad;,a4 ,either  
of these catches can be  brought into   

action1 so as to turn the barrel either 
way1 by raising  or lowering them with a
 cord4 ,when at rest the knot cords     
stand in the  notches or saw cuts of the
 trap board1 but when the cards are     
pressed  against the needles1 except    
where there are holes in the cards1 the 
needles are pressed back and the cords  
are pushed out of the notches  so that  
the knots stand above the holes in the  
trap board1 and pass  through them when 
the board is raised by depressing the   
treadle  connected with the lever ,e4   
,the trap board is shown in ,fig4 #g4   
,illustration3 ,fig4 #ad                
,illustration3 ,fig4 #ad;,a    ,whether 
this machine was ,jacquard's invention  
or not1 ,i have not been  able to       
ascertain2 but ,gilroy states that      
,jacquard's first machines  were made   
with cords and trap boards1 like        
,cross's counterpoise  machine4 ,it is  
also recorded that ,william ,jennings1  
of ,bethnal ,green1  invented a machine1
 similar to the above1 about #ahcj1 as  

an improvement  on the jacquard1 on     
account of its simplicity1 as the latter
 appears  to have given the weavers some
 trouble1 and notice was taken of his   
machine by the ,society of ,arts4       
,illustration3 ,fig4 #ae    ,machines   
similar to the above are still in use   
for hand-loom work1 and  answer very    
well4 ,they have also been used for     
power looms1 but the  cords do not stand
 the friction long4 ,as at present made 
about ,glasgow1  the cylinders of these 
machines work on slide rods1 and receive
 their  motion from the rising of the   
trap board1 same as the cylinders in    
jacquards are sometimes wrought by the  
rising of the griffe with what  is known
 as the #8swan neck' motion4 ,the spring
 board at the ends of the  needles is   
held back by a spring and drawn in by   
the cylinder frame  as it moves         
outwards1 which brings all the needles  
forward1 and the  cords into the saw    
cuts in the trap board1 or comb as it is
 frequently  called4 ,the knots on the  

cords for these machines are made as at 
,b1  ,fig4 #ae1 which1 when drawn tight1
 are as shown at ,a4 ,the cord is a     
good twisted cord1 such as whipcord1 and
 the holes in the trapboard  are about  
#c_/af in4 in diameter1 which the knots 
on the cords must pass  freely through4 
,the upper ends of the cords pass       
through a perforated  board on the top  
of the machine1 and another cord is     
drawn through  loops on their ends1     
which prevents them from being drawn    
through the  holes4          ,,chapter  
,,ii    ,,jacquard ,,machines      ,the 
jacquard machine was introduced into    
,england about #ahah and came  into     
general use from #ahbd to #ahcb4 ,it was
 introduced into ,scotland  about #ahbd4
 ,fig4 #af is a representation of the   
early form of jacquard1  and of course  
intended for hand-loom work4 ,although  
the present  machines for power-loom    
work are very different in make1 nearly 
all  the working parts as here used are 
to be found in different machines  at   

present working1 or still being made1   
though the best machine  makers have    
adopted newer and better principles for 
fast working and  withstanding wear and 
tear4 ,fig4 #af;,a is a view of the     
interior of the  machine4 ,the working  
of the machine will be explained further
 on2  only those parts that will not be 
given in the new machines will now  be  
noticed4 ,the griffe or frame for       
raising the hooks is lifted by  the     
straps ,a1 ,a1 ,fig4 #af1 which are     
attached to the pulleys ,b1 ,b1 and  a  
cord ,c over a pulley on the same shaft 
as ,b1 ,b1 is attached to a  treadle    
beneath the loom4 ,as the weaver presses
 down this treadle the  griffe is       
raised1 and when the treadle is released
 the griffe falls  of its own weight4   
,the cylinder is moved out and in by the
 pulley ,e1  fastened on the bent iron  
bar1 attached to the frame which carries
 the  cylinder1 when the griffe rises   
and falls4 ,d1 ,d is a frame which lies 
in the turned-up portion of the hooks2  

only a few hooks are shown1 and  the    
outer bars of the frame4 ,there should  
be a bar in the frame for  each row of  
hooks4 ,this frame rises up and down    
with the hooks1 the  turn on the ends of
 which must be of such length that when 
the frame  is raised by the hooks lifted
 by the griffe1 it will not be raised   
out of the turns on those that are left 
down4 ,this frame is for the  purpose of
 preventing the hooks from turning      
round1 so that the turns  on the upper  
end of them1 as shown at ,a1 ,a1 ,fig4  
#af;,a1 cannot get out  of position to  
be caught by the blades or crossbars of 
the griffe4 ,the  lower ends of the     
hooks rest on a perforated board as     
shown in ,fig4  #af;,a1 and tail cords  
are looped on them and pass through the 
perforated  board as shown4 ,to these   
cords is fastened the neck of the       
harness4  ,machines with these          
perforated boards and frames to keep the
 hooks in  position are still 7#ahij7   
being made in ,yorkshire4 ,in ,fig4     

#af;,a is shown  a section through the  
spring box ,b4 ,this box contains a     
spiral spring  for each of the          
horizontal needles1 the ends of which   
press against the  springs1 which allow 
them to yield or move back as the cards 
press on  their points2 but recover them
 again when the card is moved away by   
the  cylinder4 ,similar spring-boxes are
 now used4    ,illustration3 ,fig4 #af  
,it might be interesting to describe the
 various changes and attempted          
improvements that have been made on the 
original jacquard1 but it  would take up
 too much space1 and many of them are of
 more historical  than practical        
importance2 some of them will be        
mentioned that may be  interesting from 
a mechanical point of view1 in          
connection with the  descriptions of the
 machines1 even though they have only   
been partially  successful4 ,though a   
very different machine from what it     
originally  was1 the principle of the   
jacquard remains the same1 and is not   

likely  to be altered or superseded till
 a revolution takes place in the        
process of weaving4    ,illustration3   
,fig4 #af;,a    ,a jacquard machine is  
simply a shedding motion by which a     
great variety  of sheds can be formed2  
the larger the machine1 or the greater  
the  number of hooks it contains1 the   
greater is the variety of shedding  that
 can be produced by it4    ,if a        
jacquard is made small1 with1 say1 from 
#af to #dh hooks1 it is  called a dobby 
or shedding motion1 and is used for     
working shaft  mountings2 but the       
ordinary jacquard machines have from    
#bjj to #fjj  hooks1 which have long    
cords1 called the harness1 connected to 
them1 no  shafts being required1 as each
 hook has only a few cords tied to it1  
which can be raised independently of the
 others4 ,the fewer the cords  that are 
tied to each hook1 the greater is the   
variety of shedding that  can be made on
 the same number of warp threads1 till1 
when there is but  one cord to the hook1

 any thread or any number of threads can
 be raised  independently of any of the 
others4    ,jacquards may be divided    
into four classes--viz4 single-acting1  
double-acting lift1 double acting with  
double cylinders1 and twilling          
jacquards2 and besides these there are  
several other varieties made  for       
special purposes4 ,the single-acting is 
the real jacquard1 and much  the        
simplest machine4 ,it has the           
disadvantage which all single-acting    
shedding motions have--viz4 that one    
shed must be closed before the          
following one begins to open4 ,this is  
on account of the same lifter  having to
 open each shed2 it must bring down the 
set of hooks that are  raised1 and then 
raise the next set4    ,this constitutes
 the true jacquard lift2 and while it   
makes a clear  shed1 and is desirable   
for some purposes1 it is generally      
considered  the most imperfect form of  
shedding--that is1 so far as the making 
of a good cloth is concerned4 ,it is not

 suitable for making a heavy1           
well-covered cloth1 nor for working at a
 high speed1 #abj to #adj picks  per    
minute being a very good speed to drive 
it4    ,a single-acting jacquard is a   
very simple machine1 and when properly  
made should give very little trouble in 
working1 particularly if the  motions   
are properly set in relation to each    
other1 and if such methods  of working  
are adopted as will cause the least wear
 and tear on it4    ,in whatever way    
jacquards are made1 the principle of    
working is much  the same4 ,there are a 
number of upright hooks set in a frame2 
attached  to each hook is a horizontal  
wire or needle1 one end of which is     
pressed upon by a spring1 which keeps   
both it and the hook steady and  in     
position1 while the other end1 or point1
 passes through a perforated  plate1    
beyond which it projects about half an  
inch 7see ,fig4 #af;,a74 ,to  lift the  
hooks there is a set of bars or knives  
arranged in a frame1  just below the    

heads of the hooks2 this frame is called
 the #8griffe'  or #8brander1' and if   
raised would draw all the hooks up with 
it4 ,what  hooks will be lifted for each
 shed is regulated by perforated cards  
being pressed against the points of the 
needles4 ,a perforation in the  card    
allows the point of a needle to pass    
through and the hook to be  raised2 but 
where there is no perforation the card  
comes against the  point of the needle1 
pressing it back1 and holding the head  
of the hook  clear of the blade of the  
griffe1 so that the griffe will pass    
without  raising the hook4 ,it will thus
 be seen that any variety of shedding   
can be made by punching the cards to    
suit it4 ,fig4 #ag shows one of  the    
best makes of single-acting jacquards4  
,one of the best methods  of driving is 
shown in this and the following figure4 
,the griffe is  raised by means of the  
lever ,g1 which is sometimes supported  
on a beam  fastened to the roof or      
pillars of the shed1 or it may be       

supported by  an upright fastened on the
 frame of the loom4 ,a portion of this  
upright  is shown in ,fig4 #ag1 and as  
well as being fastened to the loom      
frame1  it should be stayed to the top  
of the machine4 ,one end of the lever   
is fastened by a link connection to the 
centre of the bar across the  griffe    
frame1 care being taken that the        
connection is so made as to  draw up the
 griffe vertically1 and not have any    
strain on the slide  rods or spindles   
that are used for keeping the griffe    
horizontal when  rising4                
,illustration3 ,fig4 #ag    ,the other  
end of the lever is connected to a crank
 on the crank-shaft  of the loom by a   
rod1 ,e 7,fig4 #ag72 also shown at ,a   
7,fig4 #ah71 where the  crank is also   
given4    ,illustration3 ,fig4 #ah      
,in hand-loom machines the griffe is    
frequently pushed up from below  instead
 of being drawn up from the top as is   
shown in ,fig4 #ag4 ,the  method of     
doing this is similar to that given for 

lifting the griffes  of twilling        
jacquards4    ,f 7,fig4 #ag7 is called  
the cylinder or barrel1 evidently taking
 its name  from the round cylinders or  
barrels used in the old machines1 but is
  in reality a square prism4 ,it is made
 of wood1 and perforated on each  side  
with a set of holes--a hole for each    
needle in the machine2 its  use is to   
draw round the chain of cards and press 
each one against the  needles1 or       
horizontal wires1 in the machine4 ,in   
order to keep the  cards firmly on the  
cylinder1 flat steel springs are        
sometimes used1 as  shown1 attached to  
the top rail of the frame which holds   
the cylinder2  and there are also steel 
wires which pass down in front of the   
cylinder  over the ends of the cards4   
,these springs are useful when only a   
small  number of cards is used and the  
machine driven quickly2 with a large    
set of cards1 where there is plenty of  
drag on them from their own  weight1    
they are not necessary1 and but seldom  

used2 but they are in  common use in the
 ,yorkshire districts4    ,it will be   
seen from the illustrations 7,figs4 #ag 
and #ah7 that the  cylinder hangs in a  
frame suspended from the top of the     
machine2  this is called the swing or   
batten motion1 to distinguish it from   
the horizontal or sliding motion which  
is shown at ,fig4 #bj 7,no4 #a7  and in 
,fig4 #bg4 ,the swing motion is the     
simpler of the two1 and is  cleaner1    
requiring less oil2 but the sliding     
motion is steadier1 and  does not swing 
the cards so much1 consequently is more 
suitable when  the cylinder has to      
travel quickly4 ,the swing motion also  
requires the  machine to be higher2 with
 a slide motion the frame is usually cut
 off  a little above the griffe4    ,the
 cylinder has to travel out and in when 
the machine is working1 so  that it may 
be turned round and bring a fresh card  
against the needles  for each shot4     
,there are many methods of accomplishing
 this1 which may  be divided into two   

classes--viz4 independent motions1 or   
those which  are driven from the loom   
independently of the machine2 and self  
acting  motions1 or those which drive   
the cylinder out and in through the     
rising and falling of the griffe4 ,the  
latter are the simpler1 but the  former 
are much better1 causing less wear and  
tear on both the cards  and machine1 as 
will be explained further on4    ,it    
will be seen in ,fig4 #ah that as the   
cylinder travels out it will be  caught 
by the hook ,k#a1 and turned round2 the 
head or lantern of the  cylinder is made
 of iron1 as shown1 so that the hook1 or
 shears1 will  take a firm catch on it4 
,to prevent the cylinder from turning   
more than  one card at once1 and to keep
 it steady so that it will always come  
in  fair against the needles1 it is held
 firm by a hammer pressed on it by  a   
spring4 ,this pressure is applied in    
different ways1 one of which may  be    
clearly seen in ,fig4 #ag1 and another  
in ,fig4 #bg4 ,when taking out  the     

cylinder1 or wanting to run it round    
quickly to draw over a number  of cards1
 the hammers can be held up by a hook or
 sliding catch1 which  should be fitted 
to the machine for the purpose4    ,one 
of the best independent motions for     
driving the cylinder is shown  in ,fig4 
#ag2 and that shown in ,fig4 #ah is also
 a very good one for small  machines1   
perhaps the most convenient that is     
made2 but the former  is much stronger4 
,in ,fig4 #ag a connecting-arm from the 
frame of the  cylinder is attached to   
the lever ,b4 ,the connecting-arm should
 have a  slotted joint1 so that it can  
be made shorter or longer1 if required1 
for the purpose of regulating the       
pressure of the cylinder on the         
needles4    ,the lever ,b is on a       
horizontal shaft1 bracketed to the frame
 of the  loom1 or to the beams on which 
the machine rests2 or some machines     
have bearings attached to their framing 
for it4 ,there is1 of course1 a  lever1 
as ,b1 and a connecting-arm at each side

 of the machine4 ,there  is another     
lever on the end of the shaft1 at right 
angles to ,b1 which  is connected with  
an eccentric on the crank-shaft of the  
loom by a  rod1 ,c1 in the same way as  
the rod ,c is connected with the        
eccentric  in ,fig4 #ah4 ,the eccentric 
can be set to bring the cylinder against
  the needles at any required time1     
independent of the lifting motion  of   
the machine1 which cannot be done when  
the self-acting motions are  used4 ,the 
larger the eccentric1 the greater dwell 
the cylinder will  have against needles4
 ,the method of working the cylinder in 
,fig4 #ah  is somewhat similar1 and can 
easily be seen2 but it will be observed 
that a good deal of pressure will be put
 upon the studs on which the  cylinder  
frame1 or batten1 hangs1 particularly   
when the cylinder is  being pressed in1 
as this is effected by drawing down the 
lever ,l2  however1 in a light machine  
this does not matter much4              
,illustration3 ,fig4 #ai    ,the        

principal feature in this motion is the 
escapement apparatus for  the purpose of
 disengaging the cylinder from its      
connection with the  driving eccentric  
when it is required to turn some of the 
cards back4  ,fig4 #ai 7,nos4 #a and #b7
 shows this arrangement4 ,the motion is 
not quite  the same as that given in    
,fig4 #ah1 but is on the same principle1
 and  one may be easily understood from 
the other4 ,in ,fig4 #ah the latch ,g   
comes out of the notch in the quadrant  
,f1 when the handle ,e is pressed       
close2 the handle is on the lever ,d1   
having its fulcrum on the shaft ,n1  and
 the quadrant ,f is connected to the    
eccentric rod ,c4 ,the quadrant  is     
loose on the shaft1 and the lever is    
fast on it4 ,fig4 #ai is a more         
convenient motion4 ,the two halves of   
the handle ,a are held apart by  the    
spring ,h1 and this1 through the hook ,b
 on the inner end of the  handle1       
presses the latch or catch on the slide 
,d into the notch on  the quadrant ,c4  

,the quadrant and handle are one piece1 
and are fast on  the shaft ,e1 and a    
lever ,f on this shaft is connected to  
the batten of  the machine1 in the same 
manner as shown by ,d and ,b in ,fig4   
#ah4 ,when  there are two or more       
machines1 one of these levers would be  
required  for each4 ,the lever ,k is    
loose on the shaft ,e1 and the rod ,g   
connects  it with the eccentric1 same as
 is shown by the rod ,c in ,fig4 #ah4   
,in  ,no4 #b1 ,fig4 #ai1 the quadrant is
 left out to show clearly how the hook  
,b acts on the slide ,d1 and also to    
show the lever ,k on the shaft4 ,the    
two halves of the handle1 being pressed 
out by the spring1 keep ,d in  position1
 firmly pressed inwards2 but when the   
handle is pressed the  hook ,b presses  
the slide ,d outwards1 leaving the      
quadrant free to pass  up or down2 and  
by pulling down the cord ,h 7,fig4 #ah71
 which raises  the shears ,k and ,k#a1  
the cards can easily be turned back by  
working  the handle up and down1 as the 

under shears will catch the cylinder    
and turn it the reverse way4 ,the weaver
 must be careful not to jerk  the motion
 and throw the cards off the cylinder or
 damage them2 but a  very little        
practice will enable anyone to turn them
 back quite easily  and quickly4 ,this  
motion answers very well for one1 or    
perhaps two1  small machines2 for a #djj
 or #fjj machine1 or any smaller size   
working  spottings1 c41 it is very      
convenient1 but when large mountings are
  required1 as in #hjj to #bdjj         
machines1 it is quite too weak for the  
work2 even if made strong enough it     
would not be satisfactory1 as the       
strength of spring that would be        
required to bear the strain and keep    
the catch in the notch would make it a  
very difficult matter to use the  motion
 for reversing the cylinder4 ,for heavy 
machinery the method of  working the    
cylinder shown in ,fig4 #ag is far      
preferable1 and separate  motions for   
turning back the cards can be fixed on  

the machine4 ,these  will be explained  
further on4    ,instead of the eccentric
 and crank for driving the cylinder and 
raising  the griffe being as they are   
shown in ,fig4 #ah1 though a plan       
frequently  in use1 it is neater1 and   
perhaps better1 to have the eccentric at
 the  back of the fly-wheel1 and the    
fly-wheel either cast with one half     
solid1 or have a plate fastened across  
two or more of the spokes1 to  which the
 connecting-rod can be attached with a  
bolt fastened in a  slot4 ,the amount of
 lift can be increased or diminished1   
either by  shifting the top of the      
connecting-rod along the lever ,g 7,fig4
 #ag71 or  by increasing or reducing the
 throw of the crank at the fly-wheel4   
,illustration3 ,fig4 #ai;,a             
,self-acting motions actuate the        
cylinder through the rising and falling 
of the griffe without requiring any     
special connection from the  loom4 ,one 
of the most convenient of these is that 
frequently used on  hand-loom machines1 

and known as the ,s iron or swan-neck   
motion4 ,it is  shown in ,fig4 #ai;,a   
7,no4 #a71 and another form of it on a  
swing cylinder  motion is shown in ,fig 
#af4 ,d is the swan-neck or ,s iron4 ,in
 the groove  in it a roller stud on the 
griffe frame travels1 sliding in and out
 the  cylinder ,a as the griffe falls   
and rises4 ,e is the slide bar1 which   
may  be flat or round2 if round1 there  
must be some means of keeping it from   
turning in its bearings1 which is       
generally accomplished by having a      
crossbar bolted across the two slide    
bars behind the machine4    ,no4 #b1    
,fig4 #ai;,a1 is a motion for the same  
purpose1 but consists of a  series of   
levers2 and ,no4 #c is an arrangement of
 a similar nature4 ,b is  the fulcrum of
 the levers1 or fast pin by which they  
are connected to  the machine4 ,c shows 
the attachment of the levers to the     
slide rod of  the machine4 ,a is the    
connection with the cylinder frame4 ,as 
the griffe  rises or falls it will      

easily be seen that the cylinder will be
 driven  out or in4    ,the             
connecting-bar ,h is in two parts1      
slotted and bolted together at ,h  to   
admit of regulating the position of the 
cylinder4    ,no4 #d is a motion on a   
different principle2 it is a ,french    
motion4 ,it  will readily be seen that  
the cylinder is driven out and in by the
  toothed wheel1 which is wrought by a  
rack on the slide rod ,e4 ,this  slide  
rod works outside the framing of the    
machine1 as is common in the  ,french   
machines4 ,one point must be observed   
about these motions--viz4  that they    
must have a certain amount of dwell at  
the bottom of the  stroke1 or when the  
cylinder is in4 ,the reason of this     
dwell will be  explained further on1 but
 the method of obtaining it may be given
  here4 ,in the swan-neck motion 7,no4  
#a71 any desired dwell can easily be    
obtained at either top or bottom by the 
length of the slot that is in  a        
vertical direction1 as when the stud is 

passing through this portion  of the    
slot no motion is given to the cylinder4
 ,in the lever motions  ,nos4 #b and #c1
 as well as in ,no4 #d1 the dwell is got
 by the levers or  arms passing the     
centres2 in ,nos4 #b and #d it is by the
 lever or arm ,h  passing the back      
centre1 which may be considered as a    
crank2 and in ,no4  #c it is the short  
lever ,c passing the centre that gives  
the dwell4    ,illustration3 ,fig4 #bj  
,illustration3 ,fig4 #ba                
,illustration3 ,fig4 #bb    ,fig4 #bj is
 a view of the interior of a            
single-acting jacquard machine  with the
 framework removed2 only one row of     
hooks and needles are  given1 to avoid  
confusion4 ,the blades or knives of the 
griffe1 with  a support running across  
their centres1 are shown at ,b4 ,a is   
the  face-plate or needle board1        
sometimes made of iron1 but better to   
be of hard wood4 ,c is the spring-box1  
the detail of which is given  in ,fig4  
#bd4 ,e1 ,e#a are the hooks1 and ,f1    

,f#a the needles4 ,d is the  grating    
through which the hooks pass1 and are   
supported by it4 ,it will  be seen that 
the hooks and needles are arranged in   
rows of eight3 a  #djj machine would    
have #ej or #ea of these rows in it2    
#ejj machines  are usually arranged in  
rows of #aj1 and #fjj machines in rows  
of #ab4  ,the hooks should be set       
perfectly upright or vertical1 and      
should  be close up against the knives1 
but not pressing against them4 ,there   
should be a provision made for shifting 
both the grating and the  knives1 so as 
to admit of both them and the hooks     
being properly set  in relation to each 
other2 but if set correctly by the      
maker1 which  they should be1 no        
alteration is necessary4 ,a 7,fig4 #ba7 
is a side view  of four hooks and       
needles1 with the ends of the knives of 
the griffe  shown at a1 a1 a1 a4 ,when  
the machine is working the needles  are 
acted upon by perforated cards cut from 
the pattern4 ,suppose we  take plain    

cloth--that is1 a pattern in which each 
half of the warp1  or every alternate   
thread1 is raised and sunk alternately2 
then1 if  the first card acts on all the
 odd numbers of the needles1 and the    
second card on all the even numbers1    
this repeated would make plain  cloth4  
,whenever a hook of the jacquard is to  
be raised a hole is cut  in the card for
 the needle connected with that hook1   
and a card with  all the even numbers of
 holes cut in it will cause the griffe  
to  raise all the even-numbered hooks4  
,refer to b 7,fig4 #ba71 where the      
second and fourth holes are cut in the  
card4 ,if the card is pressed  against  
the needles1 as at c1 the first and     
third needles will be  pressed back1 and
 will push the first and third hooks    
back from their  position--shown by the 
dotted lines--to the position in which  
they are  shown in ,b 7,fig4 #ba72 but  
the second and fourth hooks are not     
moved1  as their needles pass through   
the holes in the card4 ,if the griffe   

is now raised1 the blades or knives will
 pass the first and third  hooks1 but   
will lift the second and fourth2 and if 
the odd numbers  of holes are cut on the
 next card1 the first and third hooks   
will be  lifted when it is pressed      
against the needles1 as shown at ,c     
7,fig4  #ba71 thus making the           
cross-shed2 and this explains the       
principle of  working any pattern by the
 jacquard without taking into           
consideration  the intricacies of       
mounting1 c4 ,in ,c 7,fig4 #ba71 it will
 be seen that  if the knives d1 d were  
upright instead of slanting1 they would 
come down on the heads of the hooks that
 are under them1 but1 being  slanted1   
their lower edges pass the heads of the 
hooks1 and press them  away as the      
griffe descends4 ,sometimes1 even with  
slanting knives1 if  there is much      
vibration in the hooks1 or if the loom  
#8bangs off1' some  of the hooks are    
liable to get under the knives and be   
#8crowned1' or  bent down4 ,to avoid    

this deep blades are often used1        
principally in  double-acting machines1 
so that the lower edges of the blades   
will  not pass the bottom hook1 as shown
 at ,d 7,fig4 #ba74 ,this prevents any  
danger of crowning1 but it darkens the  
machine a little--that is1 makes  it    
more difficult to see down into it if   
any of the wires require to  be         
examined2 it also requires the heads of 
the hooks to be somewhat  higher above  
the heads of the needles than is        
necessary with the narrow  blades4      
,another principle has been tried--viz4 
that of making the  heads of the hooks  
as shown in ,fig4 #bb1 and using narrow 
blades4 ,this  effects its object well1 
but there is too much friction of the   
knives  against the hooks1 and the      
latter are liable to wear out too       
quickly4  ,a good machine with firmly   
set hooks should work very well without 
these protections if it is steadily     
placed above the loom1 and it is  better
 not to be resting on the loom framing1 

if convenient to have  it so4 ,it will  
be seen from the foregoing explanation  
that the proper  time1 or1 rather1 the  
necessary time1 for the cylinder to     
press against  the needles is just after
 the griffe begins to rise4 ,when the   
griffe  is down the top edges of the    
knives should be #c_/af;in4 or #a_/d;in4
 lower  than the turned points of the   
hooks1 and before this edge rises up  to
 the hooks those that are not to be     
lifted should be full back1 or  the     
cylinder should be close in1 having the 
front of the head of the  hooks         
#c_/af;in4 or #a_/d;in4 behind the      
blades4 ,the cylinder should have  a    
short dwell in this position2 and if it 
has a longer dwell it may  assist to    
reduce the friction of the heads of the 
hooks against the  knives2 but if it has
 too great a dwell it may have to travel
 out and  in too quickly to make up for 
the lost time1 which will probably not  
be compensated for by the advantage of  
the increase in the dwell4 ,now1  when  

the cylinder is driven with an          
independent motion1 as in ,figs4 #ag    
and #ah1 it is easy to set the eccentric
 so that it can be brought in at  any   
required time2 but when a self-acting   
motion is used1 it is plain  that if the
 cylinder must press against the needles
 when the blades of  the griffe are     
passing the heads of the hooks in       
rising1 it must also  press against them
 in the same position when the griffe is
 falling1  unless some special          
escapement motion could be devised to   
avoid it1 and  this is where the dwell  
is required1 and where the evil effect  
of the  motion takes place2 and it is   
worse in a double-lift machine with one 
cylinder1 as the heads of the hooks in  
it are larger1 or have a longer  turn on
 them4 ,a little consideration will     
suffice to show that when the  brander  
or griffe is falling1 say1 with one-half
 of the hooks hanging  on its knives1   
and the cylinder is brought in against  
the needles  before the hooks are quite 

down1 as it must be1 it will either     
cause  the hooks to be shot off the     
knives1 or will put a considerable      
strain  on them1 as well as upon the    
needles and cards4 ,it is for this      
reason  that these motions are          
objectionable1 particularly in          
power-loom work1  where the speed is    
high and the hooks are strong4 ,in      
hand-loom work  it is not so            
objectionable1 as there is more spring  
in the wires1 and  the heads of the     
hooks need not be too large1 and1       
besides1 the speed  is less and the wear
 and tear not so great2 but1 even with  
this1 if a  hand-loom machine that has  
been in use for some time be examined1  
it  will be seen that the points of the 
hooks are considerably worn1 and  that  
the edges of the knives are hollowed out
 like a coarse saw by the  friction of  
the hooks on them4 ,this latter will    
partly arise from the  lifting of the   
hooks4    ,illustration3 ,fig4 #bc      
,in the old ,jacquard1 given in ,figs4  

#ae and #af1 the hooks are shown        
resting on a perforated board1 and it   
was mentioned that in order to  prevent 
them from turning round a frame lay in  
the turned-up portion  of the hooks4    
,the grating in ,fig4 #bj1 through which
 the turned-up  bottoms of the hooks    
pass1 readily accomplishes this object4 
,sometimes  flattened hooks are used1 as
 in ,c 7,fig4 #bc71 with the needles    
twisted  once or twice round the hooks2 
this makes a firm arrangement1 but if   
anything goes wrong with a hook it is   
not easy to get it clear of the  needle4
 ,when the needles were made with a full
 twist or loop on them1  as at ,b1 the  
same was the case2 they are now usually 
made as at ,a1  and if arranged in the  
machine as in ,fig4 #bj1 there is no    
danger of  the hooks sliding out of the 
recess in the needle1 and if a hook gets
  bent or broken1 it can be taken out   
and replaced by a new one without       
disturbing the needles4    ,fig4 #af    
shows how the needles press against the 

springs in the  spring-box1 which is    
much the same as that at present in use4
 ,fig4 #bd  is the present arrangement4 
,no4 #a gives a plan of the end of a    
needle1  ,b4 ,c ,c is the horizontal    
wire which supports it as shown in      
section at  ,c ,c in ,no4 #b4 ,d 7,no4  
#a7 is a section of the vertical wire   
shown at ,d  ,d 7,no4 #b71 which passes 
through the loops or eyes on the ends of
 the  needles1 and keeps the springs    
from shooting them too far forward4 ,a  
7,no4 #b7 is a wire which passes down at
 the outside of the box over the  ends  
of a row of springs1 so that by drawing 
out this wire any of the  springs can be
 drawn out without taking off the       
spring-box1 as the  springs pass through
 the box4 ,the springs should be strong 
enough to  keep the hooks and needles   
steady1 but if unnecessarily strong they
  give the card and cylinder unnecessary
 work4    ,illustration3 ,fig4 #bd      
,in some machines there is no           
spring-box4 ,the hooks are made double1 

as  shown in ,fig4 #be1 and rods1 as a1 
a1 run along between the rows  of hooks2
 the spring of the double wire keeps the
 hooks steady4 ,there  is a clap-board  
used1 similar to that in the ,french    
draw loom1 7,fig4  #ac71 which is       
pressed against the needles with        
springs2 this board is  connected with  
the face-plate by a bar at each end1    
forming a frame4  ,the needles do not   
project much through the face-plate1 but
 when the  cylinder is pressed against  
it1 it slides back on the needles1 and  
presses the clap-board back1 which also 
allows those needles to go  back which  
the card presses against4 ,the needles  
are not looped on the  hooks1 but have a
 turned catch in front of them as shown4
 ,the bottom of  the hook rests on a    
hole board1 ,c1 through which the tail  
cords pass2  and through the hooks at ,d
 are wires fixed in a frame which rises 
and  falls when the hooks are raised1   
and keeps them from turning round1  same
 as explained in ,fig4 #ae4 ,machines of

 this description are at  present being 
made in ,france1 and work with a rising 
and falling shed1  which will be        
hereafter explained 7see ,fig4 #cj74    
,illustration3 ,fig4 #be                
,illustration3 ,fig4 #bf                
,illustration3 ,fig4 #bg    ,in working1
 the card cylinder must be so set that  
it will come forward  fair on the       
needles--that is1 that when it comes    
forward the points of  the needles will 
enter fair into the centres of the holes
 in it4 ,for  the purpose of setting it 
there must be provision made in the     
fittings  so that it can be moved       
laterally or vertically4 ,in the swing  
motion  the frame can be moved laterally
 by means of the two screw studs on     
which it hangs4 ,c1 ,fig4 #bg1 shows the
 bearing on which the stud of the       
cylinder revolves4 ,this bearing can be 
raised up or down in the frame  ,r--a   
side view of which is given at ,s--by   
slackening the bolt ,b with  the wing   
nut ,a1 and adjusting the bearing with  

the set screw ,d or ,e4    ,a method    
commonly adopted by tacklers or tuners  
to see that the needles  are perfectly  
fair in the centres of the holes in the 
cylinder1 is to  rub their fingers on   
some dirty oil1 and touch over the      
points of the  needles with it4 ,they   
then bring in the cylinder against the  
needles  with a card on it1 in which    
about half of the holes are cut4 ,the   
points  of the needles mark the card    
where there are no holes1 and it can    
easily be seen whether the mark is in   
the centre of where a hole should  be1  
or not4    ,one of the best bearings and
 attachments for a cylinder with a      
horizontal slide motion is given in     
,fig4 #bf4 ,d is the bearing for the    
cylinder ,e1 and ,c the bolts for       
setting it4 ,f ,f is the bracket which  
holds the hammer and bearings1 which can
 be set in position on the  slide bar ,b
 by the bolt ,a4 ,i is the hammer held  
down by the spring ,h  attached to the  
rod ,g4    ,the cards are kept in       

position on the cylinder by pegs or     
studs1  originally made of wood1 and    
driven into the cylinder4 ,now they are 
made of brass1 and set in a slotted     
bracket1 so that they can be  shifted in
 order to have the holes in the cards   
corresponding exactly  with those in the
 cylinder4 ,the pegs should also be set 
on springs1 so  that if a card gets off 
them1 and between them and the needle   
plate1  they will yield or sink into the
 cylinder1 and not break the card4 ,in  
all good machines they are made in this 
way4    ,when the motion for driving the
 cylinder is not fitted with an         
escapement for the purpose of turning   
back the cards1 it is necessary  for the
 convenience of the weaver to have a    
motion on the machine for  the purpose4 
,illustration3 ,fig4 #bh    ,figs4 #bh  
and #bi show two varieties of these     
motions4 ,a is the cylinder  head2 ,c1  
the catch for reversing the cylinder2   
,f1 the spring for  returning the catch 
to its position2 ,e1 a cord which hangs 

down1 with a  knob on the end of it1 in 
a convenient position for the weaver to 
catch  and work the motion4 ,in ,fig4   
#bh the motion is on the opposite side  
of  the machine to the shears1 but might
 be on either side1 and the weaver  has 
to raise the shears to turn the         
cylinder1 which she can easily do  by   
catching the knob for raising the shears
 in one hand1 and working  the reversing
 motion with the other4 ,the cylinder   
must be full out for  this motion to    
turn it properly1 and this prevents the 
weaver from  tearing the cards on the   
needles1 as she might easily do by      
trying to  turn the cylinder when it is 
too close in4 ,in ,fig4 #bi1 ,b is the  
shears  for turning the cylinder1 and   
both it and the pushing catch1 ,c1 pass 
through a keeper or bracket1 ,d1 on the 
side of the machine4 ,there is a  rise  
on ,c a little back from the point1 and 
when the cord ,e is pulled  down ,c is  
shot forward by the lever1 which has its
 fulcrum at ,g1 and in  going forward   

the rise on it comes into contact with  
the bend in the  shears1 and raises them
 up so that it can turn the cylinder    
when it  catches on the head of it4     
,both these are good and convenient     
motions4  ,for the latter the cylinder  
should be about half-way out when the   
cards  are being turned back4           
,illustration3 ,fig4 #bi    ,sometimes  
the cylinder may not be completely      
turned by the shears when  the machine  
is working1 by reason of the cards      
catching1 or if the  shears are too     
long1 or it may arise from other causes4
 ,in this case  the cylinder would come 
in with one corner against the needles1 
and  be pressed heavily against the     
needle plate4 ,some of the levers would 
probably be broken1 or the cylinder     
might be shot out of its bearings  and  
fall1 breaking the yarn1 or perhaps     
injuring the weaver4 ,to avoid  this1   
small snecks1 as at ,h1 ,figs4 #bh and  
#bi1 are set so that when the  cylinder 
is square it will pass over them2 but if

 turned angularly  its lower edge will  
catch on the point of the sneck1 as the 
cylinder  is coming in1 and turn it     
square4 ,the sneck is held up with a    
spring  so as to allow the cylinder in  
turning to depress it4 ,sometimes the   
sneck1 as at ,h1 is liable to cause     
broken shots2 for if the weaver  turns  
back the loom1 and the cylinder moves   
out sufficiently far to be  turned to   
its angular position1 and remains there1
 it will1 in coming  in1 be turned      
square by the sneck1 and thus a card    
would be passed  over without a pick    
being put in for it4 ,this is sometimes 
remedied by  putting the sneck above the
 cylinder1 instead of below it1 which   
would  turn it the reverse way2 but this
 might come wrong at other times4 ,the  
better plan is to keep it below1 and let
 the weaver get to understand  what she 
is doing1 as it is not very difficult to
 learn4    ,the setting of a jacquard   
machine for working consists in         
adjusting the  cylinder motion so as to 

bring in the cylinder at the proper     
time1 and  press it sufficiently close  
against the face-plate to keep the hooks
  clear of the knives of the griffe1    
without pressing it too close2 and      
regulating the lifting of the griffe to 
suit the time for shedding1  and to give
 the size of shed required4 ,the shed   
must be open for the  shuttle to pass   
through2 the time for picking is when   
the cranks of  the crank-shaft of the   
loom are at the bottom centre1 therefore
 the  shed should be almost fully open  
at this time4 ,the lifting of the       
griffe can be made a little earlier or  
later to suit circumstances1  but very  
little alteration can be made1 as it    
takes a full revolution  of the crank to
 raise and lower the griffe4 ,further   
consideration will  be given to jacquard
 shedding after double-acting machines  
have been  explained4    ,the motion for
 working the cylinder1 if an independent
 one1 should be  rigid and strong2 for  
if there is any spring in it1 though the

 cylinder  may be brought in            
sufficiently close when there is much   
cutting on the  card1 if a blank card or
 one with very little cutting on it     
comes on1  the extra pressure on the    
needles1 especially with a large        
machine1  may prevent it from getting in
 sufficiently close to clear the hooks  
from the griffe4 ,with self-acting      
motions there may sometimes be some     
trouble in this way1 as the weight of   
the griffe may not be sufficient  to    
press in the cylinder4 ,in this case the
 griffe may be weighted1 or  may be     
allowed to drop quicker1 or the lifting 
rod and lever may be  made to assist in 
pressing it down somewhat4    ,before   
starting the machine the needles should 
be examined to see  that they are all   
free1 and that they will spring out     
easily after  being pressed back4 ,the  
griffe should be perfectly horizontal   
and all  the knives properly set2 the   
holes in the cards and cylinder should  
exactly correspond1 and when the        

cylinder comes in the needles should  be
 fair in the centre of the holes2 if    
not1 the cylinder must be set as        
described 7see description of ,figs4 #bf
 and #bg74    ,the driving of heavy     
single-acting jacquards will be further 
considered  under ,twilling ,jacquards4 
,when any of the hooks or needles in a  
jacquard get bent or broken1 they  can  
easily be straightened1 or taken out and
 replaced by others4 ,by  putting a thin
 blade of iron or wood down through the 
needles alongside  of the hook to be    
replaced1 and springing open the        
passage1 the old  hook may be drawn out 
and a new one put into its place4 ,the  
tail cord  must1 of course1 be cut off  
the bottom of the hook1 and a new one   
tied  on4 ,for changing a needle take   
off the spring-box and draw up the pin  
which fastens the row of needles at the 
back2 then the needles in this  row may 
be taken out till the defective one is  
reached1 and the row  made up again2 or1
 the old one may be renewed without     

taking any of the  others out4 ,a flat  
blade is used to slide through the hooks
 and keep  clear the place for the      
needle to be put in4    ,card           
,frames4--,the cards for jacquard work  
are usually hung on a  frame as ,o1     
,fig4 #ah1 wires sufficiently long to   
catch on both sides  of the frame being 
tied to the lacing of the cards4 ,the   
number of  cards between each wire may  
vary to suit the space and the quantity 
of cards4 ,sixteen to twenty suit very  
well1 the former for small and  the     
latter for larger sets1 and for very    
small sets twelve or fourteen  might be 
more convenient4 ,the frame may be made 
of round iron rod1 or  of flat or bar   
iron1 and should be of the shape shown  
in the sketch1  and not semicircular1 as
 is usually the case1 which presses the 
cards  together in the centre2 almost   
flat at the bottom1 with just enough  of
 a slope to make the cards slide back1  
is much the best4 ,of course1  for a few
 cards it does not matter much what     

shape it is4 ,p 7,fig4  #ah7 is the     
frame for the rollers over which the    
cards travel to the  cylinder4 ,they    
should be so sloped as to make the cards
 travel up  nicely with sufficient drag 
on them1 and not too much2 on this      
depends  a good deal the proper working 
of the cards1 particularly when the     
machine is running at a high speed1 and 
when springs are not used to  steady    
them on the cylinder4 ,it is usual to   
have a roller below the  cylinder1      
attached to the frame which holds the   
cylinder1 and the  falling cards pass   
over it4 ,sometimes the cards1 when     
falling1 are  shaken1 so that some of   
the wires may not catch on the frame1   
but pass  through it1 or the ends of    
some of the wires may be bent and cause 
the same result2 if the weaver neglects 
to put these up on the frame  before the
 cards work round to those that have    
fallen1 the wire may  catch on it and   
prevent the cylinder from turning1 or1  
perhaps1 pull it  out4 ,sometimes a     

crank or bend is made in the frame at   
the outer end1  so that the wires can   
pass up through it without catching4    
,the frame  should just be sufficiently 
wide to enable the cards to pass freely 
through it with1 say1 one-eighth of an  
inch clearance at each side2  then1 if  
three or four inches at the outer end is
 cranked1 or set out  so as to be a     
little wider between the two bars than  
the length of  the wires1 they will pass
 up through without catching4 ,frames of
 the  shape described are1 of course1   
only suitable when the cards are to be  
wrought forwards--that is1 with the     
cards falling between the cylinder  and 
the machine2 but if they require to be  
wrought both backwards and  forwards1 as
 is sometimes the case1 the card frame  
must be made more  of a semicircular    
shape1 and the rollers must be set so as
 to give a  sufficient fall to the      
cards1 and keep them firm on the        
cylinder4    ,as has already been said1 
the nature of the shedding of a         

single-acting  jacquard is objectionable
 for speed in working1 for ease on the  
yarn1  and for heavy work1 or for       
well-covered work4 ,the jacquard harness
  is levelled so that the yarn is all   
sunk1 and the shed is entirely a  rising
 one2 it can easily be understood that  
when the griffe rises to  open one shed1
 it must again fall before it can begin 
to rise to form  the next shed4 ,now1   
mostly all tappet motions1 and a great  
many dobbies  or shedding motions1      
either have the yarn springing up and   
down from  the centre1 or have one      
portion rising and the other portion    
falling  at the same time1 so that in   
them the second shed could be open at   
the  same time that the griffe in the   
single-acting jacquard had fallen to    
begin to rise the second shed2 but as   
this would be much too soon1  they can  
take a greater time to accomplish the   
work1 and thus have a  much slower and  
steadier motion4    ,it has been        
attempted to work the single-acting     

jacquard on the  centre-shedding        
principle1 and machines are at present  
being made in  ,france of this class4   
,it is only necessary to let the board  
on which  the upright hooks rest fall at
 the same time that the griffe is rising
  in order to accomplish what is        
required1 and the method of working is  
good1 and would suit well in dobbies    
where the heddles can be taken  firmly  
down4 ,but in the jacquard the drawback 
is in the harness3 the  constant rising 
and falling causes a vibration in it1   
and does not  admit of nearly so firm   
work as when the rising shed alone is   
used4    ,illustration3 ,fig4 #cj       
,one of these machines is shown in ,fig4
 #cj2 they are a very compact and       
neatly made machine1 and contain a much 
greater number of hooks than  one of the
 ,english machines4 ,fig4 #bf gives one 
of the hooks in this  machine1 and the  
way in which it acts is there explained4
 ,it will be  seen that the frame for   
the cylinder is inverted2 ,f is the     

face-plate  or needle board as it rests 
when the cylinder is not pressing       
against  it1 being held in this position
 by the spring ,h pressing on a stud on 
the bar ,i1 which extends from the      
face-plate to the clap-board ,g4 ,the   
cylinder frame is driven by a rod1 ,c1  
connected with a lever4 ,e1 ,e#a  are   
two racks on the ends of the hole board 
on which the hooks rest1  and ,d1 ,d are
 two levers with quadrant racks on each 
end1 which work  into the racks ,e and  
,e#a1 and also into the racks on the    
slide bar  a#a4 ,this slide bar is      
fastened to the griffe ,a ,a1 which is  
raised by  a connecting-rod from a      
horizontal lever to the stud a4 ,as the 
griffe  is raised one end of the racked 
levers1 ,d1 is also raised1 and the     
other end sinks1 taking down the hole   
board by pressing on the racks ,e  and  
,e#a4 ,the hole board is fixed so that  
it will easily slide up and  down4 ,if  
the griffe is raised two inches1 the    
hole board falls rather  more than one  

inch4    ,this is a very good motion1   
perhaps could not be surpassed for the  
purpose1 but1 as ,i said before1 has the
 objection which all similar            
contrivances for the purpose must       
have--viz41 causing too much  vibration 
in the harness4 ,all the cords          
constantly dancing up and down  causes  
an unsteadiness and swinging that is not
 to be found in the  ordinary jacquard  
harness4 ,these machines have sixteen   
rows of needles  in them1 which are much
 closer set together than those in this 
country1  and give a large number of    
hooks in a small-sized machine1 which is
 a  great advantage when extensive      
patterns are required4 ,in this machine 
the half-card contains #ddj holes1 or   
#hhj holes to the full or double  card4 
,the pitch is shown at ,a1 ,fig4 #ca1   
which represents the end of  one of     
these cards1 and a piece of one of the  
usual #h-row cards as  here used is     
shown at ,b for contrast1 the black dots
 in both cases  representing holes4     

,these machines have not been adopted   
here1 nor is it likely that they  will  
be1 although they are said to work well 
in ,france4 ,they have  been tried here1
 and the difficulty lay in setting the  
cards properly  so as to act correctly  
on the needles1 and keeping them so for 
any  length of time4 ,the least         
contraction or expansion of the paper1  
or any  irregularity in the cutting1 any
 bend in the points of the needles1 or1 
in fact1 anything but perfect exactness1
 interferes with the working3  there is 
too great compactness in the machine1   
and in the ordinary  wear and tear of   
work a little allowance is necessary for
 success4  ,considering that these are  
working1 it would appear that the pitch 
and size of the holes in our cards are  
unnecessarily large1 except  where small
 machines answer and saving of space is 
no consideration2  in that case the     
extra paper required for the cards might
 be more than  compensated for by the   
strength of the machine1 and the saving 

of  trouble in attending to it4         
,illustration3 ,fig4 #ca    ,the method 
already mentioned of getting over the   
disadvantage of the  single-acting      
jacquard is not likely to gain general  
favour1 and is  not required1 as it is  
surpassed by the double-acting jacquard1
 or  that in which there are two        
griffes1 one rising when the other is   
falling1 forming a counterpoise as well1
 making the shed more after  the        
principle of ordinary tappet shedding4  
,in a loom fitted with a  single-acting 
jacquard1 if there is much weight to be 
lifted1 it will  turn round the loom so 
that it will rest in no position but    
with the  griffe down1 and this is      
frequently of so much annoyance to the  
weaver  as to necessitate a counterpoise
 being applied to balance it4 ,sometimes
  weights are used1 and sometimes       
springs4 ,with the double-acting lift   
nothing is required1 and this was first 
used in ,cross's counterpoise  harness  
7about #ahaf74    ,illustration3 ,fig4  

#cb    ,illustration3 ,fig4 #cc    ,in  
the double-lift machine there are double
 the number of hooks that  there would  
be in a single-lift machine of the same 
size1 but the same  number of needles2  
each needle is connected with two hooks1
 as shown in  ,fig4 #cb1 which gives one
 row of hooks and needles for an #h-row 
or #djj  machine4 ,there are two        
griffes1 one working above the other1 as
 shown  at ,a and ,b1 ,fig4 #cc4 ,e1 ,e 
is the top griffe in both2 ,c1 ,c is the
 bottom  griffe1 shown complete at ,a1  
but at ,b the side-bar of the frame is  
omitted1 leaving only the knives to show
 how they fall in between those  of the 
bottom griffe2 ,d1 ,d#a are the two     
slide rods or spindles which  keep the  
griffes steady in their traverse4 ,there
 must be a sufficient  space between the
 frame ,c of the lower griffe and that  
of the upper  griffe1 ,e1 to allow of   
the required draw being given to form   
the sheds  without them coming into     
contact4 ,in these machines1 although   

there  are #af hooks in the row1 they   
only act as eight1 so far as forming the
  pattern is concerned1 as two hooks are
 governed by one needle2 the  additional
 hooks are solely for the purpose of    
obtaining a rising and  falling shed4   
,each pair of hooks is connected        
together at the bottom  by a piece of   
strong cotton cord1 called the tail cord
 or tug cord1 as  shown in ,fig4 #ce4   
,the griffes are raised by two levers   
arranged side  by side1 and similar to  
the one shown in ,fig4 #ag4 ,these      
levers are  wrought by rods connecting  
them to a double crank1 or sometimes to 
a  tappet1 on the tappet shaft of the   
loom4 ,the common form of crank is      
shown at ,a1 ,fig4 #cd4 ,b is the tappet
 shaft1 and on the end of it is         
fastened a disc4 ,a second disc1 which  
carries the double crank1 ,g1 is  bolted
 against this one1 and can be shifted to
 whatever position is  required to give 
the tread at the correct time4 ,the     
cylinder is driven  from an eccentric on

 the crank-shaft as before described4   
,one of the  griffes rises for each     
shot1 the other falling at the same     
time2 but  the cylinder must come in for
 every shot1 and it is here that the    
principal fault in this machine lies4   
,not only has the cylinder to  travel at
 a high speed1 but when one griffe is at
 its highest position1  it has to press 
against the needles1 so as to clear away
 those hooks  that are not to be lifted 
by the lower griffe1 which should now be
  beginning to rise2 and in consequence 
of the needles being attached  to two   
hooks1 one belonging to the upper       
griffe1 and the other to  the lower one1
 it follows that those needles that are 
pressed in by  the cards have to spring 
back the hooks connected with them that 
are  raised by the upper griffe1 which  
is a severe strain on both needles  and 
cards4 ,to prevent the hooks being      
pushed off the upper griffe1 they  must 
have larger turns on them than would    
otherwise be necessary4                 

,illustration3 ,fig4 #cd    ,fig4 #ce   
shows how the raised hooks can be       
allowed to yield to the  pressure of the
 needles4 ,a1 ,b1 ,c1 ,d are four hooks 
connected with two  needles1 #a and #b4 
,when the hook ,a is raised1 if ,b1     
which raises the  same warp--as will be 
seen by the connection of the tail cords
 with  the harness at ,e--is not to be  
raised for the next shot1 the needle #a 
is pressed back by the card1 and presses
 the hook ,b back from its knife  as    
shown1 the dotted line being its        
original position2 the ,a hook1  being  
connected with the same needle1 must    
also be sprung back1 but  its head      
cannot get back1 as it is held on the   
blade of the griffe1 so  that the wire  
would require to spring1 if some escape 
were not made for  it4 ,the lower ends  
of the hooks are made ,v-shape in the   
grating1 so  that when raised1 if       
pressed on by the needles1 they can move
 forward  as shown1 the dotted line     
showing the original position of the    

hook  ,a4 ,when the hooks fall1 they    
fill the slots in the grating1 and are  
thus kept steady4 ,g shows the tail     
cords as connected with the harness     
when both hooks are down2 ,e shows them 
when one hook is up and the  other down1
 and if the hook ,b was raised for the  
next shot1 the tail  cord on it would be
 tightening up as that on ,a would be   
falling1 and  the harness attached to   
them would be caught up a second time   
from the  middle position1 thus forming 
centre shedding with any portion of the 
harness that is raised several times in 
succession4 ,with plain-texture  cards  
the upper and lower portions of the shed
 would pass each other in  the centre   
when the sheds are being reversed1 all  
the even numbers of  hooks being on one 
griffe1 and all the odd numbers on the  
other4    ,illustration3 ,fig4 #ce      
,illustration3 ,fig4 #cf    ,the tail   
cord consists of two pieces of cotton   
cord1 one fastened  to each hook of a   
pair1 then the two ends are together    

tied to the  bunch of neck twines that  
are to hang from these hooks1 as shown  
in  ,fig4 #ce1 and at ,a1 ,fig4 #cf4    
,when one hook is raised and the tail   
cord  drawn up with it1 the other       
portion of the tail cord1 which is tied 
to the other hook1 is slackened--as     
shown at ,a1 ,fig4 #cf--which causes  a 
certain amount of friction on them4     
,also1 when one hook of the pair  is    
falling with the descending griffe1 and 
the other hook rising1 the  pluck       
occasioned thereby on the cords1 when   
the hooks are passing at  the centre1   
has a tendency to wear and break them4  
,although this does  not occur when the 
lingoes are of a moderate weight 7#ah to
 #be per lb471  and when only a few neck
 twines are tied to each tail1 yet when 
a large  number of neck twines 7say #bj7
 are tied to each tail1 with weighty    
lingoes1 as may frequently be the case  
in weaving small patterns on  woollen   
and worsted goods1 the breakage of the  
tail cords is a common  source of       

complaint1 which not only gives the     
trouble of renewing  them1 but is liable
 to cause defects in the cloth1 by the  
weaver not  observing the breakage for  
some time1 as one hook of the pair may  
be  raising the neck twines--that is1 in
 case of the tail cord to only one  of  
the hooks breaking4 ,to remedy this     
,messrs4 ,hancock1 ,rennie1 and  ,hudson
 have this year 7#ahij7 introduced a    
patent link connection for  joining the 
tail to the hooks1 which only requires  
one cord1 or double  cord1 to be used1  
instead of two as before4 ,this is shown
 in ,fig4 #cf  at ,b4 ,when one hook is 
raised and the other down1 the link is  
in the  position shown at ,c4 ,the old  
method is shown at ,a4 ,when one hook is
  rising and the other falling1 the     
partial turning of the link causes  a   
loss of time equal to about a quarter of
 an inch of lift1 and this  eases the   
sudden pluck on the tail cord4 ,when    
both hooks are down there  is also a    
loss of a quarter of an inch in the lift

 when one hook begins  to rise1 caused  
by the turning of the link4             
,illustration3 ,fig4 #cg                
,illustration3 ,fig4 #ch    ,this patent
 works very well1 but1 except when heavy
 weights are on the  hooks1 is not      
likely to supersede the older methods4  
,these links are  fitted to machines by 
makers in ,manchester and ,bradford4    
,before the form of griffe shown in     
,fig4 #cc was adopted the hooks were    
made of two heights1 as shown in ,fig4  
#cg1 and one griffe wrought  above the  
other1 instead of the one set of blades 
or knives passing  through each other2  
but this method was given up on account 
of the  vibration of the long hooks1    
which made it uncertain whether they    
would  remain on the knives or keep     
clear of them when required4 ,fig4 #cg  
shows this arrangement of hooks for a   
double-cylinder machine2 for a          
single-cylinder machine with two griffes
 the heights of the hooks would  be     
similar1 but the heads would all be     

turned in the same direction1  and the  
knives sloped to suit this1 as is done  
when the hooks are all  of the one      
height2 each needle would be connected  
to a short hook and a  long one4 ,the   
short hooks give much more certain work1
 and can have the  cylinder set so as to
 press back the hooks only as much as is
 required1  whereas with long and short 
hooks allowance had to be made for the  
uncertainty of the vibration and the    
difference in the length of the  two    
sets of hooks4    ,fig4 #ch is a view of
 one of the best makes of double-lift   
jacquards  with a single cylinder4      
,the machine is made by ,devoge  ,co41  
of ,manchester1 but is not here  given  
as being specially recommended in       
preference to others2 it is  only given 
as an illustration4 ,those wanting to   
buy a machine had  better see what are  
in the market1 and select what they     
consider most  suitable to their work   
and price4 ,this applies to all the     
machinery  given in these articles4     

,there is rarely a best machine for all 
purposes4    ,illustration3 ,fig4 #ci   
,these machines are much in use1 and can
 be run at a high speed1 say  #afj1 or  
even #ahj1 and by many are preferred to 
the double-cylinder  machines1 as there 
is no danger of one cylinder getting    
before the  other1 and the cards are all
 laced in one set2 besides1 it may be   
more convenient for working1 as some    
arrange their machines so that  the     
cards for one loom hang to the back1 and
 those of the next to  the front4 ,when 
these machines are to work at a high    
speed1 the  slide-motion cylinder will  
probably be found the most satisfactory4
  ,fig4 #ci illustrates one of these    
machines with slide cylinder motion  and
 the levers for driving it1 the         
connections being as before given4  ,the
 levers for raising the griffes are also
 shown1 but here go to the  back1       
whereas they are usually at the side4   
,the most perfect jacquard machine in   
the market is undoubtedly the           

,,double-,,acting ,,jacquard ,,with     
,,two ,,cylinders    ,illustration3     
,fig4 #dj    ,the only drawback to this 
machine is1 except what may be said     
against  the method of shedding1 the    
liability of one cylinder to be turned  
out  of time1 or get a shot or two      
before the other1 so as to put the cards
  off their proper rotation2 but this is
 only a difficulty in the hands  of     
inexperienced weavers2 nevertheless it  
exists4 ,the effect will be to  spoil   
the pattern on the cloth1 giving the    
twill a mixed or broken-up  appearance4 
,there are motions in use for stopping  
the loom1 unless the  cards come in     
rotation1 but many prefer to work       
without them4 ,fig4 #dj  is a view of a 
two-cylinder machine made by ,messrs4   
,devoge  ,co41 with  swing-motion       
cylinders1 which are1 perhaps1 the best 
motions for these  machines1 as they do 
not require to travel quickly4 ,a very  
good speed  for the machines to work at 
is #afj to #ahj or #bjj picks per       

minute1  and the cylinders would only   
travel at half this speed4 ,the         
cylinders  should be driven by an       
eccentric1 same as given for the        
single-acting  machines1 but instead of 
being on the crank shaft1 it should be  
on the  tappet shaft1 which runs at half
 the speed2 and as the two cylinder     
frames are connected together1 when the 
one is going out the other is  coming   
in1 so that one eccentric making a      
revolution for two beats of  the slay   
will drive both cylinders4 ,sometimes   
the eccentric is on the  tappet shaft1  
inside the framing of the loom1 and is  
connected with the  top lever1 as shown 
in ,fig4 #cd 7,b74 ,c is the eccentric1 
,d the fulcrum  of a short lever        
attached to it1 and ,e the upright rod  
attached to  an arm or lever on a       
horizontal shaft supported by the       
machine1 or  on the top of the loom4 ,a 
lever from this shaft on each side of   
the  machine drives the cylinders4 ,the 
eccentric may be on the end of the      

tappet shaft1 same as it is shown on the
 crank shaft in ,fig4 #ah2 but it  might
 not always be convenient to have it    
here1 and perhaps the most  desirable   
way to have it at any time is to have a 
pinion on the crank  shaft with1 say1   
twenty teeth in it1 and a stud wheel    
alongside with  forty teeth gearing into
 it4 ,on this stud the eccentric can be 
fixed1  and will give a very steady and 
convenient method of driving4 ,the      
griffes are raised in the same way as   
for the double-lift jacquard with  one  
cylinder4 7,see ,fig4 #cd 7,a774        
,illustration3 ,fig4 #da                
,illustration3 ,fig4 #db    ,fig4 #da   
shows the arrangement of a row of hooks 
and needles for a  double-cylinder      
machine4 ,the top needle of the upper   
set and the bottom  needle of the under 
set are attached to two adjoining hooks1
 which  are connected together with the 
same tail cord4 ,this arrangement is  to
 enable the cards when working at both  
sides to act on the correct  hooks1     

which will be better understood by      
referring to the description  of lacing 
cards for these machines4 ,in ,fig4 #da 
it will be observed that  all the hooks 
are vertical4 ,sometimes the hooks are  
slanted a little1  as in ,fig4 #db1 to  
give more space between the hooks at the
 top1 without  increasing the width of  
the machine1 and there is a slight      
difference  in the arrangement of the   
hooks and needles1 as is shown4 ,both   
work  very well4    ,fig4 #dc shows a   
two-cylinder machine1 by ,messrs4       
,devoge  ,co41 with a  slide motion for 
the cylinders1 which would be driven in 
the same way  as the swing motion4      
,it has been said that the shedding of a
 single-acting jacquard is of  the worst
 description for general weaving4 ,that 
of the double-acting  machine is by no  
means perfect either2 some prefer the   
single-to the  double-acting for making 
fine damask4 ,jacquard shedding cannot  
be  regulated in the same way as tappets
 or the best shedding motions can4  ,in 

tappets the dwell can be regulated to   
suit the cloth required1 and  the time  
of the shedding can be made early or    
late as desired4 ,in  jacquards this    
cannot be done to anything like the same
 extent4 ,the  shed must always be open 
in time for the pick1 and the pick      
should  begin when the cranks are about 
the bottom centre1 a little earlier or  
later1 as desired4 ,the jacquard must   
have the shed open at this time1  and   
must keep it open till the shuttle      
passes through4    ,it has been said    
that the usual method of raising the    
griffe or griffes  is by a crank 7or a  
stud in the wheel1 which is practically 
a crank7  on the crank shaft for a      
single-acting machine1 and by a double  
crank  on the tappet shaft for a        
double-acting machine4 ,now1 a crank    
gives a  continuous eccentric motion    
with a slight dwell when it is at both  
top  and bottom centres4 ,sometimes a   
tappet is used to raise the griffes     
instead of a crank1 and of course any   

required dwell can be made on a  tappet2
 but then it must suit the jacquard1 and
 the greater the dwell1  the less time  
is occupied in the rising and falling of
 the harness4 ,if  the harness is       
plucked up or dropped down too quickly1 
the result is  a dancing or unsteadiness
 of the cords1 and in a double-lift     
machine  there will be a considerable   
plucking when the hooks that are rising 
take up the cords that are falling4 ,in 
order to keep the cords as  steady and  
free from vibration as possible1 if     
there is any swinging in  the weights or
 lingoes1 it is a common practice to put
 a frame round  these1 with wires run   
through it at whatever distance apart is
 thought  desirable1 so as to partition 
them off in bunches and keep them from  
swaying about4    ,illustration3 ,fig4  
#dc    ,the smoother and slower the     
harness can be raised and lowered1 the  
better4 ,therefore1 to get a high       
working speed1 the time or the portion  
of a revolution of the crank shaft given

 to the rise and fall must be  as great 
as possible1 so that very little could  
be gained by using a  tappet4 ,if a     
tappet is to be used1 a box tappet will 
be required1 or  is more satisfactory   
for a single-acting machine1 in order to
 make the  griffe in falling follow the 
tappet and avoid any plucking or        
jerking2  sometimes a fork lever1 with  
the tappet or wiper working between the 
prongs of the fork1 is used for the same
 purpose4 ,for a double-acting  machine 
double wiper tappets1 acting on levers  
or treadles1 are  sometimes used1 the   
griffes falling of their own weight2 the
 tappets  are nearly round eccentrics1  
or like plain tappets with a very short 
dwell1 not more than one-fourth of a    
revolution of the crank shaft4 ,it  may 
therefore be considered that the harness
 should always be moving  either up or  
down1 with a small pause when the       
griffes are at the top  and bottom1 to  
admit of an easy turn and to allow the  
shuttle time  for its passage through   

the shed4 ,with the crank drive the shed
 will  require to be opened a little    
wider than if the dwell was as great as 
it should be1 especially in wide looms1 
in order to let the shuttle get  through
 freely2 but it would be more desirable1
 and a saving of strain  on the yarn1 to
 have the dwell greater1 and not open   
the shed any wider  than is necessary to
 admit the shuttle4    ,speaking        
generally1 the usual rule for the time  
of shedding may be said  to be to let   
the shed be closed when the cranks of   
the loom are at the  top centre1 or     
perhaps one-sixteenth of a revolution   
farther forward1  and let the shed be   
full open when the cranks are about the 
bottom  centre4 ,it therefore follows   
that the single-acting jacquard must    
open  the shed in a little less than    
half a revolution of the crank shaft1   
and close it in the same time2 but the  
double-acting machine takes  nearly a   
full revolution 7three-quarters1 or a   
little more1 should do7  to either rise 

or let fall one of the griffes4 ,it will
 be evident that  there is a            
considerable difference in the nature of
 the shedding4 ,a  single-acting machine
 requires the weft to be beaten up on a 
closed  shed 7the time of the crank in  
coming from the top to the front centre 
being taken up with rising the griffe   
from the bottom up to catch the  hooks71
 whereas in a double-acting machine the 
case is different2  though the shed is  
closed at the same place1 or in the same
 position  of the cranks1 the griffes   
are in an entirely different position4  
,the  closed shed with the single-acting
 jacquard is when the griffe is down1   
but with the double-acting machine it is
 when the two griffes are on  a         
level--that is1 halfway up4 ,of course1 
more or less of the yarn may  be at the 
bottom position1 so that there may be no
 closed shed1 or  in no position of the 
griffes may the yarn be all on a level1 
unless  none of the hooks are on either 
of the griffes1 or if one griffe has    

all the hooks on it4 ,when the          
single-acting machine begins to open    
the shed1 the driving-crank of the      
griffe is upright or at the top  centre1
 and in the position to give the slowest
 motion to the griffe2  whereas for the 
double machine the lifting cranks are   
horizontal  when the shed is closed1 and
 in the position to give the griffes the
  quickest motion2 therefore1 when the  
lay gets to the fell of the cloth  in a 
single-acting machine1 the shed is still
 close1 whereas with a  double-acting   
machine it is fully half open4 ,from    
this it follows that1  to get a close   
covered cloth1 the double-acting machine
 is the better1  as the weft is beaten  
up in a crossed shed2 but to get a      
clean-surfaced  fabric1 with the weft   
lying straight between the two portions 
of the  warp1 the single-acting jacquard
 is better4 ,it is for this reason that 
the single-acting machine is preferred  
by many workmen for making  fine damask1
 which does not require much covering to

 give it a good  appearance1 and there  
is less chance of having cut weft and of
 looping  when striking on the open     
shed4 ,of course the weft may be cut in 
a hard  fabric by the reed having to    
strike too heavily against it1 and in   
this  case striking on a crossed shed   
might prevent the cutting1 by the weft  
going on easier4    ,in hand-loom linen 
damask the shot is struck up when the   
shed is about  half closed2 the warp is 
held so firm in the loom that there is  
no  spring in it1 and the weft does not 
rebound4 ,a cleaner surface is thus     
made on the cloth than if the weft was  
struck up in a closed or cross  shed4   
,in a single-acting machine the faults  
in the cloth are more readily  seen than
 with a double-acting one1 as1 in case  
of a hook missing the  knife1 in a      
single machine it would show in a short 
time1 whereas in a  double-lift machine 
one hook of the pair might be missing   
the knife and  the other taking it1 so  
that it might be some time before it    

would be  observed4 ,one of the tail    
cords breaking might have a similar     
effect4    ,the foregoing gives a       
general description of working the      
jacquard2 but  no hard-and-fast lines   
can be laid down--a little variation may
 be  necessary at any time1 to suit     
circumstances and the class of work4    
,,jacquard ,,stop ,,motion    ,when     
working with two cylinders1 one may     
happen to be turned at a  time when it  
should not1 and thus put the cards out  
of rotation4  ,many attempts have been  
made to overcome this difficulty by     
stopping  the loom when the cards get   
out of the proper order1 but none of the
  methods adopted have ever gained much 
favour4 ,recently a new motion has  been
 patented1 and is being applied to      
machines by ,messrs4 ,devoge   ,co41 of 
,manchester4 ,it is called the #8,devoge
 jacquard stop motion4'                 
,illustration3 ,fig4 #dd    ,fig4 #dd   
shows how it may be applied to a        
machine4 ,the hooks ,a and ,b  and the  

needles ,e and ,f are those here used to
 work the motion4 ,they  may be at      
either side of the machine1 but should  
be at the side of the  belt handle4 ,one
 hook must belong to the front cylinder 
needles1 and  the other to the back     
ones4 ,the hook ,a requires a lingo     
attached to it  to draw it down after   
being lifted4 ,the hook ,b is attached  
to a lever  connected to the side of the
 loom1 so that when one end is raised a 
hammer on the other end pushes off the  
belt handle 7a lever and bracket  are   
supplied for the purpose74 ,c ,c#a is a 
wire bell-crank lever with a  turn or   
loop on it at ,d to act as a spring4    
,the fulcrum is at ,l1 on a  piece of   
iron bolted to the edge of the machine2 
the lower end of this  lever passes     
through an eye in the hook ,a at ,c#a1  
and the upper end  passes through an eye
 in the needle ,e4 ,there is a spring on
 the point  of the needle ,e1 between   
the face-plate and the eye1 which the   
lever  goes through1 and which holds the

 needle back as shown4    ,each time the
 hook ,a is raised the lever presses    
forward the needle ,e1  and with it the 
hook ,b1 which would then be raised by  
the lower griffe1  unless the card      
pressed the needle back again and pushed
 it off4 ,thus1  by having a hole cut in
 the cards for the needle ,f1 and none  
for the  needle ,e1 the hook ,b would   
never be raised2 but if a hole is cut   
for ,e  in a card following one in which
 a hole was cut for ,f1 the hook ,b     
would  be raised and the loom stopped4  
,it is1 therefore1 only necessary to    
arrange the cutting of the cards to     
allow the loom to work when they  are   
following each other in rotation2 but as
 soon as one card gets out  of order the
 loom should be stopped1 though1        
perhaps1 not till it has  run for a few 
shots4 ,thus--         ,number of       
cards--        #a    #c    #e    #g     
#i    #aa      --   --   --   --   --   
--      ,o                ,o    ,o      
,cut the large dots for the needle ,e4  

#b    #d    #f    #h    #aj   #ab       
--   --   --   --   --   --      ,o     
,o    ,o                     ,cut the   
large dots for the needle ,f4    ,this  
gives a repeat of twelve cards2 but any 
number to suit may be  used4 ,thus--    
,number of cards--        #a    #c    #e
    #g    #i    #aa    #ac    #ae       
--   --   --   --   --   --    --    -- 
,o                ,o    ,o     ,o     ,o
         ,cut the large dots for the    
needle ,e4    ,number of cards--        
#b    #d    #f    #h    #aj   #ab   #ad 
#af      --   --   --   --   --   --    
--   --      ,o    ,o    ,o             
,cut the large dots for the needle ,f4  
,this gives a repeat of sixteen cards4  
,the even numbers of cards go to  the   
front or top cylinder1 and the odd      
numbers to the low cylinder1  and it may
 be seen that a hole in an even-numbered
 card following one  in an odd-numbered 
card will not stop the loom2 but a hole 
in an odd  number following one in an   
even number will stop the loom1 as it is

 the  hook ,b rising after ,a that stops
 it2 therefore any suitable rotation  of
 cutting may be adopted1 and the        
stoppage can take place either at  short
 or long intervals1 as desired1 the     
principle being to raise the  hook ,a   
two or three times1 and push the hook ,b
 back again by having no  hole cut for  
the needle ,e4 ,then leave ,a down for  
three or four shots1  and cut holes for 
,e1 which have no effect unless the     
cards get out of  rotation1 and one of  
those with a hole cut to raise the hook 
,a comes  before one with a hole cut for
 the needle ,e1 when ,b will be raised  
and  the loom stopped4 ,this is a good  
arrangement1 and works very well4       
,another motion for a similar purpose1  
invented by the writer1 is shown  in    
,fig4 #de4 ,it is based on the following
 principle3 ,suppose a cord is  taken   
from any two hooks of the jacquard1 and 
passed round a pulley on  the #8hound   
tail' or long lever of the weft fork    
motion2 if the cord is  left slack1 so  

that raising one of the hooks will just 
tighten it1 then  raising both hooks    
together will lift the lever1 and can be
 made to  stop the loom4 ,the difficulty
 to be got over is that one of the hooks
  must belong to one griffe1 and the    
other to the other one1 in order  to    
make the motion act with the two sets of
 cards4 ,as the two griffes  pass each  
other at the centre1 or at the          
half-lift1 this must be taken  as the   
full lift1 the cord must be stopped     
here1 and not drawn any  farther2 for   
the remaining portion of the lift the   
hooks must draw a  spring4 ,this can be 
easily arranged by having loops on the  
cord passing  round wires in the cumber 
board1 or by having the two ends of the 
cord  passing through a small hole      
board1 and having knots or beads on     
them1  beneath it4 ,other methods may   
also be adopted4    ,one of the most    
desirable arrangements is shown in the  
figure3 ,a1 ,a  are the two hooks2 ,b1  
,b are two small springs by which the   

two levers1  ,c1 ,c are attached to the 
hooks with cords2 ,d is the frame for   
holding  the levers1 and is fastened to 
the top rail of the loom1 under the     
jacquard1 or in any convenient place4   
,it will be observed that the  front bar
 of the frame passes above the levers1  
so that it will prevent  them rising    
above the half-draw of the hooks1 in    
which position they  are shown4 ,e1 ,e  
are two cords connected with a jack or  
tumbler1 ,f1 on  the end of a bell-crank
 lever1 ,g ,h ,l1 having its fulcrum at 
,h1 which  may be on the same stud as   
the weft fork lever1 or in any          
convenient  place4    ,illustration3    
,fig4 #de    ,the weight of ,f and ,g   
keeps the cords in tension1 and the     
point ,l of  the lever is set behind the
 lever on the loom which carries the    
weft  fork1 at such a distance from it  
that when one of the cords ,e is drawn  
it does not act on it2 but when both    
hooks are raised1 drawing up the  two   
cords1 the point ,l of the lever presses

 against the weft fork  lever1 pushing  
off the belt handle and stopping the    
loom4    ,the lever ,g ,h ,l may act    
directly on the belt handle1 if desired2
 in  this case it would be fixed outside
 the loom framing4 ,the cards are cut   
on the same principle as for the last   
motion1 but the same holes will  do in  
both sets of cards1 as the two needles  
are acted upon by the same  number of   
holes in both back and front sets2 that 
is1 for two hooks  coming beside each   
other4    ,the following order of       
cutting will answer3--    ,number of    
cards--         #a   #c   #e   #g       
#b   #d   #f   #h      --- --- --- ---  
--- --- --- ---       ,o   ,o           
,o   ,o    ,cut the large dots on the   
number of cards given1 and of course    
they  must be cut to suit the needles   
connected with the hooks used4    ,the  
above gives a continuous working of the 
motion1 but it would be  sufficient for 
it to work at intervals having #h or #aj
 shots between  them1 as--    ,number of

 cards--       #a  #c  #e  #g  #i  #aa  
#ac  #ae  #ag  #ai  #b  #d  #f  #h  #aj 
#ab  #ad  #af  #ah  #bj                 
----------------------------------------
-----------------------------     ,o  ,o
                           ,o  ,o       
,o   ,o       ,this will not allow the  
loom to run for more than #bj shots     
after the  cards get out of order4      
,some other motions are in use1 but     
these are simpler4    ,before describing
 twilling machines or any special make  
of jacquards1  it may perhaps be better 
to explain the mounting of ordinary     
machines1  according to the usual       
methods adopted in some of the leading  
districts4          ,,chapter ,,iii     
,,full-,,harness ,,mountings      ,the  
mountings that will be alluded to in    
this section are all intended  for      
#8full harness'2 that is1 the ordinary  
method of jacquard weaving  when applied
 to such fabrics as damask1 dress goods1
 and1 in many  cases1 to double cloths1 
handkerchiefs1 c4    ,full harness1 or1 

as it is termed in some hand-loom       
districts1 shot  and draft1 to          
distinguish it from the #8pressure      
harness' system1 holds  the first place 
amongst mountings1 as by it can be done 
what cannot be  done by any other       
method1 and everything can be done by it
 that can be  done by any harness1 or   
combination of harness or heddles2      
though it  does not follow that it would
 be desirable to adopt it in every case4
  ,in a full harness each thread in any 
part of the tie can be lifted           
independently of the others2 in wide    
fabrics1 or in order to reduce  expense 
in narrow ones1 recourse is had to      
gathering or repeating the  tie1 and    
like threads in each repeat must be     
lifted together2 but in a  single tie   
any one thread can be lifted            
independently of any other4 ,in  full   
harness there is one thread of warp     
drawn into each mail or eye  of the     
harness1 and one shot is given to each  
change of card4 ,other  descriptions of 

harnesses are known as #8half harness1' 
#8split harness1'  #8pressure harness1' 
#8gauze harness1' double-cloth and quilt
 harnesses1  c4    ,half harness is the 
term applied to that description of     
harness in  which the half of the warp  
7every alternate thread7 is drawn into  
the  harness1 and the other half passes 
through it loosely4 ,this is mostly  to 
be found in the manufacture of gauze or 
leno curtains1 and is  wrought with a   
shaft mounting in front of the harness4 
,split harness is applied when two      
threads are governed by each hook  of   
the jacquard1 and the ground of the     
cloth is wrought by some other  means1  
as shafts through the harness4 ,this is 
to be found in the silk  trade4         
,pressure harness is when several       
threads of warp are drawn into each     
mail1 and when the harness is drawn it  
remains stationary for several  shots of
 ground texture1 for which the sheds are
 sprung or pressed open  by heddles4    
,gauze harness is a harness fitted up   

with doups for weaving leno and  gauze1 
and is mostly full harness4             
,double-cloth and quilt harnesses are   
for weaving these fabrics4    ,mounting1
 or gaiting1 is a term that may be taken
 to apply to the  building of the       
harness and the preparing of everything 
in connection  with it4 ,the form of    
#8tie' to be adopted will depend to a   
great  extent on the nature of the      
fabric to be made1 and to the style of  
pattern which is to be applied to it4   
,for instance1 dress goods may  be      
required1 and the pattern may consist of
 small sprigs or objects  repeated over 
the surface of the cloth1 forming a     
simple repeating  pattern4 ,again1      
handkerchiefs1 napkins1 or table-covers 
may be wanted1  which will require a    
bordered #8tie1' and may have both      
single and  double mounting in them4    
,sometimes the manufacturer mounts his  
looms  to what he considers a desirable 
#8tie' 7or arrangement of cords7 to     
admit of having a good variety of       

patterns wrought on it for whatever     
class of goods he is likely to make1 and
 then he has the patterns made  to suit 
the tie or mounting4 ,sometimes patterns
 are procured which  will give the best 
possible effect on the least possible   
machinery1 or  the least number of hooks
 of the jacquard1 and the mounting is   
then  arranged to suit the pattern4 ,on 
this method often a very considerable   
saving of machinery can be effected by  
turning over or gathering the  harness2 
or1 by arranging a variety of turns     
over1 or gathers1 and  repeats1 a very  
diversified effect can be obtained with 
a small number  of hooks1 as those      
accustomed to the larger forms of shaft 
mountings  will readily understand4     
,thus1 if we take #ajj hooks of the     
jacquard as  equal to #ajj shafts1 it   
will easily be understood that a large  
variety  of beautiful patterns can be   
produced with either a straight or      
zigzag  draft1 though they will be      
mostly of a set or conventional type4   

,the objection to mounting a loom in    
this way is1 that if a change of        
pattern to a free or running style is   
required1 it is necessary to cut  down  
the harness and remount it1 probably    
requiring new machinery as  well4 ,it   
may1 however1 suit to adopt both        
methods2 that is1 to have a  few looms  
for working conventional patterns on    
small jacquards1 say #bjj  hooks1 and   
others mounted for free patterns        
requiring1 say1 #djj or #fjj  hooks in  
the machine4 ,of course this entirely   
depends on the nature of  the orders    
likely to be received1 and manufacturers
 must use their own  judgment1 in which1
 however1 they are more likely to err on
 the narrow  than on the liberal side of
 the question1 the result being cramped 
and  stiff patterns1 with a probable    
loss instead of gain4 ,two styles of    
mounting harness are in general         
use--one1 known as the #8,london tie1'  
being used in ,spitalfields by the silk 
weavers2 the other is called the        

#8,norwich tie1' as it was there adopted
 in the early days of weaving4  ,about  
#ahcj the ,norwich style was adopted in 
,london1 as the weavers'  houses were   
too low to admit of the jacquards being 
set high enough to  suit the ,london    
method1 which1 having a quarter-twist in
 the harness1  requires more height than
 is necessary for the ,norwich system1  
in which  the harness passes direct from
 the jacquard to the cumber board in    
flat  rows without any twist4    ,the   
,harness4--,when about to mount a loom  
the first process is to  prepare the    
harness4 ,a harness is built up of      
several parts1 the  methods of preparing
 and building varying in different      
districts4 ,a few  of the best methods  
will be given4 ,fig4 #df1 ,nos4 #a1 #b1 
and #c1 show a  complete cord of the    
harness in three methods of preparing   
it--,a 7,nos4  #a and #b7 are the tail  
or tug cords looped to the hooks of the 
jacquard2  these cords are only         
necessary on double-lift machines1 and  

are usually  put on by the              
machine-makers4 ,they are made of       
twisted cotton1 and  are soft and       
pliable4 ,l shows the knot1 known as the
 #8tug knot1' by  which the tail cords  
are looped on the hooks4 ,b1 ,b are two 
methods of  knotting the neck or body of
 the harness to the tail cords2 that in 
,no4 #a is the usual method4 ,c1 ,c are 
the hecks1 or guide reeds1 through      
which the harness passes4 ,g1 ,g are the
 lingoes1 or leads1 formerly made  of   
strips of lead1 but now of wire4 ,from  
the lingo to the mail or eye1  ,f1      
through which the warp passes1 is a     
double cord called the bottom  piece1 or
 hanger4 ,from the mail1 passing through
 the cumber board or  harness reed ,e1  
is another piece of double cord1 called 
the top or  mid-piece1 or the           
#8sleeper'2 to this is looped or tied   
the neck twine  in various ways1 two    
methods of which are shown at ,d d d#a  
7,no4 #a7  and at ,d 7,no4 #b72 ,no4 #c 
shows levelling below the cumber board1 

with  two methods for tying ,h and ,h#a4
 ,m is the snitch knot1 which is much   
used for fastening cords that require   
careful adjusting4 ,sometimes it  is a  
matter of choice to adopt any method of 
mounting1 and sometimes  one plan may   
suit circumstances better than another4 
,illustration3 ,fig4 #df    ,preparing  
,lingoes4--,a prepared lingo is shown at
 ,no4 #d1 ,fig4 #df1 this  work being   
generally done by little boys or girls1 
or by old women4  ,one of the commonest 
methods of preparing them is as         
follows3--,having  prepared the mails1  
which are small eyelets of brass1       
copper1 or steel  of the shape shown at 
,f1 sometimes with round holes in the   
centre and  sometimes with elliptical or
 long shaped ones1 they are put into a  
dish  or pan2 a boy takes a piece of    
wire and strings a number of them on it4
  ,the wire is then fastened on a rack1 
or in any convenient place1 by  both    
ends1 in a horizontal position4 ,a bunch
 of small pieces of twine  is tied up in

 a convenient place2 these are to form  
the hangers1 or to  connect the lingoes 
with the mails4 ,having the lingoes     
conveniently  placed1 and being provided
 with a pair of shears1 the boy sets to 
work4  ,taking a piece of twine1 and    
pulling it through an end hole of a     
mail1  he doubles it evenly1 and1       
lifting a lingo1 puts both ends through 
the  eye in it1 and casts on a knot1 as 
shown at ,n 7,no4 #d74 ,the loop on the 
twine there shown requires to be pushed 
up over the top of the lingo1  then     
drawn tight1 and the ends clipped off4  
,this mail is then pushed  along the    
wire1 and the others proceeded with4    
,the pieces of twine for  forming the   
hangers1 as well as the sleepers1 are   
prepared by warping  them off spools    
round two pins1 and then cutting them   
across4 ,of course  the pins must be set
 apart at such a distance as will suit  
the length  of the sleepers and hangers 
required4 ,the usual length of the      
hanger  7when doubled7 is #g or #h in41 

and that of the sleeper or mid-piece    
when  it passes through the cumber      
board1 as in ,nos4 #a and #b1 ,fig4 #df1
 and as  shown at ,no4 #d1 is #ae or #af
 in4 ,when a quantity of lingoes are    
hung on  the mails1 the top cords or    
sleepers may be put through the top     
holes  in the mails1 and tied with a    
weaver's knot1 the ends being neatly    
clipped off4    ,illustration3 ,fig4 #dg
    ,a quicker method of preparing      
lingoes is as follows3--,two upright    
pieces of iron1 as ,a1 ,a1 ,fig4 #dg1   
are fastened on a board1 or on a  bench 
or table4 ,a cut is made in each of     
these1 so as to hold a piece  of flat   
wire such as is used for coarse reeds4  
,this wire is pointed  at one end1 so   
that by taking a handful of mails they  
can easily be  gathered up on it4 ,it is
 then placed in position1 as shown at   
,b2 the  mails1 ,d1 are shown on it1 and
 ,c is a spool containing twine for the 
hangers4 ,by rubbing the end of this    
twine with wax1 so as to stiffen  it1   

and gathering all the mails on the wire 
evenly together1 the end  of the twine  
may be run through the holes in all of  
them at once4 ,this  end is fastened1   
and with a hook1 as shown at ,f1 the    
twine can be drawn  through the mails1  
beginning at the one farthest away from 
the spool1  and passing from one to the 
other in succession1 looping the twine  
round the pin ,e1 which should be at    
such a distance from the mails as  is   
required to make the hangers the proper 
length4 ,if many mails are to  be       
threaded at once there should be two or 
three pins as ,e1 so as to  avoid too   
much slope from them to the mails1 which
 would increase the  length of the      
hangers4 ,the twine can be cut when the 
mails on the wire  are completed1 and   
the other ends of the mails turned round
 and treated  similarly for the         
sleepers2 but the pegs will require to  
be shifted1 so  as to get the required  
length of twine4 ,when finished1 these  
can be cut  also1 and the wire tied up  

in a convenient place1 so that the      
lingoes  may be hung on1 as before      
described4 ,the sleepers can then be    
knotted1  if required to be4    ,after  
the lingoes are thus prepared the twine 
is frequently varnished1  and sometimes 
twisted so as to prevent that of the    
hangers from rising  up through the hole
 of the mail and getting in between the 
two halves  of the yarn when the shed is
 crossing4 ,this frequently happens if  
anything prevents the lingo from        
dropping4 ,a common method of twisting  
them is for a boy to give them a coat of
 flour-paste or a light coat of         
varnish1 then1 having them hung on a rod
 which passes through the loops  of the 
sleepers1 he takes a handful of the     
lingoes1 and1 placing them  on his knee1
 rolls them round with his hand till    
they are sufficiently  twisted1 then    
lets them hang down1 and proceeds with  
another handful4    ,when the paste or  
varnish on these is set they can be well
 varnished4  ,about two inches at the   

top of the sleepers must be left without
  varnish1 to leave it soft and pliable 
for tying the neck to2 the knots  on all
 the sleepers must be brought up to     
about the point before they  are twisted
 or varnished4 ,when the lingoes are    
thus prepared and dry  they can be tied 
in bunches1 to be used as required4     
,some do not varnish the twines till the
 harness is all mounted1 and  then      
varnish it all over4 ,others do not     
varnish at all4 ,in this case  the      
hangers are not twisted1 and for light  
open sets of harness they  need not be  
twisted at any time4      ,,lingoes ,,or
 ,,leads    ,for pressure harness work  
the weights for drawing down the harness
  were originally made of lead1 about   
the length and thickness of a thin      
pencil1 but tapering to the lower end4  
,the weight varied with the  number of  
ends to the mail1 the strength of the   
yarn1 and the weight  of the cloth to be
 made1 ranging from #aj to #ah per lb41 
or lighter if  for fine hand-loom work4 

,for a linen damask as formerly made1   
with #f  or #h threads in the mail1 a   
very heavy lead was required1 even in   
the  hand loom1 whilst a fine cotton    
two-thread harness would do with a      
comparatively light lingo4 ,strips of   
lead cut from sheets were used for      
lighter weights2 these were then reduced
 to the proper size for drawing  them   
through holes in steel plates4 ,now1    
lingoes for power looms are  made of    
wire1 and for ordinary damask or full   
harness work should range  from #be to  
#dj to the lb42 for heavier work1 such  
as linen towels1  worsteds1 c41 #af or  
#ah per lb41 according to the weight of 
the fabric1  are required4 ,lighter ones
 answer for hand looms3 ,murphy mentions
 as  light as #aaj per lb4 for the      
centres of shawls1 but #ce to #fj per   
lb4  will be more frequently found4     
#be's to #cj's are a good size for power
  looms2 #ab in4 long for #be's or      
#cj's1 #ad in4 for #af's or #ah's1 and  
#af  in4 for #aj's or #ab's are good    

lengths4    ,when there is a great slope
 in the border twines of a harness1 it  
is  often necessary to put heavier      
lingoes on it than on the centre1 to    
keep the warp down4 ,of course1 the less
 weight that has to be lifted  is always
 a saving of power1 and easier on the   
harness2 therefore it  is better to have
 two sizes of lingoes than to have them 
all weighty  enough for the borders4    
,,harness ,,twine    ,the size of       
harness twine used varies greatly2 some 
prefer a fine1 and  others a heavy1     
twine4 ,for the sleepers and hangers1 #d
 ply of #bb's or #e  ply of #cj's linen 
yarn is a very good medium size1 and #d 
ply of #ad's or  #e ply of #ah's or     
#bj's is a very good size for the neck  
or body of the  harness4    ,sometimes1 
for heavy damask1 cable cord is used for
 the body of the  harness1 and is a good
 wearing cord2 it is especially suited  
when the  neck cords are fastened to the
 sleepers below the cumber board4 ,this 
cord is made of good flax yarn2 #e ply  

of #cj's are twisted together1  and     
three of these cords are then twisted   
together1 or #c ply of #ah's  afterwards
 made #c ply4 ,a better size for medium 
work is #e ply of #ce's  made #c ply1 or
 #c ply of #bj's or #bb's made #c ply4  
,heavy harness twine  requires to have  
heavier lingoes1 particularly on those  
parts of the  harness that are much     
slanted1 in order to have the same      
effect on them  that they would have on 
light twine4 ,some go to the opposite   
extreme1  and use very light twine1 such
 as #d ply of #cj's1 which is only fit  
for very light work in a narrow loom1   
where there will be but little  friction
 on the cumber board1 and where no heck 
is required4 ,lighter  twine will suit  
better for a hand loom than for a power 
loom2 #d ply of  #cj's for the harness  
of a hand loom1 with lingoes of #ej or  
#fj to the  lb41 would do very well for 
a light cotton warp4      ,,setting     
,,the ,,jacquard    ,the proper position
 for the jacquard1 when only one is     

required on the  loom1 is so that the   
centre hook in it will be above the     
centre hole  of the cumber board4 ,this 
can easily be found by tying a plumb    
line to  the centre hook of the machine 
and moving it1 if necessary1 till the   
plummet rests over the centre of the    
cumber board4 ,in case the cumber  board
 is not fixed in position1 that of the  
jacquard may be found by  having the    
plumb line to pass about half an inch   
more than the half  breadth of the      
harness at the cumber board behind the  
top rail of the  lay when it is full    
back1 and it should also be at equal    
distances from  each side of the loom4  
,when more than one jacquard is         
required1 they  should be arranged      
evenly over the cumber board1 and as    
close together  as possible4            
,sometimes the jacquard may be set      
farther forward or back to suit         
circumstances1 such as getting card     
space1 the only disadvantage being  that
 there will be more slanting of the     

cords at one side than the  other1 and  
more friction on them in the cumber     
board1 also more drag  on the hooks on  
this side if no heck is used1 and if a  
heck is used  the cords will have to    
bear the friction on it4 ,the more      
direct the  cords of the harness can be1
 the better1 and the above setting of   
the  jacquard should be adhered to when 
possible1 but it is not absolutely      
necessary for working to have it so4    
,it is always well to have the jacquards
 so arranged that they can be  raised or
 lowered a little by having them resting
 on bars1 which can be  raised or       
lowered with screws4 ,this is in case   
the harness is levelled  higher or lower
 than might afterwards be desired2 but  
if the breast  beam of the loom1 with   
the lay and back rail1 can be raised or 
lowered1  it will suit the same purpose1
 and it is better not to move the       
machine  once it is fixed and the       
harness tied up4    ,the height the     
jacquard is to be above the loom must in

 many cases be  regulated by            
circumstances2 for instance1 the height 
of the roof1 or  if the beams of the    
roof interfere with the working of it2  
sometimes  the machines rest on the     
framing of the loom--that is1 if the    
loom  is made for a jacquard--and       
sometimes plain looms are used1 and the 
machines rest on beams supported from   
columns1 or from the roof of the  house4
 ,this latter is the best plan1 as it   
keeps the jacquard free from  the       
shaking of the loom1 which is           
particularly useful in the case of      
looms fitted with the knock-off motion4 
,a good height for a jacquard1          
independent of circumstances1 is to have
 #h ft4 or #h ft4 #f in4 from  the mails
 to the bottoms of the hooks for a      
#aj_/d loom--that is1 one  with about   
#ajj in4 reed space2 #g ft4 to #g ft4 #f
 in4 for an #h_/d 7#hb in4  reed space71
 and #e ft4 #f in4 to #f ft4 for a #d_/d
 7#dj in4 or #db in4 reed  space71 are  
very good heights4 #e ft4 #f in4 is     

about right for a narrow  harness1 say  
#bj in4 to #bg in4 wide2 #f ft4 would do
 for #hj in4 wide1 and  #g ft4 or #g ft4
 #f in4 for #ij in4 wide1 if necessary4 
,,hecks ,,or ,,guide ,,reeds    ,a heck 
is a frame of hard wood with wires      
across it1 a wire for each  row of hooks
 in the machine1 from back to front4 ,it
 should be made  to suit the machine1 so
 that when the harness passes from the  
hooks  between the wires1 it will go    
vertically down1 and have no slant in   
it4  ,in narrow hecks1 there is usually 
one cross-stay to support the wires1    
but for broader machines there should be
 at least two4 ,the wire should  be     
iron1 as brass soon cuts with the       
friction of the cords1 and then in  turn
 cuts the cords4 ,for a single-acting   
machine the wires should be  loose1 so  
that they can roll with the cords2 but  
for a double-acting  machine this would 
be of no advantage1 as a portion of the 
cords are  falling when the remainder   
are rising4 ,if the machine is very     

wide1  or has to be set forward or back 
on the loom1 there should be cross      
rollers of hard wood above the wires1 at
 right angles to them1 to  prevent the  
bottoms of the hooks from being drawn   
either backwards or  forwards1 which    
might push their heads on or off the    
griffe knives4    ,sometimes glass      
rollers are used in the silk trade for  
this purpose1  with mountings of the    
,london tie1 and while they are very    
smooth  and polish the twines1 they get 
too hot if used in warm power-loom      
factories working at a high speed4      
,hecks are not required for very  narrow
 harnesses1 as the cords do not diverge 
much from the vertical1  and the        
friction on the heck being saved1 the   
cords wear much longer4    ,in a wide   
harness it is impossible to draw an even
 shed without a heck1  although in some 
districts they are hardly known1 and the
 more any  portion of the harness       
diverges from the vertical1 the more    
irregular  will the shed be4            

,illustration3 ,fig4 #dh    ,suppose we 
take an extreme case of a loom having   
three or four  jacquards on it1 the     
harness to be #if in4 wide1 and the     
pattern to  be for a table-cover2 then1 
if we deduct #b ft4 from the width of   
the  harness1 it is possible some of the
 border twines may have to slant  across
 #f ft41 or #gb in4 ,now make a triangle
 as ,no4 #a1 ,fig4 #dh4 ,let the  base1 
,a ,b1 be #gb in41 and take it as the   
level of the cumber board4  ,take the   
vertical side1 ,a ,c1 as the height of  
the harness to the heck1  viz41 #hd in4 
,now calculate the length of the        
hypotenuse ,b ,c by squaring  #hd and   
#gb and finding the square root of the  
sum1 and it will be found  to be #aajfc 
in4 ,again3 ,make another triangle1 as  
,no4 #b1 with base #gb  in42 vertical   
side #c-a_/b in4 longer than that of the
 former triangles1  viz41 #hge in4 7this
 #c-a_/b in4 is to represent the draw or
 lift of the  harness74 ,calculate the  
length of the hypotenuse as before1 and 

it  will be found to be #aacca in4 ,from
 this deduct #aajfc in41 the length  of 
,b ,c in ,no4 #a1 and the remainder1    
#bfh in41 equals the height that  the   
cord ,b ,c has been raised1 while the   
cord ,a ,c1 which is vertical1  has been
 raised #c-a_/b in42 and if we take into
 consideration that  the side draw of   
the sloping cords1 as ,b ,c1 will pull  
the tail cord a  little to one side and 
rise the vertical cords a little higher1
 while  the sloping ones remain         
proportionately lower1 #a in4 may be    
safely  taken as the difference of the  
height that the two cords1 ,b ,c and ,a 
,c1  would be raised by the jacquard1   
and all the other cords in the harness  
would vary1 being less than this in     
proportion to their divergence from  the
 straight or vertical line4 ,it can thus
 be seen how the shed would  require to 
be opened to let the shuttle through1   
and the irregular  strain that would be 
on the yarn2 and for any cloth that     
requires a  fine surface1 any           

irregularity of strain on the warp has a
 deleterious  effect1 very well known by
 experienced overlookers4    ,some      
consider that the ,london style of      
harness is more suitable for  working   
without a heck than the ,norwich style1 
and adopt it to avoid  using one1 as it 
is severe on the harness twines4 ,some  
raise the  machines very high to avoid  
using them1 but for particular work with
  border ties they must be used to give 
a proper working harness4 ,with  the    
,london mounting rollers should be1 and 
are1 used when there is  no heck4 ,these
 rollers are set as a coarse heck in a  
frame under the  machine1 and lie       
lengthways under it1 just as they would 
do when used  above a heck4 ,the heck   
should be about #c in4 below the knots  
which  fasten the tail cords to the neck
 twines4 ,some have the tugs1 or tail   
cords1 coming down through the heck2 in 
this case the heck only takes  the      
strain off the hooks of the machine1 and
 has no effect on the shed1  though     

sometimes this is mitigated by having   
more than one tug or tail  cord1 and the
 neck twines that slant in different    
directions are tied  to different tail  
cords4 ,the only point in favour of this
 is that it  saves some trouble in tying
 broken harness twines when they begin  
to  wear away by their friction on the  
heck4      ,,preparing ,,the ,,neck ,,of
 ,,the ,,harness    ,the twine for the  
neck1 as well as that for the other     
portions of  the harness1 is usually    
wound on spools1 and when the neck is to
 be  prepared it is warped from these   
spools to the length required1 either   
on a hand warping mill or round two pins
 fastened in a wall or on a  bench1 as  
far apart as the length of the harness2 
three or four spools  are put on pins1  
and the ends from them are taken and    
wound round the  pins fixed for warping 
them on4 ,when warped the twines may be 
cut at  one end1 and can either be tied 
in a bunch or stretched on a board and  
tied down on it1 so that they may be    

kept straight and admit of any  number  
of them being pulled out as they are    
wanted4    ,in some methods of mounting 
the neck twines are first tied to the   
tail cords2 perhaps this is the plan    
most commonly adopted with              
double-acting machines4 ,sometimes they 
are tied to the sleepers first1  and    
fastening them to the tail cords is the 
last process4 ,this is  called          
#8beeting' the harness4 ,when           
single-acting machines are made with    
the hooks resting on a perforated board1
 they have tugs on the hooks2  but when 
the wire hooks pass down through a      
perforated grating1 tugs  are           
unnecessary1 and the neck twines are    
fastened to the hooks4 ,when  fastened  
to the hooks1 or even when fastened to  
the tail cords1 and a  heck is not to be
 used1 the neck twines should be formed 
into heads1  either before they are tied
 up or afterwards1 as may be desired4   
,the  reason of this is1 that when a    
number of neck twines are tied to a     

hook or tail cord1 and the hook is      
raised by the machine when working1  the
 twines will be slanting in different   
directions1 and when coming  down again 
would be liable to catch on the knots of
 those that were  not raised2 and the   
head is for the purpose of keeping them 
together1  so that they cannot separate 
for a short way down4 ,one method of    
doing  this is1 after the bunch of neck 
twines is tied to a tail cord or hook1  
to take one of the twines and knot it   
round the others about #c-a_/b in4      
below the tail cord1 and the same may be
 done with a second twine1 if  there are
 many in the parcel4    ,sometimes the  
neck twines are all prepared in heads1  
and the following  is a convenient      
method of doing so3--,fasten four flat  
pins of wood1  as ,a1 ,b1 ,c1 ,d1 ,fig4 
#di1 on a board as ,f1 or on the edge of
 a bench or  table4 ,c and ,d are firmly
 fastened1 but ,a and ,b can be turned  
round to  the position shown by the     
dotted lines when the screws holding    

them are  slackened4 ,the distance from 
,c to ,d must be the length required for
 the  neck twines4 ,e is the twine      
coming from a spool on a wire4 ,the pin 
,a  is pushed round to the position     
shown by the dotted line1 and the twine 
is warped round ,c1 ,b1 ,d1 passing over
 ,b and under ,c1 so as to form a       
lease4 ,when a sufficient quantity is   
warped1 the crossing of the lease  is   
pushed up towards ,c1 and the pin ,a    
turned round into the centre of  the    
twines1 taking the place of ,b1 which is
 turned back4 ,the use of  the two pins 
is to allow room for warping1 ,c and ,a 
being too close  together4 ,the distance
 from the outside of ,c to that of ,a   
should be  the length the head is       
required to be 7about #c-a_/b in4 or #d 
in474 ,the  twines may now be cut at ,d1
 and a piece of cord looped round them  
and  tied to ,d1 so as to hold them     
steady1 but allow them to be drawn out  
as  required4 ,the number of twines for 
each head can now be drawn out and  tied

 round the two pins ,c and ,a1 and when 
a number are done they can  be slipped  
off the pins and put on cords or rods2  
the lease keeps the  heads in order1 and
 the bunch can be hung up at the loom1  
and each head  be taken in rotation by  
the mounter4 ,the number of twines for  
each head  is regulated by the tie of   
the harness4    ,illustration3 ,fig4 #di
    ,suppose a double-acting machine is 
to be mounted with the harness  similar 
to that shown in ,no4 #a1 ,fig4 #df4    
,the tail cords are usually put  on the 
machine by the makers1 but if they are  
worn out1 or if new cords  are required1
 putting them on is the first process4  
,this can be done  when the machine is  
on the ground1 and the neck may also be 
tied to the  tail cords before the      
machine is put on the loom4 ,some       
mounters prefer  one method1 and some   
the other1 and the one which most       
conveniently  suits the circumstances   
may be used4 ,when the neck is attached 
to the  machine before putting it on the

 loom1 it is usual to turn it on its    
side on blocks or on a table4 ,if the   
machine is on the loom1 a board is  tied
 up to make a seat for the mounter1 and 
the bunch of neck twines  is fixed      
convenient to his reach2 or he may have 
a boy to draw them  out for him1 and    
hand him the number he requires4        
,beginning at the  first hook1 he takes 
a pair of tail cords1 and having drawn  
them down  straight and stretched them  
firmly1 he loops the neck twines on them
 in  the way shown in ,fig4 #df1 and    
draws the knot fast4 ,the distance from 
the bottom of the hooks to the neck     
twines should be #aa in4 or #ab in4     
,the first of these in each row is      
measured1 and the mounter can then      
regulate the others so as to have all   
the knots in a line4    ,the number of  
neck twines that are to be tied to each 
hook is regulated  by the tie of the    
harness4 ,for each time that any repeat 
or portion  of a pattern is to be       
repeated on the cloth there must be a   

twine  attached to those hooks of the   
machine that are to work this repeat4   
,for instance1 if a #djj machine is     
used1 and the pattern consists of a     
simple repeat on these #djj hooks1 and  
this has to be repeated six times  on   
the cloth1 then six neck twines must be 
tied to each hook of the  machine4      
,again3 ,the pattern might be made for a
 #djj machine1 #bjj hooks  to be        
repeated six times1 #ajj four times1 and
 #ajj three times2 then six  twines     
would be tied to the first #bjj hooks1  
four to the second set of  hooks 7#ajj71
 and three to the third set 7#ajj71 and 
any mounting would  be regulated in a   
similar manner4    ,full particulars of 
ties will be given further on4    ,if   
all the hooks in the machine are not    
required1 any number of rows  or        
portions of rows can be left idle at one
 end1 or at both ends if  desired1 or   
even at the back or front4    ,when all 
the neck twines are tied up1 the next   
process is to draw them  through the    

heck1 which should be fastened firmly #b
 in4 or #c in4 below  the knots         
connecting the tail cords and neck4     
,the jacquard is supposed to have been  
levelled and set in its proper  position
 on the loom1 and firmly fastened there1
 and the same may now  be done with the 
cumber board4      ,,cumber ,,boards    
,,and ,,harness ,,reeds    ,these are   
both for the same purpose--viz41 that of
 regulating the space  which the harness
 is to occupy--and both answer the      
purpose equally  well1 generally        
speaking4 ,the reed being stronger is1  
perhaps1 more  suitable for coarse work2
 and the cumber board1 giving a more    
evenly  distributed harness1 is perhaps 
preferable for fine work4 ,be that as   
it may1 both suit for any medium work1  
though some workmen are all  against the
 reeds1 and others all against the      
boards4 ,harness reeds  are strong-made 
reeds of cane or iron1 of the depth and 
fineness to  suit the harness4 ,bridges 
are fixed in them about #f in4 apart1   

with  perforations for stiff wire to be 
run through2 as many wires as are       
required to suit the number of rows of  
the harness4 ,a wire should  be outside 
the harness at both sides1 to prevent it
 rubbing against  the ribs of the reed4 
,the wires are made straight1 drawn     
tight1 and  fastened at each end to     
holes in the yoke of the reed4 ,the reed
 is set  in a frame of wood or iron1 so 
that it can be bolted to brackets on the
  loom4    ,cumber or comber boards1    
also called hole boards1 are made in    
various  ways4 ,sometimes they are of   
wood about #c_/d in4 thick1 and bored in
 a  piece4 ,these boards are strong     
enough to bolt to brackets on the frame 
of the loom4 ,sometimes they are thin1  
about #a_/d in4 thick1 bored in the     
same way1 and framed4 ,the wood used is 
beech1 sycamore1 and sometimes  walnut4 
,the objection to these boards1         
particularly the thin ones1 is  that if 
the wood is not very well seasoned they 
are liable to warp and  split4 ,a great 

many prefer to use what are called      
#8slips'--that is1  small pieces of wood
 of the depth required for the harness1 
and about  #a-a_/b in4 long or broad4   
,the length1 or long way of a cumber    
board  or harness reed1 is frequently   
called the width or breadth1 same as    
weaver's reeds1 as this is the width of 
the loom4 ,the cross-way1 or  from back 
to front1 would1 in the same way1 be the
 depth4 ,these slips  are made of       
boxwood1 beech1 or other clean hard     
wood4 ,some prefer beech  or sycamore to
 boxwood4 ,the twines cut into them all 
in time1 but the  hardness of the       
boxwood causes a very fine cut to be    
made in it1 which  cuts the twine4 ,the 
others will not cut the twine so        
readily1 and by  the time the wood is   
cut too much the harness would require  
to be  renewed as well as the cumber    
board4 ,these slips are made about #a_/d
  in4 or #e_/af in4 thick1 and are set  
in a grooved frame4 ,the usual way  of  
arranging the holes in a board is shown 

at ,a 7,fig4 #ej71 which is  for an     
#h-row harness4 ,b shows a patent       
method1 devised for the purpose  of     
giving more space between any two holes 
in each horizontal row4 ,the            
arrangement of the holes is in #d-shaft 
satin order1 and gives double  the space
 between the holes of each horizontal   
line that ,a does1 and  of course it    
would take so much longer for the twines
 to cut through2  but this would only be
 an advantage if the holes were set very
 close  together1 as otherwise the      
harness would be considerably off the   
level  before the twines had cut from   
one hole into another4 ,in any case1    
the irregularity of the holes will      
likely prevent it from ever taking  the 
place of the older method shown at ,a1  
though it may be desirable  sometimes4  
,illustration3 ,fig4 #ej    ,the cumber 
board is fastened on two brackets--one  
at each side of the  loom--and should be
 perfectly level and firm4 ,it should be
 so far  advanced as to allow the       

harness to pass within half an inch of  
the  handrail of the lay when full back1
 and should be from #h in4 to #aj in4   
above the mails1 the lower the better1  
as it keeps them steady2 but  the height
 may have to be regulated by the swords 
of the lay1 as they  must be clear of   
it1 and in some looms they are higher   
than in others4  ,when the cumber board 
is levelled and fastened1 it should not 
be moved  after the harness is tied up1 
as any change in its position must alter
  the level of some portion of the      
harness4 ,this cannot in every case be  
adhered to1 as in some cases it may be  
necessary to move it4 ,in a small       
harness a good deal of shifting can be  
made that could not be attempted  in a  
large or intricate one4 ,in many places 
the harnesses are built in  a separate  
room1 or by the machine maker1 and sent 
to the manufacturer2  but practical     
experience with particular work will    
teach anyone that  it is most desirable 
to have everything about the harness as 

level and  true as possible1 and it     
takes a good deal of care to effect     
this1 even  without any shifting4       
,,slabstocks ,,and ,,levelling ,,frames 
#8,slabstock' is a name given to the    
board used for fastening the mails  on  
before they are levelled4 ,it is about  
#f in4 deep and #a in4 thick1  and      
should be as long1 or longer1 than the  
loom is broad1 according to  the way it 
is to be fixed in the loom1 which is    
usually by being bolted  to brackets    
fastened on the sides of it4            
,illustration3 ,fig4 #ea    ,there is a 
groove or rebate in the top edge of it  
for holding the  mails1 as shown in     
,fig4 #ea at ,a and ,b4 ,sometimes the  
grooves are at  both sides1 as shown at 
,a#a4 ,all the mails required for the   
harness are  put on the one slabstock1  
which is set directly under the cumber  
board  when the harness is being        
levelled4    ,illustration3 ,fig4 #eb   
,a levelling frame is better than a     
slabstock2 it is for the same           

purpose--that of keeping the mails firm 
and level when being tied to  the neck  
twines4 ,it consists of two flat bars of
 iron1 ,c1 ,c 7,fig4  #eb71 which can be
 bolted together in the form of a frame 
by the use  of two stays1 one at each   
end1 and by the same screws be bolted   
to slotted brackets1 ,a ,a1 ,b ,b1      
fastened to the frame of the loom4      
,sometimes two hanging brackets1 as ,d1 
are used1 fastened from the top  or     
heddle-bearer of the loom4 ,the         
levelling bars1 ,c1 ,c1 rest in these   
brackets1 and can be fixed firm in them 
with a pin or cotter4 ,if there  is any 
yield or spring in the brackets1 they   
can be stayed from the  front of the    
loom as well1 as the frame should be    
made very firm4 ,the  distance between  
the two bars should be #d in4 or #d-a_/b
 in41 which will  suit any harness2 if  
only narrow harnesses1 as #h-row1 are   
required1 it  may be an inch narrower4  
,the length of the frame must suit the  
breadth  of the loom4 ,it should be     

perfectly straight and level on the     
upper  edges1 and should have two rows  
of holes bored in it1 about #b in4      
apart1 for pins and skewers to pass     
through above and below the wires  on   
which the mails are strung1 so as to    
keep them firm4      ,,levelling ,,the  
,,slabstock ,,or ,,frame    ,levelling a
 harness1 or rather levelling the mails 
of the harness1  is the most important  
part of the mounting1 as1 if the mails  
are not  levelled as true as a          
straight-edge1 good work need not be    
expected  from the loom4 ,the position  
in which they are levelled1 in relation 
to  the breast beam and back rail1 will 
depend upon the nature of the cloth  to 
be made1 to a certain extent2 but as a  
general rule1 for ordinary  work1 the   
eyes of the mails should be half the    
depth of the shed  required to be drawn 
below the level of the breast beam for  
hand loom  work1 and a little more than 
that for power-loom work4 ,this is to   
have  the top and bottom portions of the

 shed of an even tension1 and to make   
both sides of the cloth equally good4   
,the position of the back roll can  be  
altered a little afterwards1 if it is   
required to slacken either  the top or  
bottom portions of the shed4 ,raising   
the back roll throws  up the weft       
pattern to the under side of the cloth1 
and sinking the  back roll gives the    
upper surface of the cloth a finer      
appearance1 by  tightening the top      
portion of the shed4 ,a #c-a_/b-;in4    
draw of the harness  is sufficient for  
power-loom work1 and perhaps less would 
sometimes be  preferable4 ,levelling the
 harness mails #a-c_/d in4 for light    
work1 and  #b in4 for heavy work1 below 
the breast beam should be a good average
  standard for a #c-a_/b in4 draft of   
harness4 ,the levelling frame or        
slabstock is levelled to this height by 
means of a spirit level and             
straight-edge1 making allowance for     
whatever spring there may be in the     
harness after it is tied1 and the wires 

drawn out of the mails4 ,this  can only 
be ascertained by experience1 and       
depends principally on the  tension the 
mounter puts on the twines when tying   
them2 it will also  depend upon whether 
the harness twines have any spring in   
them or not1  but they should be well   
stretched before being used1 to avoid   
this4 ,a  mounter who ties slackly will 
generally make a more level harness than
  one who ties tightly4 ,about #a_/h in4
 may be allowed for the mails to  rise  
if the cords are slackly tied1 and if   
tightly tied #a_/d in4 may  have to be  
allowed1 and sometimes more than this4  
,sometimes the level is taken by placing
 a straight-edge on the race  of the    
lay1 when the cranks are at the back    
centre2 then the under  edge of the     
straight-edge should give the position  
for the tops of the  mails on the       
slabstock1 when it is fixed in its      
position in the loom4  ,in levelling by 
this method the race must first be set  
at the proper  height1 and it must also 

be properly bevelled4 ,from #a_/b in4 to
 #c_/d in4  below the breast beam is a  
good level at which to have the race1   
when  the cranks are at the top centre1 
the latter for a low harness4 ,the      
angle1 or bevel1 of the race may not at 
all times suit for levelling in  this   
way4 ,if not1 the race should be made   
correct when possible2 if it  cannot be 
corrected1 the harness must be levelled 
a little lower and  the back rail kept  
down for working4 ,a loom with the race 
bevelled for  plain work is not suited  
for damask2 the angle between the race  
and  reed should1 for damask1 be about  
#ic1 whereas for plain #hg would be     
more suitable4      ,,tying ,,up ,,the  
,,harness    ,having the neck attached  
to the tail cords and the levelling     
frame  and cumber board fixed in        
position1 the next operation is to get  
the  prepared lingoes placed in the     
loom1 whether on the levelling frame or 
slabstock4 ,suppose the levelling frame 
to be used4 ,according to the  number of

 rows in the harness or cumber board1   
pieces of reed wire are  procured1 one  
for each row1 and as many lingoes are   
strung on each of  these as will be     
required for each row of the harness1 by
 running the  wires through the mails4  
,these wires are then placed in the     
frame and  secured by skewers being put 
through the frame above and below them4 
,the frame is then levelled and firmly  
bolted to the loom4 ,the sleepers  or   
mid-pieces of the lingoes are next drawn
 up through the cumber  board1 one      
through each hole required to be used1  
any surplus holes  being previously     
marked out to suit the tie of the       
harness1 which will  be afterwards      
explained4 ,when all are drawn through1 
the tying of the  neck twines to the    
sleepers may be proceeded with4    ,this
 must be done in accordance with the tie
 of the harness4 ,thus1 if  there are   
four cords tied on the first hook of the
 machine1 these must  be taken down to  
the lingoes in the proper place in the  

cumber board1  which may be seen by     
examining the particulars of the        
mountings1 to be  given further on4 ,one
 method of fastening the neck to the    
sleepers is  shown in ,no4 #a1 ,fig4    
#df1 at ,d1 d1 d#a4 ,the twine is put   
through  the loop of the sleeper at d#a 
7or better to have a snitch on the      
sleeper1 unless the knots are to be     
varnished afterwards71 then a loop  is  
thrown on at d1 and the end tied at ,d1 
and clipped close4 ,this  method suits  
very well when the harness is liable to 
be altered1 for if  the knots are       
brushed over with paste they hold       
sufficiently firm1 and  can be loosed   
again at any time1 if necessary4 ,if    
varnished1 it also  answers equally well
 for any coarse harness2 but if it is   
fine and much  crossed1 especially if   
the twines are strong or coarse1 the    
knots are  liable to catch on each other
 and raise more warp than should be when
  the loom is working4    ,a second plan
 is shown in ,no4 #b1 ,fig4 #df4 ,in    

this case there are  no sleepers on the 
lingoes2 they are put on the levelling  
frame or  slabstock without them1 the   
mails and lingoes being connected by the
  hangers2 the levelling frame is set in
 the loom as before1 and the neck       
twines must be long enough to go down   
through the cumber board1 through  the  
top hole of the mail1 and up again      
through the cumber board to  where they 
are tied4 ,the mounter1 when about to   
tie them1 takes one of  the twines and  
casts a single knot on it1 leaving the  
loop open1 then  puts the end of it     
through a hole in the cumber board and  
through a  mail1 and with a small wire  
hook draws it up again through the same 
hole in the cumber board1 and through   
the open knot or loop he made on  it1 at
 the same time2 then1 turning round the 
awl or piercer in the  other end of the 
handle of the hook1 he puts it through  
the knot and  runs it up about #f in4   
above the cumber board1 draws it tight1 
and  casts another knot above it with   

the end of the twine1 as shown at ,d1   
,no4 #b1 ,fig4 #df4 ,this makes a neat  
harness1 and when a mounter gets        
accustomed to it he can proceed very    
expeditiously4 ,this method is used  in 
,england2 the former is ,scotch4 ,the   
instrument used for drawing the  twines 
through the cumber board consists of a  
wooden handle1 in one  end of which is a
 hook or barbed wire1 same as is used   
for drawing the  warp through mails1 and
 in the other end is a round awl or     
piece of  steel wire1 tapered to a blunt
 point1 which is used for running up the
  loop or knots so as to have them all  
about the same distance above the       
cumber board4    ,beeting is another    
,scotch method of mounting4 ,the harness
 may be  beeted either above or below   
the cumber board2 beeting above it was  
the  old method1 and single slabstock   
was used1 as shown in ,fig4 #ea at ,a4  
,when preparing it for the loom1 the    
lingoes and mails are connected by  the 
hangers in the usual way1 and hung on   

the slabstock with the mails  in the    
groove in it1 as shown at ,b1 ,fig4 #ea4
 ,a piece of flat wire 7reed  wire7 is  
run through the eyes of the mails1 as   
many as are required for  the whole     
harness1 and is then tied down by cords 
fastened round it  and the slabstock1 at
 short distances apart4 ,the slabstock  
is now put  into a frame1 or rack1 with 
a rail as high above it as is required  
for  the length of the sleepers4 ,a     
spool of twine is fixed on a wire pin at
  the side of the frame1 and with a     
needle1 or otherwise1 the end of the    
twine is run through a number of the    
mails and fastened4 ,with a hook  the   
sleepers can be reeled up to pins in the
 rail above the slabstock1  on the same 
principle that they are done in ,fig4   
#dg4 ,when the sleepers  are all        
finished they can be slipped off the    
pins and cut4    ,the slabstock is next 
fixed in the loom and levelled with the 
upper  edge of the rebate or groove     
touching the under edge of a            

straight-edge  placed on the race of the
 lay when it is full back 7for power    
looms74    ,the sleepers are then drawn 
up through the cumber board without     
their  ends being knotted2 they should  
be long enough to reach about #h in4    
above it1 and say #g in4 below1 making  
#ae in4 for their entire length4        
,now1 to beet the harness3 ,say there   
are two beeters1 standing on the        
ground1 with a supply of neck twines    
convenient to them2 they pick up  the   
sleepers from the first set of holes in 
the cumber board--that is1  those that  
are to be connected with the first hook 
in the machine--and1  having tied neck  
twines to them1 hand them to the harness
 tyer1 who is  up at the machine4 ,he   
takes the lot of twines and draws them  
all to an  even tension1 then1 having   
drawn down the tail cords firmly and    
evenly1  knots the neck twines to them4 
,one method of knotting the neck to the 
tail is to have the tail cords  tied    
together so as to form loops2 then1     

having straightened both the  neck and  
tail cords1 lay the neck against the    
loop of the tail1 and  take both firmly 
between the finger and thumb of the left
 hand1 being  careful not to let them   
slip1 and casting a knot1 as at ,c or   
,d1 ,fig4  #ea1 round the tail1 with the
 ends of the neck draw it fast4 ,in     
order  to have all the tail cords plumb 
and the knots of a uniform height1  the 
harness tyer sometimes has a cord tied  
across the top of the loom  frame1 at   
each end of the machine1 at the height  
the knots are to be4  ,on these he lays 
a straight-edge1 marked as a guide for  
where the tail  cords are to hang1 so   
that he can regulate those of one row   
and have  them plumb1 and the knots     
even2 when one row is finished1 he moves
  the straight-edge to the next1 and    
goes on with it4 ,a newer method  of    
beating is to prepare the lingoes with  
sleepers and hangers1 the  sleepers to  
be about #e-a_/b in4 long4 ,the         
slabstock ,a#a1 ,fig4 #ea1 is  used1 or 

the other if preferred4    ,the mails   
are put upon flat wires as before1 but  
instead of all going  on one wire1 half 
the number is put on each of two wires1 
and one of  them is placed at each side 
of the slabstock1 where it can be       
fastened  with small staples4 ,to       
facilitate getting the mails on the     
wires1 when  reeling the sleepers on the
 pin1 as in ,fig4 #dg1 a lease can be   
made on  the loops by giving them a     
twist when putting them over the pin4   
,a piece of twine can be fastened in    
this case1 and the loops  afterwards    
cut4 ,the mails can then be taken off in
 order1 and run on  the wire for the    
slabstock4 ,when the mails are fixed on 
the slabstock  it may be laid on the    
ground1 or set in a frame1 and the neck 
twines  tied to the sleepers2 and when  
all are tied1 they can be drawn through 
the cumber board or harness reed4       
,afterwards1 all are taken and fixed  in
 the loom4 ,the cumber board must be set
 so high above the knots on  the        

sleepers that they will not come into   
contact with it when the shed  is opened
 7that would be #d in4 or #d-a_/b in4   
above it74 ,the neck twines  are then   
tied to the tail cords as before4       
,this makes a very good harness1 and has
 the advantage of having  no knots on   
the neck twines above the cumber board1 
which is very  important in an intricate
 harness with the cords close together1 
as the  knots when varnished are liable 
to catch on each other1 or on twines    
slanting across them1 and lift them as  
they are being drawn up4 ,when a        
harness is mounted in this way it is not
 easy to make any alteration  on it1 or 
to re-level any portion of it if        
necessary4 ,if the sleepers  are tied in
 loops1 same as used in ,no #a1 ,fig4   
#df1 they can be connected  to the neck 
twines by having the latter double and  
putting both ends  of the neck through a
 snitch on the sleeper1 or the neck     
twines may be  double and the two ends  
of the sleeper when untied may be put   

through a  snitch on the looped end of  
the neck twine and tied2 in this way    
they  could be altered or adjusted      
afterwards if necessary1 but if they had
  to be varnished the knots would be    
rather rough4    ,the following method  
of mounting is adopted in the damask    
hand-loom  districts of the ,north of   
,ireland1 and is used for particular    
power-loom work as well4 ,it is a slower
 process than the preceding1 but  cannot
 be surpassed for getting a level       
harness1 and the mails can be  regulated
 as desired--that is1 to have the back  
rows getting gradually  a little higher 
than the front ones1 which can only be  
accomplished in  the preceding methods  
by tying them a little tighter1 or by   
having the  frame sloped a little4      
,the lingoes may be prepared as before1 
with the sleepers #e in4 long  when tied
 and clipped4 ,the neck twines are put  
down through the cumber  board and      
knotted loosely in bunches underneath4  
,the levelling frame is set in the loom1

 the top edge of it being at the  level 
that the eyes of the mails in the front 
row are to be hung4    ,no wires are    
required4 ,the lingoes are taken in     
bunches and put astride  on the frame as
 required1 and boys fasten them up to   
the neck twines  by throwing on a snitch
 and running them up to somewhere about 
the  height they will be wanted when    
level2 in doing so the knots on the     
sleepers must be kept up as close to the
 snitch as is convenient for  tying     
them1 as1 if left too low1 they would   
interfere with the warp in  shedding4   
,when all the lingoes are hung inside   
the levelling frame--or  they may be    
hung first1 and the levelling frame put 
up afterwards and  levelled--the mounter
 may begin to level the mails4    ,he   
uses a fine piece of waxed cord with a  
small weight at each end1  which he lays
 across the levelling frame as a guide1 
and levels each  row from back to front 
in succession4 ,the front mail may hang 
with  the top of its eye level with the 

cord1 and the others rise a little      
higher1 till the back one is perhaps1   
with the bottom hole1 level with  the   
levelling cord1 or #a_/h in4 higher than
 the front one4 ,the levelling  can     
easily be accomplished by sliding the   
snitch up or down the neck  twines2 and 
when the correct height for the mail is 
got1 the neck twine  is tied as at ,h1  
,no4 #c1 ,fig4 #df1 when it is to be    
varnished1 or as at  ,h#a when it need  
not be varnished2 in the latter case    
cable cord is  used for the neck1 and it
 is split at the end1 when drawn through
 the  snitch1 and then knotted4         
,,varnishing ,a ,,harness    ,varnishing
 is for the twofold purpose of making   
the harness twines wear  better1 and    
keeping them from being affected by the 
atmosphere4    ,sometimes the harness is
 only partly varnished1 particularly    
when it is  liable to be changed in a   
short time1 and then it can be loosed   
down  and used again4    ,if it is to   
remain for a length of time--that is1   

for steady work--it  should be varnished
 all over1 but care should be taken to  
get a good  varnish1 as some of them    
destroy the twines1 and others come off 
and  are useless4    ,the common        
varnishes are made principally from     
shellac1 beeswax1  and turpentine1 and  
can be procured at any heddle-maker's4  
,sometimes  white wax dissolved in      
turpentine is used to rub the twine at  
the  cumber board1 for fine harnesses   
for silk and other light work1 the      
remainder being left unvarnished4       
,sometimes the neck of the harness and  
the sleepers are varnished1 and the     
knots above the cumber board are        
brushed with paste1 as each row is tied1
 to keep them from slipping4    ,perhaps
 the best varnish is boiled oil1 which1 
when well dried1 gets  very smooth after
 working for some time1 and keeps the   
twines soft and  pliable4 ,it takes some
 time to dry1 and does not suit well for
 using  in a dusty place1 but answers   
very well when the harness is built in a

  room for the purpose1 and is          
afterwards taken to the loom4           
,sometimes a very small quantity of     
beeswax or white wax is added to the    
oil to give it more firmness1 and       
sometimes driers are used to make it    
dry more quickly2 but it is better to do
 without driers1 as they harden  the    
twines and are injurious4 ,varnish      
should not be disturbed till  quite dry1
 as1 if the twines are separated and the
 loom started when it  is soft1 the     
outer surface will rub up and make a    
rough harness4 ,the  twines are         
separated by running a wire skewer      
between each cross-row4  ,french chalk  
dusted down through the harness assists 
in smoothing it1  and prevents too much 
friction when it is being started to    
work4      ,,to ,,arrange ,,the ,,tie   
,,of ,a ,,harness    ,what is known as  
the tie of a harness is the arrangement 
or manner  in which the harness twines  
are connected to the hooks of the       
jacquard--i4e4 the number of twines that

 are tied to each hook1 and  the        
position they are to occupy in the      
cumber board4 ,ties for ordinary  damask
 work may be divided into three         
classes--viz4 straight1 or  single2 lay 
over1 or repeating2 and gathered1 or    
centred4    ,straight or ,single        
,tie4--,this tie is only required when  
there is  no repetition of any portion  
of the pattern1 as in silk markers1 and 
occasionally in handkerchiefs1 d'oyleys1
 tablecloths1 c4 ,only one  harness     
twine is tied to each hook of the       
jacquard1 and there must be  as many    
hooks as there are threads of warp4 ,the
 twines are tied to the  jacquard and   
taken down through the cumber board in  
regular order from  first to last1 and  
the warp is drawn into the mails in the 
same order4  ,any pattern that it is    
possible to put on the cloth can be     
wrought with  this method of mounting4  
,lay ,over or ,repeating ,tie4--,this   
is1 perhaps1 the commonest tie1 and  is 
used for all such patterns as ,fig4 #ec1

 where one small portion1 as  that      
enclosed by the dotted lines1 will1 when
 repeated several times1  cover the     
entire surface of the cloth4            
,illustration3 ,fig4 #ec    ,gathered or
 ,centred ,tie4--,this tie can be used  
when both halves of  any figure or      
border1 c41 are alike when turned over2 
it will only  require half the number of
 hooks to work a figure or border1 when 
gathered or centred1 that would be      
required for a single pattern4    ,all  
other ties are combinations of these4   
,fig4 #ec shows a pattern for a lay     
over1 or repeating tie1 such as might   
be used for dress goods1 handkerchiefs1 
c4 ,the complete extent of the  pattern 
is enclosed by the dotted line2 this is 
called one #8repeat'  of the pattern1   
because this portion repeated over the  
cloth makes  up the entire figuring on  
it4 ,to ascertain how this may be woven1
 or  what number of hooks of the        
jacquard will be required to weave it1  
the  number of threads contained in #a  

in41 or other given space1 of the  cloth
 required must be known4 ,if the pattern
 is to be on the cloth say  #b in4      
#b-c_/h in41 and there are to be #ajj   
threads of warp and #abj  threads of    
weft per inch1 then #bjj hooks of the   
jacquard and #bdj cards  would be       
required to weave it1 each hook         
representing one thread of  warp1 and   
each card representing one shot of weft4
    ,illustration3 ,fig4 #ed    ,figs4  
#ed and #ee show mountings on jacquards 
with #bjh hooks in each1  the former    
tied on the ,norwich principle1 and the 
latter in the ,london  style4 ,in both  
cases only #bjj hooks are used1 the     
remaining eight  hooks being left idle  
for selvages1 if required4 ,these       
mountings are  made for four repeats of 
the pattern1 which would only make #h   
in4 of  cloth2 but there may be any     
number of repeats1 say #ac1 to make #bg 
in4  of cloth or #bh-a_/b in4 of warp in
 the loom1 with1 say1 #ib threads per   
inch4 ,there must be a harness twine for

 each repeat of the pattern tied  to    
each hook of the machine2 when four     
repeats are used1 four twines  are tied 
to each hook1 as in ,figs4 #ed and #ee4 
,the harness reed or  cumber board1 ,g1 
must be of the same set or fineness as  
the weaver's  reed 7if finer1 it can be 
used by passing over the surplus holes74
 ,it  is divided into four portions1    
leaving #bjj holes for each repeat1 and 
the twines are1 in ,fig4 #ed1 taken     
straight down from the hooks to the     
holes in it1 as can easily be seen4 ,in 
this figure the cross-rows of  the      
cumber board at the first of each repeat
 are shown filled2 but in  mounting1 the
 back row1 taken from the hooks ,a to   
,b1 would be filled  first4 ,in ,fig4   
#ee the reverse is the case1 the        
cross-rows1 as shown1  being the first  
filled2 this is owing to the twist in   
the harness1 as  the machine is sitting 
so that the cards will hang over the    
side of  the loom4 ,the letters ,a1 ,b1 
,c1 and ,d in both figures denote the   

same  corners of the machines1 showing  
that in ,fig4 #ee there is a quarter    
twist in the harness4 ,in ,fig4 #ed1 the
 dotted lines from the #bjjth hook  show
 the last cord of each repeat2 ,l is the
 first cord of the last  cross-row1 and 
,e and ,f are the same in ,fig4 #ee4 ,in
 these figures only  the skeleton of the
 mounting is given2 it must1 of course1 
be filled up  as the first rows which   
are given4    ,illustration3 ,fig4 #ee  
,for this description of mounting the   
yarn is drawn into the mails in  regular
 order1 beginning at ,no4 #a1 and       
proceeding with the numbers  as given4  
,in this case the back hook to the      
left-hand corner must be  taken as the  
first hook of the machine1 and the cards
 cut to suit this4  ,sometimes the first
 hook to the front left-hand corner is  
considered  the first hook1 but if so it
 must be remembered when cutting the    
cards4  ,sometimes the mounting is begun
 at the right-hand side1 but in any case
  it is only necessary to see that the  

draft of the yarn and cutting of  the   
cards correspond with the order of      
mounting2 the result of the work  should
 be the same in all cases4              
,illustration3 ,fig4 #ef    ,fig4 #ef   
shows a pattern for a gathered border   
with a repeating centre1  which is a    
very common style of design4 ,it will be
 seen that the two  halves of the       
border1 ,a and ,b1 are alike1 if taken  
from the centre  outwards2 or if        
one-half of the border were traced on   
tracing paper1 it  would1 if turned     
over1 form the other half4 ,for this    
reason it is also  called a #8turn-over'
 border4 ,in the same way1 if two cords 
are tied  to each hook of the jacquard  
for the border1 and those to the first  
hook taken down to the cumber board for 
the two outside threads of the  border  
7that is1 one to the right and the other
 to the left71 then  those from the next
 hook taken to the two next outer holes1
 and so on1  coming from the outsides to
 the centre1 the first half of the      

pattern  would be repeated by the       
mounting in exactly the same way as by  
turning  over the tracing paper4        
,illustration3 ,fig4 #eg    ,fig4 #eg   
shows a mounting for a gathered border  
and four repeats of  the centre4 ,eighty
 hooks are taken for the border1 which  
are repeated  four times in the cumber  
board1 as at #hj;a1 #hj;b1 #hj;c1 and   
#hj;d1  and #abj hooks are allowed for  
the centre repeat 7see also ,fig4 #eh74 
,this mounting is made up for a #bjj    
machine with #bjh hooks1 the extra      
eight hooks being left for working the  
selvages4 ,only the front row of  the   
harness is shown1 but they are all      
alike4 ,by following the cords  from the
 hooks to the cumber board1 it can be   
easily seen how they are  taken through 
it4 ,the first eight hooks are left     
idle1 for the selvage  to be fixed to if
 required4 ,the next ten rows  #hj      
hooks1 are for the  border2 these #hj   
hooks1 with one twine on each1 taken    
down through the  cumber board at #hj;a1

 would work the first half of the       
border1 as ,a4  ,the other half of the  
border1 ,b1 can be wrought by the same  
hooks1 with  another set of twines tied 
to them1 and taken through the cumber   
board  at #hj;b2 but the twine from the 
first hook must be crossed over to  the 
right-hand side of the border1 being the
 #afjth twine in the cumber  board2 the 
twine from the second hook is the #aeith
 in the cumber  board1 and so on1 coming
 in towards the centre to meet the first
 set of  twines2 hence the name1        
#8centred tie4'    ,illustration3 ,fig4 
#eh    ,the border must also be repeated
 on the other side1 and two more sets   
of twines must be tied to the same hooks
 7four to each hook in all71  which are 
taken down through the cumber board at  
#hj;c and #hj;d1 to  work the two halves
 of the border marked ,g and ,h1 ,fig4  
#eh4 ,the next #ae  rows of hooks  #abj1
 work the repeat of the centre pattern1 
,c1 ,figs4  #ef and #eh2 and as this is 
repeated four times1 at ,c1 ,d1 ,e1 and 

,f1 ,fig4  #eh1 there must be four      
twines tied to each of the #abj hooks1  
which are  taken down through the four  
divisions of the cumber board marked    
#abj2  one twine from each hook being   
taken through each division1 beginning  
at the left and working to the right    
side1 alike in them all1 as this        
portion is a simple repeating tie4 ,fig4
 #eh gives a portion of the  pattern in 
,fig4 #ef completed across1 as it would 
be on the cloth by the  mounting in     
,fig4 #eg2 the cumber board is laid     
across the top of the  pattern and      
marked1 showing1 in conjunction with the
 mounting1 ,fig4  #eg1 how the harness  
repeats the pattern so that a large     
surface can be  figured with a small    
machine by adopting a suitable tie4     
,when drawing the warp into the harness1
 wherever there is a gather in  the tie1
 or a turn in the harness1 there must be
 a turn in the draft  also2 not that    
there is any real change in the draft1  
but when the  harness is turned in the  

direction it is drawn through the cumber
  board1 the draft must also be changed 
to follow the mails in regular  order4  
,fig4 #ei shows a draft for a gathered  
border1 with #dh hooks for  the border  
and three repeats of the centre4 ,it    
will be seen that the  first half of    
both borders ,a and ,b and the three    
repeats of the centre  are drawn in the 
same direction1 but that the two        
turned-over portions  of the borders ,c 
and ,d are drawn in the reverse         
direction4 ,the numbers  on ,figs4 #fb  
and #fb;,a may assist in explaining     
this1 the border ,a in #fb  and ,b in   
#fb;,a being taken2 in these it will be 
seen from the numbers1  which are those 
of the harness twines1 that #a to #h in 
border ,a 7,fig4  #fb7 run in the       
reverse direction of #a to #h in border 
,a 7#fb;,a71 and both  are from the same
 hooks4    ,illustration3 ,fig4 #ei     
,illustration3 ,fig4 #fj    ,when two   
borders are to be woven on any piece of 
cloth1 though the  pattern for each     

border may be single in itself1 as ,fig4
 #fj 7which is  single except the two   
outlying lines1 ,a and ,c71 they will to
 each other  form a gathered tie1       
provided they have to be turned in the  
same way  to the centre of the          
cloth--that is1 if the inside of one    
border on  one side is to be the inside 
of the other border on the other side4  
,in  such a pattern as ,fig4 #fj it     
would not matter much if the inside of  
one border was the outside of the other1
 as the border is much alike  either    
way1 and if wrought in this way the     
twill on the cloth would not  be        
reversed1 as is always the case in a    
turned-over border4 ,in many  patterns  
this would not do1 and it is therefore  
necessary to gather  the tie and turn   
the twill4 ,fig4 #fa shows how1 in the  
,london style of  tying1 the harness can
 be turned so that a turn in the draft  
is not  necessary1 but this will not    
alter the reverse twill on the cloth4   
,it will be seen that one of each of the

 two cords tied to the eight  hooks goes
 to one border1 and the other to the    
opposite border1 but  instead of both   
going to the same row of the cumber     
board1 the cord  from the first hook    
goes to the back row in one border1 and 
to the  front row in the other4 ,all the
 cords follow in this way1 which has    
the same effect as turning the draft1 as
 would require to be done in  the       
,norwich mountings1 and could also be   
done on this principle4 ,fig4  #fb shows
 the draft of the two borders for ,fig4 
#fa mounting1 ,a and ,b  being a plan of
 the warp passing through the mails4    
,the numbers refer  to the hooks of the 
jacquard4 ,c and ,d are the two         
innermost threads of  the borders1 both 
on the #dhth hook of the machine4 ,fig4 
#fb;,a shows how  the draft would be if 
the cords were not brought from front to
 back of  the cumber board1 as the      
numbers will show4 ,no4 #a shows where  
the cords  from the first hook pass     
through the cumber board4 ,fig4 #fb;,a  

gives the  right-hand border only1 the  
left-hand one remaining the same as in  
,fig4  #fb4    ,illustration3 ,fig4 #fa 
,illustration3 ,fig4 #fb                
,illustration3 ,fig4 #fb;,a    ,in ,fig4
 #fj1 the two bars ,a and ,c could be   
wrought from the same hooks1  and1      
unless they might be required to be     
different from each other on  another   
pattern to work on the same loom1 it    
would be unnecessary to  allow machinery
 for the two2 either the outer or inner 
one could be  tied up1 and the other    
repeated from it1 but the one that is   
tied up  must be painted on the design  
paper4    ,illustration3 ,fig4 #fc      
,fig4 #fc shows the front view of a     
mounting for weaving a pattern such  as 
that given on ,fig4 #fj1 one machine    
being used for the border1 and  another 
for the centre4 ,usually the border     
machine would be to the  left-hand side1
 to correspond with the pattern2 but in 
,fig4 #fc it will  be observed that ,no4
 #a machine is to the right-hand side1  

and that it  works the borders4 ,it does
 not matter which machine is used for   
border  or centre2 the mounter can use  
the one he considers most suitable for  
the borders1 and the pattern may be     
painted and the cards cut without  any  
consideration of this1 it being only    
necessary to put the border  cards to   
the border machine1 and those for the   
centre to the centre  machine4 ,the only
 consideration is to avoid any          
unnecessary slanting  of the harness    
twines1 which the present arrangement   
does2 and it  also keeps the turned     
portion of the harness 7that for the    
right-hand  border7 separate from the   
twines of the centre1 thus avoiding any 
unnecessary friction4      ,,to ,,mark  
,,out ,a ,,cumber ,,board               
,illustration3 ,fig4 #fd    ,cumber     
boards may be either the exact fineness 
of the harness1 or any  set finer2 they 
are better to be a little finer1 to     
allow for any  broken rows at the       
beginning or end of any of the repeats4 

,when the  cumber board is finer than   
the harness1 the surplus rows are left  
idle4  ,a convenient plan of marking off
 a cumber board is as follows3--,let    
the pattern be as ,fig4 #fj--that is1   
with a border at each side and the      
centre to be repeated several times to  
make up the width of the cloth4  ,let   
#bd cords be required for the selvage1  
#agb cords for the border1 and  #abh for
 a repeat of the centre2 there are to be
 four repeats of the  centre4 ,now mark 
off on the cumber board whatever width  
the harness  is to stand1 which should  
be the same or rather wider than the    
warp  occupies in the reed1 and let it  
be so as to have the harness in the     
centre of the loom4 ,suppose ,fig4 #fd  
to give the width of cumber board       
required4 ,the selvages are wrought from
 #f hooks1 and there are #h hooks  in   
each row of a #djj jacquard2 therefore  
#d rows of the cumber board  will be    
required for each selvage4 ,mark these  
off by drawing the lines  ,a and ,b on  

the cumber board4 ,now find out the     
width the borders are  each to occupy1  
by calculating how wide the yarn will be
 in the reed1  and mark them off by the 
lines ,c and ,g2 then mark off the width
 of each  repeat by the lines ,d1 ,e1   
and ,f4 ,counting the number of holes   
marked  off for the margin1 it will be  
found that there are #cb2 but as the    
selvage is on six hooks1 the two back   
holes of each row of the cumber  board  
are marked out1 as shown1 not being     
required4 ,the portion marked  off for  
the borders contains #bc rows on each   
side1 whereas only #ba-a_/b  are        
required for #agb cords4 ,as the centre 
repeat is on even rows1 and  it is usual
 to leave broken rows to the left-hand  
side of the painting1  the first #d     
hooks of the border portion of the      
machine will be idle2  therefore the #d 
back holes of the cumber board for both 
borders are  marked out2 this still     
leaves a row too much1 which may be     
marked out  at any place4 ,for the      

repeats1 #abh cords1 #af rows are       
required1 and the  surplus rows are     
marked out1 as shown4 ,this mounting is 
supposed to  be on a #djj machine1      
leaving #ajj hooks idle to the left-hand
 side of  the mounting1 then using #a   
row for the selvages1 and the remaining 
#ch  rows for the pattern1 all but the  
half of the first row1 which is not     
required4    ,illustration3 ,fig4 #fe   
,in marking out a cumber board for a    
lay-over1 or repeating pattern--if1     
say1 #ajh hooks are required for each   
repeat1 which makes #ac-a_/b rows  of an
 #h-row machine--if the broken row is to
 the left-hand side of the  painting1   
and the harness mounted from left to    
right1 then the first  four holes of the
 first row of each repeat of the pattern
 are marked  out in the cumber board to 
be left empty1 as shown in ,fig4 #fe4   
,when  mounting1 no attention would be  
paid to the cords on the half-row of    
the machine till the first four rows    
along the cumber board have been        

filled1 the mounter beginning with the  
back cord on the first full row  of the 
machine1 which is the fifth hook of the 
tie4 ,three rows for the  selvage1 which
 is on four hooks at the front of the   
harness1 are shown  at ,s1 ,fig4 #fe4   
,the front of a jacquard is generally   
considered by workmen to be the         
cylinder side4 ,of course1 when there is
 a cylinder on each side there  is      
neither front nor back to it4 ,sometimes
 it is very confusing talking  of the   
front and back1 one considering it to   
mean the front of the  harness1 or front
 of the loom1 and another taking it to  
be the front  or cylinder side of the   
jacquard1 which is usually at the back  
of the  loom for ,norwich ties4 ,of     
course1 the front of the loom is where  
the  weaver stands1 or where the cloth  
is made1 and the front of the harness   
is towards the front of the loom4 ,it   
simplifies matters greatly by not       
minding the back or front of the        
machine1 but speaking of every part of  

the harness1 c41 towards the front of   
the loom as the front of it4            
,illustration3 ,fig4 #ff    ,it         
frequently happens that figured stripes 
are required1 running up  plain or fancy
 textured goods1 either forming borders 
to the outer  edges1 or merely          
ornamental stripes1 say #c or #d inches 
from the edges  of the cloth1 as in     
towels1 toilet-covers1 c4 ,for this     
class of  work it is generally most     
advisable to work the stripes with a    
small  jacquard1 and the plain or fancy 
texture of the body of the cloth with  a
 shaft mounting4 ,fig4 #ff shows a      
mounting of this class2 the shafts  can 
be wrought by tappets in the usual way1 
and small cumber boards1  as ,a1 ,a#a1  
are fastened to the top rail of the loom
 for the harness to  pass through4 ,it  
is usual to keep the harness behind the 
heddles1 and  it is levelled in the     
usual way4 ,the yarn may or may not be  
on the same  beam for both portions1    
according to whether the take-up1 or    

shrinkage1  will be the same for both   
portions or not4 ,sometimes the         
shrinkage may  be regulated to be alike 
in both by using different counts of    
yarn1 or  drawing it thicker into the   
reed2 but perhaps in most cases two     
beams  would be desirable1 unless the   
texture is much alike for both the      
stripes and body of the cloth4    ,the  
lease rods for the yarn in the harness  
will not1 probably1 do to  be the same  
as those for the body yarn1 as the      
action of the heddles  will be different
 from that of the harness4 ,if the same 
rods will not  suit1 it is easy to have 
a pair for each warp1 those for the     
harness  being farthest back4 ,stripes  
of this description are frequently made 
in towels1 glass-cloths1 c41 for clubs  
or hotels1 with the name of  the company
 woven into them4 ,a gathered tie is    
mostly used for these  mountings1 except
 when letters are required to be woven1 
in which case  a gathered tie is not    
suitable4 7,see ,letters and            

,monograms47      ,,to ,,vary ,,the     
,,set ,,of ,,the ,,harness    ,it may   
often be that in weaving figured        
piece-goods it would be an  advantage to
 have a harness that would weave        
different degrees of  fineness1 so that 
the loom could be utilised for one when 
the other  is not required4 ,for weaving
 small quantities1 for samples or       
special  orders1 this is often an       
advantage4    ,the usual method of      
procedure is to draw the warp into a    
finer or  coarser reed if only a slight 
difference is required1 and to pay no   
attention to the strive in the warp     
between the harness and reed4 ,the      
better the quality of the warp1 the     
greater the strive may be1 but from  #a 
in4 to #b in4 at each side is as far as 
it can safely be run when the  harness  
is wider than the yarn in the reed2 and 
if the reed is coarser  than the        
harness1 #a in4 at each side will       
probably be the maximum limit4    ,when 
changes of this kind are liable to take 

place1 the cumber board  should not be  
too low down1 nor should the mails hang 
too close to the  back of the slay2 with
 the cumber board high and the harness a
 little  back the strive will not tell  
so severely on the warp4 ,when the      
cumber  board is made of boxwood slips1 
they can be spread out a little in the  
frame1 but when there is much of a slant
 in the harness this would take  the    
mails off the level2 though this can    
sometimes be counteracted a  little by  
raising the cumber board slightly higher
 at one end than at  the other4    ,the 
best plan when much of a change is      
required is to pass over the  surplus   
rows of mails in the harness1 as in     
harness work1 as well as in  shaft      
mountings1 the mounting may be used for 
any coarser set of warp  than it is     
built for--of course1 if the width is   
suitable4 ,this would  necessitate the  
warp1 or at least a part of it1 being   
drawn out of the  harness1 and also     
requires a new set of cards for the new 

pattern1 or  for the same pattern on a  
new set of cloth4 ,the surplus mails may
 be  cast out in rows across the loom if
 many are to be rejected1 or in  rows   
across the harness 7from back to front7 
if found more suitable1  or when a small
 number of mails are to be left idle4   
,suppose for an  #h-row harness1 #djj   
machine1 with #f repeats  #bdjj mails on
 #cj in41 or  #hj threads per inch1 and 
it is required to weave a piece of cloth
 on  this having #gd threads per inch4  
,drawing the yarn into a coarser reed1  
and1 if only #cj in4 wide is required1  
throwing off the surplus yarn  at each  
side1 would probably be the simplest    
method2 but if the cloth  to be woven is
 to have #fj threads per inch1 every    
four throw of mails  across the harness1
 or one-fourth of the harness1 might be 
left idle1  or the two back rows of the 
harness may be left empty4 ,in the      
latter  case the pattern could be       
painted on #f-row design paper as if for
 a  #f-row machine1 and in the former   

case the number of designs across the   
painting would be reduced by one-fourth1
 the card-cutter taking care  that he   
omitted those rows on the card that have
 been thrown idle on  the machine4      
,in order to reduce this trouble and    
expense to a minimum ,messrs4 ,devoge   
,co4 have patented an expanding harness 
which is intended to admit of  cloths of
 different degrees of fineness being    
woven without any trouble  but a little 
setting of the cumber board and         
re-reeding the warp4 ,the  method of    
doing so is as follows3--,there are two 
cumber-board frames1  one above the     
other1 as shown in the sketch ,fig4 #fg2
 these frames are  filled with slips    
which can be moved along when desired4  
,the harness  can be set for two degrees
 of fineness of warp1 as is shown in the
  sketch4 ,the slips in the upper frame1
 ,b1 are set midway above the two       
positions for a slip in the lower frame 
indicated by the letters a  and a#a4    
,the black lines show the position of   

the cords when weaving  the finer set4  
,the only change required to be made is 
to shift the  lower slip1 a1 to the     
position a#a1 and to re-reed the warp2  
other  changes can be made on the same  
principle1 or by altering both sets  of 
slips in relation to each other4 ,when  
the slips are moved in the  frames1 they
 can be kept in position by interposing 
blank slips between  them4              
,illustration3 ,fig4 #fg    ,the same   
cards will suit in this case for several
 sets of cloth1 if  required4 ,of course
 it is plain that the friction on the   
harness twines  working through the two 
cumber boards must be greatly increased 
from  that of the ordinary method of    
working2 but for light work1 and when   
the harness is not required to last     
long1 it may prove very serviceable     
when frequent changes are required1 as  
it furnishes a ready means of           
accomplishing the desired object1 which 
cannot be done without cost in  some    
direction4 ,for wide looms or intricate 

mountings it will not be  of much       
service4 ,in the ,figure only one hook  
of the jacquard is given1  for          
simplicity1 but the harness would be    
filled up in the usual manner4  ,if the 
harness is built with long mails having 
several eyes in them1  the second cumber
 board is not required2 the slips can be
 shifted and  the warp levelled by      
drawing it through suitable holes in the
 mails4          ,,chapter ,,iv         
,,designing ,,and ,,draughting          
,designing is the composing1 drawing1   
and colouring1 if necessary1 of  the    
sketches for jacquard patterns1 and in  
some cases planning the  texture of the 
cloth2 and draughting 7or drafting7 is  
the term usually  applied to the        
painting of the patterns upon design    
paper4    ,a designer should be a       
first-class draughtsman1 and have a     
thorough  knowledge of the various      
styles of ornament2 he should also be   
well  practised in drawing floral forms 
from ,nature1 without which there is    

generally a stiffness and want of       
freedom in his style of work4 ,for      
coloured work1 such as carpets1 c41     
skilful colouring is the most  essential
 point4 ,no drawing will atone for bad  
colouring2 at the same  time1 good      
colouring should not be wasted on bad   
drawing4    ,a designer may draught his 
own patterns1 and if he is an           
experienced  draughtsman with a good    
knowledge of weaving1 perhaps this is   
the most  successful method of working2 
but if the greater portion of his time  
is to be taken up with draughting1 his  
talent as a designer will be1  to a     
great extent1 lost1 and he will probably
 deteriorate2 besides1 he  will not have
 the same opportunity for getting up a  
variety of designs  that he would have  
if he had nothing else to attend to4 ,a 
designer for  any class of work should  
have a knowledge of the technicalities  
of the  material for which he is        
designing a pattern2 at the same time1 a
 very  slight knowledge is essentially  

requisite1 provided the sketch be given 
into proper hands to be worked out4 ,it 
must be remembered1 however1  that in   
this case a sketch may often have to be 
taken only as an idea  for a pattern1   
and not be handed by the manufacturer to
 the draughtsman  with directions to    
make a truthful reproduction of it on   
the cloth4 ,a  draughtsman may be a     
skilful designer as well1 or he may be a
 skilful  draughtsman and have very     
little powers of designing4 ,when he is 
a  designer1 the most successful method 
of getting a variety of patterns  would 
be for the manufacturer to purchase     
sketches for ideas and hand  them over  
to his designer1 who will be considered 
to have a thorough  knowledge of the    
practical work1 to prepare them to suit 
the fabrics  for which they are         
intended1 perhaps completely altering   
them1 making  two or three out of one1  
or combining two or more to make one    
pattern  if necessary--in fact1 using   
them as material to work from4 ,they may

  then be handed over to the            
draughtsmen1 or be sent to a designing  
establishment for draughting and        
cutting4 ,in case the manufacturer has  
no designer in his place1 but only a    
draughtsman1 the sketches must be       
bought prepared to suit his fabrics1 or 
it would be better to have the  complete
 work done1 in many cases1 at a         
designing establishment4 ,of  course1 in
 draughting1 as in all classes of work1 
a great deal of the  less important     
portions may be done by junior hands1   
but a knowledge of  drawing is required1
 if only to guide the eye1 by them all1 
except the  twillers4    ,sometimes     
designers accustomed to selling sketches
 get them up in  a very deceptive manner
 in order to deceive manufacturers or   
their  agents1 who may have very little 
knowledge of the work2 but this can     
easily be checked by submitting them to 
a practical designer before  purchasing 
them4    ,a design that may be very     
suitable for one class of cloth may be  

equally unsuitable for another class1   
and in many cases fashion  regulates the
 suitability quite independently of its 
artistic merits4  ,for coloured work1   
designs should be of such forms as lend 
themselves  to the disposing of colours1
 no style being more suitable than      
,persian2  whereas in plain work1 as    
damask1 the flow of line or the         
variation of  the forms1 assisted by    
portions of fancy shading or twilling1  
must give  the complete effect4 ,again1 
different degrees of fineness of cloth  
will  suit for different designs2 of    
course1 any pattern that can be put on a
  coarse cloth can also be put on a fine
 one1 but many patterns are very        
suitable for fine work that could not be
 put on a very coarse fabric4  ,when it 
comes to fine coloured silks1 anything  
that the artist can  paint can be fairly
 represented1 as may be seen in the work
 from the  ,coventry silk marker looms1 
so that any design can be put upon      
cloth2  but the question is1 ,is the    

cloth suitable for the design8          
,illustration3 ,fig4 #fh    ,fig4 #fh   
shows a piece of #h  #i design or point 
paper2 #h  #i meaning  that each of the 
large squares1 or designs1 contains #gb 
small checks or  squares1 #h in breadth 
and #i in length1 but the #i should     
occupy the same  space as the #h4 ,ten  
by ten appears to have been the standard
 design1  as patterns are still counted 
by the #ajj designs1 each containing    
#ajj  checks1 or #ajj checks in length  
and the same in breadth3 and in some    
places machines are known as            
so-many-design machines2 thus1 a #djj   
jacquard is called a #dj-;design        
machine4    ,when each design contains  
as many checks in length as it does in  
breadth1 the paper is intended for work 
that is to have equal  quantities of    
warp and weft threads in it2 thus #h    
#h1 #aj  #aj1 #ab   #ab paper would all 
suit for cloth with1 say1 #hj threads of
 warp and #hj  picks of weft per inch1  
the difference being that #h  #h is     

intended for  a jacquard with #h needles
 in the row1 and #aj  #aj and #ab  #ab  
for #aj  and #ab row machines           
respectively4 ,it is not necessary to   
have different  papers to suit1 as one  
could be used for all1 and after the    
pattern is  painted it could be ruled in
 rows to suit the machine1 but it is    
much  more convenient to get the correct
 size of paper4    ,if #hj threads of   
warp required to have #ajj picks per    
inch1 then to find  the size of the     
paper state as #hj3 #ajj33 the number of
 needles in one  row of the machine to  
the number of cards in each design1     
giving #h   #aj1 #aj  #ab-a_/b1 or #ab  
#ae2 but #aj  #ab1 or #ab  #ad would    
have to be  used for the last two1 as a 
half could not be made1 and #ab  #ae is 
an  unusual size4 ,either would do by   
drawing out the design a little when    
enlarging it for the point paper4       
,square paper might also be used by     
counting off the number of checks       
required1 and drawing an elongated      

pattern to cover them2 but it is more   
desirable to have suitable paper  for   
work that is at all particular1 and in  
case of such as #ab  #ae  paper1 #h  #aj
 is the same proportion1 and could be   
used for it1 the  squares afterwards    
being ruled in #ab's for the            
card-cutter4    ,each upright space on  
the design paper1 between the lines1    
represents  a thread of warp or one hook
 of the jacquard1 and each space between
  the horizontal lines represents a     
pick1 or shot1 of weft1 or one card  of 
the pattern2 so that a painted pattern  
is a magnified view of the  texture of  
the cloth1 in common jacquard work4     
,illustration3 ,fig4 #fi                
,illustration3 ,fig4 #gj    ,fig4 #fi is
 a small sketch for a border with spot  
filling1 which is  shown on design or   
point paper in ,fig4 #gj4 ,the paper is 
#h  #h2 the  first four checks are used 
for a selvage1 and the pattern is on    
#ab-a_/b  designs or #ajj threads of    
warp1 and #bb designs or #agf cards     

would be  required for the weft1 the    
pattern being made about three times the
  size on the design paper that it is on
 the sketch4 ,the design paper  has #af 
checks per inch1 consequently the cloth 
would have about #dh  threads to the    
inch to make the pattern appear as the  
sketch4 ,if the  cloth were finer1 say  
with #gb threads per inch1 then #aej    
checks on the  design paper would be    
required for the pattern1 which means   
that #aej  hooks of the jacquard would  
be required for working it4 ,whatever   
width  the sketch occupies 7one repeat  
of the pattern71 multiply this by the   
number of threads of warp per inch to be
 in the cloth required1 and  the product
 will be the number of hooks required   
for the jacquard1 and  the number of    
checks or spaces required on the design 
for the warp4  ,the number of cards is  
found similarly from the weft of the    
cloth4 ,if1  on the other hand1 a       
pattern is to be made for a jacquard1   
and it  is required to find what size of

 pattern will work on it1 divide the    
number of hooks in the jacquard by the  
number of threads per inch in  the cloth
 required1 and the quotient will be the 
size of the pattern  warp-ways1 in      
inches4 ,the length or weft-way of the  
pattern can then be  arranged to suit   
the number of cards1 or the pattern can 
be made any  length to suit the style of
 design4 ,fig4 #ga is a pattern of the  
same  style as ,fig4 #fi1 and it might  
be wanted to use it instead of ,fig4 #fi
  for cloth of the same make1 say #dj to
 #de threads per inch4 ,this could  not 
be done1 as it could not be put on the  
design paper1 but it would  suit very   
well if intended for cloth with #hj to  
#ajj threads per inch1  which would     
admit of its being sufficiently enlarged
 7say four times  the size of the       
sketch7 to be correctly represented by  
the checks4 ,fig4  #fi would be better  
on cloth having #ej to #fj threads per  
inch1 coarser  sets requiring larger    
forms4    ,illustration3 ,fig4 #ga      

,in preparing a design for point paper1 
the sketch is usually first  made out   
and selected by competent judges as     
suitable for the fabric  required1 as   
well as for the taste of the market in  
which the goods  are to be sold4 ,when  
selected it has to be enlarged to suit  
the size  it is to cover on the point   
paper4 ,sometimes the enlargement is    
made  on another piece of paper1 and is 
then transferred to the point paper2    
this is perhaps one of the best methods 
of proceeding1 but it is not so  quick  
as if the enlargement were made upon the
 point paper direct4 ,it  is usual to   
rule squares on both the sketch and     
design paper1 which  bear to each other 
the same proportion that the size of the
 sketch does  to the size of the design 
paper required to be covered4 ,this     
guides the  draughtsman1 as everything  
in the small squares on the sketch      
should  be put into the corresponding   
large squares on the enlarging paper or 
point paper4    ,a pantagraph is        

sometimes useful1 and proportional      
compasses are a  great assistance if    
very correct enlargements are required4 
,when a  careful outline of the pattern 
is made upon the design paper1 it is    
then painted4 ,some painters dot round  
the outlines1 and in large forms  leave 
them to be filled in by assistants2     
others paint in solid as  they go along4
 ,vermilion and scarlet and crimson     
lakes are the paints  mostly used4 ,the 
first is easily washed out1 but the     
lakes are more  transparent1 and admit  
of the checks on the paper being clearly
 seen  through it1 which is a benefit to
 both twiller and card-cutter4 ,scarlet 
lake1 with from a half to a quarter its 
quantity of crimson lake mixed  with it1
 makes a very good paint4 ,the ordinary 
water-colour cakes are  the best paints 
to use1 but powdered colour is sometimes
 preferred on  account of its cheapness4
 ,in ,fig4 #gj the painting is all      
black1 with  white twilling on the      
flowering4    ,simple flat ornamental   

forms1 if of sufficient size1 are not   
difficult  to put on the design paper1  
but more intricate forms and shaded     
effects  require a considerable amount  
of skill1 and are tedious1 unless to  an
 experienced hand1 the difficulty being 
to get the checks on the  design paper  
to express the figures in the best      
possible manner1 and  frequently it is  
necessary to slightly alter the forms to
 make them  come nicely on the paper4   
,when the sketch has to be enlarged to1 
say1 three or four times its  size1 a   
slight inaccuracy in the painting will  
have but little effect1  as it will be  
reduced on the cloth4 ,at the same time1
 advantage should  not be taken of this 
to employ inferior hands at the work1   
as1 the  more correct the painting1 the 
more correct will be the pattern on the 
cloth1 although it be reduced in size2  
and a ragged-edged painting will  never 
have a clear1 defined appearance on the 
cloth4 ,it is in coarse  coloured work1 
such as carpets1 that the accuracy of   

the painting is  of the utmost          
importance1 as the pattern on the cloth 
is as large as1  or may be much larger  
than1 it is on the design paper2        
therefore all  inaccuracies are         
magnified1 and no forms that do not come
 satisfactory  on the squares of the    
paper will have a good appearance on the
 cloth1  so that to a great extent the  
design must be made to suit the paper4  
,when the pattern is all painted on the 
design paper1 both the ground  and      
pattern for ordinary full-harness work  
have to be dotted over  with the texture
 of the cloth4 ,this is called twilling4
 ,in ,fig4 #gj  the texture is a #e-;end
 satin on both ground and flower4 ,for  
twilling  the ground the same colour is 
used as the flower or figured portion   
is painted with1 and for the figured    
portion black is mostly used1  sometimes
 white4 ,the twilling dots on the figure
 mean blanks1 as if  these checks were  
left without any colour on them1 or as  
the ground1  and they are passed over by

 the card-cutter when the cards are     
being  cut4    ,in twilling care must be
 taken not to run the dots up against   
the  edges of the flowering so as to    
injure the form of the figures4 ,in     
some cases1 as at any flat portion1 such
 as a horizontal or vertical  line1 or  
any portion of one1 this cannot be      
avoided1 but the red  dots on the ground
 should here fall in against the black  
dots on the  figure4 ,it is necessary to
 begin one set of dots against the other
  set to carry this out as far as       
possible1 and in some cases1 when  they 
will not join1 the dots are set out of  
their places to make them  come         
together4 ,the two dots coming together 
bind the threads and keep  the last     
thread of the ground on one side1 and of
 the figure on the  opposite            
side--according as it is the weft or    
warp that is forming the  line--from    
hanging loose or sliding out from the   
others4 ,the direction  of the twill on 
the ground or flower may vary so as to  

suit the twill  used1 and whether a     
satin or sateen effect is required4     
,various  kinds of twills are frequently
 used to give effect1 but too great an  
irregularity of texture should be       
avoided1 though a plain ground1 with  an
 #h-or #aj-;end satin for the flowering1
 may be used for handkerchiefs  with a  
good effect2 for heavier work a #e-;end 
satin ground and an #h-;end  satin      
figuring may be used1 but for firm1     
strong cloth an #h-;end satin  for both 
ground and figure is much better1       
letting either warp or weft  predominate
 largely in the cloth4    ,fig4 #gb     
shows how a leaf or any piece of        
ornament may be shaded2 care  should    
always be taken not to let the texture  
be too close at any part  in the shaded 
portion so as to make hard pieces in the
 cloth1 as would  be the case if a plain
 texture were used in a firm cloth4     
,illustration3 ,fig4 #gb    ,fig4 #gc   
shows how a flower and bud should be    
painted so as to give a  natural1 or    

rather semi-natural1 representation4    
,the shading should be  made to express 
the form as well as possible2 a variety 
may also be  made in the twilling on the
 flower1 as may be seen on the front    
petal1  where a straight twill is used2 
this makes the cloth richer and the     
petal come out fuller4 ,this pattern is 
rather small on the design paper  to    
come well on the cloth2 it would be     
better twice as large1 as it may  be    
seen that in many cases single lines of 
the design paper have to be  used for   
divisions1 and for full-harness work it 
is generally better to  have at least   
two lines1 representing two threads4    
,illustration3 ,fig4 #gc    ,this       
painting1 omitting the twilling1 would  
suit for a pressure  harness1 with each 
line of the design paper representing   
two or  three threads of both warp and  
weft4 ,no twilling is required on a     
pressure-harness pattern1 as the texture
 is wrought by the front  mounting2     
otherwise the pattern is the same1      

bearing in mind that as  each check     
represents two or three threads1 it will
 not be reduced on  the cloth as a      
full-harness pattern would4 ,the        
twilling of this pattern  is the #h-leaf
 satin1 which is generally used for fine
 damask1 giving a  much richer effect   
than the #e-leaf satin4    ,it will     
perhaps be well to make some reference  
as to the desirability  of using these  
natural forms for designs1 though it    
would be useless to  enter into the     
oft-disputed point of whether it is     
correct or in good  taste to attempt to 
imitate natural forms upon cloth1 or    
whether even  shaded or rounded forms   
should be treated upon a flat surface4  
,to the  latter ,i would answer without 
hesitation1 by all means do so1 but make
  the appearance satisfactory and keep  
them in good taste2 and this can  be    
done if the subject treated is duly     
considered4    ,the former1 it must be  
admitted1 is rather pandering to the    
popular  taste than following the       

dictates of decorative art4 ,one thing  
is  certain1 that the #8million' are    
better satisfied with floral forms than 
any other class of ornament1 and the    
more loosely treated these are1  or the 
further they are from ornament1 the more
 pleasing they are to  those uninitiated
 in the beauty of line1 wanting which no
 ornamental  forms can be pleasing to   
those educated in art4 ,however1 these  
natural  forms suggest ,nature1 and     
their admirers have so little idea of   
,nature's beauties that they do not see 
the defects in the attempted            
representations4 ,at the same time1 it  
must not be understood that a  pleasing 
design1 or one in good taste1 cannot be 
composed of natural  forms--quite the   
contrary2 for small1 simple patterns1   
principally for  light fabrics1 they are
 perhaps more suitable than any other   
ornament1  giving lightness and         
gracefulness of appearance1 as may      
frequently be  seen from the designs on 
the better class of dress goods1 whether

 woven  or printed2 but the natural     
treatment must be kept subservient to   
the  flow of the design4 ,generally1 a  
moderately flat treatment without any   
strong attempts at light and shade is   
most successful1 the treatment          
consisting of a graceful arrangement of 
forms drawn from nature4  ,everyone     
knows the beauty and grace of the       
,japanese designs2 but this  is not     
simply because they are natural forms3  
it is the arrangement  of the forms that
 gives the effect4 ,very effective      
patterns can be  made for dadoes of     
coloured curtains from natural objects1 
as here  they can have the upright forms
 suited to them2 but for coloured work1 
generally speaking1 and for carpets in  
particular1 natural forms1  unless      
treated flatly and conventionally1 are  
rarely either pleasing or  in good      
taste4 ,with them it is difficult to    
obtain that intermingling  of colours1  
be they bright or dull1 that produces a 
neutral bloom and  a satisfactory       

result4 ,another important point in a   
pattern1 and often  overlooked1 or not  
understood1 is that1 unless the pattern1
 as a whole1  is satisfactory1 no       
variety or beauty of detail can make it 
a good  design4 ,the general character  
or lines of the pattern must first be   
made satisfactory1 after which the      
detail may be made as interesting  as   
possible1 provided it does not injure   
the general effect1 and  is not         
incongruous to the nature of the design4
 ,as to whether flat  surfaces should be
 treated with shaded ornament or not is 
a point that  will always be in dispute1
 but it may be asked why should a       
designer  be hampered with such         
restrictions8 ,if he can produce a      
satisfactory  pattern by using either   
flat or shaded ornament1 or both1 why   
not let  him do so8 ,the criterion      
should be whether the result is         
satisfactory  or not4 ,of course such   
barbarous work as representing leopards 
or  tigers prowling over carpets or     

hearthrugs1 or even decorating them     
with the more homely duck or drake      
nestling1 or waddling through  water1   
cannot be too strongly condemned1 highly
 though they were  once appreciated1 and
 though they still find favour with     
many3 even  shading forms or objects in 
such a manner as will produce a feeling 
of  weakness1 insecurity1 or danger1 can
 never be upheld--that is1 such a       
practice as shading ribbons flowing over
 carpets or hearthrugs like  snares1 and
 buttoned down at certain points2 or    
making the surface  of the carpet appear
 very irregular1 which has often been   
done1 and  is often seen in coloured    
tile pavements4 ,of course these remarks
  refer more or less to any fabric1 but 
a little relief in a curtain  would not 
be nearly so objectionable as on a      
carpet1 so that almost  everything turns
 upon whether the result produced is    
satisfactory or  not--of course1 to     
those competent to judge1 and who are   
not overcome  by biassed prejudices4    

,natural or semi-natural floral ornament
 will  rarely be injured by a little    
shading1 whether on a white or coloured 
fabric1 but it should not be overdone--a
 moderate amount of shading  or a       
half-flat treatment generally giving a  
more pleasing effect4  ,conventional    
floral ornament is1 perhaps1 best       
treated flatly1 or with  a very little  
shading on some portions that require a 
little relief4 ,a  richer and purer     
effect in colour can be got with flat   
than with shaded  colours4              
,illustration3 ,fig4 #gd    ,fig4 #gd is
 an example of a small floral pattern of
 a class much used  for dress goods1    
either woven or printed1 and gives a    
very pleasing  effect4 ,one repeat of   
the pattern is bounded by the lines a b 
c d1 or  the whole might be taken as one
 repeat1 and instead of having a row of 
pears on a line1 have a pear and some   
other fruit alternately1 and the  same  
with the apples4 ,this pattern is a     
semi-natural floral treatment1  and if  

on a larger scale a little more shading 
on the fruit and a few  turned-over     
leaves or half-open flowers would not   
injure it1 but would  add to its        
richness4    ,fig4 #ge is a sort of     
floral ornamental1 or flatly and        
symmetrically  treated floral pattern1  
somewhat after the ,persian style1 and  
though  some would consider it stiff in 
comparison with the previous one1  it   
has a very pleasing effect1 and could be
 used the size indicated  for dress     
goods1 c41 or if enlarged to two or     
three times the size  it would make a   
very good curtain pattern4 ,small sprigs
 of flowers1  grasses1 grain1 c41       
scattered about over the surface of the 
cloth make  generally a favourite style 
of pattern4    ,so far the patterns     
given are such as would require the     
designer to  have a good knowledge of   
drawing and of ornamental and floral    
forms1  and many consider that a        
designer must be a draughtsman2 but such
 is  not the case4    ,illustration3    

,fig4 #ge    ,large quantities of       
patterns are made that do not           
necessarily require  the designer to    
have any knowledge of drawing2 this is  
called #8small  pattern' or #8texture'  
designing4    ,a designer of this class 
should have a thorough knowledge of     
weaving  and of the effect which the    
patterns on design paper will produce on
  the cloth4 ,he must1 of course1 have a
 taste for the arrangement of  forms1   
and can produce considerable variety by 
a judicious arrangement  of fancy       
threads through the cloth1 particularly 
in worsted or woollen  goods4 ,the      
following examples will show how great a
 variety of patterns  can be produced   
without any knowledge of drawing4 ,but a
 knowledge of  drawing will be a great  
assistance1 as it trains the eye to     
correctness  of form4 ,fig4 #gf is a    
pattern for dress goods2 it may be made 
of cotton  only1 or with a cotton warp  
and worsted weft1 and a good effect is  
produced by having the warp a different 

colour from the weft1 say a  gold cotton
 warp and a brown or giraffe worsted    
weft4 ,warp #fj to #hj  threads per     
inch1 and weft about the same4 ,this is 
a pattern of the  bird-eye class1 and a 
very large range can be made in this    
style1 both  bold and effective1 or fine
 and neat1 as may be desired4 ,the      
smaller  patterns may1 of course1 be    
woven with shafts1 but larger ones      
require  a jacquard4    ,fig4 #gg is    
another pattern1 of the flushed stripe  
class1 also suited  for dress goods2    
this is a silk handkerchief pattern for 
#ij threads  and #if picks per inch2    
#fj_/b ,china silk for warp1 and #fj's  
single ,china  silk for weft4 ,if the   
small dots on the pattern are cut on the
 cards1  a finer and closer pattern will
 be produced than if the black squares  
only are cut1 but of course it would be 
less effective unless on a  coarser     
fabric4    ,illustration3 ,fig4 #gf     
,illustration3 ,fig4 #gg    ,fig4 #gh is
 a pattern that would suit for dress    

goods if woven similarly  to ,fig4 #gf2 
and if woven much coarser1 say #be to   
#cj threads per inch1  it is suited for 
quiltings4 ,great variety can be made in
 this style  of quilts1 particularly    
when floral and other forms are         
interspersed  through the texture1 and  
also when the honeycomb texture is      
employed1  an example of which is given 
in ,fig4 #gi in combination with diaper 
or bird-eye figures2 only a portion of  
this pattern is given1 but  it shows all
 that is required4 ,in either pure      
white1 or with a warp  of one colour and
 a weft of another colour1 these        
patterns are very  effective when made  
from good twist yarn and coarsely set in
 the  reed2 the flushing might be over  
twice as many threads as is shown in    
the patterns1 and then more threads of  
warp and weft be used4 ,it is  perhaps  
to the woollen and worsted trades we    
must turn to find the  greatest variety 
of patterns of the description we are   
now dealing  with4 ,true1 the greater   

portion of them can be wrought on       
shafts1 and  perhaps a greater number of
 shafts are used in these trades than in
  any other branch of textile work1 as  
shafts produce a firmer cloth  than a   
harness2 but when large fancy patterns  
are required1 recourse  must be had to  
the jacquard4 ,fig4 #hj is an example of
 a fancy twill  stripe which could be   
wrought on #dh shafts if desired1 but   
might  also be wrought on a small       
jacquard with greater simplicity1 unless
  very heavy cloth is required4         
,patterns of this description require   
considerable skill in designing1 and are
 in some cases more difficult  as they  
increase in size4 ,it may be seen that  
the pattern or figure  is composed of   
different textures1 and to make a       
perfect cloth the  various textures     
should all work together at an even     
tightness1 or  so that there will be an 
equal amount of take-up of shrinkage of 
the  warp for each4 ,when checks or     
large patterns are to be formed this is 

most essential1 but in smaller patterns 
it can in a great measure be  remedied  
by letting the various textures follow  
each other1 so that  if one tightens a  
little another will make a corresponding
 slackness1  and all together will      
balance each other4 ,another important  
point is  to join the edges of the      
various textures together so that there 
will  be no break1 or floats of warp and
 weft greater or less than in the       
textures themselves4 ,in some cases     
tight and loose textures are wrought    
together to give a special effect1 and  
figures may be formed by the  close     
texture pressing the looser threads     
together4    ,illustration3 ,fig4 #gh   
,illustration3 ,fig4 #gi    ,another    
class of pattern by which a very good   
effect can be obtained  by very simple  
means1 is the hair line or tricot style4
 ,fig4 #ha is a  dice pattern on this   
principle4 ,the texture is plain cloth  
throughout1  and the effect of pattern  
is obtained by using two colours of warp

 and  weft1 say black and white1 and by 
arranging the draught and treading so   
that the black weft will pass over the  
black warp and the white weft  over the 
white warp on one dice1 and the reverse 
of this for the next  one1 a horizontal 
and vertical lined effect will be       
produced1 giving  a subdued pattern4    
,the dark checks on the design paper are
 the tricot  or horizontal line effect2 
the grey checks the vertical lines or   
hair  line effect4 ,it will be seen at  
the edge of each dice how the colours   
are changed in both warp and weft by the
 two dots coming together4 ,the  crosses
 along the bottom and to the left side  
of the design show the  dark threads and
 dark picks coming alternately with the 
white ones4    ,fig4 #hb is a small     
figure pattern arranged in this manner1 
the  reversing of the colours being done
 by the jacquard1 as may be seen  from  
the dots on the design4 ,almost any     
figure may be treated in this  manner1  
but simple patterns1 not too irregular  

or broken in outline1  will perhaps be  
found most successful4    ,illustration3
 ,fig4 #hj    ,these fabrics may be made
 in either woollen1 worsted1 or cotton  
for  dress goods4 ,about #cf threads of 
warp per inch of #b_/cj's worsted1 and  
#cb threads of weft per inch1 is a good 
setting for them2 and in any  mild      
contrasts of yarns1 such as two shades  
of grey1 they are very  pleasing4       
,illustration3 ,fig4 #ha                
,illustration3 ,fig4 #hb    ,coming now 
a step further towards the damask or    
figure patterns1 we  have still great   
scope for variety1 without much1 if any1
 knowledge of  drawing being required   
from the designer4 ,this consists of    
spotting  small geometrical figures over
 the cloth1 the body or ground of which 
may be plain1 twill1 or any texture     
desired4 ,fig4 #hc is a pattern of  this
 description with a plain ground4 ,the  
figures are arranged in  satinette or   
#d-;end satin order4 ,of course1 the    
ground might be a twill  if desired1 and

 the figures may be of any form that    
ingenuity can  suggest4 ,they may be    
solid1 and a twilled texture used to    
bind them  if the flushes of warp or    
weft are too great1 and part of the     
figure  might be warp flush and part    
weft flush2 in fact any variety that the
  designer can arrange to produce a good
 effect on the cloth1 which1 if  the    
warp and weft are of different colours1 
may be made very effective4  ,any       
arrangement for the figures may be used 
if suited to the size of  the figure and
 the space they have to occupy to suit  
the repeat of the  pattern4 ,the #d-;end
 satin gives two figures on one         
diagonal1 and two  on the other diagonal
 alternately2 one figure on each        
diagonal may be  used1 and also three   
figures on each with equally good       
effect1 subject1  of course1 to some    
extent to the size and form of the      
figures4 ,five  and eight-thread satin  
arrangements are two of the best that   
can be  used if a greater number of     

figures are required in each repeat of  
the pattern4 ,to arrange a pattern in   
satin order1 the usual way is to  rule  
the repeat into as many squares in      
length and breadth as there  are threads
 in the satin to be used4 ,thus1 for a  
#e-thread satin1 rule  the repeat into  
five squares in length and the same in  
breadth1 or  twenty-five squares in all1
 then place one of the figures into each
 of  five of these squares1 the order   
being that of the #e-;end satin twill4  
,a  draughtsman would either sketch     
these figures on the design paper1 or   
sketch one of them on a piece of plain  
paper1 trace it1 and transfer  it to the
 different positions it would occupy on 
the design paper1  and then paint each  
of them independently4 ,but a designer1 
without a  knowledge of drawing1 would  
mark out the spaces on the design paper 
for  each figure1 and1 having made one  
of the figures the required shape on    
the checks or small squares1 would copy 
the others from this4 ,in ,fig4  #hc let

 #b;,a be the first figure formed1 it   
being started in the second  square     
upwards and first row4 ,now1 the second 
figure can be similarly  begun in       
#d-thread satin order1 which would bring
 it to square ,no4 #b1  and it is begun 
in the same position in this square that
 the first  one was begun in square ,no4
 #b;,a4 ,the third figure falls to the  
third  square from #c;,a and #c1 but as 
this figure is turned round for variety1
  the point for beginning it at figures 
#a and #b must be marked1 and an        
imaginary square run round it1 and it   
must be kept in its position in  the    
square1 or the centre of the figure may 
be found by counting the  checks in     
either of the first or second figures   
and this figure wrought  from the       
centre2 or1 again1 as the figure is six 
checks greater in  length than in       
breadth1 it must be set three checks to 
one side1 and  the top point should rise
 three checks higher up above the large 
square  of the design paper on which it 

should be started2 but with a plain     
ground it is sometimes necessary to move
 the figures one check out of  position 
to allow the plain to fall in regularly 
all round them4 ,this  figure is set one
 check down4 ,fig4 #d is copied from    
,fig4 #c1 and is in  the same position4 
,with a twilled ground or irregular     
figures1 it will  not matter if the     
ground does not fall in quite regularly 
round them4    ,illustration3 ,fig4 #hc 
,illustration3 ,fig4 #hd    ,if it was  
required to make a pattern similar to   
,fig4 #hc1 but with five  figures       
instead of four1 and preserve the same  
density of ground  structure round them1
 it could be calculated as              
follows3--,fig4 #hc is on  #dd checks   
broad and #dd long4 ,now #dd  #dd       
#aicf1 and on this there are  four      
figures1 then #aicf  #d  #dhd4 ,as five 
figures are required #dhd  #e   #bdbj   
checks for design4 ,if there are to be  
as many checks across the  design as up 
it1 find the square root of #bdbj for   

the number of checks1  as sqrt#bdbj  #ej
 nearly4 ,if the pattern is not to be   
square1 the  proportion may be found for
 each side by making two calculations1  
one  for the greater number of checks   
squared1 and the other for the lesser   
number of checks squared1 and extracting
 the square roots for the two  sides of 
the required pattern2 or1 suppose the   
warp to be to the weft  in the          
proportion of #aj to #ab1 then state1 as
 #ab is to #aj1 so is #ej to  #db1 the  
number of checks across the bottom of   
the pattern2 and as #aj3  #ab33 #ej to  
#fj1 the number of checks in the length 
of the pattern1 and  #db x #fj  #bebj1  
which is nearly the same as #ej squared 
#bejj for a  square pattern4 ,but if    
this is for adding extra weft to the    
cloth1 the  size of the pattern would be
 reduced1 which might bring the figures 
too close together and would alter the  
shape of them2 in this case the         
addition should be made to the number of
 checks in length1 making the  pattern  

#ej broad and #fj long1 or to contain   
#cjjj checks1 and the length  of the    
figures should be increased in          
proportion4 ,of course this will        
produce a finer cloth4 ,fig4 #hd is a   
pattern arranged with five figures  on  
it4    ,a great variety of patterns may 
also be formed by arranging dice or     
squares in various ways1 some of which1 
as may be seen on the ,indian  fabrics1 
make very pretty patterns4 ,it will thus
 be seen that there  is plenty of scope 
for the ingenuity of a textile designer 
without  his being of necessity a       
draughtsman2 but a knowledge of drawing 
will  generally be of assistance to him4
 ,for the more elaborate patterns1 the  
designer does not require to have the   
same knowledge of manufacturing  that is
 required for these small patterns4     
,illustration3 ,fig4 #he                
,twilling4--,it has already been shown  
how the patterns are bound  or twilled  
to form the texture of the cloth for    
ordinary repeating  patterns on a       

straight over-tie2 but when a turn-over 
or gathered tie  is used1 the twilling  
of one half of the gathered portion     
will1 on the  cloth1 be the reverse1 or 
run in the reverse direction to that of 
the  other portion1 and this is often a 
disadvantage to this description  of    
tie1 as one half of the border or       
pattern1 whatever it may be1 will  look 
coarser than the other4 ,it frequently  
happens that to avoid the  stiffness of 
a clean turn-over pattern1 which must   
always have a clear  cutting line       
through the centre of it1 so that1 if   
cut up1 one half  would1 if turned over1
 be exactly the same as the other1 a    
portion of  single1 or a turning        
portion1 is placed in between the two   
turned-over  portions1 which in many    
cases adds very considerably to the     
effect of  the pattern1 though it is    
often almost useless4 ,fig4 #he is a    
pattern of  the turn-over type1 and1 but
 for the interlacing of the bands in the
  centre1 might be wrought with a simple

 gathered tie4 ,for this pattern  the   
portion marked ,b would require to be   
single1 and ,a turned over to  ,c4      
,perhaps it is in floral patterns that  
this form of tie is of most  service4   
,when a single tie takes up too much    
machinery1 and a double  over or        
gathered tie would make the pattern too 
stiff1 a small portion  of single       
introduced1 as at ,b1 is of great       
service to the designer in  making a    
pleasing pattern4    ,illustration3     
,fig4 #hf    ,when twilling a pattern of
 this description1 the portion marked ,a
 would  be twilled straight across1 and 
this twilling would be continued to  the
 centre of ,b1 as shown in ,fig4 #hf1   
which gives the idea1 the spots  in the 
centre being taken as the single        
portion4 ,the portion marked ,c  is     
repeated from the first part ,a by the  
harness1 and does not require  to be put
 on the painting2 in the figure it is   
shown 7in different  type7 as it would  
fall on the cloth4 ,it may be seen that 

the twilling  dots on the last line of  
,a and the first line of ,c are alike1  
and that  every pair of lines           
corresponds1 moving from these to the   
edges of the  pattern4 ,now a turn must 
be made in the twill in the single      
portion so  as to make it join correctly
 with ,c1 and this should be done in    
such a  manner as to prevent it from    
showing plainly on the cloth1 or having 
too long floats on some of the threads  
while others are too closely  bound4    
,this must be done by setting the dots  
out of their places on  a few lines in  
the centre1 so as to make the join      
produce as even a  texture as possible4 
,advantage should always be taken of any
 portions  of the pattern that come on  
this part1 such as the spots in ,fig4   
#hf1  to turn the twill round the edges 
of them4 ,by following the dots on  the 
design paper1 it will be seen how they  
are brought in at the join4  ,any twill 
may be broken similarly1 but a different
 number of threads in  the single will  

alter the arranging of the dots to join 
the two twills  together2 however1 when 
the principle is understood1 it can     
easily be  worked out4      ,,letters1  
,,mottoes1 ,,etc4    ,illustration    ,a
 turned-over mounting or gathered tie   
will reverse any ornament1 but  while   
for borders it makes the ornament come  
correctly1 it prevents  letters or words
 from falling in as they should be read4
 ,thus1 if the  word ,,club were woven  
at one side of a cloth1 as at ,a1 and   
the harness  mounted as a gathered      
repeat so as to turn over a similar     
border to the  other side1 the letters  
would fall as at ,b1 making them read   
correctly  to the under side of the     
cloth instead of to the upper side4     
,instead  of making a gathered tie1 it  
would be better to make a plain         
repeating  tie for the second border1   
making the word ,,club on both borders  
as  either ,a or ,b1 according as they  
are to read correctly on the under  or  
upper side of the cloth2 but if it is   

desired to make the letters  read       
correctly from both sides or edges of   
the cloth1 as at ,c1 it is  plain that  
there must be hooks in the jacquard to  
work each border  independently1 as one 
is not a repeat of the other4 ,of course
 letters  on damask will only read      
correctly on either the face or back of 
the  cloth1 not on both4 ,the same      
principle holds good when putting names 
across the cloth1 or for coats of arms  
and mottoes in the centre1 as  is       
frequently done in quilts1 tablecloths1 
c41 but in this case it  would be the   
cards that would do the work4 ,suppose  
the word ,,hotel to  be put across a    
cloth at one end1 and it was required to
 have the same  at the opposite end to  
read similarly from that end of the     
cloth1 it  would require to be painted  
thus1 ,illustration3 ,inverted and      
reversed  ,,hotel1 or the cards might be
 cut from the painting of the former1   
turned upside down4 ,provided it was    
required to make these words read       

correctly on the under side of the cloth
 in the loom instead of on  the upper   
side1 then the first border would be    
painted and cut as  ,illustration3      
,mirrored ,,hotel and the second border 
as ,illustration3  ,inverted ,,hotel    
,this will be best understood by        
printing the letters on  tracing paper  
and turning it round into the position  
required4 ,in case  of a motto or coat  
of arms wanted for a large cloth with   
two centres  in it1 one centre to be    
correct from one end of the cloth1 and  
the  other from the opposite end1 as    
shown by the girdles at ,a and ,b1 ,fig4
  #hg1 the painting would be as in this 
figure if the upper side of the  cloth  
is to be the right side1 but if the     
under side is to be the right  side1 the
 first centre would require to be       
painted as shown in ,fig4 #hh1  and the 
second one would be as this turned      
round1 the top where the  bottom is1 not
 turned over4 ,it might be thought that 
the same painting  would do for both2   

either that cutting the cards from top  
to bottom1  or backwards1 or lacing them
 backwards1 or working them backwards on
  the loom1 would do for the second     
centre2 but it would not unless the     
cards were turned over as well--that is1
 to have the outsides of the  cards     
turned inwards1 and the right-hand end  
to the left4 ,this would  suit if it    
could be done1 but could only be done   
when the jacquards are  made with an    
equal number of needles to each side of 
the machine1 as  #be rows1 or #bjj      
needles1 to each half of the card for a 
#djj machine1  instead of #bf rows to   
one side and #be to the other1 making   
#djh needles1  as is usually the case4  
,illustration3 ,fig4 #hg    ,in         
hand-loom districts1 where old makes of 
machines are used1 it is  common to have
 #djj1 #ejj1 or #fjj needles to the     
machine1 and the cards  can be turned on
 the cylinders if required1 and are also
 wrought  backwards or forwards to suit4
 ,by cutting the cards from the painting

  in the reverse order--that is1        
beginning at the end of the painting    
and reading and fingering               
backwards--cards from a painting of a   
first  centre could be cut to suit for a
 second centre1 as it has exactly  the  
same effect as turning over the card2   
but all the rows of needles  must be    
used except any left at the first1 and  
these and any selvage  must be brought  
to the end of the painting when cutting 
the second set  of cards1 so as to get  
them to the first end of the card4 ,the 
cutting  begins1 as is usual1 at the    
numbered end of the card4 ,repainting   
the  centre to suit is the safest way to
 avoid mistakes4    ,illustration3 ,fig4
 #hh    ,when a name is running up the  
side of the cloth1 lacing or working the
  cards backwards will reverse the      
reading of the letters from one side  to
 the other1 but not when they are       
running across the cloth4 ,if the  loom 
is mounted with the cards hanging to the
 front instead of to the  back1 the     

letters would also be turned from one   
side of the cloth to  the other1 and to 
be correct they would have to be painted
 or cut the  reverse1 unless the machine
 or mounting was built to suit4         
,,chapter ,v    ,,card-,,cutting ,,and  
,,lacing      ,the mountings which have 
been given are of two descriptions--the 
,norwich1 with the straight harness1 and
 the ,london or twisted harness1  with  
the cards hanging to either side of the 
loom1 as the machine  can be turned     
either way to suit4 ,for the ,norwich   
ties the cards are  supposed to hang to 
the back of the loom1 but it often      
happens that  there is not space between
 the looms to admit of all the cards    
being  hung at the back1 and it is usual
 for one loom to have the cards to  the 
back and the next one to the front4     
,when the cards hang to the  front of   
the loom the mounting is tied up so that
 when finished it  will be the same as  
if mounted for the cards to hang at the 
back2 and  afterwards turned round so   

that the back will be at the front4 ,in 
case  the back left-hand corner twine is
 the first cord of the harness with  the
 cards at the back1 the front right-hand
 twine would be the first  if the cards 
are at the front1 and the drawing in of 
the yarn must  begin at it4 ,if the loom
 is mounted in this way1 and the yarn   
drawn in  from the opposite side1 as if 
the cards were to hang at the back1 the 
result will be a toothed or broken-up   
appearance round the edges of the       
pattern4 ,the same cards will do for    
either mounting1 but the pattern  and   
twill will be reversed on the           
cloth--that is1 they will run from  left
 to right on the one1 and from right to 
left on the other4 ,the  effect produced
 on letters was mentioned when speaking 
of them4    ,it was mentioned that      
jacquards are usually made with #ea rows
 of hooks  or needles1 of #h1 #aj1 or   
#ab in the row1 being for #djj1 #ejj1   
and #fjj machines respectively1 which   
are those most used2 #bjj  and #cjj     

machines are used for small mountings1  
but they may be  considered as half #djj
 and #fjj machines4 ,sometimes the      
machines  are made of any size          
required--that is1 with any desired     
number of  rows of holes in the needle  
boards4 ,the objection to this is that  
the  cards cannot be copied on the      
ordinary repeating machines2 but piano  
card-cutting machines can be made with  
the index to suit for cutting  any      
length of card4 ,when using #djj1 #ejj1 
or #fjj machines1 or  the double sizes1 
#hjj1 #ajjj1 or #abjj1 and more than one
 is  required for the mounting1 a second
 must be used1 such as an #h and a #d1  
or a #ab and a #f2 a #ab and a #e would 
not do so well1 as the #ab has #ab      
needles in the row and a #e has but #aj4
 ,it would be better to use a #ab  and a
 #f and leave #ajj hooks idle1 if only  
#agjj are required4 ,if a #ab  and a #e 
is to be used it may be done by having  
the cumber board made #ab  in the row1  
but made finer in the proportion of #ab 

to #aj2 then1 where  the #ab-row harness
 is to pass through it1 every sixth row 
of holes can  be left empty1 and it will
 be all right for the #aj-row harness   
from the  #ejj machine4    ,designs are 
painted upon the point paper for the    
purpose of enabling  them to be         
transferred to the cards1 which act on  
the needles of the  jacquard1 and cause 
the proper warp threads to be raised4   
,the pattern  is put upon the cards by  
punching holes in them1 one hole being  
punched  for each check on the design   
paper that is filled in with colour1 or 
it  may be the reverse of this1 or      
otherwise1 according to circumstances4  
,the common method is to cut the red1   
and leave the ground or unpainted       
portion1 and the black1 which stands for
 ground4 ,there is a card for  each line
 of the design paper for damask         
patterns2 the holes in the  cards       
represent the dots on these lines1 if   
each line was cut off and  cut into     
separate designs or larger squares1 then

 these squares set up  lengthways and   
laid together4 ,take the pattern1 ,fig4 
#gj1 and cut the  first line from left  
to right4 ,the card is shown at ,fig4   
#hi at ,a4 ,turn  the pattern upside    
down and examine the first line to the  
right-hand  side4 ,the two first checks 
are empty2 two holes in the card or two 
punches of the piano machine are passed 
over2 the next three checks are         
painted1 for these three holes are cut  
in the card1 and the remaining  three   
checks in the design being empty are    
passed over4 ,the next design  has the  
second and seventh checks filled and    
these are cut on the card1  and so on   
with the others4 ,the two small holes at
 each end of the card  are for the      
lacing twine1 and the large one at each 
end for the peg on  the cylinder of the 
jacquard4 ,the intersections of the fine
 lines on  the card show where the holes
 fall when required to be cut4    ,this 
card would be for a #bjj machine1 the   
empty or unused needles being  left at  

the first half of the card2 #bf rows of 
#h needles to the card4  ,the card ,b   
given in this figure is the first of the
 heavy cutting1 ,no4  #ag on the        
pattern4 ,reading from the pattern as   
before1 pass #b1 cut #b1  pass one which
 is black1 cut #c1 and so on1 cutting   
the red and passing  the black or       
twilling dots whether they be white1    
black1 blue1 yellow1  or green2 they are
 only there for convenience1 to avoid   
the trouble of  leaving the spaces empty
 when painting the pattern at first1 it 
being  simpler to dot them over         
afterwards4    ,illustration3 ,fig4 #hi 
,the cards are numbered at the selvage  
end1 which goes to the sneck  side of   
the jacquard when working4 ,the design  
may be read from left to  right1 but the
 usual method is to turn it upside down1
 and read from  right to left1 which    
comes to the same thing1 beginning to   
cut from  the numbered end of the card4 
,some begin to cut at the other end of  
the card1 and read from right to left on

 the design without turning  it1 which  
is still the same4 ,if the loom is      
mounted or the yarn drawn  in1 beginning
 with the front row of the harness      
instead of with the  back row to the    
left-hand side1 the cards should be read
 the reverse  way from the design paper2
 or1 what would be the same1 turn them  
over  after cutting them4 ,this changes 
the top row of holes in the cards to    
the bottom1 or from the back to the     
front of the cumber board4 ,in case  of 
the loom being mounted from back to     
front1 and the yarn being drawn  into   
the harness beginning with the front row
 in the cumber board1 the  cards1 if cut
 in the ordinary way1 would give the    
pattern a broken or  toothed appearance4
 ,turning the cards upside down would   
remedy this1  but would only answer if  
each part of the mounting consisted of  
full  rows of needles1 for1 if any part 
began or ended on a broken row1  turning
 the card would take the holes in it for
 this part row away  from the needles3  

that is1 say if the harness was         
connected with four  needles at the top 
of the row and the card cut for these1  
the holes  would fall on the four       
needles at the bottom of the row1 if the
 card  was turned upside down4 ,the     
cards should be numbered on the side    
which  is uppermost when they are being 
cut1 and this side should come against  
the needles if the work is properly     
carried out4    ,illustration3 ,fig4 #ij
    ,the old method of cutting cards was
 for one to take the pattern and  call  
out the holes to be punched1 and they   
were punched out by a second  person1 a 
perforated plate over the card being    
sometimes used as a  guide to place the 
holes in their correct positions4 ,a    
better method  was found in the punching
 plates shown in ,fig4 #ij4 ,a and ,b   
are two  plates hinged together4 ,b ,no4
 #b shows the full upper plate4 ,the    
card is  placed on the lower plate1 and 
the upper one closed down on it4        
,punches  are then filled by hand into  

the holes in the upper plate according  
as  the pattern is read from the design2
 then the plates are passed through  a  
roller press1 which pushes the punches  
through the card4 ,with small  machines 
this suited very well2 but the filling  
in of the punches was  tedious for      
larger machines1 and shortly after the  
introduction of the  jacquard by ,mr4   
,s4 ,wilson1 in #ahba1 he introduced a  
method for filling  the plate with      
punches to correspond with each line of 
the design  paper1 as follows3--,over1  
or in front of1 the design a set of     
upright  cords is placed1 as in reading 
the patterns on the simple of the       
draw-loom4 ,on these cords the pattern  
is picked1 and weft threads drawn  in1  
one for each line of the design paper1  
for plain damask4 ,when all  the design 
is finished the threads compose one     
repeat of the pattern  in a             
loosely-woven cloth4 ,the upright cords 
or leashes pass through  eyes in a set  
of needles1 arranged like those in a    

jacquard machine and  each weft thread  
put in1 when picking the pattern1 shows 
which of the  leashes are to be drawn4  
,as each set of leashes is drawn the    
needles  connected with them come into  
contact with a set of punches arranged  
in  a frame or plate1 and push them into
 a punching plate1 which is then  placed
 over the card1 as in ,fig4 #ij1 and    
passed through a roller press4  ,this   
method of picking the pattern for       
card-cutting is still in use1  and an   
improved method of using the plates and 
rollers is still found  very convenient 
for many purposes1 such as copying cards
 and small  patterns1 c4 7,see ,copying 
,machines47    ,illustration3 ,fig4 #ia 
,card cutting is now almost entirely    
done by #8piano machines4' ,they take   
the name of piano from the pins or keys 
which are arranged for the  cutter's    
fingers1 and to distinguish them from an
 older machine1 which  is similar in    
make1 but in it the pins or keys which  
act as locks on  the punches are wrought

 with cords instead of by the fingers4  
,the cord  machine is similar in make to
 the piano machine2 but the cutter      
usually  sits at one side1 and has the  
board or stand for the pattern facing   
him4 ,the treadles are also turned      
sideways2 but the cord is put in  at the
 end1 as in the piano machine4 ,fig4 #ia
 shows how the cords are  arranged4 ,,aa
 are the cords1 #ab in number1 which the
 cutter draws4 ,,bb  are another set    
from the former ones to the keys1       
passing under pulleys  at ,c4 ,d is the 
punch-box4 ,the keys have springs on    
them1 which press  them in over the     
heads of the punches2 but at the top of 
the cords are  indiarubber springs1     
fastened to the crossbar ,e on the frame
 which  supports the cords1 and these   
springs are strong enough to draw out   
the  keys4 ,when any of the cords ,,aa  
are drawn down the cords ,,bb connected 
with them are slackened1 and the keys   
spring in over the punches1  locking    
them1 and punching holes when the       

treadle is pressed down4    ,the cords  
,,bb can be connected from the          
right-hand side of ,,aa to the          
right-hand side of the punch keys1 and  
run from right to left1 or they  may be 
the reverse of this1 according to the   
way the cutter reads the  pattern4      
,sometimes piano machines are fitted to 
work with cords to suit  the cutter4 ,in
 this case there is only one set of     
cords1 as ,,aa1 set  behind the punch   
block1 and the cutter sits at the end of
 the machine4  ,instead of springs1     
weighted levers1 or tumblers1 may be    
used at the  top of the cords on the bar
 ,e4 ,when springs are used the bar     
should be  lowered when the cutter is   
not working1 by slackening the set      
screws  at ,,gg1 so as to relieve the   
strain on the springs4 ,when working the
  cord machine the cutter uses only one 
hand to draw the cords2 but on  the     
piano machine he uses both hands1 and   
can proceed quicker with the  cutting4  
,fig4 #ib is a view of ,devoge's piano  

cutting machine4 ,in these machines  one
 cross row of the card is punched at    
each tread2 the cutter sits  in front of
 the machine1 with the design fastened  
on the frame before  him1 as shown in   
the figure4 ,the straight-edge1 or      
ruler1 across the  design is for the    
purpose of guiding the cutter's eye     
along the line  of the design paper that
 he is cutting from1 and he screws it up
 or  down a line1 as the case may be1   
for every card he cuts4 ,he keeps one   
foot on each treadle and his fingers on 
the keys in the punch block1  the       
arrangement of which is shown in ,fig4  
#ic1 and presses in a key to  correspond
 with each dot on the line of the design
 paper on one design1  or large square1 
for each tramp4    ,the numbered end of 
the card is put into the clip on the    
index  carriage1 and the guide for the  
card set to suit the width of the card  
used1 so that the punch will cut the    
holes in the centre of the card4  ,the  
lacing and cylinder peg holes are first 

cut1 by pressing in the  keys ,e for the
 peg hole1 and for the lacing #b and #g 
for an #h-row card1  #a and #h for a    
#aj-row1 and a and c for a #ab-row4 ,any
 blank designs1  or rows of the card1   
are now passed over1 by running back the
 index  carriage1 if the design does not
 occupy the full length of the card1  it
 being the usual custom to leave all    
empty rows to the selvage or  numbered  
end of the card1 though it may in some  
cases be advisable to  be otherwise4    
,the selvage1 if any1 is usually cut    
first1 and then the  pattern4           
,illustration3 ,fig4 #ib    ,pressing   
down the right foot treadle1 when any of
 the keys are pushed  in1 punches holes 
in the card with the punches locked1 and
 the left  foot treadle1 which works    
alternately with the other1 is for      
moving the  index carriage1 which shifts
 the card from one row of holes that    
have  been punched to the next one1 so  
as to place it in position for the      
punches4 ,in ,fig4 #ic the black dots   

represent the heads of the punches1  #ab
 in number4 ,the keys #a to #h are used 
for cutting an #h-row card2 when  any   
key is pressed in it passes over the    
head of its corresponding  punch1 and   
locks it1 so that when the cutter       
presses down the treadle  and the punch 
block is brought down on the card1 the  
locked punch is  pressed through it1    
while those not locked rise up4 ,the    
keys a and  c added to the #h suit for  
cutting #aj-row cards1 and b and d added
  to these suit for #ab-row cards4 ,the 
four keys a b and c d can be  pressed in
 with the two thumbs4 ,e is the key for 
the peg hole4    ,a good cutter can cut 
from #ajj to #aej cards per hour1 but   
this is  laborious for constant work4   
,sometimes the cutting machines are     
driven  by power1 but as yet 7#ahid7    
this is not general4    ,illustration3  
,fig4 #ic    ,messrs4 ,devoge  ,co4 can 
attach an arrangement to their machines 
so  that they can be driven with a belt4
 ,the punch block is wrought by  a lever

 driven by an eccentric1 and is kept    
constantly rising and  falling2 the     
cutter fingers the pins so as to keep   
time with the punch  block1 and should  
he wish to stop1 or should anything go  
wrong1 he can  stop the card at once by 
raising one treadle and pressing down   
the  other1 which throws the motion for 
shifting the index carriage out of      
gear1 and the card stands stationary1   
and although the punch block  continues 
to work it takes no effect when the     
punches are not locked  by the keys4    
,the machine works very smoothly1 with  
very little noise1  and with a little   
practice any boy or girl accustomed to  
card cutting  can easily become         
acquainted with working it4 ,the index  
of the piano  machine is generally made 
for #ea rows of holes in the cards1     
#djj1 #ejj1  and #fjj machines being    
those generally employed3 #ea rows of #h
  #djh  needles2 #ea rows of #aj  #eaj  
needles2 and #ea rows of #ab  #fab      
needles1  which1 with a few odd needles 

on the #be-row side1 represent the      
number  of needles in a #djj1 #ejj1 and 
#fjj machine4 ,if larger machines  with 
longer cords are required1 the index of 
the cutting machine must  be altered to 
suit them4    ,card paper should be of  
such a quality as will not be easily    
affected  by the atmosphere4 ,when cards
 are for small machines1 and are only   
required to work for a short time1 an   
inferior paper will do for  them1 and   
save expense2 but for large patterns    
which are intended  to work for years it
 will come cheaper in the end to get a  
good  quality of paper--in fact1 the    
best that can be made4 ,specially       
prepared oil-saturated paper is made for
 the purpose of preventing the          
atmosphere taking too much effect on it4
 ,for hand looms1 sometimes the  cards  
are painted with red lead1 and sometimes
 with shellac varnish1 or  shellac 7best
 red7 dissolved in methylated spirits4  
,cards are made of different weights of 
paper2 some prefer them thin1  and      

others thick4 ,a moderately thin1 tough 
paper is the best4 ,about #af  to #ah   
cards to #a lb41 for #djj cards1 is a   
good medium weight4    ,after the cards 
are cut they have to be laced into a    
chain to revolve  round the jacquard    
cylinder on the loom4 ,the usual method 
of lacing is  to have a frame with pegs 
or studs set in it at a distance apart  
to  suit the size of the jacquard       
cylinder4 ,the cards are spread on this 
frame as shown at ,a1 ,fig4 #id1 and    
laced with a steel needle1 thicker in   
the centre than at the ends2 it is about
 #b-a_/b in4 long1 and has an eye  in   
the centre1 through which a piece of    
fine twine is tied in a loop1  and the  
lacing tape can easily be drawn through 
this4 ,the cards at ,a  are numbered #a1
 #c1 #e1 but all the numbers would      
follow in rotation if  the jacquard had 
only one cylinder2 if a double-cylinder 
machine1 half  the cards would be laced 
forward1 as at ,a1 and the other half   
7the even  numbers7 backward1 as at ,b4 

,the odd numbers usually go to the back 
of  the loom1 and the even ones to the  
front4    ,several kinds of cord and    
tape are used for lacing cards1 but two 
plies of round cotton cord1 well soaped 
or waxed1 is usually the most           
satisfactory for wear4    ,when lacing  
cards1 the lacings should be crossed    
over1 each one passing  from left to    
right of the other in turn1 at each hole
 and between the  cards4 ,this is       
important1 to keep the cards straight4  
,the cards should be tightly laced1 as  
the lacing is almost certain  to stretch
 a little2 so that they are better for  
being rather tight  for the cylinder at 
first1 otherwise they are liable to     
become too  slack after a little wear1  
and if such is the case they will not   
fall  properly on the cylinder pegs4    
,this and other causes--such as         
irregular  expansion or contraction of  
the cards1 badly cut cards1 and a long  
draw  on the cards--occasion            
considerable wear on the peg holes1 and 

now  eyelets are being tried in them to 
avoid the breaking-up of the holes2  but
 it is probable that good paper and     
careful work will prove a more  suitable
 remedy4 ,the card should not be deeper 
than the face of the  cylinder2 better a
 trifle less1 to allow for the lacing to
 pass between  them1 and then if laced  
as tightly as possible they will still  
be  pliable and work freely4 ,cards are 
usually numbered with pen and ink1  but 
the numbers may be stamped on with an   
indiarubber stamping machine  similar to
 that used for paging books4            
,illustration3 ,fig4 #id    ,lacing     
,machines4--,the ,singer ,sewing        
,machine ,company brought out a  machine
 some years ago for lacing cards1 and it
 performs its work very  well1 though   
many object to it1 as it stitches a     
lacing tape along the  cards1 instead of
 lacing them in the usual way4 ,the     
machine is a #c-or  #d-;head sewing     
machine1 according as three or four rows
 of lacing are to  be used on the cards4

 ,the lacing is a tape2 one tape is laid
 below the  cards at each row of lacing1
 and another above1 and both are        
stitched  together through the cards4   
,another machine was invented by ,count 
,sparre more recently which laced  or   
sewed the cards through the ordinary    
lacing holes1 much in the same  manner  
as hand lacing1 except that the lacings 
are looped on each other  through the   
holes instead of passing up and down    
through alternate  holes4    ,a still   
later one1 by ,messrs4 ,reid  ,fisher1  
of ,dunfermline1 and ,mr4  ,parkinson1  
of ,bradford1 has further improvements2 
this machine is now  working very       
satisfactorily4 ,other machines have    
since followed4    ,copying or          
,repeating ,machines4--,there are       
several varieties of  machines for      
copying or repeating a set of cards     
after they have been  cut by the piano  
machine1 and it often happens that this 
is required in  case of several looms   
being put on the same pattern2 or it may

 be that  a set of cards for one loom is
 made up of two or three parts repeated 
several times4    ,one of the simplest  
of the repeaters is a small treadle     
machine in  which the card is repeated  
by rows1 the holes of the cut card      
acting  upon needles that push in the   
pins above the punches1 which are       
similar to those in the piano machine2  
and each row is punched by  depressing a
 treadle4 ,this is a slow method of     
repeating1 but suits for  small         
factories where it is not worth while   
having a more expensive  machine4 ,any  
boy or girl can repeat the cards1       
instead of requiring a  card-cutter to  
read them4    ,a more useful machine is 
the railway press repeater2 it is taken 
from the old method of cutting described
 on page #adb4 ,the cards to  be        
repeated are placed on a cylinder the   
same as that used in the  jacquard1 and 
pass down over the ends of long needles 
similar to the  jacquard needles1 but   
arranged in a box1 and with long helical

 springs  on them4 ,in a thick plate1 or
 box1 in front of the needles is a set  
of punches1 and the stamping plate rests
 in front of the punch box1  close up   
against it4 ,by means of a treadle the  
needle box can be drawn  forward1 and   
where there are holes in the card to be 
copied the needles  pass through them1  
and1 pressing on the punches1 push them 
from the box  into the stamping plate4  
,the punches have heads on them that    
will not  pass through the stamping     
plate1 but will go into the holes in the
  box or frame1 and when they are pushed
 into the plate it can be drawn  away   
and turned over so as to prevent them   
from falling out4 ,the plate  is then   
placed on a box-plate made to hold the  
card to be cut1 and  somewhat similar to
 that shown in ,fig #ij4 ,the box or    
hinged plates are  set on a slide frame 
with rollers to travel on1 and at the   
end of the  frame is a strong roller    
press4 ,the plates can easily be run    
forward to  the press1 and the card     

punched by running them under the       
roller2 it  may then be taken out1 and  
as many impressions from the plate cut  
as  are required4 ,when finished1 the   
stamping plate is taken back to the     
punch box and placed against it as      
before2 then1 with a comb1 or block  of 
wood1 set with pins1 all the needles are
 pushed out of the plate  into the punch
 box4 ,another card can be brought      
before the needles1 and  the plate      
filled as before4    ,illustration3     
,fig4 #ie    ,illustration3 ,fig4 #if   
,this machine is very useful for copying
 damaged cards1 even when a  repeater as
 those about to be described is at hand4
 ,a damaged card can  be held between   
the needles and punches1 and the plate  
filled1 same as  when copying a set4    
,figs4 #ie1 #ig1 and #ih show the       
principle of working three of the       
best-known repeating machines1 which    
will copy a set of cards at the  rate of
 from #dj to #fj per minute4 ,fig4 #ie  
shows the arrangement of the  punches in

 ,nuttall's patent repeater4 ,the       
punches are shown at ,a1 and  the       
stoppers or keys at ,b2 the cards to be 
punched pass in between  the blocks ,c  
and ,d4 ,b#a shows the shape of one of  
the stoppers which1  when over a punch1 
locks it1 and causes a hole to be cut in
 the card4  ,the stoppers all stand over
 the punches when at rest2 the cards to 
be  copied are hung on a cylinder1 and  
act on a set of horizontal needles1  g  
7,fig4 #if72 these needles have upright 
wires1 m1 n1 passing  through eyes in   
them1 and also through eyes in the      
stoppers b4 ,the  upright wires act as  
levers1 working on centres1 m2 and when 
one of  the horizontal needles g is     
pushed back by the card to be copied1   
the corresponding stopper b is drawn    
from above the punch a1 which  allows it
 to rise when the card to be cut is     
raised up against it by  the block ,d   
7,fig4 #ie71 between which and the punch
 block c the cards  to be cut pass1 so  
that no hole is punched in the card2 but

 where there  are holes in the card to  
be copied1 the needles g are not pressed
  back1 and the stoppers are allowed to 
remain over the punches1 locking  them1 
and causing holes to be cut in the card 
pressed up against them4                
,illustration3 ,fig4 #ig    ,this       
machine has been superseded by one in   
which upright rods act as  stays on the 
punches4 ,these rods stand on the       
punches1 which have  concave tops on    
them2 the upper ends of the rods rest   
under the bars  of a grid1 or rebated   
plate1 shown in section at ,p 7,fig4    
#ie74 ,when  in this position the       
punches are all locked4 ,a set of       
needles are  connected with these rods1 
and when the card to be copied presses  
on  them1 those that are pushed back    
move the top of the rods connected  with
 them from under the bars to the spaces 
between them1 which allows  the rods to 
rise up with the punches when the card  
to be cut is pressed  up4               
,illustration3 ,fig4 #ih    ,the        

principle of a repeating machine made by
 ,mr4 ,mc,murdo1 of  ,manchester1 is    
shown in ,fig4 #ig4 ,the cards to be    
copied hang on the  card frame of a     
jacquard1 as shown at ,c4 ,from the     
hooks of the jacquard  to the punches ,a
 are wires in the form of a single      
harness4 ,the blank  cards ,d pass in   
over the block ,b1 which is stationary4 
,enlarged front  and side views of a    
punch are given at ,g and ,h4 ,at #a1   
#b1 and #c are  shown the notches cut in
 the punch1 through which the slide bars
 ,e  and ,f pass4 ,these slides are also
 shown at ,e#a and ,f#a4 ,the bar ,e is 
stationary1 acting as a stay for keeping
 the punches in the box1 and  the       
notches in them1 at #a1 are long enough 
to let them slide up and  down on the   
bar4 ,the slide ,f is drawn out before  
the jacquard is drawn1  and pushed in   
again afterwards2 if any of the punches 
are raised by the  jacquard1 the notch  
#c will be raised to the position of the
 notch #b1  and the slide bar will pass 

through the lower notch1 thus holding   
the  punch up1 and when the punch block 
is pressed down1 holes will be cut  in  
the card where the punches are locked in
 the upper notch4 ,when the  punch block
 is being sunk to punch the cards1 it is
 necessary to have  a spring in the     
wires that connect the punches to the   
jacquard hooks1  and this is effected by
 having the wires made with a sliding   
joint and  a small spiral spring on     
them1 as shown at ,l4    ,the principle 
of ,devoge's repeater is shown in ,fig4 
#ih4 ,this is one of  the oldest        
machines in the market1 and there are   
various opinions as  to whether it is   
excelled by any of the others1 or not4  
,it is somewhat  on the principle of the
 ,french repeating machines1 being      
wrought by a  jacquard and harness1 ,e1 
to which a second harness or set of     
cards1 ,f1  is attached1 and passes over
 pulleys to the punches ,a4 ,when the   
harness  ,e is drawn by the jacquard1   
the cords ,f are slackened1 allowing the

  punches to drop1 and they are locked  
in the punch box by the slide bar1  ,h4 
,the cards to be copied are shown at ,d1
 and those to be cut pass  through at   
,c4 ,the punch block is stationary1 and 
the block ,b rises  against the punches 
with the card on it4    ,the blank cards
 require to be laced to make them ready 
for the  repeaters1 and also to have the
 peg holes cut in them2 blocks are      
provided for the purpose of cutting the 
lace and peg holes4 ,an enlarged  view  
of a punch is shown at ,p4      ,,wiring
 ,,cards    ,after the cards are laced1 
if intended to be wrought on power looms
 in  the usual way1 they require to be  
#8wired'--that is1 to have pieces of    
straight stiff wire1 about #b in4 longer
 than the cards1 tied across  them to   
the lacing1 so that they may be hung on 
the racks or frames  prepared for them  
on the looms4 ,the wires should project 
#a in41 or  rather more1 at each end of 
the cards2 they should be tied to the   
under  side of the cards1 so as not to  

come against the jacquard cylinder1 and 
it also bears them better1 being under  
the lacing4 ,a piece of waxed  twine is 
mostly used for tying them on4    ,the  
distance between the wires depends upon 
the number of cards1 and  the height    
they are when on the loom4 ,for a small 
set1 a wire to  every fourteen or       
sixteen cards is a very good distance   
apart1 but  for a large set a wire to   
every twenty or twenty-four cards will  
be  sufficient in order to give a longer
 drop and take up less lateral  space4  
,,chapter ,,vi    ,,special ,,jacquards 
,,and ,,harnesses      ,,cross-,,border 
,,jacquards    ,a difficulty has always 
existed in working cross borders on     
handkerchiefs1 cloths1 c41 so as to     
avoid having to shift or change  the    
cards1 and also to do without the       
expense of getting a complete  set of   
cards cut for the whole cloth4 ,it may  
be also that different  patterns are    
required on the cloth1 such as cross    
bands of small  figures1 and if1 say1   

twenty cards would make a repeat of one 
figure1  and it was required to weave1  
say1 #ajj repeats of this1 and then     
change  to1 say1 fifty repeats of some  
other figure1 the same difficulty would 
arise as with cross borders4 ,when there
 is only a short distance  between the  
changes of pattern1 it will generally be
 found more  profitable1 all things     
considered1 to have the complete set of 
cards  cut1 so as to require no         
changing1 particularly if the pattern   
will  run for a length of time2 but when
 the patterns or cloths are long1  the  
cards become very expensive1 and even if
 it would be desirable to  get a        
complete set for the full cloth1 it may 
be that there would not  be space on the
 looms to hold them1 over #ae1jjj cards 
being sometimes  required to weave a    
complete tablecloth4    ,many methods   
have been adopted to remedy the         
inconvenience and to  save expense4 ,a  
few of them will be given1 but it must  
be left to  manufacturers to judge      

whether they would prove an advantage to
 them or  not4    ,for weaving cloths or
 curtains it is a common practice to    
have the  cross-border cards and one    
repeat of the centre pattern cut4 ,the  
card  rack is made as in ,no4 #b 7,fig4 
#ii74    ,when either the border or     
centre cards are working1 they are put  
into  the hollow part of the rack or    
card frame1 as at ,f1 and the other set 
is hung on the flat rest of the frame1  
at either ,d or ,e4 ,when a change  is  
to be made1 a card-shifter has to go up 
and change from one set to  the other1  
lifting the set that had been working   
out of the hollow  of the frame1 and    
putting it back or forward on the rest  
,d or ,e1 and  bringing the set which is
 to work down into the place of those   
removed4  ,this1 of course1 is          
expensive1 gives a great deal of        
trouble1 and is  severe on the cards2 at
 the same time1 in many cases it is     
found to  answer as well as any method  
yet adopted1 particularly where space is

 a  consideration1 and when two or more 
sets of cards are used1 in case of  two 
or more machines4    ,illustration3     
,fig4 #ii    ,a better plan is to have a
 sliding-card frame1 as shown in ,no4 #a
 of  the same figure4 ,a is the frame   
for the rollers over which the cards    
travel1 ,b1 ,b are two bars on which the
 card frame ,c1 with the roller  frame  
,a attached1 travels4 ,the card frame is
 only shown in end view4  ,two of these 
must be for each set of cards1 and the  
whole frame must  be fastened together  
complete for all the cards required1 so 
that it  will all slide on the bars ,b1 
,b4 ,suppose there are two machines     
working  there must be four card racks2 
on two of these the centre cards are    
hung1 and on the other two the border   
cards4 ,either set can be placed        
opposite the cylinders of the jacquard1 
and wrought as long as is  required2    
then they must be taken off the         
cylinders1 the card frame  shifted till 
the other set of cards comes into their 

place1 when they  can be put on the     
cylinders and wrought over4 ,this is a  
very good plan  for working long cloths1
 but takes up a good deal of space1 and 
for  more than two machines might in    
many cases be unsuitable4               
,illustration3 ,fig4 #ajj    ,another   
method is to have two sets of card      
irons1 one above the other2  the border 
cards are hung on the lower frame1 and  
the centre cards on  the upper one4 ,the
 centre cards will work in the usual    
way1 and when  the border is to be      
wrought the cards for it are taken round
 the centre  set1 which1 of course1 are 
taken off the cylinder4 ,the rollers    
must be  made to shift so as to direct  
the cards properly into their respective
  frames2 the top frame is smaller than 
the bottom one1 and farther out  from   
the machine4 ,if hooks and eyes are sewn
 on the first and last  cards of these  
sets1 the weaver can hook them together 
when a fresh  pattern is required1 so   
that the one set will carry the other   

round the  cylinder4 ,then1 by drawing a
 cord1 the rollers should change        
position  so as to direct the falling   
cards into the proper frame4 ,the card  
irons  are of the usual shape1 and the  
distance between the upper and lower    
ones may be regulated by circumstances4 
,another simple method is to have the   
card frame made with a double  curve in 
it1 as shown in ,fig4 #ajj4 ,one set of 
cards hang in each of  these curves1 as 
at ,a and ,b4 ,the set in the curve ,a  
can be wrought over  as long as         
required2 then these cards can be taken 
off the cylinder  and the set at ,b put 
over it4 ,one thing must be observed3   
that the  frame and rollers be so placed
 that the cards can be guided into the  
receptacle ,b1 and to do this there must
 be a considerable fall for  the cards1 
so that for a loom with a low framing   
this might not be  feasible4 ,otherwise1
 it is a simple method of arranging two 
small lots  of cards1 and if one lot is 
much larger than the other1 let ,a be a 

narrow curve1 and the small lot of cards
 hang in it1 which will lessen  the     
slant of the cards falling to ,b4       
,although such arrangements as the      
foregoing are required where there  is  
much machinery used1 it is evident that 
for frequent changes they  would take up
 quite too much time4 ,several machines 
have been made  for the purpose of      
changing from one set of cards to       
another without  having to move the     
cards4 ,the principle of these machines 
is to have  two cylinders1 one at each  
side2 one set of cards is placed on one 
cylinder1 and the other set on the other
 cylinder1 so that by working  one or   
other cylinder1 as required1 either     
border or centre may be  woven4 ,no4 #a 
7,fig4 #aja7 shows a plan that was tried
 some time ago1  but did not work       
satisfactorily4 ,the needles passed     
through a needle  board at each side of 
the machine1 as at ,a and ,b1 and had   
small spiral  springs fastened on them  
inside the needle boards4 ,the border   

cards  could be put on the cylinder at  
,a1 and the centre cards on that at ,b4 
,the cylinder at ,a could be wrought as 
a single-acting machine till  a change  
of pattern was required2 then the       
cylinder at ,b could be  brought into   
action1 and that at ,a remain stationary
 and clear of the  needles4 ,the heads  
of the hooks were made heart-shape1 as  
shown1 and  the blades of the griffe    
could revolve into the position shown by
 the  dotted lines1 so as to suit the   
working of the cylinder at ,b2 this was 
effected by the weaver pulling a cord4  
,this machine was given up1 as it  was  
difficult to keep it in order4          
,another method is shown at ,no4 #b     
7,fig4 #aja71 where there are two       
griffes--one at ,f1 and the other at ,g2
 one cylinder works at ,e1 and the      
other at ,d4 ,only one set of springs is
 required on the needles--behind  the   
needle board ,e--as the spring of the   
hooks is sufficient to act in  the      
opposite direction4 ,when the cylinder  

,d is working the lower griffe  is      
stationary1 and when the cylinder ,e is 
working the upper griffe  is stationary4
 ,the cylinders and griffes are brought 
into action as  required by suitable    
mechanism4 ,this machine has not been   
considered  sufficiently successful to  
make it worthy of being persevered with4
    ,illustration3 ,fig4 #aja           
,illustration3 ,fig4 #ajb    ,the       
principle of ,davenport  ,crossley's    
border jacquard is shown in  ,fig4 #ajb4
 ,the upright hooks are as in an        
ordinary machine4 ,four of the  needles 
are shown at b1 and are made in the     
ordinary way1 with the  exception of the
 eyes in them for the small upright     
needles d to  pass through4 ,these      
needles d are connected with a set of   
horizontal  ones1 as shown at a1 and act
 as levers between them and the needles 
b1 the bars behind them serving as      
fulcrums2 so that when the needles  a   
are pressed back by the cards1 the      
needles b are also drawn back  through  

the medium of the uprights d4 ,the cards
 least in action are  put on the        
cylinder for the needles a1 and the     
others act on the  needles b4 ,the      
cylinders can be brought in or out of   
action by the  motion shown at ,a1 ,b1  
,c1 ,d1 ,e1 ,f1 ,g4 ,a and ,b are the   
cylinders1 working  on swing motions2 ,c
 ,a1 ,d ,b1 are connecting-rods for     
giving motion to  the cylinders2 either 
of these can be brought into action as  
required4  ,g is a rocking lever        
carrying a stud on each end1 which work 
in the  slots ,c and ,d2 these slots are
 shown at ,d#a where the notch at one   
side  of them will be clearly seen4     
,when the stud on the bar ,g gets into  
this notch1 the cylinder will be driven 
out and in1 but when not in  the notch  
the stud can slide along the slot1      
allowing the cylinder to  remain        
stationary4 ,by pulling the cord ,h     
either cylinder can be wrought  as      
required through the connections shown1 
one of the connecting-rods  being raised

 and the other lowered4 ,f1 ,e are the  
levers for driving the  rocking bar ,g4 
,this machine works very well1 though   
the principle of  its construction is   
not all that could be desired1 and it   
requires a  considerable space4 ,it can 
be made a double-lift machine by having 
two  hooks to each needle and two       
griffes as in the ordinary double-lift1 
single-cylinder machine4                
,illustration3 ,fig4 #ajc    ,the       
principle of ,devoge's border jacquard  
is shown in ,fig4 #ajc4 ,c ,c is  the   
rocking bar1 for driving the cylinders1 
working on the centre ,d4  ,it is driven
 by the levers ,f1 ,g1 and the          
connecting-rod ,e4 ,the notches  ,a and 
,b fall over the studs on the cylinder  
frame1 and can either be  let down or   
raised1 as required1 by the cords ,k1 ,l
 and the levers ,h1 ,i4  ,the machine is
 an ordinary double-cylinder one1 and   
either griffe can  be wrought to suit   
the cylinder that is in action4 ,this   
machine can be  used as an ordinary     

double-acting one1 as a single-acting   
one raising  both griffes together and  
bringing in both cylinders together1 or 
as a  border machine working one griffe 
and one cylinder at the same time4      
,another method1 similar to the above1  
is to have a double-cylinder  machine   
with the cylinders wrought by the       
griffes1 then have a stud  on the       
crank-shaft wheel for raising one       
griffe1 as for an ordinary              
single-acting jacquard1 and the two     
connecting-rods from the griffes  made  
so that either will work on it4 ,a hook 
or catch can be put in any  convenient  
place1 so that when one connecting-rod  
is on the stud the  other can be hooked 
out of the way4 ,the rods can be made to
 slide on  to the stud easily1 and be   
fastened with a pin1 so that the weaver 
can  readily change from one to the     
other4      ,,open-,,shed ,,jacquards   
,to obviate the vibration of the harness
 as much as possible1 as well as  to    
economise the wear and tear of it and to

 minimise the friction on  the warp     
threads1 especially in weaving patterns 
requiring heavy lifts1  such as         
warp-faced patterns1 ,messrs4 ,priestley
  ,co41 of ,bradford1  patented an      
open-shed jacquard1 the principle of    
which is shown in ,fig4  #ajd4 ,it did  
not1 however1 prove successful1 as the  
tacklers found some  difficulty in      
working it4    ,the machine is an       
ordinary double-lift jacquard with one  
cylinder1 and  works in the ordinary    
way4 ,the hooks are made as in ,fig4    
#ajd1 where  it may be observed there is
 a turn or catch on the lower portion of
  the hook1 at ,a4 ,above these catches 
is a set of bars1 b1 like a  stationary 
griffe1 and when the hooks are raised by
 the upper griffe1  in the ordinary way1
 they spring over these lower bars and  
rest on them  when the griffe begins to 
fall4 ,all the hooks raised would thus  
remain  up1 were it not that the        
cylinder1 pressing in for the second    
griffe  7the machine being              

double-acting71 which begins to rise as 
the upper  one begins to fall1 presses  
back those hooks that are not to be     
raised  for the following shot1 and as  
they are held by the griffe above1 they 
spring back at the bottom1 and1 clearing
 the bars b1 come down with  the falling
 griffe4 ,in this way the hooks1 when   
once raised1 remain up  till pressed off
 by the card1 so that in the case of    
working a warp  stripe with an #h-leaf  
satin binding the hooks would only fall 
for every  seventh pick4                
,illustration3 ,fig4 #ajd               
,illustration3 ,fig4 #aje    ,another   
machine has since been tried1 but did   
not work satisfactorily4  ,in this      
machine the lifting hooks are formed    
with loops or hooks1 in  addition to the
 top hooks4 ,the hooks are lifted in the
 ordinary way  by the griffes2 and upper
 knives1 made to reciprocate            
horizontally1  catch the raised hooks   
and support them4 ,by suitably timing   
the motions  of the card cylinder the   

hooks may be kept up as long as required
 by  being transferred from one set of  
knives to the other4 ,the shape of  the 
hooks and needles is shown in ,fig4     
#aje4 ,the needles may be as at  b or   
b#a4 ,this machine acts as an ordinary  
double-lift jacquard1  but has only one 
set of needles1 which pass through      
needle boards at  each side of the      
machine1 and are acted upon by two card 
cylinders4 ,no  springs are required1   
the hooks acting as springs to keep the 
needles  in position4 ,the cylinders are
 driven by a tappet1 and can be held    
against the needles as long as required2
 one cylinder must press on  them when  
the griffes are passing1 so as to       
prevent those hooks which  are          
descending from being taken up by the   
ascending griffe4 ,there are  two       
griffes2 three of the knives of the one 
are shown at #a1 #c1 #e1 and  three of  
the other at #b1 #d1 #f4 ,when these    
knives lift the hooks by the  lower     
loops or hooks on them1 they deposit    

them on to a set of knives1  a1 a1 a1 a1
 in an upper grid or grating1 which has 
a lateral or  horizontal motion4    ,the
 lower knives raise the tops of the     
hooks slightly above these upper        
knives1 so as to clear them1 and the    
upper grid is then moved sideways1      
taking the knives from under one set of 
heads of the hooks and placing  them    
under another set4 ,each time the griffe
 rises all the hooks not  acted upon by 
the cards will be deposited on the upper
 grating1 and  will be transferred from 
one knife to another at each lift1 till 
the  card acting upon the needles keeps 
them clear of the upper grating  and    
allows them to fall with the descending 
griffe4 ,in this machine  the tugs or   
tail cords1 as used with double-lift    
machines1 are not  required1 the double 
hooks serving for two single ones4      
,other efforts  have been made in this  
direction1 but the plan of using small  
pulleys  on the tail cords1 between the 
pairs of hooks1 to which the neck twines

  are hung1 is the only one worth       
mention4 ,the same principle will be    
found for working the shafts in ,fig4   
#aae1 and is more suitable for a  few   
shafts than for #djj to #fjj hooks1 or  
pairs of hooks4      ,,the ,,verd,l     
,,jacquard    ,everyone accustomed to   
work large patterns on jacquards1       
especially on  power looms1 must have   
found the inconvenience resulting from a
 large  set of cards4 ,the space taken  
up1 the time and trouble required for   
changing them1 to say nothing of the    
cost1 have been sufficiently felt1  but 
have hitherto had to be borne with as a 
matter of necessity4    ,for working    
fine tablecloths with from #aej to #ahj 
picks per inch1 or  for curtains where  
from #c to #f cards are required for    
each weft line of  the design1 and when 
from #b to #d jacquards are used1 the   
inconvenience  and cost of a set of     
cards ranging from #aj1jjj to #ej1jjj   
are very  considerable4 ,the small      
jacquards described at ,fig4 #cj make a 

great  saving in the space taken up by  
the cards1 as well as in the quantity   
of card paper used2 but it has been     
thought that a still greater saving     
could be effected4    ,illustration3    
,fig4 #ajf    ,m4 ,verdl1 of ,paris1 has
 for a length of time been endeavouring 
to  perfect a system of substituting a  
continuous roll of perforated  paper for
 the cards1 and has succeeded in doing  
so1 though it is  doubtful if he will be
 so far successful as to supersede our  
present  method of working4 ,these      
machines were taken up by ,benson's     
,patent  ,jacquard ,company1 of         
,belfast1 in the year #ahgf1 but did not
 then give  satisfaction1 the greatest  
obstacle in the way being the effect of 
the atmosphere on the paper2 and as the 
needles are very closely set  together1 
it was found impracticable to keep the  
paper set so as to act  correctly on    
them4 ,this difficulty is now claimed to
 be overcome by  having procured paper  
which is said to be less liable to be   

affected by  the atmosphere than the    
brass plates of the machine4 ,several of
 these  machines have been tried in     
,scotland1 but it will take some time to
  prove them thoroughly and get the     
workmen accustomed to them1 as they  are
 much finer than the jacquards in       
general use4    ,the ,verdl machine     
consists of a small jacquard1 the       
ordinary ,french  make of machine1 which
 is usually made with #ddj and #hhj     
hooks for the  single and double        
machines respectively4 ,in addition     
there is a frame  or box attached to the
 front of the machine1 against the      
needle board1  containing another set of
 horizontal and vertical needles or     
wires1  which act upon the ordinary     
needles of the jacquard1 according as   
they  are acted upon by the perforated  
paper4 ,fig4 #ajf1 ,nos4 #a1 #b1 and #c1
  shows the principle of the machine4   
,b1 ,b show the needles1 and ,d1 ,d  the
 uprights or hooks of the ordinary      
jacquard2 only four of each are  given1 

but sixteen are used4 ,n is the         
face-plate or needle board1 and  ,o is  
the clap-board used for bringing back   
the needles1 which have no  springs on  
them2 but the hooks are turned up       
double1 and the back or  turned-up      
portion of them1 coming against         
horizontal wires or bars1  shown in     
section above the needles1 acts as a    
spring to keep them  steady4 ,this      
portion of the machine is a complete    
jacquard of the  ordinary ,french make4 
,in addition to this there is the       
apparatus on  which the perforated paper
 acts1 and which communicates this      
action  to the jacquard4 ,it consists of
 a box or frame containing two sets of  
wires--one set horizontal1 as ,a ,a1    
about #f in4 long1 and terminated at    
one end by a small head1 as shown       
separately at ,a#a1 which are called    
hitting wires4 ,the other set is        
vertical1 as ,c ,c1 of fine wire1 having
  a loop on one end1 by which they are  
suspended in a frame1 and a loop  in the

 centre1 which passes round the         
horizontal wires4 ,these are  called the
 vertical needles or feelers2 one of    
them is shown separately  at ,c#a4 ,the 
points or lower ends of these needles   
pass through a  horizontal brass plate1 
,g1 called a guide-bar4 ,the hitting    
wires pass  through a guide-plate1 ,m1  
placed so that their heads will come    
exactly  against the points of the      
needles in the jacquard1 as shown in the
  figure4 ,the other ends of the hitting
 wires lie loosely in the loops  of the 
vertical needles1 ,c4 ,underneath the   
guide-bar ,g is the curved  brass plate 
,i1 which is in lieu of a cylinder4     
,between the cylinder and  the guide-bar
 ,g the perforated roll of paper ,i ,i  
passes2 there is just  sufficient room  
between them for it to pass freely      
through1 as it is  moved forward by the 
stud wheel ,k4 ,the paper may pass from 
one cylinder  or reel to another1 or may
 hang in folds in the same way as cards 
usually hang4 ,at the points of the     

hitting wires is a grid or pushing      
frame1 ,h1 with an iron angle-bar across
 above each row of wires1 as  shown in  
section in ,no4 #a at ,h4 ,there is a   
clap-board above the small  vertical    
needles1 which is shown raised at ,e in 
,no4 #a1 and down in ,no4  #b2 this is  
raised and lowered with these needles1  
and serves to bring  them all down when 
raised4 ,e#a shows the way in which     
these needles  are hung in the frame    
that supports them4 ,when the machine is
 working  the frame ,h has a horizontal 
traverse coming against the ends of the 
hitting wires when they are pressed up  
by the card on the cylinder1  and1      
pressing them against the needles of the
 jacquard1 push them back  as an        
ordinary card cylinder would4 ,it may be
 seen in ,no4 #a that two  of the       
feelers are down and two are pressed up1
 as they would be if  two holes were cut
 in the paper and two uncut2 the two    
that are up  raise the hitting wires    
connected with them1 and it will be     

observed  that this raises the points of
 the hitting wires so as to come against
  the angle-iron of the grid ,h when it 
is coming forward2 whereas the  two     
hitting wires that are not raised will  
pass through1 and not be  pushed back4  
,this enables the card paper to act on  
the needles of the  jacquard in the same
 way as if coming directly on them1 as  
cards do4  ,the cylinder has a slight   
vertical motion1 rising about #a_/h in4 
,the  needles1 when the cylinder is     
down1 do not pass through the plate ,g2 
it  is perforated through and raised by 
the cylinder ascending4 ,when the  frame
 ,h is pressed forward the clap-board ,o
 is pressed back4    ,the card paper is 
of a special make1 thin and tough1 and  
is  strengthened along both sides and in
 the centre by strips of paper  pasted  
along it where the stud holes fall4 ,no4
 #c shows the motion by  which the clap 
board ,e is raised and lowered by the   
sliding of the  cranked bar ,f between  
the two studs #b4 ,no4 #d shows the size

 and pitch  of the holes in the hard    
paper4 ,these are traced from the paper1
  and lie diagonally1 two rows of #h    
making one row of #af hooks in the      
jacquard4    ,these machines are working
 in large numbers in ,france1 and appear
 to  give more satisfaction there than  
here1 partly because they are better    
known1 and the ,french workmen are      
better adapted to handle the small      
parts belonging to them4 ,a coarser     
machine is more suited for the  ordinary
 workmen to be found in the factories of
 this country4 ,but it  is strange if a 
machine of a pitch about half-way       
between the ,french  jacquards and ours 
would not be better than either2 not    
taking up so  much room as ours1 and not
 so minute as the ,french4 ,however1 in 
many  cases the machines we have in use 
are none too large to give sufficient   
latitude for the errors often found     
cropping up in work1 none of which      
should occur1 of course1 though they    
often do1 through carelessness  or      

otherwise4 ,for instance1 the card      
cylinder may be a little off the  pitch1
 and the cards may be affected by damp1 
or may not be correctly  cut to suit the
 cylinder2 the points of the needles may
 be a little  bent by the cylinder1 or  
by the carelessness of the weaver when  
turning  back her cards1 and the        
cylinder may not be set quite fair for  
the  needles4 ,mr4 ,mc,murdo1 of        
,manchester1 has made a very nice       
machine of  the same pitch as the       
,french ones1 with #a1bif hooks1 #af row
 cards4 ,it  works as a double-acting   
machine with two cylinders and two      
griffes1  but only one set of needles   
acting on the two sets of hooks4 ,two of
 the  hooks are shown in ,fig4 #ajg2    
each needle clasps two hooks and passes 
through a needle board at each side of  
the machine4 ,there is no spring  on the
 needle1 the hooks forming the spring1  
the tops of the hooks  coming against   
the cross-rods at ,a ,a4 ,otherwise1    
this machine works in  the usual way1   

and is very compact where a large number
 of hooks are  required in a small      
space4    ,illustration3 ,fig4 #ajg     
,the card-cutting machine used for the  
,french system of work is a very        
elaborate contrivance1 being more like a
 jacquard loom than any of our          
card-cutting machines1 at least in so   
far as the harness is concerned4  ,the  
principle of it is seen in ,fig4 #ajh4 a
 shows the set of cords by  which the   
punches are wrought4 ,the method of     
preparing the pattern  to attach to     
these cords has been referred to before1
 but will be  repeated again further on4
 ,these cords pass over the pulleys ,b  
and  down through a reed to the lingoes 
,c1 which keep them in tension4         
,another set of cords pass from these   
over the pulleys ,d and down to the     
punches ,f4 ,when any of the cords at ,a
 are drawn the punches connected  with  
them are dropped1 as raising the lingoes
 lets the cords pass over  the pulleys  
,d4 ,when a punch is let fall1 it is    

caught by one of the  angle-irons of the
 grid ,g1 which is pressed forwards when
 a card is to  be cut4 ,the card paper  
is on the roller ,,jh1 and passes down  
in front  of the punches at ,i1 which1  
when pressed forward1 punch the paper   
between them and the block ,k4 ,any     
punches that are held up pass through   
the grid over the angle-iron bars4 ,only
 four punches are given1 but  sixteen   
are used in the machine2 they are here  
drawn out of scale to  show them more   
clearly4 ,this portion constitutes the  
cutting machine2  it is worked by two   
persons1 one behind1 to draw the cords1 
and another  in front1 to punch the     
paper by depressing a treadle each time 
a draw  is made4 ,in addition to cutting
 from the pattern the paper can be cut  
from other sets of cards1 as in a       
repeating machine--cut either on  the   
,english or ,french system4 ,n is the   
,french machine1 and a set of  cards can
 be put on it and copied1 the cords ,o  
acting on the punches2  ,english-cut    

cards can be put on the machine at ,l   
and copied1 the cords  ,m acting on the 
punches4 ,of course1 when one portion of
 the machine is  working1 the other     
parts remain idle1 and it might be      
better to have  them separate if much   
work is wanted4    ,the pattern is      
prepared for this machine by hand1      
working one repeat  of it as            
follows3--,the design1 painted on point 
paper1 is placed on a  frame in an      
upright position1 and over each line on 
it is stretched a  vertical cord1 which 
is taken as warp4 ,the picker then takes
 a bobbin  of weft and inserts it under 
every cord that passes over a painted   
dot  on the first weft line of the      
pattern1 keeping it in front of all the 
cords that pass over blank spaces1 just 
in the same order as a shuttle  would   
pass through if the shed were to be     
opened by a jacquard4 ,when  this is    
done the next line of the design paper  
is picked similarly1  and so on1 till a 
complete repeat of the design is loosely

 woven with  cords1 which are made of   
well-twisted harness twine4 ,this       
process is  somewhat similar to reading 
the pattern for the draw loom1 which    
see4  ,for coloured work a shot would   
require to be worked in for each colour 
on any weft line1 the same as it is to  
be woven4 ,when this is prepared1  it is
 taken to the cutting machine and the   
warp tied to the cords ,a1  the weft    
showing the warp ends to be drawn for   
each card4    ,illustration3 ,fig4 #ajh 
,,half ,,harness ,,and ,,muslin         
,,harnesses    ,so far we have been     
speaking entirely of #8full-harness'    
work4 ,though  the principle of mounting
 is much the same in all classes of     
harnesses1  there are certain deviations
 peculiar to each4    ,one drawback to  
the full harness is the amount of       
machinery required  to give a large     
extent of pattern1 an upright hook and a
 needle being  required for each thread 
in one repeat of the pattern4 ,in a half
  harness only half the amount of       

machinery is required on the same       
fineness of cloth to give an equal      
extent of pattern2 but it is only  for a
 few classes of goods that this method  
of working is suitable1  leno curtains  
and muslins being the principal4 ,leno  
curtains will be  mentioned under       
gauzework1 as they are wrought with a   
gauze mounting1  but on the half-harness
 principle4 ,figured muslin curtains1   
with a  plain ground and coloured       
flowering1 are called #8crtes1' or      
#8crte  curtains'2 these are now        
generally wrought in a full harness4    
,figured  muslins are much of the same  
class of cloth1 but are not figured with
  colour and tint for the half harness1 
known as the #8common spotting          
harness1' or #8book harness4' ,for      
working them the harness is mounted in  
the ordinary manner1 but only half as   
many cords are required for it  as there
 are threads of warp4 ,only half of the 
warp is drawn into the  harness1 the    
other half--every alternate end--passing

 through it1 and  being drawn into a    
plain leaf of heddles1 which is hung    
close in front  of the harness4 ,in fine
 work two leaves of heddles may be used 
as one1  to prevent crowding4    ,the   
ground of the cloth is a plain texture1 
and was formerly wrought by  having two 
leaves of long-eyed heddles in front of 
the harness1 into  which all the warp   
was drawn1 this probably being more     
convenient for  the hand-loom weaver2   
and besides1 a more even plain ground   
can be made  with the heddles than with 
the harness and one leaf of heddles4    
,two  shots of ground1 or fine weft1 are
 given to one shot of figuring1 or      
coarse weft1 usually cotton rove2 but to
 avoid using a pick-and-pick  loom when 
working by power1 the coarse shot may be
 made by throwing two  finer ones into  
the same shed4 ,in power looms the      
ground is wrought by  raising the plain 
leaf of heddles and all the harness     
alternately1 and  the figuring shed is  
formed by drawing the harness with a    

card acting  on the machine4 ,the       
pattern is painted solid1 without any   
twilling or  binding on either ground or
 flower1 so that the figuring shot will 
be  in a plain shed for the flower1 but 
will be loose or unbound over the       
ground1 and is afterwards cut off in a  
cropping machine4    ,illustration3     
,fig4 #aji    ,the plain shed1 into     
which the thick weft is thrown1 must    
also contain  the shot of thin weft     
thrown in either before or after it1    
according as  the figuring shed follows 
the plain shed made by raising the      
harness or  the heddles2 for supposing  
the heddle shaft to be raised and a     
ground  shot thrown in1 then the shed   
reversed by raising the harness and     
another ground shot thrown in1 then the 
figure shed formed by raising  #ej or   
#ajj hooks of the harness1 this opens   
portion of the last shed1  and the      
figure weft will be thrown in along with
 the last shot of  ground4 ,when both   
wefts are white this is of but little   

consequence1  but when using coloured   
wefts for the figure the ground weft    
would  be liable to show along with them
 and injure the pattern4 ,this was      
originally overcome by adopting the     
#8paper harness' from the shaft         
mounting for weaving paper spots4 ,in   
this mounting two sets of shafts  and   
two harnesses are used1 one behind the  
other4 ,half of the warp--all  the odd  
numbers of threads--was drawn on the    
back harness1 and the  other half--all  
the even numbers--on the front harness2 
this would be  sufficient to make the   
cloth1 but a pair of leaves of long-eyed
 heddles  were used for working the     
ground1 acting as pressers4 ,on this    
method  of working1 a ground and a      
figuring shot are thrown in alternately1
 as  either half of the warp can be     
raised by the harness for the figuring  
shed1 and a richer spot is thus given2  
but still1 the rove or figuring  shot   
would fall into the same shed as the    
ground shot1 which may be  seen by      

examining the two spots given in ,fig4  
#aji1 ,a being wrought  on the common   
spot or half-harness mounting1 and ,b on
 the paper-spot  mounting4 ,the grey    
shots are the ground1 and the black ones
 the figure4  ,however1 in the          
paper-spot mounting it is not necessary 
to throw the  rove into a plain shed2   
any suitable twill may be used for      
binding the  figure1 and will give a    
much richer effect on one side of the   
cloth  than plain1 and tie down the     
ground shot1 which will go into a plain 
shed4    ,this principle of mounting is 
now done away with1 as it has no        
advantage over the ordinary full-harness
 mounting1 which can also have  a pair  
of presser leaves of heddles in front   
for working the ground1 if  desired2 but
 they are unnecessary in a power loom1  
except when a very  level ground is     
required4    ,a twilled or flushed      
figure may be formed with the common    
half harness1  but only having half the 
warp for binding causes it to be loose  

and  ragged round the edges4    ,to work
 a large pattern1 perhaps the most      
economical way1 at least  in the hand   
loom1 is to use a pressure harness with 
two threads in  the mail1 and with four 
presser heddle leaves in front4 ,the    
number  of leaves regulates the twill on
 the figure4 ,the cloth may be woven    
pick-and-pick1 ground and figure1 or #b 
picks ground to #a of figure4  ,when the
 harness is drawn for the figure all the
 heddles must be  sunk but one leaf1 and
 sinking the two front and two back     
leaves  alternately1 raising the back   
ones when the front ones are sunk1 and  
vice versa1 will form plain cloth with  
the draft #a1 #b1 #c1 and #d over  the  
leaves4 ,a #d-leaf twilled figure can be
 made with this mounting1 but  still it 
will not have the advantage of the full 
harness1 in which the  figure can be    
varied in twill1 and bound round the    
edges4      ,,split ,,harness    ,the   
term #8split harness' is sometimes      
applied to the pressure harness  when   

wrought with two threads in the mail1   
this constituting a splitful  of warp1  
so that each cord of the harness        
controls a splitful of warp2  but this  
is only the finest description of       
pressure harness4    ,illustration3     
,fig4 #aaj    ,the split harness1 or    
#8shaft monture1' was invented in the   
silk  district of ,bethnal ,green1      
shortly after the introduction of the   
jacquard1 for weaving rich silks which  
have about #djj threads of warp  per    
inch1 but much less weft--perhaps about 
one-fifth of that number  of threads4   
,the harness is wrought with the        
ordinary jacquard1 but  there are two   
mails and lingoes attached to each neck 
cord1 as shown in  ,fig4 #aaj4 ,a1 ,a   
are the neck twines1 ,b is the cumber   
board1 and ,d the  mails4 ,if this      
mounting were wrought with the jacquard 
only1 it would  produce the same effect 
upon the cloth as if two threads were   
drawn  into each mail of an ordinary    
harness4 ,this would1 of course1 take   

away  the fine appearance of the cloth4 
,to avoid this a set of shafts1 ,c1 ,c1 
are passed through loops in the twine   
above the mails1 and are attached  to a 
set of hooks in front of the jacquard1  
or at each side of it1 or  may be       
wrought by a separate dobby4            
,twenty-four shafts are mostly used1    
and are usually flat enamelled iron     
bars4 ,these shafts are for working  the
 ground of the cloth1 and can raise each
 row of mails separately1  as shown at  
,no4 #a leash1 thus splitting the pairs 
of threads that are  connected with each
 hook of the jacquard4 ,one or more of  
these shafts1  according to the texture 
required for the ground1 are raised at  
the  same time that the jacquard draws  
the figuring shed4 ,no ground texture   
is put on the pattern for the cards1 but
 the figure must be twilled1  or have   
the binding marks cut on the cards for  
it4 ,the binding of  the figure will be 
in pairs of threads--that is1 two       
threads of warp  must sink together     

under a weft shot1 though on the design 
these two  threads will appear as one1  
as they are wrought by the same hook of 
the  machine4 ,on account of the number 
of warp threads1 rising and sinking  in 
pairs will not much affect the          
appearance of the figure2 though it     
must be coarser than if the threads were
 bound separately1 and will  also have a
 rougher or more ragged outline2 but to 
get a large figure  with so much warp   
would necessitate a great amount of     
machinery if the  threads were drawn    
into separate mails with one to each    
cord of the  harness4    ,this method of
 working is surpassed by the twilling   
machines now in use  7see ,twilling     
,jacquards71 though they are more       
intricate1 and would not  suit well for 
a hand loom1 as they are heavy to draw4 
,,pressure ,,harness    ,this is the old
 draw-loom system of working1 and1 old  
as it is1  is still in use on our modern
 hand and power looms on the finest     
description of damasks1 and is not      

likely to be surpassed for making  a    
good piece of cloth4 ,much firmer than a
 harness1 and producing the  largest    
possible pattern with the least possible
 cards1 mounting1 and  machinery it took
 up its position in the days of the     
drawboy1 and has  held its own1 with the
 aid of the jacquard1 against all the   
inventions  of modern times4 ,the       
principal advantage of this system of   
working  is that a much larger pattern  
can be produced with the same quantity  
of cards1 mounting1 and machinery1 than 
by any other means2 but the  pattern    
wrought by a pressure harness will not  
compare with one wrought  by a full     
harness for fineness of outline or      
detail4 ,when weaving large  tablecloths
 with #ajj or #abj threads of warp per  
inch1 and from #ej to  #gb1 or even #ij 
in4 in the single pattern--that is1 when
 the pattern  is all1 or nearly all1    
single--the amount of machinery that    
would be  required to work it on a full 
harness could not be crowded on a loom1 

the ,french system being the only one by
 which it might be attempted2  and even 
then the difficulty of keeping the      
machinery and cards in  perfect working 
order would be very great1 not to       
mention the cost of  mounting1 patterns1
 cards1 c4 ,the quantity of harness and 
machinery  is reduced in a pressure     
harness by drawing two or more warp     
threads  into each mail in the harness4 
,suppose we take #fj in4 of cloth with  
#ajj threads per inch  #f1jjj threads1  
and allow #c threads to each mail  in   
the harness1 or each hook of the        
jacquard1 #b1jjj hooks1 or four #ejj    
jacquards1 would be required to work the
 pattern4 ,as many as six #fjj          
jacquards are sometimes required on this
 description of work when very  fine2   
but three or four #ejj or #fjj machines 
are more commonly used on  either hand  
or power looms4 ,to work one of these   
finest patterns in  a full harness      
#aj1hjj hooks would be required--say1   
six #fjj machines  with #c threads to   

each mail  #aj1hjj2 and almost double   
this number  of cards1 even with working
 them backwards and forwards1 would be  
necessary4    ,in early times1 when the 
drawboy took the place of the jacquard1 
#f1  #h1 or #aj threads were put to each
 mail1 or went to what would now be  one
 hook of the jacquard2 and patterns were
 not usually so extensive  as they are  
now1 so that the cords of the harness   
were greatly reduced  in number1 but    
with a proportionately coarser effect of
 pattern4 ,the  difference between a    
pattern wrought with a full harness and 
one  wrought with the pressure or any of
 the twilling harnesses1 is that  the   
outline is clear and defined in the full
 harness1 and the detail  and points of 
the figures can be turned on a single   
thread1 whereas  in the others the edges
 of the figures will be jagged or in    
steps1  and the points must turn on     
whatever number of threads are lifted   
together4 ,the pattern on the cloth must
 therefore have somewhat of the  rough1 

square effect of the design on point    
paper1 though1 of course1  reduced in   
size1 but will be worse in this         
respect--viz4 that whereas  the edges of
 the figure on the point paper are clear
 and well defined1  on the cloth they   
are not so1 the rough edges to some     
extent blending  the figure into the    
ground1 and not giving the clean1 sharp 
effect of  a full-harness pattern4      
,shaded effects are also coarse on a    
pressure  harness1 but can be made      
effective if broadly treated4 ,cloth    
with #ajj  or #abj threads per inch does
 very well to have three threads to the 
mail1 and from #hj to #ajj threads per  
inch suits very well for two to  the    
mail4 ,any coarser set than #hj threads 
per inch requires to be woven  in a full
 harness to produce good work1 and for  
superior work nothing  less than #ajj   
threads per inch should have two threads
 to the mail1  though #hj per inch does 
very well4    ,when several threads are 
put to the mail1 it is also usual to put

  several picks to each card4 ,the fewer
 picks1 the finer will be the  pattern2 
but a good method of regulating this is 
to make the checks  formed on the cloth 
square1 a little more or less according 
to the  fineness of the pattern         
required4 ,thus1 if the cloth is wefted 
square1  or a little over that--say1    
#ajj warp by #ajj to #aaj weft threads  
per  inch--paint the design on1 say1 #h 
#h or #h  #i paper1 and give as many    
shots to the cards as there are threads 
in the mail4 ,if the cloth is  to be    
wefted one-half over square 7#ajj  #aej7
 the same pattern will  still do1 but   
with half as many more shots to the card
 than there are  threads in the mail4   
,if there are two threads in the mail   
there will  be three picks to the card1 
but if there are three threads to the   
mail  there must be four picks to one   
card and five to the next one4 ,this    
would be for a pattern on #h  #h1 or    
square paper4 ,if painted on #h  #i     
paper1 which would give an extra card to

 every eight1 and if the weft  must not 
be increased1 then four or five picks   
must be taken off the  number given to  
the eight cards and put to the ninth    
one1 for four  cards with four picks to 
each and four with five picks to each   
#cf  picks1 and thirty-six picks put to 
nine cards would allow four picks  to   
each4 ,this would make the edges of the 
pattern a little finer2 and  if the     
design was painted on #h  #aj paper it  
would be finer still1 as  there would be
 more cards to a given number of picks4 
,in this way any alteration required can
 be made on the number of picks  per    
inch given to cloth woven on a pressure 
or twilling harness1  without distorting
 the pattern by varying the number of   
picks given to  each card to suit the   
shotting4 ,neither is it necessary to   
have the  same number of threads in each
 mail2 the warp might be mailed #b's and
  #c's or #c's and #d's1 but the more   
regular they are1 the better4 ,if the   
fineness of the cloth requires to be    

altered1 it may be woven in the  same   
harness without any alteration by       
varying the number of threads  in the   
mails4 ,for instance1 a warp of ninety  
threads per inch mailed  #c's and one   
with #abj threads per inch mailed #d's  
would work in the  same harness4        
,similarly1 the same set of cards would 
suit for making  different widths of    
cloth by making the harness narrower in 
the cumber  board and altering the      
mailing so as to keep the cloth the same
 set1 or  it may be made a finer set and
 not alter the mailing4 ,in either case 
the pattern would be reduced in size4   
,fig4 #aaa shows a portion of a         
pressure-harness mounting which is      
similar to that of the draw loom4 ,it is
 mounted in the same manner  as         
described for full harness1 only that   
the warp must be divided by  the number 
of threads to be drawn into each mail in
 order to find  the quantity of harness 
required4 ,the kinds of mails used are  
shown  at ,a and ,b1 ,fig4 #aaa2 it does

 not do to have more than two threads   
drawn into each eye of the mail1 as they
 are liable to twist round  each other2 
two will separate easily1 but a greater 
number will not4  ,ordinary full-harness
 mails answer very well for a two-thread
 harness4  ,the mails are levelled in   
the same position as for full-harness   
work1  viz4 about #a-a_/b in4 below the 
level of the back and front beams for   
hand-loom work1 and a little lower for  
power looms4 ,the lingoes are  heavier  
than those required for a full harness2 
the weight depends upon  the strength of
 the yarn and the number of threads in  
the mail2 #aj to  #ab to #a lb4 are used
 in power looms for linen damask with   
two threads  in the mail1 having about  
eighty to one hundred threads of warp   
per  inch4 ,for hand looms they are     
usually made of lead1 thicker and       
shorter  than the wire lingoes1 and     
called #8leads'2 #aa to #ae per lb4     
suits for  three- or four-thread        
harnesses4 ,light cotton work1 such as  

muslin  curtains1 only requires lingoes 
of about sixty or seventy to #a lb4 for 
hand looms1 but from twenty-five to     
thirty per lb4 are used in power  looms 
for two-thread harnesses4               
,illustration3 ,fig4 #aaa    ,the       
principle of working the pressure       
harness is best explained by the  diaper
 mounting shown in ,fig4 #b1 where a    
back set of heddles takes the  place of 
the harness1 and a set of ground leaves 
of long-eyed heddles  stands in front of
 the back ones4 ,after the yarn is drawn
 into the  harness or back mounting in  
the usual way1 it must be drawn into the
  front or presser heddles1 using1      
generally1 a straight draught for a     
satin ground4 ,if ,figs4 #b and #aaa are
 examined1 it will be seen that  when   
the shed is opened by the harness or    
back mounting1 the heddles in  front    
sink part of the raised warp and raise  
part of the sunk warp4 ,the  mounting   
raises all the warp of the figuring     
portion on each card or  line of the    

design paper1 and leaves down all the   
ground warp1 so that  it is necessary to
 have the heddles in front to bind the  
warp and weft1  or form the texture of  
the cloth4 ,for an #h-leaf satin eight  
shafts are  required2 one of these must 
be raised and another sunk for each     
shot1  so as to raise the binding       
threads of the sunk warp and sink those 
of the raised warp1 the harness forming 
the outline of the pattern1  or raising 
the warp of it in a mass4 ,the other six
 leaves of heddles  stand in a middle   
position1 and the long eyes allow the   
warp drawn by  the harness to rise4     
,when the machine is drawn it is held up
 till as  many shots as are to be given 
to the card are thrown in1 but the shed 
formed by the heddles must be changed   
for each shot4 ,in working bars  up the 
cloth one card would be sufficient1 and 
when the machine is  drawn it would be  
held so1 and the cloth wrought with the 
heddles2 of  course1 no machine would be
 required in this case1 one leaf of     

heddles  with the stripes of warp drawn 
into it would be sufficient for the back
  mounting4 ,for dices two leaves of    
heddles would be sufficient for the     
back mounting1 the warp of one dice to  
be drawn on one leaf1 and that  of the  
other on the other leaf2 then one leaf  
would be raised and held  up till one   
dice was wrought1 when it would be      
lowered1 and the other  one raised and  
held up for the other dice4 ,for fancy  
dices and diapers  the plan of mounting 
in ,fig4 #b is very suitable and simple1
 but for a  variety of figuring or      
flowering the jacquard is necessary4    
,it will be seen that the presser       
heddles have three positions1 viz4 a    
sunk1 a raised1 and a middle position4  
,the length of the eyes is to  allow the
 harness to open the shed when the      
heddles are stationary1  or in their    
middle position4 ,they must be a little 
longer than is  required to open the    
shed at the back leaf of the heddles2   
for a  #b-;in4 shed a #b-a_/d-;in4 to   

#b-a_/b-;in4 eye is used4 ,when the     
heddles are  stationary the lower loop  
of the eye should be fully #a_/h in4    
under  the sunk warp1 and there should  
be the same clearance at the top when   
the shed is drawn2 some allow more4 ,the
 shed for a pressure harness  is usually
 very small in front of the reed1 and   
requires a very small  shuttle to be    
used1 from #a_/b in4 to #a in4 deep     
being the usual sizes4  ,the depth of   
the shed that can be made depends       
principally on the  elasticity of the   
yarn4 ,with a linen warp a very small   
shed can be  made1 as the yarn has but  
little elasticity1 and if overstrained  
will  hang slack4 ,for it the distance  
between the harness and the back shaft  
of the front mounting should be #aj in4 
to #ab in41 and there should  be a      
stretch of #bg in4 to #cd in4 behind the
 harness4 ,the draw of the  harness may 
then be #c in4 to #c-a_/b in41 and the  
shed at the back shaft  will be #a-c_/d 
in4 to #b in42 this will allow a shuttle

 of #c_/d in4 to #g_/h  in4 deep to be  
used4 ,for hand looms the shed is about 
#a-a_/d in4 at the  back shaft1 and a   
shuttle of #a_/b in4 deep is employed4  
,the shed must  be made very clear and  
regular1 and the smaller it can be kept1
 the  better4 ,with a good cotton warp  
#g in4 is a sufficient distance to have 
between the harness and heddles1 and    
will admit of a larger shed being       
formed2 but it is not desirable to have 
too large a shed1 as there is  a        
considerable strain on the yarn1 and a  
small1 clear shed is more  satisfactory4
 ,this would be assisted by bringing the
 harness as close  as possible to the   
heddles4    ,one drawback to this method
 of working is the distance which       
separates  the harness from the fell of 
the cloth1 or even from the reed2 and   
if there is any obstruction to the warp 
rising or falling1 such as  roughness in
 the heddles or reed1 or lumps on the   
yarn1 it will not1  unless very tight1  
fall into its proper place1 and the     

shuttle may pass  over or under it when 
it should not do so1 giving a picked or 
darned  effect to the cloth2 slack      
threads may cause the same4    ,the warp
 must be kept as tight as possible1 and 
all the threads should  be at a uniform 
tension1 the heddles straining each     
thread alike2 the  harness should be as 
close to the heddles as the yarn will   
permit it  to be4 ,the space occupied by
 the harness1 heddles1 and traverse of  
lay should be no greater than is        
necessary2 then1 with a small but  clear
 shed satisfactory work can be produced4
 ,when drawing a warp  into the harness1
 a boy or girl sits behind1 and hands   
the threads to  the drawer-in1 who takes
 them into the mails with a wire hook1  
and  then either hands them to a second 
drawer-in sitting in front of the       
heddles1 to be drawn into them1 or      
passes them over and under a pair of    
rods tied across the harness so as to   
form a lease as she draws them  in2 and 
when she has all drawn into the harness1

 she begins to draw  them into the      
heddles1 a straight draught being mostly
 used for a twill  or satin4            
,illustration3 ,fig4 #aab    ,the front 
mounting of a damask hand loom is shown 
in ,fig4 #aab4 ,a1 ,a  are the shafts1  
four in number1 but eight are generally 
used for an  #h-leaf satin2 ,b1 ,b are  
the jacks2 ,c the lams1 which require to
 be one  more in number than the leaves 
of heddles2 ,d the treadles2 ,e1 ,e#a   
the  upper marches or jacks2 ,f1 ,f#a   
two sets of coupers or levers1 with     
their fulcrums at f1 and loaded at the  
outer ends with the weights ,g4  ,under 
the ends of these levers is a bar ,n1 to
 which the weights draw  them1 and keep 
the heddles up to their middle position4
 ,the cords ,i are  not fastened to the 
heddles1 but pass down through them to  
the lams  ,c4 ,the cords ,l connect the 
coupers with the heddle shafts4 ,each   
lam  has two cords tied to it1 except   
the two outer ones--i4e4 the first  and 
last one--which together act as one1 to 

avoid crossing the cords4  ,one of the  
cords ,i is tied to each lam1 and also  
one from the jacks ,b2  but the first   
and last lams have only one cord tied to
 each of them1  one having the cord ,i1 
and the other that from ,b4 ,both these 
lams are  connected with one treadle1   
and the others are each connected with a
  treadle4 ,of course1 the cording is   
made in the usual way1 agreeably to  the
 pattern1 two methods of twilling being 
shown in ,fig4 #aac4 ,when the  weaver  
presses down a treadle1 one leaf of     
heddles is raised by the  cord ,i       
connected from one of the levers ,e1    
,e#a to one of the marches  or lams ,c1 
and one leaf is at the same time sunk by
 the cord connected  from one of the    
jacks ,b to the lam connected to the    
treadle4 ,the other  treadles act       
similarly when corded for a twill or    
satin4    ,illustration3 ,fig4 #aac     
,the cording generally used for an      
#h-shaft satin is shown at ,a1 ,fig4    
#aac4 ,sometimes the twill is run in the

 reverse direction4 ,in either  case it 
will be observed that the twill on both 
ground and figure run  in the same      
direction1 which makes one a sateen1 or 
coarse twill1 and  the other a satin1 or
 fine twill4 ,in order to have both     
twills alike  they require to be run in 
the opposite direction on the cloth1 as 
shown  at ,b1 which will give a fine    
twill on both ground and figure1 on both
  sides of the cloth1 with single yarn4 
,this does not hold good with  every    
twill4 ,when weaving1 the weaver presses
 down the treadle which is  connected   
with the jacquard 7another treadle being
 required for this  purpose7 with his   
left foot1 then works over the twilling 
treadles with  his right foot1 holding  
down the machine treadle till he gives  
as many  shots to the cards as are      
required4 ,when the card is to be       
changed the  weaver lets down the       
machine and draws another shed1 striking
 up the  weft again without throwing in 
a shot or taking his right foot off the 

treadle4 ,this clears up the shed1 and  
makes the yarn steady before he  springs
 another shed with the presser leaves1  
giving a regularity and  firmness to the
 work which it is impossible to get     
otherwise1 but which  has to be done    
without in the power loom4 ,the weft is 
struck up on the  open shot1 or before  
the heddles have closed the shed4       
,sometimes a sort  of dobby is used     
below the lams1 which enables the weaver
 to work the  heddles with one treadle4 
,in power looms a similar principle of  
front  mounting is sometimes adopted1   
substituting a wyper tappet for the     
weaver's foot2 but a better plan1 as it 
avoids having the cords passing  through
 the yarn and heddles1 is to have a box 
tappet1 on the ,woodcroft  style1 made  
with solid plates1 and struck to give   
the rising and  falling motion4 ,the    
connections from the tappet to the      
heddle shafts  are made in the same way 
as the ordinary ,woodcroft tappet4 ,the 
jacquard  may either be a single or     

double-lift one4 ,some prefer the one1  
some  the other4 ,the single-lift is    
more easily fitted up1 especially if    
the number of shots to the card varies4 
,when the shots on each card  are alike1
 perhaps the steadiest method of lifting
 the machine is to  have a box tappet   
struck one up and three down1 or one up 
and two  down1 according to the number  
of shots on the card4 ,this tappet acts 
on a bowl on a treadle1 to which the rod
 for raising the machine is  connected4 
,for a double-acting machine there must 
be two treadles and  tappets acting     
alternately4 ,the cylinder can be driven
 from the rising  and falling of the    
machine with a swan-neck or lever       
motion1 or may be  driven from an       
eccentric on the loom with a pinion on  
the crank shaft  turning it one to three
 or four shots1 as may be desired4 ,when
 the  shotting to the card is irregular 
there are several methods adopted for   
lifting the machine griffes1 one of the 
best of which is shown in ,fig4  #aad   

for a single-lift machine4    ,a is the 
treadle to which the connecting-rod from
 the machine is  fastened by a bolt     
through the slot at ,h1 or the slot may 
be in any  desirable place4 ,b is a rack
 in which the end of the lever works1   
which  keeps the treadle bowl steady to 
the tappet4 ,e is the tappet on the     
tappet shaft of the loom1 and is made so
 as to act at every shot4 ,d  is the    
fulcrum of the lever1 and ,c is the     
stand1 which is bolted to  the ground   
and fastened to the side of the loom4   
,this portion of the  motion working    
alone would raise the griffe for every  
shot1 the same  as would be required for
 a full-harness1 single-acting jacquard2
 but  when the griffe is raised by the  
tappet ,e1 it can be held up as long as 
is desired by letting the bell-crank    
catch ,f fall in over it as shown4      
,when the treadle ,a is in this position
 the tappet merely touches the  bowl1   
depressing it about #a_/h in41 so as to 
clear it off the catch2  this is to     

allow the catch to be easily pushed off 
when it is required  to let the treadle 
up1 or to drop the griffe4 ,the catch is
 moved by the  cam or tappet ,g acting  
on the bell-crank ,f4 ,this tappet can  
be driven  by a pinion on the crank     
shaft or by a catch on the slay4 ,it may
 be a  tappet struck to suit1 or a      
barrel with a set of lags or pins on it1
 so  that the machine griffe may be     
raised and lowered in any order that is 
desired4    ,illustration3 ,fig4 #aad   
,an ingenious method of working the     
heddles of a pressure harness by the    
jacquard was invented in ,bethnal ,green
 shortly after the introduction  of the 
original machine4 ,it was used for      
weaving the richest silk  damask1 which 
had #djj threads of warp per inch and   
about one-fifth  that number of weft    
shots1 so that five threads of warp     
might be drawn  into each mail without  
making the pattern appear any coarser in
 the  warp than in the weft4 ,a sketch  
of this mounting is given in ,fig #aae4 

,a shows the hooks for working the      
heddles1 and ,b those for working the   
harness4 ,eight hooks are given for     
working four leaves of heddles4 ,it     
will be seen that a cord from two hooks 
passes round one of the pulleys  ,c1 and
 each of the heddle shafts is attached  
to one of these pulleys4  ,these hooks  
may be raised by the griffe of the      
jacquard1 which would  require to rise  
and fall for every shot1 or the griffe  
may be held  up for the number of shots 
to the card1 and the hooks for working  
the  shafts may be wrought by a small   
dobby4 ,when one of each pair of the    
hooks ,a is raised1 the heddle shaft    
connected with it is raised to  the     
middle position1 as shown by the pulleys
 #a and #b1 and the leaves  connected   
with them4 ,if neither of the hooks is  
raised for any shaft1  it will remain   
sunk1 as shown in ,no4 #c2 and if both  
the hooks are  raised1 the leaf will be 
raised to its top position1 as ,no4 #d4 
,the  leaves are drawn down by weights  

or springs4    ,illustration3 ,fig4 #aae
      ,,twilling ,,jacquards            
,illustration3 ,fig4 #aaf    ,as has    
been stated before1 one of the drawbacks
 to a pressure harness  is the strain   
which the warp has to undergo when      
forming the shed4 ,this  necessitates   
having a good warp1 which adds to the   
cost of the cloth1  and in low-class    
goods this consideration may hinder the 
sale4 ,many  methods have been adopted  
for working the ground of the cloth     
without  using a pressure mounting4     
,some of these are explained under      
#8half  harness' and #8split harness1'  
but none of these methods would produce 
cloth like the pressure harness4 ,a     
twilling jacquard to act similar  to the
 pressure harness1 but without using the
 front mounting1 or by  dispensing with 
the leaves of heddles1 was patented by  
,mr4 ,shields1  of ,perth1 in #ahei4    
,this machine underwent several         
improvements1 and  now there are two    
varieties of it in use1 one known as the

 ,irish or  ,bessbrook machine1 being   
patented by ,mr4 ,barcroft1 of the      
,bessbrook  ,spinning ,company ,limited1
 county ,armagh2 the other as the       
,scotch  machine1 the improvements being
 made by ,mr4 ,shields and others4 ,the 
principal difference between the two    
machines is that the blades or  knives  
of the griffe have a horizontal or      
sliding motion in the ,scotch  machine  
to enable them to get clear of the heads
 of the hooks1 whereas  in the          
,bessbrook machine they turn out of the 
way or partly revolve4  ,a full         
description of the ,bessbrook machine is
 here given4 ,fig4 #aaf  is a view of   
the framing of the machine4 ,k is the   
cylinder1 which may  be wrought by the  
swan-neck motion1 as shown1 but it is   
better to be  wrought by a separate     
motion from the loom4 ,d is a cord      
attached to  the handle of the shears   
for reversing the cylinder2 ,e is a     
brass  bushing through which a shaft    
passes for raising the griffe4 ,the     

shedding of this machine is exactly the 
same as that of an ordinary             
single-acting jacquard4 ,the griffe     
rises and falls for every shot2  the    
cylinder travels out and in1 but does   
not turn till two or three  or whatever 
number of impressions required are given
 by each card4 ,to  prevent the cylinder
 turning it is only necessary to raise  
the shears  so that they will not catch 
it4 ,this is done by means of the tappet
 ,a1  shown in ,figs4 #aaf and #aag4    
,the roller ,h on the shears rests on   
the  tappet1 which is turned by means of
 the rack wheel1 which is fast on  it1  
and the lever ,l1 which is loose on the 
stud4 ,this lever is pushed  backwards  
and drawn forwards by the rod ,i1 which 
is connected to an  arm1 either on the  
shaft for raising the griffe1 or on one 
for working  the cylinder1 and the catch
 on the lever takes a tooth of the      
ratchet  wheel at each draw1 so that    
with four divisions on the tappet1 and  
#ab  teeth in the ratchet1 three shots  

would be given to each card4 ,if it is  
required to work the cylinder the       
reverse way1 it is only necessary to    
tie the cord ,d on the end of the shears
 to a spiral spring made fast to  any   
convenient part of the loom1 then the   
roller ,c will be acted upon  by the    
underside of the tappet1 and the under  
hook of the shears will  turn the       
cylinder when required4 ,b is a spring  
acting as a pawl to keep  the ratchet   
from moving backwards1 and there is also
 a spring shown  over the catch which   
moves it forward2 both these springs    
serve to keep  the tappet steady4 ,there
 are two sets of hooks and needles in   
this  machine--the ordinary set for     
working the harness1 as shown at ,a     
7,fig4  #aah71 and a set of twilling    
hooks1 one row at each side of the      
machine1  which are much stronger than  
the others4 ,the ends of the twilling   
hooks  are hooked round bars1 which pass
 through the loops at the lower ends  of
 the ordinary hooks1 as shown at ,c     

7,fig4 #aah74 ,these bars are kept in   
their places by a grid ,d1 which is     
between the ordinary hooks and the      
twilling hooks4 ,each of the needles of 
the jacquard is connected with  two or  
more of the ordinary hooks1 as shown at 
,a4 ,the twilling hooks  have also      
needles on them1 but they are only for  
the purpose of keeping  them in their   
places1 and are not acted upon by the   
cards4 ,the springs  of these needles   
are on the ends next the cards1 or at   
the back of the  faceplate or needle1 as
 shown at ,e4 ,the centre support for   
the knives  of the griffe is shown at   
,f1 with an end view of two knives ,g   
,g4 ,the  ends of the knives enter the  
griffe frame at each side1 so as to     
allow  them to oscillate or partly      
revolve4 ,this motion is given to them  
by a  set of bars or flat needles1 as   
shown at ,a 7,fig4 #aai74 ,a single     
needle  is given at ,a#a4 ,these needles
 have each the notch in them over the   
top edge of two or more of the knives1  

and are acted upon by a barrel  ,c with 
studs in it1 set to the twill4 ,this    
barrel rises and falls with  the griffe1
 and is turned from one row of pegs or  
studs to the next one  each time the    
griffe falls by the head or lantern on  
it coming down on  a finger1 as shown at
 ,a 7,fig #abj74 ,b in the same figure  
is a strong  spring to keep the barrel  
steady and make it turn the correct     
distance4    ,illustration3 ,fig4 #aag  
,the number of knives in the griffe must
 be regulated to suit the twill  to be  
put on the cloth2 they must be a        
multiple of the twill1 and this  to some
 extent regulates the number of needles 
that must be in each  upright row4 ,for 
example1 an #h-leaf twill may have #af  
or #bd knives1  which would be twice or 
three times over the twill4 ,if there   
are #h rows  of needles to #af knives1  
or #af rows of hooks1 that would be #b  
hooks to  each needle1 or if there are  
#bd rows of hooks there must be #c hooks
 to  the needle2 but if only #b hooks to

 the needle are required1 there must  be
 #ab rows of needles to #bd rows of     
hooks4 ,the same principle holds  good  
for a #e-leaf1 or any twill4 ,eight or  
#ab rows of needles would  not be       
suitable for a #e-leaf twill1 neither   
would #aj rows of needles  be suitable  
for an #h-leaf twill1 if the same number
 of hooks have to  be connected with    
each needle2 but #aj rows of needles    
with #bj rows of  hooks or #bj knives   
will answer for a #e-leaf twill with #b 
hooks to the  needle1 or would answer   
for an #h-leaf twill with #bd rows of   
hooks1 #d of  the needles to have #c    
hooks to each1 and #f of them to have #b
 hooks to  each4    ,illustration3 ,fig4
 #aah    ,each of the twilling needles1 
,a1 ,fig4 #aai1 must be connected with  
as  many of the knives as there are     
repeats of the twill2 thus1 for #bd with
  an #h-leaf twill1 the #ast1 #ith1 and 
#agth knives would be acted upon by  the
 one needle1 and so on with the others4 
,now as to the action of the machine4   

,when the pattern card presses upon  the
 needles the griffe begins to rise1 and 
when rising it must lift all  the hooks 
required for the pattern except #a_/hth 
part of them which  must be left down   
7in an #h-leaf twill7 to form the       
binding or texture  of the cloth4 ,in   
addition to this1 #a_/hth part of the   
ground warp must  be raised for the weft
 to pass under it and form the ground   
texture4  ,this is all accomplished by  
the one rising of the griffe4 ,when the 
griffe is down1 one of the twilling     
needles1 ,a1 ,fig4 #aai1 is pressed     
back by a peg or stud in the barrel1    
which causes the knives connected  with 
this needle to turn out of the way of   
the heads of the hooks1 so  that when   
the griffe is rising these knives will  
pass clear of them1  leaving every      
eighth row of hooks down to form the    
binding of the  raised or pattern warp4 
,in the ,scotch machines the knives     
slide back  instead of revolving4 ,as   
shown at ,h1 ,fig4 #aah1 there are      

projecting  pieces of brass fastened on 
the knives between the twilling hooks4  
,these hooks stand clear of the knives1 
but when the latter revolve the         
projections on them push the hooks      
forward to the next knife1 which  lifts 
them when the griffe is rising4 ,the    
hooks draw up the bars to  which their  
lower ends are looped1 and raise the    
rows of ordinary  hooks through which   
the bars pass1 thus forming the twill on
 the ground  in the same way1 but in the
 reverse direction1 that the knives     
passing  clear of the adjoining rows of 
hooks form the twill on the figure4     
,illustration3 ,fig4 #aai               
,illustration3 ,fig4 #abj    ,the       
working of the texture requires the     
griffe to fall for every shot1  which   
would be otherwise unnecessary1 and the 
card must come in against  the needles  
each time to push off the hooks that are
 not to be raised4  ,this causes wear   
and tear1 which cannot be avoided with  
this machine1  but they work very well1 

though they are not by any means        
perfect4  ,there is a good deal of      
friction on the needles1 which causes   
them to  wear quickly2 but being so much
 easier on the warp than the pressure   
harness1 and more easily managed1 they  
are extensively used for large  patterns
 in the fine linen damask trade4 ,they  
will not make so firm a  cloth as the   
pressure harness1 and have the objection
 that all twills  formed with the       
harness have when there is a gathered   
tie--viz4 that a  portion of the cloth  
will have the twill running in one      
direction and a  portion in the reverse 
direction4    ,like all single-acting   
jacquards1 these machines have no       
counterpoise  in themselves1 and being  
very heavy require one added to assist  
the  loom to raise them4 ,sometimes this
 is accomplished by means of a  carriage
 spring placed on a beam or on the top  
rail of the loom frame2  and an arm from
 the shaft1 which raises the griffe     
resting on the  spring1 will form a     

sufficient counterpoise1 the spring     
being made  as strong as is required for
 the purpose4 ,unless the springs1 which
  are made similar to those used for    
carriages1 are nicely tempered1  and the
 different pieces made so as to slide   
freely on each other1  they are liable  
to snap when the loom is running        
quickly4 ,the griffe  is generally      
driven from the fly-wheel on the        
crankshaft in the same  manner as for   
ordinary single-acting jacquards4 ,it   
is1 however1 a  better plan to drive it 
from a crank on a stud wheel gearing    
into  the tappet-shaft wheel4 ,this does
 away with the necessity for a          
counterpoise unless the machinery is    
very heavy1 in which case a  few strong 
spiral springs will suffice4 ,the       
horizontal shaft for  raising the       
griffe1 or griffes if two or more       
machines are used1 must  be very strong1
 so as not to twist with the tortuous   
strain1 which  is very great4 ,three of 
these machines1 with #ejj or #fjj       

needles to  each1 are required for      
tablecloth mountings when tied up for   
centred  patterns--one machine to work  
the border1 one the centre1 and one the 
portion between the border and the      
centre2 or two machines to work the     
double portion1 and one the single      
portion4 ,fig4 #aba gives a view of  a  
mounting tied up in this way1 ,nos4 #a  
and #b machines being double  mounting  
and ,no4 #c single4    ,illustration3   
,fig4 #aba    ,the ,karl ,wein          
,jacquard4--,this machine is a twilling 
jacquard on the  same principle as that 
last described1 but performs its work in
 a more  scientific manner4 ,it was     
patented by ,messrs4 ,j4 ,tschrner and  
,k4 ,wein1  ,kesmark1 ,hungary1 and was 
first introduced into this country at   
the  ,glasgow ,exhibition of #ahhh4     
,the following is a description of the  
machine exhibited there3 ,the  principal
 feature of this machine is perhaps that
 each knife acts  independently in a    
grid1 and is wrought by a tappet at the 

side of the  loom1 so that any row of   
hooks can be raised or lowered at       
pleasure1  and this without any change  
of card4 ,fig4 #abb gives an end view of
  the framing1 showing the upper and    
lower grids in which the knives or      
lifters slide4 ,an end view of four of  
the lifters is given at ,a1 #a and  #c  
belonging to the top set1 which work in 
the upper grid1 and #b and #d  to the   
bottom set1 which work in the lower     
grid4    ,illustration3 ,fig4 #abb    ,a
 perspective view of eight of these     
lifters is given at ,b ,c1 ,fig4  #abc1 
with upright slide bars ,d attached to  
them1 which slide in the  rack or frame 
,e4 ,these bars are for the purpose of  
making the lifters  rise steadily and   
horizontally1 as 7which may be seen7    
they are not  all lifted at their       
centre4 ,only one connection is fair in 
the centre1  which would no doubt be an 
objection with a heavy harness to lift2 
but  this arrangement is made to suit   
for the machine sitting across the      

loom1 for a ,london tie1 and some method
 of making vertical connections  from   
the levers to the lifters is necessary4 
,the above does very well  for a narrow 
harness if light4    ,illustration3     
,fig4 #abc    ,illustration3 ,fig4 #abd 
,if the machine was fixed on the loom   
for a ,norwich tie1 or with the  cards  
to hang over the back1 then the         
connections from the levers might  all  
be at the centres of the lifters and the
 bars ,d would only be  required to     
steady them4 ,the levers for raising the
 lifters are shown  at ,f1 with their   
fulcrum at ,i4 ,g is a spring1 one of   
which is attached  to each lever to keep
 it down1 as the tappet has not a       
positive  rising and sinking motion1    
only raising the levers and allowing    
their  own weight and the draw of the   
springs to recover them4 ,one of the    
connecting rods from the lever to the   
tappet is shown at ,i4 ,fig4 #abd  gives
 the principle of this tappet4 ,a is the
 lever or treadle with  its fulcrum at  

,a2 the connecting rod ,b connects the  
point of it to  one of the top levers ,f
 7,fig4 #abc71 and ,c is a bowl at the  
other end  of it which travels on the   
tappet plate ,d4 ,the tappet is made up 
of  #ag plates struck to suit2 #af of   
these are for working the lifters and   
#a for the cylinder2 it sits at the side
 of the loom like a ,woodcroft  tappet4 
,for an #h-;end satin twill #af levers  
are required1 #h for the  bottom set of 
lifters and #h for the top set4 ,fig4   
#abc;,a shows two  lifters ,b#a and ,c#a
 with hooks and needles4 ,a hook and a  
needle on a  larger scale are shown in  
,fig4 #abe4 ,the hooks are flat pieces  
of iron  cut to the shape shown1 with   
small projecting pieces1 as a1 riveted  
to them1 by which they can rest on the  
bottom lifting knives1 as at  ,c#a      
7,fig4 #abc;,a71 so that when any of    
these knives are lifted a row of  hooks 
will be raised by them4 ,as before      
explained in reference to the           
,bessbrook machine1 it is necessary when

 the pattern card presses on the        
needles for all the knives except one to
 act1 and also for one of the  bottom   
lifters to rise to form the texture of  
the cloth2 the same must  be in this    
machine1 and can easily be regulated by 
the tappet1 which  should hold up the   
warp required for the pattern and work  
the ground  texture as well4 ,this is   
done in the following manner3 ,suppose  
there  are #af lifters1 #h top and #h   
bottom ones4 ,when the card presses on  
the  needles1 #g of the top and #a of   
the bottom lifters should be raised by  
the tappet1 and the top lifter1 which is
 left down1 should be raised  so far as 
to catch the heads of those hooks in the
 row belonging to it  that are not      
pushed back by the card4 ,for the next  
shot this lifter is  raised and another 
one let down1 but it is not let down far
 enough for  the hooks to get off it1   
stopping at the same height that the    
first  one was raised to1 which is      
easily regulated by the tappet4 ,if     

there  are #c shots to the card1 another
 similar change takes place2 then for   
the fourth shot all the lifters are     
dropped1 the cylinder presses  in1 and  
all but one of the top lifters and one  
of the lower ones are  again raised1 and
 the twill proceeded with as before4 ,it
 will thus  be seen that the shedding   
for the twill acts as in a double-acting
  jacquard1 but the lift at the change  
of card is similar to that of a         
single-acting jacquard4 ,of course the  
tappet must be struck to change  the    
lifters according to the twill required 
on the cloth4 ,in the  ,bessbrook       
machine there could be #af1 #bd1 or #cb 
rows of hooks to #h rows  of needles by 
having #b1 #c1 or #d hooks to each      
needle1 or the number  of hooks to each 
needle might vary and any number of     
needles might be  used4 ,there must be a
 knife for each row of hooks1 but all   
the knives  belong to the one griffe4   
,in the ,karl ,wein machine there must  
be #b  lifters for each row of hooks1   

and #af of them are enough to have for  
convenience4 ,in the machine exhibited1 
#af hooks1 or #b rows of #h1 were       
attached to #f needles1 #d needles      
having #c hooks to each and #b needles  
#b hooks to each1 as shown at ,b 7,fig4 
#abe71 the thick vertical lines         
representing #a row of hooks1 and the   
thin lines the next row4 ,there  were #f
 rows of needles in the needle board1   
and the point of each  needle was       
cranked as shown at ,c2 each row of     
holes for the needles in  the needle    
board1 or face-plate1 stood between #b  
rows of hooks3 the  first #c needles    
were connected with #a row of hooks and 
the second #c  with the next row1 the   
cranks of the first and second set of   
needles  being turned in the opposite   
direction so as to enable them to fall  
in  with the rows of hooks4 ,of course  
there might as well have been #h rows   
of needles with #b hooks to each1 or #d 
needles to each row of hooks4           
,illustration3 ,fig4 #abe    ,if        

necessary to use more than one machine1 
some arrangement would  require to be   
made for lifting them4 ,it might be done
 by using a double  set of levers with  
connecting rods similar to those used   
for twilling  looms4    ,the twilling of
 the ground might be wrought by a griffe
 and hooks as  in the ,bessbrook        
machine1 thus doing away with seven     
treadles and  seven tappet plates1 but  
this would make the twilling a          
single-acting  shedding motion4         
,since this was written the machine has 
been altered so as to make it  more     
suitable to the requirements of the work
 in this country1 but  does not appear  
to gain favour1 and this class of       
weaving is not very  extensively used4  
,,chapter ,,vii    ,,gauze      ,the    
principle of weaving gauze with shafts  
and healds applies equally  to making it
 with a harness1 though perhaps the     
latter is simpler1  as there is not the 
same trouble in the arranging of drafts2
 and1 in  intricate work1 the number of 

doup leaves required for shaft mountings
  adds considerably to the trouble of   
the weaver and tackler4    ,the         
simplest1 or in any case the most ready1
 method of weaving gauze in  a harness1 
is to use an ordinary harness1 and form 
the gauze by means  of one or more doups
 and standards in front of it4 ,suppose 
we have have  a #djj machine with the   
harness tied up in simple repeats of    
#djj2 any  desired pattern can be put   
upon the cloth to the extent of #djj    
hooks of  the jacquard as in ordinary   
harness work1 but it cannot be made of  
any  texture desired--it must be made to
 suit the working of the doups in  front
 of the harness4 ,if the open work is to
 be a plain gauze with one  shot into   
each shed1 then the pattern must be     
plain cloth1 as the doup  standard must 
be raised and sunk alternately for each 
shot2 but any  desired form or figure   
can be made in plain texture on the #djj
 hooks1  and the cloth will consist of a
 plain figure on a gauze ground2 or it  

might as well be a gauze figure on a    
plain ground4    ,those not acquainted  
with figured gauze work1 have           
considerable  difficulty in             
understanding how to make plain or gauze
 as required on  the cloth4    ,it is   
easy to understand that working the     
harness without the doups  can make     
plain cloth1 and also that working the  
doups and standards1  and portion of the
 harness1 for alternate shots1 can make 
gauze2 but  the difficulty is to        
thoroughly comprehend how1 when working 
gauze1  to neutralise the crossing of   
that portion of the warp that is to     
form the plain figure4 ,there are two   
ways of neutralising the crossing       
effect of the doups on any thread or    
number of threads that may be  required 
for the figure3 first1 by not raising   
the mail or mails  carrying the crossing
 threads1 or threads in the doups1 but  
forming  the plain by raising the mails 
carrying the threads not in the doups1  
alternately with the doup standard2 and1

 secondly1 if the threads not  in the   
doups are raised along with the doup    
standard1 no crossing can  take place2  
but this would not suit for working     
plain cloth1 as these  mails must be    
down when the doup standard is up in    
order to form plain  cloth4             
,illustration3 ,fig4 #abf    ,if a      
different gauze is required1 say one    
with #b shots into each shed1  or       
between the crossings1 then the solid   
texture might be a rib or mat2  or if it
 suited the pattern1 as in the case of  
dice work1 two doups  could be employed1
 so that one could rest when the other  
is working  the gauze4 ,fig4 #abf is a  
plain gauze and plain texture1 common   
dice  pattern1 which could be wrought   
with shafts1 but shows the principle  of
 working with the harness as well4 ,this
 could be wrought with one  doup in     
front of the harness4 ,to work the dice 
,a the mails carrying  the threads not  
in the doups would be raised alternately
 with the doup  standard1 and thus form 

plain cloth2 and at the same time1 to   
make  the dice ,b a gauze1 the mails    
carrying the threads in the doups would 
be wrought alternately with the doup    
standard4 ,for the dices ,c and ,d1     
this would be reversed4 ,in case of the 
gauze having to be made with1  say1 #c  
shots into each shed1 and #b threads    
twisting round #b to give  openness of  
texture1 it will be seen that it could  
only be wrought with  one doup1 provided
 #c shots went to each shed of the solid
 dice1 as the  doup would require to be 
up for #c shots in succession1 and down 
for the  same4 ,if plain cloth were     
required it would be necessary to have a
  doup and standard for each dice1 so   
that one could remain down when the     
other is raised for gauzing2 this would 
allow the harness to work any  texture  
on the solid dice1 the doup of which is 
not gauzing4 ,if it were  required to   
work a diagonal stripe of plain and     
gauze1 as shown in ,fig4  #abg1 with #b 
weft shots coming in between each       

crossing of the gauze1  #f doups would  
be required in front of the harness1    
whereas if only  one shot came between  
the crossings only one doup would be    
required4  ,it will be seen that there  
are #f splitfuls of warp to one repeat  
of  the pattern1 and that the change    
from the plain to the gauze is at a     
different time for each2 therefore1 on  
account of the doup standards  having to
 be raised for #b shots in succession   
when a portion of the  cloth is plain   
texture1 it is necessary for each       
splitful of warp to  have its own doup  
so that it can be crossed without       
interfering with  the plain texture in  
the other portion of the cloth4         
,illustration3 ,fig4 #abg    ,this      
pattern would be better suited for a    
shaft mounting than for a  harness with 
doups in front1 but could be wrought    
with a gauze harness  more easily than  
with either4 ,the advantage of using a  
harness with  doups in front1 in this   
case1 over a shaft mounting1 would be   

that the  plain stripe could be figured 
if desired1 and the gauze stripe might  
go  in steps of two or three splitfuls  
alike1 which would give much bolder     
stripes4    ,when more than one or two  
sets of doups would be required to be   
used in  front of a harness1 it is      
advisable to adopt a true gauze harness1
 as  the doup shafts come in the way of 
the weaver4 ,a gauze harness has the    
doups in the harness1 so that they can  
be lifted independently1 which  admits  
of indiscriminate figuring on either the
 gauze or solid portion  of the cloth4  
,when using doups in front of the       
harness it is not necessary that the    
plain or solid cloth should be all a    
plain or unfigured texture2 any         
suitable warp figure may be formed on   
the plain by the harness1 but  weft     
figures cannot be made on the upper side
 of the cloth1 because1  though the     
harness can be raised for any number of 
shots in succession  to form a figure by
 the warp1 having it sunk would not in  

the same way  form a weft figure1 as in 
crossing the gauze a portion of the yarn
  would be raised by the doup standard1 
which cannot be prevented1 unless  by   
having more doups than one4 ,a harness  
with doups in front is better  suited   
for working stripes than any other class
 of work1 and it is in  this class of   
work that gauze can be made most        
effective4    ,when figuring with gauze1
 unless several shots are thrown into   
each  shed1 or between the crossings of 
the gauze threads1 and #c or more  warp 
threads are twisted together1 the       
openness of the texture is not          
sufficient to make a good contrast      
between the plain and gauze unless  the 
fabric is very light2 and even with #b  
threads round #b1 and throwing  #d to #f
 shots into each twist1 the contrast is 
not so great as might  be desired when  
the cloth is heavy4 ,a portion of the   
weft1 say every  second or third shot1  
might be made to pass either over or    
under the  gauzed texture and interwoven

 only with the solid portion of the     
cloth1  the flushed or loose weft to be 
cropped off afterwards4 ,in stripes1 not
  only can this be done1 but the warp   
may be set much thinner or wider  in the
 reed for the gauze3 say every second or
 third split may be left  empty2 or it  
may be of a different description of    
yarn--a fancy twist  if desired1 or in  
threads of different colours4 ,a fancy  
stripe with  three threads to the split 
in a reed1 set #cj splits per inch1 and 
every  second split of the gauze portion
 left empty1 makes a very effective     
pattern for fine work1 with say #hj     
picks per inch2 or #abj picks might  be 
used1 and every third or fourth one not 
wrought into the gauze1 but  flushed    
over to be cut off afterwards4 ,there   
might be #b thick threads  or #d finer  
ones to each split of the gauze1 and #d 
to #f shots into each  crossing1 this1  
of course1 to be regulated to suit      
circumstances and  taste2 one thing     
must1 however1 be remembered--viz4 that 

when made too  bold or open the warp    
ribs are liable to slide on the weft1   
and this  is the chief defect in gauze  
when made open1 especially when a       
smooth1  clean yarn1 as linen1 is used4 
,illustration3 ,fig4 #abh               
,illustration3 ,fig4 #abi               
,illustration3 ,fig4 #acj    ,when      
working stripes1 any pattern1 or any    
texture or style of cloth1  whether     
single1 double1 or pile work1 may be    
used for the solid  stripes1 or the     
whole cloth may consist of stripes made 
of combinations  of gauze and solid     
textures4 ,one set of stripes may be    
wrought quite  independently of the     
other by having the yarn on separate    
beams1 and  when only one set of stripes
 is gauzed1 the others are not drawn    
into  the doup heddles1 so are quite    
independent of them4 ,the doup heddles  
may be spaced or otherwise as desired4  
,when working with doups in front  of   
the harness1 there must be a slackener  
for the crossing threads for  each doup 

standard1 same as for heddle work4      
,figs4 #abh1 #abi1 and #acj  show some  
of the methods of slackening in use4 ,in
 ,figs4 #abh and #abi1  ,a is the yarn  
beam1 ,b the back rail1 ,c and ,d the   
vibrating bars or  slackeners1 ,c acts  
as a fulcrum2 and in ,fig4 #abh the bar 
,d presses the  crossing yarn down and  
is raised by the tappet ,e1 which may be
 either  above or below a lever on the  
end of the bar ,c1 a spring on the lever
  regulating it1 to hold it against the 
tappet4 ,in ,fig4 #abi the bar ,d is    
sunk to relieve the crossing yarn1 by   
drawing up the cord ,g1 which is        
attached to the jacquard or dobby1 the  
spring ,h holding the lever ,e  down    
when it is relieved4 ,fig4 #acj is      
similar to ,fig4 #abi1 but for two      
doups2 it is shown both in perspective  
and in end view1 and will be  clearly   
understood4 ,c and ,d must be set at    
such a distance above each  other as    
will permit of the traverse of ,d       
without ,c being moved4 ,two or  more   

shafts of heddles might also be used    
which could hold the crossing  yarn     
either up or down1 same as the bars1    
till they are acted on by the  jacquard 
or by a tappet4    ,illustration3 ,fig4 
#aca    ,illustration3 ,fig4 #acb       
,designing4--,when designing a pattern  
for gauze1 with doups in front  of the  
harness1 it is only necessary to set off
 a few hooks of the  jacquard to work   
the doups and slackener1 and design the 
fancy portion  on the remaining hooks2  
or if the gauze and slackener are       
wrought  with tappets the full jacquard 
will be available for the figured       
portion1 the same as if no gauze were   
being made4 ,if the doups and  slackener
 are to be wrought by the jacquard the  
pattern can be painted  on the remaining
 hooks1 and the dots for working these  
can be added  afterwards1 agreeably to  
the texture of the gauze required4 ,the 
doup  standard and slackener should act 
together1 and the doup or half leaf     
should rise when the harness carrying   

the crossing threads rises4 ,if  the    
doup standard is to be raised every     
second shot1 as is required  when plain 
cloth has to be wrought with one doup1  
it might be wrought  by a tappet1 and   
the doup or loose heald might be raised 
by the machine  for every shot1 as it   
must rise with its standard as well as  
when the  harness raises any of the yarn
 drawn into the doup4 ,the doup shaft is
  best held down by a light spring4     
,indiarubber about #c_/af or #a_/d in4  
in diameter suits very well4 ,one spring
 at each side of either one or  two ply 
of this should be sufficient4 ,if the   
number of rows in the  harness is such  
that it will correspond with the number 
of threads to  be twisted together1 or  
be a multiple of them1 it will be all   
the more  convenient1 though it is not  
necessary for it to be so4 ,for         
instance1  if #a thread is twisted round
 #a1 #b1 an #h-row harness would give #d
  repeats of this in each row2 but if #a
 thread were twisted round #b1 #c1  then

 #a row of the harness would give #b    
repeats1 or hold #b splitfuls of  warp  
and #b threads over1 so that another    
thread would have to be taken  from the 
back of the next row4 ,for this a #f-row
 harness would be more  convenient1     
which could be got by leaving #b rows of
 the machine idle1  and designing the   
pattern on #f-row paper1 or ruling      
#h-row paper to  #f-row after the design
 is painted4 ,to work fancy textures    
with gauze by  means of a harness with  
doups in front1 both must be arranged to
 suit  each other1 unless a large number
 of doups be employed4 ,for instance1  a
 #b-;and-#b twill could be wrought with 
#a doup leaf in front of the  harness by
 making #a thread of the gauze twist    
round #c1 and throwing  #b shots into   
each crossing1 as shown in ,fig4 #aca4  
,if #a thread were  to be twisted round 
#a with a #b-;and-#b twill1 and #b shots
 to the gauze  crossing1 #b doup leaves 
would be required1 as shown in ,fig4    
#acb4 ,a  #d-thread fancy twill can be  

wrought with #a doup1 as shown in ,fig4 
#acc1  #a thread twisting round #c and  
#d shots into each crossing of the      
gauze4  ,satins or regular twills are   
more difficult to work1 unless by making
  an irregular gauze4 ,take a #e-;end   
satin1 which has the threads over #d    
and under #a4 ,the gauze might have #d  
shots and #a shot into each crossing    
alternately1 and be easily wrought with 
#a doup2 but if #b or #c shots had  to  
go to each crossing it would be         
different1 as the doup would require  to
 sink for #a shot out of #e1 in order to
 let the threads drawn into it  bind in 
the twilled portion of the cloth1 or    
otherwise the binding  would have to    
take place on these threads when the    
doup is down1 which  it could do if it  
suited otherwise4 ,but it must be       
remembered that  when solid cloth and   
gauze are working together1 the former  
is made  by raising the doup standard   
and those mails which carry the threads 
that are not drawn into the doup1       

leaving stationary the mails carrying   
the crossing threads1 except where gauze
 is being made2 therefore1 in  working a
 #e-;end satin1 if the doup held up any 
of the threads for1  say1 #c shots1 and 
then sank for #c1 there would be no way 
of holding up  these threads in the     
twill portion to make them pass over #d 
shots1 as a  #e-;end satin must do1 for 
if the harness twines carrying these    
threads  are raised1 they will cause a  
cross to be made instead of completing  
the twill4 ,patterns of this description
 should all be wrought in a  gauze      
harness4 ,in the figures given the gauze
 crossings are represented  by dotted   
lines where they are raised by the      
harness1 for sake of  distinction4      
,illustration3 ,fig4 #acc               
,,hand-,,loom ,,gauze ,,harness4        
,illustration3 ,fig4 #acd               
,illustration3 ,fig4 #acd;,a    ,a large
 quantity of goods are still being made 
in the hand loom on  the gauze          
principle4 ,these are mostly for        

curtains known as ,cretes  or ,madras   
muslins1 and for antimacassars or chair 
backs4 ,they are  chiefly woven in and  
about ,glasgow1 and in ,newtownards in  
the ,north  of ,ireland4 ,these goods   
are made on the half-harness            
principle--that  is1 half the warp is   
drawn into the harness and the other    
half passes  through the harness and is 
drawn into a set of heddles in front4   
,this  mounting is shown in ,fig4 #acd4 
,it will be seen that every alternate   
thread is drawn into one of the harness 
mails and all the threads are  drawn    
through a pair of clasped leaves of     
heddles ,a ,b2 those that are  drawn    
into the mails are drawn through the    
under clasp of the leaf ,a1  and those  
that are not in the mails through the   
upper clasp of the  leaf ,b4 ,the       
threads are next drawn through the doups
 as shown1 those  in the mails being in 
the back set1 or upper doups4 ,these    
doups are  made different from those    
generally used1 the doup or half-heald  

being  connected with two standards2    
this is for the purpose of throwing less
  strain on the yarn4 ,when the harness 
is drawn the shaft ,a is also  raised1  
,b being sunk1 as well as the front set 
of doups4 ,as the yarn  in the harness  
is also drawn through the back set of   
doups1 it follows  that they must be    
relieved to allow the harness to raise  
the yarn4 ,this  might be done1 and     
sometimes is done1 by sinking the       
ordinary doup  shaft and letting the    
yarn draw the doup through its standard2
 but in  this case the standard ,c is   
raised1 which allows the thread to rise 
in the doup1 as shown at ,fig4 #acd;,a1 
without having to draw it up1 and  at   
the same time all the doups are kept    
firm in their places by the  standard   
,d1 thus preventing any entanglement in 
a fine set of doups4  ,the distance     
between the harness and back leaves is  
#d in41 and between  the back leaves and
 gauze mounting #c in4 ,the cloth is a  
plain gauze1  and the figure is formed  

by throwing one or more shots of rove   
weft1  either white or coloured1 into   
the shed formed by the harness flushing 
over the ground and clipped off         
afterwards4 ,to form the figure shed1   
draw the harness1 raise the leaf ,a and 
the standard ,c1 and sink the  other    
leaves1 making a rising and falling     
shed1 or centre shedding4 ,to  form the 
gauze1 for the open shed raise ,b ,c ,d 
and ,f1 and to form the  cross shed     
raise ,e and ,f1 in both cases sinking  
the others4 ,for these  sheds fine or   
ground weft is thrown in1 the flowering 
shots coming  between them4 ,the shafts 
,a and ,b are for the purpose of keeping
 a clear  shed1 but might be done       
without4 ,these goods are now largely   
made by  power looms1 principally with  
gauze reeds1 which see4      ,,gauze    
,,harness    ,in a true gauze harness   
the doups are connected with the mails  
or  leashes of the harness1 the harness 
twines1 or leashes1 acting as  standards
 for the doups1 so that any splitful of 

warp may be crossed  or twisted         
differently from the others1 and any    
kind of texture can  be wrought along   
with the gauze without having to        
consider the one in  connection with the
 other1 as in the previous harness4     
,figs4 #ace and  #acf show how these    
harnesses are tied up2 the letters refer
 to the same  parts in both figures4    
,the harness is shown with four cords in
 the row1  for the back harness and the 
doup mail in front1 and this could be   
repeated twice for an eight-row harness4
 ,it is better to have the rows  of the 
harness regulated in this way to suit   
the gauze to be made1 and  have the doup
 leashes in one or two rows at the      
front1 but it is not  necessary for it  
to be so1 as the doups could come on any
 of the mails  through the harness1 if  
desired1 in case of a harness being tied
 up1  and it being wanted to add the    
doup leashes for gauzing2 but this is   
rather confusing4 ,in any case1 this    
method of working is now superseded4    

,illustration3 ,fig4 #ace               
,illustration3 ,fig4 #acf    ,a is the  
doup or dead leash1 ,b the doup         
standard1 or what answers to  the doup  
standard in heald work4 ,c and ,d are   
the leashes carrying the  plain or lying
 threads1 and ,e the leash carrying the 
crossing thread1  the crossing in this  
case being one thread round two4 ,f is  
the doup4  ,fig4 #acf shows the harness 
drawn for the open shed1 and it will be 
observed that the dead leash ,a is      
connected with the back harness  ,e1 so 
that when this leash is raised to form  
the shed it draws up  the dead leash1   
also relieving the doup4 ,there was one 
trouble with  these dead                
leashes--namely1 that they were liable  
to twist round the  standards when close
 to them in the cumber board1 sometimes 
being put  through the same hole or the 
next one2 but by having them in front   
and a little distance off this could be 
avoided4 ,wires or cords were  sometimes
 stretched across between the lingoes to

 prevent the twisting4  ,fig4 #ace shows
 the harness drawn for the cross shed1  
the doup standard  being drawn up1      
drawing the doup up with it4 ,the doup  
was fastened  into the mails as shown at
 ,no4 #a1 ,fig4 #ace2 but a better plan 
is to  have double-eyed mails1 and      
fasten the doup as at ,no4 #b4 ,this    
form of  harness is now superseded by   
one having all the doups on a shaft in  
front of the harness1 which consists of 
two parts--namely1 the back  harness and
 the douping harness 7which is about    
#c_/d in4 to #a-a_/b in4  in front of   
the former72 the doups are connected    
with this latter  harness1 and all the  
doups may be on one shaft1 whether for  
one1 two1  or more rows of standards in 
the front harness4 ,the doups on the    
shaft  are known as a #8slip heald' or  
#8slip4' ,this is a much simpler and    
more  convenient method of working than 
the preceding4    ,fig4 #acg shows a    
simple and effective gauze mounting for 
a #djj  jacquard1 the cords being       

carried up to the machine in the usual  
way4 ,a  is the breast beam of the loom1
 ,b the reed1 ,c the back rail1 and ,n  
the  yarn beam4 ,d is the slip heald1 or
 doup1 which is simply a half-leaf of   
ordinary clasped heddles1 made of cotton
 or worsted1 fine or coarse1 as  may be 
desired for the quality of work to be   
wrought4 ,e is the front  or doup       
mounting1 connected with the two front  
rows of the machine1  and passing       
through a small cumber board in front of
 that for the body  of the harness2 it  
is bolted so that it can be shifted to  
regulate  the distance between the doup 
harness and that of the figuring4 ,the  
distance between the two harnesses may  
range from #c_/d in4 to #a-a_/b in41  or
 whatever is found most suitable to ease
 the strain on the yarn and  make a     
clear shed4 ,g is the cumber board1 and 
,f the body of the harness  for working 
the figure4    ,illustration3 ,fig4 #acg
    ,the method of slackening the       
threads that are drawn into the doups   

is perhaps the principal feature of this
 mounting4 ,when one or more  slackening
 bars are used it is plain that all the 
threads that pass  over the bar that is 
oscillated will be slackened at once1   
though for  figured work it may be that 
only a very few of these threads should 
be slackened1 and if the remainder or   
any portion of them are raised  by the  
back leashes they should be kept tight  
at the back so as to  enable them to    
draw up the slack doups4 ,it follows1   
therefore1 that for  giving good work   
and keeping the threads at a regular    
tension1 every  thread in the doups     
should have its own independent         
slackener4 ,it is  not absolutely       
necessary that this should be so2 strong
 twist cotton or  worsted yarn will work
 very well in a harness with one        
slackening bar  vibrating for each shot1
 though it must throw an irregular      
strain on  the yarn1 and it requires to 
be tightly paced4    ,in ,fig4 #acg the 
slackening arrangement consists of a    

small back  harness1 as shown at ,i1    
through which all the whip threads are  
drawn2  these threads then pass over one
 lease rod and under the next one1  as  
shown1 and then on to the harness to be 
drawn in according to the  draught of   
the gauze4 ,the harness consists of     
small mails attached  to lingoes with   
twines in the same way as the lower     
portion of the  ordinary harness is     
prepared1 but the mails are rounded off 
above the  eye or centre hole without   
having the top hole for threading the   
upper  portion of the harness to4 ,the  
cumber board of this harness must be    
nicely set1 so that the lingoes will    
hang on the yarn without drawing  the   
mails quite close on the cumber board1  
which soon would cut the  twines4 ,to   
regulate this the cumber board and back 
rail must be set in  relation to each   
other and the mails of the harness so as
 to produce  the desired effect4 ,a     
medium position for working may be taken
 as  follows3--,cumber board #ab in4    

behind harness and #f in4 in front of   
back  rail4 ,back rail #b in4 above the 
level of the mails in the main harness1 
and cumber board of small back harness  
#c in4 below the level of the  mails1 or
 #e in4 lower than the top of the back  
rail4 ,the back lease  rod might then   
come in about #h in4 behind the harness4
 ,the weight of  the lingoes on the back
 harness must be regulated to suit the  
strength  of warp to be wrought2 about  
#cj to #dj per lb4 for1 say1 from #dj_/b
 to  #hj_/b cotton would suit4 ,the     
mails for the body of the harness may be
  #be's or #cj's1 or the same as for    
ordinary work1 and those for the doup   
standards heavier1 say #ah's or #bj's4  
,in addition to this harness for        
slackening1 or rather for keeping a     
yielding tension on the whip1 there  is 
a slackening bar supported by a lever ,k
 ,l ,m at both sides of the  loom4 ,this
 lever has its fulcrum at ,l1 and is    
attached to the swords  of the lay at   
,m1 and therefore vibrates at every beat

 up4 ,the slackener  acts as a positive 
motion1 and keeps the threads from      
tightening up  or being drawn forward by
 the twisting2 it acts on the body of   
the  threads1 and the harness acts on   
them individually4    ,this1 when       
properly set1 is an easy motion1 and    
produces a good firm  gauze4 ,it is a   
,bradford patent4 ,now1 in reference to 
the working of the  gauze3 ,the harness 
is levelled much in the same way as for 
ordinary  work1 the mails being #a-a_/b 
in4 or #a-c_/d in4 below the level of   
the  breast beam4 ,the doup mails should
 be a little lower than those for the   
harness1 say #c_/af in4 or #a_/d in4    
,the shed should be closed1 and begin to
 open again when the reed is  at the    
fell of the cloth4 ,too large a shed    
should not be made with  the doups1 on  
account of the strain on the yarn3 a    
small clear shed  gives much more       
satisfactory work4 ,the front cumber    
board1 containing  the doup leashes1 may
 be shifted a little forward or back if 

thought  desirable1 so as to get the    
cross shed to spring as easily as       
possible1  the amount of elasticity in  
the warp varying this considerably4 ,the
  slip heald is raised for every shot by
 cording it to the brander  or griffe of
 the jacquard1 which for gauze work is  
generally a  single-acting one4 ,springs
 are used for holding down the slip--a  
light  wire spring1 or1 better1 a piece 
of round indiarubber about #c_/af in4   
in diameter1 doubled if necessary4      
,bridles should be attached from the    
shaft of the slip heald at each end and 
fastened to the cumber board so  as to  
bear the draw of the springs when the   
harness is down2 the cords  connected   
with the jacquard for raising this shaft
 may then be left  slack1 and the size  
of shed may be regulated or made less   
than the draw  of the machine1 if       
required4    ,it is very important to   
have the doups nicely adjusted2 on this 
depends  their lasting capacity1 and    
sometimes a very short time is          

sufficient  to cut them to pieces if    
badly set4 ,but if correctly done they  
will  generally last for a length of    
time1 particularly if occasionally      
turned on the shaft1 which is more      
essential in working with a linen  than 
with a cotton warp4    ,one of the doup 
standard mails with a doup through it is
 shown at ,no4  #a 7,fig4 #ach71 where  
it may be seen that the doup is simply  
drawn  through the eye of the mail1 and 
not connected with it in any way4 ,it   
is only held in this position by the    
warp thread passing through it1  and    
whenever the thread breaks the doup     
falls out of the mail4 ,this  is a      
trouble to the weaver1 at least till she
 gets accustomed to it1  and mails1 as  
shown at ,no4 #b1 have been made to hold
 up the doup4 ,the  remedy here is often
 worse than the evil4 ,the mails wear   
the doups1  particularly if the springs 
draw them tight down on the eyes of the 
mails2 and besides1 they have the       
disadvantage that the slip heald has  to

 be built in them after the harness is  
mounted1 whereas with the  open mails   
the slips can be procured anywhere quite
 independent of the  harness4 ,the slip 
heald must be set so that when the      
harness is down  the yarn will not be   
drawn through the eyes of the mails by  
the doup  sinking too low4 ,this may be 
guarded against by adjusting the bridles
  at each side1 between the slip shaft  
and the cumber board4 ,the loops  of the
 doups should pass about #a_/d in4      
through the eyes of the mails  when at  
the lowest or bottom position1 and the  
front mails being about  #a_/d in4 lower
 than the others allows the loops of the
 doups to be just  bearing lightly on   
the warp1 all being held up straight4   
,the slackening  bar must be arranged to
 work in time with the doup standards1  
and  should not slacken the yarn too    
much nor too little1 just keeping it  at
 a uniform tension4 ,the great point    
with tender or weak yarn is to  reduce  
all friction to a minimum1 no matter by 

what it is caused1 and  if this is done 
the yarn and doups1 if they are of a    
fair quality to  begin with1 should both
 work well2 but a very slight difference
 in  setting the doup may make a great  
deal of difference in the working of    
it4 ,a doup that may be cut to pieces in
 working #bj yards of cloth might  work 
#djj or #ejj yards with so little       
alteration as not to be noticeable  to  
those not accustomed to the work4 ,the  
slackening bar must not rise  so high as
 to raise the yarn that is above it1 nor
 must it sink so low  as to press the   
whip down on the back harness board1 and
 it must be so  regulated that within   
these limits it will give the proper    
amount of  slackening1 and prevent the  
whip warp from getting tight and drawing
 up  the small back harness4            
,illustration3 ,fig4 #ach    ,worsted   
makes the best weaving doups for strong 
work1 but for lighter  work cotton is   
mostly used1 being finer and cheaper4   
,sometimes  polished linen yarn is used 

and makes a very smooth doup1 but does  
not  give the wear4    ,small metallic  
rings are sometimes used on the loops of
 the doups1 and  the warp drawn through 
these rings2 this suits for yarn with   
much fibre  on it1 as it keeps the fibre
 from getting twisted into the doups1   
but  the rings cut the doups faster than
 ordinary yarn working in them would4   
,instead of a slip heald in front1 doups
 with a lingo on each have been  used1  
with the mails for the standards as     
shown at ,no4 #b1 ,fig4 #ach1 so  that  
the doups cannot fall out of them1 and  
the yarn when drawn up by  the back     
harness in shedding raises the doups and
 lingoes up with it4  ,the weight of the
 lingoes must be such as will suit the  
strength of the  warp to be used--not   
too heavy for it to lift nor too light1 
so that  in the cross shed the doups    
would be drawn through the mails4 ,these
  doups being separate1 are easily built
 in the harness and very easily         
repaired by the weaver when they break1 

but they break too frequently4  ,it is1 
of course1 only for a strong warp that  
this method of working is  suitable1 and
 even for it1 although it works very    
well1 the principle  is not good4       
,the gauze harness which will probably  
be most frequently met with1 at  least  
in the cotton trade1 is shown in ,fig4  
#ach4 ,it is an older harness  than that
 described1 having been patented in     
,macclesfield in #ahgf in a  somewhat   
different form4 ,the difference between 
this and the preceding  chiefly consists
 in the method adopted for slackening   
the yarn1 and the  jacquard may also be 
specially built to suit for this4 ,in   
setting this  loom the harness and mails
 are tied up and levelled as before1 but
 when  working the back rail is kept    
down1 as it usually is for gauze work1  
say about #a_/b in4 lower than the eyes 
of the mails4 ,each whip thread  has its
 own slackener1 the slackening apparatus
 consisting of a harness  wrought either
 by the same jacquard that works the    

figure1 or by an  extra one1 when much  
pattern is required4    ,the connections
 of the needles with the hooks are shown
 at ,a1 the  two bottom needles being   
connected with the two front and two    
back  hooks1 the former for working the 
gauze and the latter for working the    
slackeners4 ,this harness is intended   
for a #a-round #c-;gauze1 and is        
mounted on a #aj-row machine with an    
#h-row cylinder on it4 ,it is not       
necessary that the back harness for     
slackening should be raised so high  as 
the figuring harness is1 and for this   
reason1 as well as that it  makes the   
harness more direct and avoids friction1
 it is tied to two  sets of levers as   
shown at ,g and ,g#a2 they are made of  
brass and are  fastened on two rods1 one
 about #d in4 above the other1 so as not
 to  come into contact with each other  
when rising or falling4 ,the points  of 
the levers are fastened to the two back 
rows of hooks as shown1 and  the harness
 is tied to wire hooks on these levers2 

,f is the neck of the  harness1 ,d the  
cumber board1 and ,n the lingoes1 which 
are much heavier  than those used for   
the figuring harness1 from #f to #aj per
 pound being  the weights frequently    
used1 according to the class or weight  
of the  work4    ,the mails used on the 
back harness are similar to those used  
for the  doups--that is1 such as are    
shown at ,no4 #a 7,fig4 #ach72 but if   
these cut  with the warp sawing through 
them1 glass mails should be used4 ,l    
,l#a  are two rods or bars which support
 the warp that is drawn down between    
them by the slackening harness4 ,the    
closer these bars are set together  the 
greater will be the amount of slackening
 given to the warp when the  harness is 
drawn2 therefore these bars should be   
made to slide either  way so that the   
desired slackness is obtained by setting
 them4 ,about #c  in4 to #d in4 apart is
 a good working width2 the tops of the  
bars should  be about #a in4 lower than 
the mails in the figuring harness1 and  

the  tops of the eyes of the mails in   
the back harness should be #a in4 or    
#a-a_/d in4 lower than the rods4        
,another method of arranging the needles
 in a jacquard for a gauze  mounting is 
shown in ,fig4 #aci1 which is1 perhaps1 
more convenient for  the designer1 as   
will afterwards be seen4 ,in this       
harness there are #aj  rows of hooks1   
the same as before--#f for the figuring 
harness and #b for  the doup standards4 
,the doup standards are here on the     
hooks connected  with the fourth and    
eighth needles1 and come after the      
threads that  the whip in them twists   
round1 and fall in this position on the 
design  paper1 instead of both being at 
the end of a design--that is1 on the    
seventh and eighth checks4 ,for any     
order of twisting1 the arrangement  of  
the hooks and needles might be made to  
suit on the same principle4    ,it will 
be seen that in the leno jacquard1 shown
 in ,fig4 #ach1 a number  of levers and 
attachments are required to work the    

slackening harness4  ,in order to       
simplify this1 ,messrs4 ,devoge  ,co4   
have brought out a  leno jacquard with  
which none of these levers1 c41 are     
required1 the  slackening harness being 
tied to the two back rows of hooks in   
the  machine4 ,these two rows of hooks  
are lifted by a separate griffe1 the    
lift of which is much less than that for
 working the body hooks of  the machine1
 and which can be varied to suit the    
amount of slackening  required4 ,this   
machine is shown in ,fig4 #adj1 a view  
of the motion for  raising the griffes  
of both back and body harness being     
given in ,fig4  #adj;,a4 c d 7,fig4     
#adj;,a7 is the link connection between 
the bar of the  griffe a a and the top  
lever ,l 7,fig4 #adj71 somewhat similar 
to what  is used for an ordinary        
jacquard4 ,to raise the small griffe at 
the  back1 it will be seen that there is
 a cross lever e from the links  d1 c to
 its fulcrum h on a bracket g attached  
to the top of the  machine4 ,the small  

or back griffe b is connected to this   
lever by the  link f4 ,the amount of    
lift given to the small griffe in       
proportion  to that given to the large  
one will be as the length of the lever  
from  the stud in h to that in f is to  
its length from the stud in h  to that  
in d4 ,the farther the fulcrum is pushed
 back in the slot in  which it is       
fastened1 the more the back griffe will 
be raised1 the link  f being always     
vertical4 ,the back griffe is arranged  
to commence  lifting slightly in advance
 of the front one1 in order to lessen   
the  strain on the doups4 ,the needles  
are connected with the back and front   
hooks in this machine similarly to those
 in ,fig4 #ach4    ,illustration3 ,fig4 
#aci    ,the draft of a gauze in the    
harness is just the same as regards the 
doups as for shaft work2 the crossing   
may be made from left to right1  or the 
reverse1 but the pattern must be made to
 suit4 ,some mount the  harnesses and   
paint the patterns from right to left4  

,about ,bradford  this appears to be the
 usual method1 and it does not matter   
provided  the mounting1 drawing and     
designing be kept in accord2 but here we
  shall keep to the same principle as is
 recognised all through--viz4  mounting 
and designing from left to right1 which 
is the correct method  so far as drawing
 is concerned1 and equally convenient in
 other  respects4    ,illustration3     
,fig4 #adj    ,illustration3 ,fig4      
#adj;,a    ,to design a pattern for     
gauze3 if it is to be a simple          
geometrical  pattern it may be put      
direct on the design paper2 but if to be
 a  figured pattern1 a sketch should be 
prepared for it in the same manner  as  
for ordinary figured patterns1 whether  
for dress goods1 curtains1  or any other
 material4 ,any desired figuring can be 
made1 providing  sufficient space be    
left between the figures to admit of the
 open work  being made4 ,the figuring   
should be treated as the ornamentation  
of a  plain or short twill ground       

figure1 which is woven on a gauze       
ground2  the figure may be entirely     
plain or twill upon a gauze ground1 in  
which  case it must be sufficiently     
plain and solid to be effective1 or it  
may be treated as damask figuring on    
ornamental patches of plain or  twill on
 a gauze ground2 or1 again1 the gauze   
may form the figure and  the ground be  
plain or twill4 ,any variety may be made
 that ingenuity  can suggest1 and       
figuring with extra warp or weft may    
also be adopted  if desired4 ,when about
 to put the pattern on design paper1 it 
may be  observed that out of the #h rows
 of needles in the machine only #f are  
used for figuring1 the other #b being   
employed for gauzing2 therefore1  some  
means must be devised for getting the   
pattern on the paper so  as to suit     
this4 ,the simplest plan is that adopted
 in ,america--viz4  instead of using two
 rows of hooks along the jacquard for   
the doup  standards1 to leave as many   
hooks at the first of the machine as    

will  correspond with the number of doup
 standards required for one repeat of   
the pattern4 ,suppose for the same ties 
as those given--#ajj hooks for  the     
doups and #cjj for the figure--then the 
cords from the first or last  #ajj hooks
 would be taken down through the two    
front rows of the cumber  board1 and    
those from the #cjj hooks would make up 
the body of the  harness4 ,when mounting
 in this way1 the jacquard would be     
better turned  with the cards hanging   
over the side of the loom1 as for the   
#8,london  tie4' ,this method of        
mounting enables the pattern to be      
designed for  #cjj hooks and painted on 
the design paper independently of the   
gauze1  which can be filled in          
afterwards4    ,illustration3 ,fig4 #ada
    ,fig4 #ada is an example of         
designing in this manner1 using #f rows 
of  hooks1 to suit the gauze4 ,the      
pattern is put on the rows of designs   
numbered #d1 #e1 #f1 #g1 and #h4 ,no4 #c
 is for the selvage1 and the working  of

 the doups is on ,nos4 #a and #b4 ,this 
is for a #a round #b gauze1 #f  checks1 
or #b splitfuls of gauze to the design2 
there would be #aj doups  required for  
the #e designs in the repeat of the     
pattern1 and for these  #aj checks are  
used of designs ,nos4 #a and #b4 ,the   
rising of the back  leash of the harness
 to form the crossing is shown by the   
dots marked  on the design1 and as gauze
 is formed by raising this leash and the
  doup alternately1 it is only necessary
 to take each line of the design  paper 
for the doups1 and1 following up the    
markings for the back  leashes1 fill in 
for the doups to rise when the back     
leash is sunk for  the gauze1 taking    
care to keep clear of the figuring4 ,in 
making gauze  the doup should always    
rise immediately after the figuring     
ends1 to  form the first crossing1 and  
it should also be up immediately before 
the next portion of the figuring begins1
 so that in an irregular  figured       
pattern the gauze might frequently      

require to be broken to  effect this1 as
 may be seen in ,fig4 #ada4 ,take the   
first upright line of  the pattern1     
design ,no4 #d3 the back leash is raised
 for three1 then the  doup for three1   
and the figure follows4 ,passing on to  
the tenth line  it will be seen that the
 doup rises for three after the figure1 
and is  also up for three before the    
next figure begins2 but1 passing on to  
designs #g and #h1 it will be seen that 
the risings of the doup and back  leash 
would not fall in regularly in threes   
against the figure1 as it  would be     
better if they did1 and therefore the   
gauze is broken so as  to fall in2 but  
in small patterns of this description1  
when it is of  importance to keep the   
outline of the figure as regular as     
possible1  this can and should be       
remedied2 instead of the outline of the 
figure  running diagonally on the design
 paper in steps of one check1 it should 
go in steps of as many checks as there  
are threads to the twist of the  gauze  

in the warp and shots in each twist in  
the weft4 ,this is shown in  ,fig4 #adb1
 where all the twisting falls in        
regularly with the figure4  ,this may to
 a great extent be carried out with     
irregular figures by the  designer      
exercising a little judgment1 and when  
filling in the gauze  make up the plain 
edging of the figuring to fall in with  
it--that is1  only to break the gauze   
where there is room to do it            
effectively1 and  where there is not1 a 
few dots can be added to the plain4 ,if 
,figs4 #ada  and #adb be compared1 it   
may be seen how this could be done3     
examining  designs #d and #h above the  
figures1 the latter below as well2 but  
,fig4 #adb shows the proper method of   
treating these small geometrical        
figures4 ,another point to be observed  
is whether all the doup leashes  are to 
be raised together to form the gauze1 or
 whether it is to be  formed by raising 
every alternate doup leash and every    
alternate back  leash1 as is done in    

these figures4 ,the latter method is    
preferable  for working1 as it makes an 
even tension on every shed1 whereas if  
one  shed is a full cross shed formed by
 the doups1 and the reverse of this  an 
open shed with no crossing1 the cross   
shed will be the tighter1 and  produce a
 certain amount of plucking1 with a     
tendency to shire in some  patterns2 but
 in case of working dices or any pattern
 where the top and  bottom of the figure
 extend some distance straight across   
the design  paper1 it would be          
impossible for the first shed of the    
gauze to be  formed by the doup if only 
every alternate doup leash was raised4  
,some  judgment must therefore be       
exercised in these matters1 and the best
  effect obtained that will suit        
circumstances4    ,illustration3 ,fig4  
#adb    ,now to put the patterns on     
design paper to suit the harness when   
the  two front rows of the jacquard are 
used to work the doups1 as in ,fig4     
#ach1 also when any other rows are used1

 as in ,fig4 #aci3 the simplest  way to 
do this--at least1 for those not well   
accustomed to the work--is  to design   
them on #f-row paper1 as ,fig4 #adb1 and
 afterwards transfer  them to #h-row    
paper1 leaving the lines for the doups  
empty1 the doup  lines being afterwards 
filled in1 as in ,figs4 #adc and #add4  
,fig4 #add  has the advantage that each 
splitful of gauze stands alone1 whereas 
when filling in the markings for the    
doups in ,fig4 #add1 two splitfuls      
stand together2 but a little practice   
makes one method as simple as the       
other4 ,the dots represent the markings 
for the doups1 and the shaded  squares  
those for raising the back leashes to   
form the open shed of  the gauze4 ,the  
transferring of the designs from one    
sheet of design  paper to another is1 of
 course1 a matter of trouble and        
expense1 and  may be avoided if an      
experienced card-cutter is to cut the   
cards4 ,the  design need not be         
transferred1 but have the marks for     

raising the  doups put on the same lines
 of the design paper as those for       
raising  the back leashes for the open  
shed4 ,this is shown in ,fig4 #ade1 the 
shaded squares being the same as in     
,figs4 #adc and #add2 but the dots1     
instead of being put on lines left for  
them1 as in these figures1 are  put on  
the same lines as the shaded squares1   
and the card-cutter sees  to their being
 cut on the correct lines1 as in ,figs4 
#adc and #add4 ,in  designing1 different
 colours would be used4 ,the shaded     
square should be  the same colour as the
 figure1 as they are to be cut for the  
lines they  are on1 but the dots should 
be of a different colour1 to be cut for 
a  different line of the card from that 
on which they are placed on the         
design--the dot on the first check of a 
design being the seventh hole  in a row 
of the card1 and that on the third check
 of a design being the  last hole of a  
row on the card4    ,illustration3 ,fig4
 #adc    ,illustration3 ,fig4 #add      

,illustration3 ,fig4 #ade    ,fig4 #adf 
shows a portion of an ornamental pattern
 as it would be  designed for a gauze   
ground of two threads of warp twisting  
round two   #d in the split and #d picks
 into each crossing of the gauze4 ,this 
would require a #aj-row machine1 eight  
rows for the figuring harness and  two  
rows for the doup standards4 ,when two  
threads are twisting round  two1 it is  
not necessary to have a doup for each1  
though it may be  desirable2 but it     
suits very well to have both threads    
drawn through  the same doup4 ,it will  
be necessary to have a stronger doup in 
this  case1 but if the warp is very     
light it would have so much more to do  
in  drawing up the heavy doup than if   
each thread was drawn through a very    
light doup that the latter had better be
 adopted2 otherwise a stronger  doup1   
with both threads through one1 is       
simpler4 ,on the pattern1 the  doups are
 raised by the dots1 which must be cut  
on the proper line  of the card1 as     

before2 both lines are dotted as if each
 thread had  its own doup1 but only the 
front dots of each pair are necessary4  
,the  shaded squares are for raising the
 crossing threads with the leashes  for 
the open shed of the gauze4 ,in this    
pattern it is necessary that  the       
outline of the figure should go in steps
 of four warp ways1 as  there are four  
threads to the twist2 but it is not     
necessary that it  should go in steps of
 four weft ways4 ,a better outline can  
be given  to the figure by not adhering 
to this1 though the perforations in the 
gauze will be to some extent sacrificed 
by being irregular2 but this  would be  
so in any case in order to raise the    
doup standard after  the figure when the
 doups and leashes are gauzing          
alternately2 they  might be regularly   
started at one side of the figure1 but  
this would  probably make them more     
irregular at the other side4 ,by        
following  round the edges of this      
figure it will be seen that by a little 

care  no blemish of any consequence need
 be left1 though it will not be so      
perfect as when calculated to fall in as
 ,fig4 #ade4    ,illustration3 ,fig4    
#adf    ,any variety of simple gauze    
texture may be used1 as well as the     
plain  and honeycomb gauze1 but unless  
there is plenty of space and the        
figures are plain and large1 no very    
intricate crossings should be           
attempted1 unless for stripes1 as they  
would probably mar the outline  of the  
figure2 but if not1 they may be used    
where suitable4    ,another important   
point in designing for gauze is that if 
the texture  of the solid cloth is loose
 and that of the gauze pretty firmly    
twisted1 the take-up of the warp may be 
very different when weaving4 ,to  avoid 
this the gauze and figure should be well
 intermixed1 and not be  in too great   
quantities in any one part--in fact1 the
 gauze and plain  should be constantly  
interchanging1 and when the pattern is  
such that  this cannot be1 the textures 

must be regulated so that there will be 
about an equal quantity of warp taken up
 for each4 ,a little practice  will soon
 show this4    ,nothing has been said   
about the description of jacquard used  
for  working gauze1 but the same        
principle holds good as for working with
  shafts4 ,a gauze shed is taken to be a
 plain jacquard lift--that is1 the  shed
 formed by the single-lift jacquard     
raises the yarn and lets it  down again 
before beginning to raise the following 
shed4 ,this enables  the doup and doup  
yarn to fall into their places before   
being drawn  away to form a following   
shed4 ,at the same time1 we are not     
limited to  a single-lift jacquard4 ,if 
you have a double-lift jacquard1 and    
want  to work a small piece of gauze1 do
 so2 but do it correctly1 or1 in  other 
words1 take means to make a good job of 
it4 ,before explaining  how to do this1 
it will be well to show where the       
difficulty exists4  ,in a double-acting 
machine one griffe is rising when the   

other is  falling1 and in plain gauze   
the doup standard and leash carrying the
  crossing thread are raised            
alternately1 one shot being thrown into 
the  shed formed by each4 ,therefore1   
the same thread is up for every shot1   
and the thread round which it twists is 
always down4 ,now1 when one  griffe has 
raised the doup standard and the next   
one raises the leashes  carrying the    
same threads1 both will pass in the     
centre of the shed1  and1 as shown in   
,fig4 #adg1 the crossing thread will be 
dragging up the  lying thread from the  
position shown by the under dotted line1
 thereby  causing considerable friction 
on the yarn1 which must be detrimental  
to  a fine or weak warp1 and is inclined
 to drag the doup through the eyes  of  
their standards2 but as the harness in  
coming to the centre slackens  the warp 
threads1 and also as the slackener      
begins to act when the  harness begins  
to rise1 the threads will be further    
slackened in those  sheds where the     

doups follow the back leashes1 and this 
reduces the  friction4 ,it may1 however1
 be entirely avoided by raising the     
lying  threads to the mid position to   
meet the descending griffe1 and then    
let down with it4 ,a simple method of   
doing this is to have the leashes       
carrying the lying threads through a    
separate slip of cumber board at  the   
back1 and knots on them above it1 so    
that when it is raised all the  lying   
threads will be drawn up with it4       
,the cumber board can be raised by a    
cam1 or in any other suitable way4      
7,see ,journal ,weaving for ,scotch     
,carpets47    ,illustration3 ,fig4 #adg 
,these leashes might also be raised by  
means of a shaft through loops in  them1
 or with bars under the jacquard hooks1 
in the same way as is done  in twilling 
harnesses 7which see71 but with a       
special motion to raise  and lower them4
 ,in ,fig4 #adg1 the dotted line ,a1 ,b 
shows the middle  position or centre of 
the traverse of the yarn in shedding4   

,although this is the proper means to   
adopt to work gauze satisfactorily  with
 a double-acting jacquard1 or with any  
double-acting shedding  motion1 it may  
be that small portions of gauze1 such as
 a few stripes  up a web1 are wanted    
without the trouble of making any       
special  arrangements for it4 ,good     
strong twist cotton yarn will work very 
well1  if nicely tempered1 in a         
double-acting machine4 ,the slackeners  
can be  arranged by leaving a few hooks 
apart to work them with1 and cords  tied
 to these hooks and let down at the     
back1 in the same manner as in  the     
gauze harness 7,fig4 #ach71 which will  
do very well4 ,when three or  more shots
 are thrown into each shed of the       
gauze--that is1 between  the            
crossings--there will be much less      
friction than when the crossing  takes  
place at each shot1 as it is only at the
 crossing the friction  takes place4    
,one source of annoyance in working     
gauze is the wear on the doups1  which  

requires them to be changed frequently  
and adds cost to the  production4 ,it   
has often been attempted to work the    
gauze by other  means1 and for some     
classes of work this has proved         
successful4 ,one  of the best           
arrangements1 and one that is largely   
used1 is the gauze  reed1 which is      
almost entirely adopted about ,glasgow  
for weaving leno  curtains in the power 
loom2 it is also employed for other     
classes of  work1 but is limited in its 
use4 ,it will not supply the place of a 
gauze harness4      ,,the ,,gauze       
,,reed4    ,this is principally used for
 working leno curtains or ,madras       
muslins in  power looms4 ,the texture of
 these fabrics is a plain gauze ground1 
the  figure being formed by one or more 
colours of thick soft weft1 thrown  in  
and bound for the figure1 but flushed or
 floated over the ground1  to be cut off
 afterwards4 ,the reed is wrought in    
conjunction with a  harness1 the reed   
forming the ground of the fabric and the

 harness the  figuring4 ,the harness is 
mounted in the same way as a            
half-harness1 or  for half the warp1 and
 the reed does the work of the doups4   
,the gauze  reed will suit for gauze up 
to #ee threads per inch in the reed1 but
  is more used for fabrics ranging from 
#cj to #ej threads per inch4 ,a  portion
 of the reed is given in ,fig4 #adh1 in 
which it will be seen that  it consists 
of the usual dents set in ribs1 and a   
set of half-dents1  perforated at the   
points which are set into the lower rib 
of the reed  behind the others1 and lie 
about half-way through the splits in a  
slightly slanting position4 ,the gauze  
reed works behind the slay and in  front
 of the harness4 ,it should be about    
#a_/b in4 behind the slay when  the     
cranks are at the back centre1 so as to 
leave sufficient room for  clearance    
between them4    ,illustration3 ,fig4   
#adh    ,illustration3 ,fig4 #adi       
,illustration3 ,fig4 #aej    ,a good    
method of working the reed is shown in  

,fig4 #adi1 which is a  back view4 ,a is
 a rocking shaft supported by brackets1 
as a1 on  the top rail of the loom2 ,b  
is a lever projecting towards the front 
of the loom1 and the rod b from it      
supports one end of the reed2 ,c  is    
another lever on the shaft ,a1          
projecting backwards1 and the rod  ,d   
connects it with the tappet treadles1 so
 that when the treadle is  pressed down 
the reed rises2 about #c-a_/b in4 is the
 usual height for  it to rise4 ,f is the
 upper rib of the gauze reed1 and ,f#a  
the lower  one4 ,g is the yoke of the   
reed4 ,on the yoke is fastened a bar ,p 
,p1  connected with the strap which     
passes round the top rib of the reed4   
,i ,i are two projections on the bar ,p 
,p1 through which the slide rod ,e  ,e#a
 passes and is fastened at the top to a 
bracket ,c on the top of the  loom1 and 
at the bottom it fits into a socket or  
stand ,n fixed to the  ground2 the reed 
slides up and down on this rod4 ,h is a 
tube round the  slide rod between the   

projections ,i ,i1 and is about #a_/b   
in4 shorter  than the distance between  
them2 to the bottom of this tube is     
fixed  the support ,h#a for the dipping 
rod ,k1 which1 when the yarn under it   
is very tight1 can yield #a_/b in41     
along with the tube ,h4 ,the reed is    
not positive in falling1 but when raised
 by the tappet it falls by its  own     
weight and that of the weight-box ,l1   
which slides on the rod ,e ,e#a4  ,the  
weight-box is fastened by a rod ,m to   
the crank on the bar which  supports the
 dipping rod1 and weights it as well as 
the reed4 ,small  weights1 as ,r1 about 
#a_/d lb4 weight1 can be placed in the  
weight-box  till as much weight as is   
required is put on4 ,fig4 #aea gives a  
view  of the gauze reed mounting1 with  
the gauze or cross-shed open4 ,every    
alternate thread of the warp is drawn   
into one of the gauze dents1 and  every 
other one into the harness1 as shown4   
,the harness is levelled #b  in4 or     
#b-a_/b in4 below the level of the      

breast beam2 or1 having the  slay       
levelled with the race #a_/b in4 below  
the breast beam when the  cranks are at 
the top centre1 push back the slay till 
the cranks are  at the back centre1 and 
place a straight-edge across the race1  
and the  under edge of the straight-edge
 where it passes the front row of the   
harness will give the height for the    
eyes of the mails4 ,the back shell  ,e  
should be set #a_/b in4 below the level 
of the breast beam1 and should  be made 
to vibrate with a tappet1 which should  
lower it when the gauze  shed is opened1
 and keep it raised for the figuring    
shots4 ,a shows the  position of the    
weaver's reed1 ,b is the gauze reed1 ,c 
the dipping rod1  ,d the heck or ravel  
which is on the harness under the       
harness reed or  cumber board ,f2 the   
ravel should be about #f in4 above the  
yarn and #c  in4 below the cumber board1
 making the latter #i in4 or #aj in4    
above the  yarn4 ,the ravel is like a   
small harness reed with only one rib on 

it1  which is placed behind the harness1
 being covered with an iron tube to     
strengthen it2 in front a flat iron rod 
is fastened above the ends of  the dents
 and serves as the second rib4 ,three   
wires are stretched along  the ravel to 
keep the harness steady1 in the same way
 that they are  stretched along a       
harness reed1 but three are sufficient1 
instead of  having one for each row of  
harness4 ,the ravel is shown in full in 
,fig4  #aej2 it is about #a-a_/b in4    
deep 7or across it71 and the cumber     
board #c  in4 deep2 it is for the       
purpose of drawing the yarn in the      
harness to  either side1 so that when   
the gauze reed is rising the half dents 
may  pass to the right and left of the  
threads in the harness alternately2  it 
is this which gives the gauze twist4    
,two bars ,a ,a#a 7,fig4 #aej7  extend  
from the ends of the frame of the heck2 
these slide in brackets  ,c ,c#a        
fastened to the sides of the loom4 ,the 
lateral motion is given to  it by a     

lever ,b ,b#a with its fulcrum at ,b#a2 
this lever has a bowl ,d  on its lower  
end1 which is acted on by a wheel ,e    
driven at the proper  speed to suit the 
shedding4 ,e#a is a face view of this   
wheel1 which has  a projection on it for
 shifting the lever4    ,sometimes the  
motion is imparted to the lever so as to
 shift the ravel  just when it is       
required--that is1 before the gauze reed
 has risen to  form the shed2 and       
sometimes the ravel is shifted a part of
 the way  at each shot of figuring1 and 
has completed its traverse before the   
gauze reed has risen2 this latter makes 
a more gradual pressure on the  harness1
 and avoids any sudden plucking4 ,when  
the wheel ,e acts upon the  lever the   
ravel is drawn to the right1 and when   
released the spring ,f1  fastened from  
the side of the loom to the end of the  
ravel1 draws it  back again4 ,the       
traverse of the ravel should be about   
#c_/d in4 ,c#b is a  separate view of   
the brackets ,c and ,c#a4    ,sometimes 

the heck is on the yarn between the reed
 and the harness1  instead of being on  
the harness2 in this case there must be 
about #h  in4 between the reed and the  
harness1 and the heck or ravel rests    
about half-way between them4 ,the       
harness is wrought with a double-lift   
machine and three tappets4 ,one tappet  
which is much like a plain wyper        
tappet1 but with less dwell on it1 acts 
on one of the treadles1 which  is       
connected by a rod and lever to one of  
the griffes3 this raises  the flowering 
shed1 the lift being about #c-a_/b in41 
and the flowering  shot is thrown in as 
in ordinary work1 the sheds being close 
when the  cranks are at the top centre  
or a little over it4 ,as soon as this   
shot  is thrown in1 when the cranks are 
a little over the back centre1 the      
second griffe is raised by another      
tappet4 ,as this takes place before  the
 cylinder is in against the needles1 all
 the yarn in the harness is  raised2 the
 reason for raising it is to get all the

 harness yarn clear  of the half dents  
of the reed1 so that it can be shifted  
over them by  the ravel4 ,the gauze reed
 is raised by the third tappet2 it      
begins to  rise shortly after the second
 griffe1 or when the cranks are a little
  past the top centre during the same   
revolution4 ,the yarn raised by the     
first griffe begins to fall at the same 
time that the reed begins to  rise2 the 
second griffe raises the bottom yarn    
till it meets the top  yarn of the first
 shed descending1 at which time the     
ravel should be  fully shifted1 and the 
points of the half dents rising should  
be #c_/d  in4 below the harness yarn4   
,as the harness falls and the reed      
rises1  the yarn in the former will pass
 down at the opposite sides of the      
half-dents to which it was before being 
raised2 a ground shot is then  thrown in
 7this is the second ground shot71 and  
the reed descends1  taking the yarn in  
it down level with that in the harness4 
,the harness  is again raised as before 

for the next flowering shot4    ,when   
the reed is raised to form the shed for 
the ground shot no card  is required to 
pass over the cylinder of the jacquard1 
and to prevent  one passing the sneck or
 shears is raised for this shot1 so that
 the  cylinder is not turned4 ,the reed 
must be raised in time to have the  shed
 open for the passage of the shuttle1   
but keeping it a little late  requires  
less lift to be given to the second shed
 which is being raised  to get the      
bottom yarn clear of the half dents of  
the reed4 ,the above  description is    
intended for weaving fabrics with one   
cover1 or one  colour of flowering shot1
 as when the pattern is in white or a   
single  colour1 as it often is2 but when
 two or more colours of figuring weft   
are used1 the flowering sheds might be  
opened with one griffe working  the     
machine single-acting1 and constructing 
and timing the tappets to  suit4 ,one   
tappet would then open two or more sheds
 for the flowering2  the second and     

third tappets would act on the bottom   
yarn and reed as  before4 ,it is1       
however1 usual to work the machine      
double-acting1 and to  construct the    
tappets to raise the griffes alternately
 for two covers4  ,no4 #a tappet would  
raise one griffe1 ,no4 #b tappet would  
raise the  other griffe2 then a small   
wing on ,no4 #a tappet would lift the   
bottom  yarn1 and ,no4 #c tappet would  
raise the reed1 the sneck being lifted  
at  the last beat of the cylinder to    
prevent it from turning4 ,for three  or 
more covers the tappets would require to
 be arranged to suit in a  similar      
manner4 ,fig4 #aea;,a is a front view of
 the position of the yarn  in the reed  
when the flowering shed is drawn4 ,only 
a portion of the  harness would be      
raised for each shot1 as1 say1 the      
threads #a1 #a1 the  remainder #b1 #b1  
being sunk4 ,after the flowering shots  
are thrown in1  the bottom yarn in the  
harness #b1 #b has to be shifted to the 
other  side of the half dents for the   

gauze shed4 ,it is therefore raised up  
to  meet the threads #a1 #a coming down4
 ,all are then shifted together1 and    
when the reed is raised the position of 
the harness yarn is shown at  the       
crosses2 #jjjj shows the position it was
 in at the previous ground  shot4 ,the  
dots on the half dents show the position
 of the yarn in them  in relation to    
that in the harness #b1 #b when the reed
 is at rest1 the  yarn in both reed and 
harness being on a level4 ,the reed     
could be  wrought turned upside down    
with a harness1 but all the loose       
flowering  weft would require to be     
below4 ,in this case there is no        
necessity for  getting the under shed   
clear of the gauze dents for changing it
 with  the ravel to form the ground     
shed2 but this is an objectionable      
method  of working1 particularly with a 
light pattern1 on account of the heavy  
shed that has to be raised4 ,if the     
flushed yarn was thrown to the top  and 
the reed turned upside down1 the only   

way to work the heck would be  on the   
harness below the mails1 which would    
require it to be as deep  as a reed or  
cumber board1 in order to let the       
lingoes fall1 and this  would not answer
 very well4    ,illustration3 ,fig4 #aea
    ,illustration3 ,fig4 #aea;,a        
,,chapter ,,viii    ,,double ,,cloth    
,,double ,,cloth ,,and ,,quilting       
,,harnesses    ,a very great variety of 
cloths come under the heading of double 
cloth2  in fact1 almost every           
description of coloured cloth figured in
 the  loom1 excepting coloured damasks  
and the commoner descriptions of dress  
goods1 as well as many uncoloured       
fabrics1 are generally woven more or    
less on this principle4 ,quiltings are  
mostly made on the double-cloth         
principle1 and have nothing to specially
 distinguish them1 except  that some    
makes of cloth appear to be more        
suitable for goods of this  description1
 though frequently other fabrics of a   
much more costly  nature are woven in   

the same way2 as1 for instance1         
matelasses may be  made in the richest  
silk and worsted for jackets1 as well as
 in coarse  cotton for quilts4 ,one of  
the largest sections of double cloth is 
carpetings1 but these will be described 
in a separate section4    ,for figuring 
double cloths the same principles of the
 structure of the  cloth1 c41 hold good 
as when weaving them plain1 or in fancy 
texture4  ,any suitable pattern can be  
put upon any description of double cloth
  with a full harness mounting mounted  
in the ordinary manner2 but the  pattern
 must be spread over the design paper to
 suit the description  of cloth to be   
made1 which often necessitates its being
 in a very  distorted form1 unless it   
can be arranged in different colours so 
that  the card-cutter can cut several   
cards from each line of the design      
paper4 ,for instance1 if three colours  
are required to form one complete  weft 
line1 then three lines of the design    
paper would be taken up with  these1    

unless the colours could be arranged    
that the three cards could  be cut from 
the one line1 as frequently can be done2
 and the same for  the warp when there  
is a face and back warp1 or several     
colours to be  brought up for one warp  
line4 ,when there are two warp threads1 
one for  the face and one for the back1 
two hooks of the jacquard are required  
to weave them1 and two lines on the     
design paper are also required1  unless 
two colours are painted on one line to  
guide the card-cutter in  cutting the   
cards4    ,it is a great saving of work 
to the designer when the pattern has    
not to be spread over the paper so as to
 give each line separately1  as doing so
 generally puts the pattern so much out 
of shape that it  requires first to be  
designed square1 or of the proper       
dimensions1 on  suitable design paper1  
and afterwards transferred to the       
working design  for the card-cutter4    
,when goods are being largely made this 
can often  be avoided by special        

mechanism or mounting1 to act instead of
 the  cards1 it being then worth the    
trouble of having a specially prepared  
mounting1 and it is in these cases where
 double-cloth mountings are  used4      
,perhaps the simplest class of the      
double-cloth range1 though  not really a
 double cloth1 is figuring with extra   
weft4 ,the figuring  weft may be thrown 
in as a spotting intermittently1 or may 
be every  alternate shot1 a ground shot 
following each figure shot4    ,suppose 
the cloth to be a plain ground and a    
twill figure1 and that #ejj  cards would
 be required to weave the figure if it  
were plain damask2 it  is then evident  
that #a1jjj cards would be required if  
every alternate  shot is ground1 and the
 others for figure1 and that the #ejj   
plain cards  for the ground would be two
 cards repeated #bej times4 ,now1       
instead of  this1 if we use a           
double-cylinder jacquard1 and put the   
figuring cards  on one side and four    
plain cards on the other side1 we can   

save #dif  cards1 as the four cards on  
the cylinder will work the plain at     
every  alternate shot4 ,or suppose a    
single-cylinder machine to be used1 then
  shafts might be put through loops in  
the harness2 or the cumber board  might 
be made in sections1 with knots on the  
harness twines above it1  so that in    
either case the harness could be raised 
in rows to form  plain cloth4    ,the   
plain shed could be formed with a tappet
 and levers1 as in journal  weaving1 and
 the griffe would only be raised for    
every figuring shot4  ,plain cloth might
 also be wrought with a twilling motion 
on the  machine1 such as is used on     
twilling jacquards4 ,a pair of pressure 
heddles in front of the harness is a    
common method of accomplishing  this in 
the hand loom4 ,the harness is drawn for
 one shot1 then let  down1 and one of   
the pressure heddles sunk and the other 
raised for the  second shot4 ,for the   
third shot the harness is again drawn1  
and for the  fourth shot the plain shed 

is crossed with the heddles4 ,a twill or
 any  figure may be used1 as well as a  
plain ground4    ,the next step in      
double cloth is perhaps                 
double-weft-faced cloth--that  is1 when 
the surface of the cloth on both sides  
is formed by weft1 the  warp lying in   
the centre1 and merely acting as binders
 to bind the two  wefts together4 ,the  
warp may occasionally be brought to the 
surface to  give additional effect1 or  
to add a third colour2 or the body of   
the  weft may be kept on one side1 the  
warp forming the ground on the other    
side1 with a weft figure on it1         
producing a one-sided cloth4    ,this   
class of work is best wrought in a      
pick-and-pick loom2 but a check         
loom--that is1 one with extra boxes at  
one side only--can frequently be  used1 
and gives much less trouble4 ,for a     
check loom two fine shots may  be used  
as one1 having each pair of cards alike1
 except at the selvage1  and throwing   
two shots into each shed4 ,of course    

this takes twice the  number of picks   
and cards 7unless two picks be given to 
each card71 but  in some cases1 as for  
borders1 this may be an advantage in    
comparison  with working pick-and-pick4 
,often two succeeding cards of the      
pattern  for the same colour are made to
 follow each other1 as may be found in  
tapestries1 c41 and the weft knocks up  
into its place without showing  any     
defect2 but in a heavy cloth1 with a    
thick or stiff warp1 the weft  could not
 be knocked close together on this      
principle4 ,with a fine  binding1 warp  
of cotton and a thicker weft of woollen 
or worsted1 there  is no difficulty in  
this working4    ,for double-weft-faced 
patterns the simplest method of         
designing is to  paint the pattern as if
 for plain damask1 and then cut two     
cards for  each line of the design      
paper1 one card being cut exactly the   
reverse  of the other2 that is1 the     
cutter cuts the painted squares for one 
card  and the ground squares for the    

next card4 ,in lacing these two cards   
are kept together1 a ground and a       
flowering card coming alternately4      
,there is1 however1 an objection to this
 method of binding the texture  of the  
cloth1 though in many cases it works    
very well4 ,the objection is  that the  
warp has to be brought from the face of 
one side through to  the face of the    
other side for the succeeding shot to   
form the binding1  instead of being     
brought from the centre only to the face
 as it should  be4    ,illustration3    
,fig4 #aeb    ,fig4 #aeb shows a portion
 of a stripe pattern designed to produce
 #h-;end  twilled stripes4 ,if a black  
and a white weft are used pick-and-pick1
  the white pick coming first1 ,a would 
be a solid black stripe and ,b a  solid 
white stripe1 or the appearance would be
 as on the design paper1  but much      
reduced in size4 ,on the under side of  
the cloth the colours  would be         
reversed4    ,illustration3 ,fig4 #aec  
,the first card would be cut as the     

painting1 cutting black1 and the  second
 card would be exactly the reverse of   
this1 cutting the white or  ground      
squares on the same line of the design  
paper4 ,the texture formed  on the cloth
 by these cards is shown in ,fig4 #aec1 
each line of the  design paper          
representing one card4    ,illustration3
 ,fig4 #aed    ,the correct method of   
binding is shown in ,fig4 #aed1 where it
 will be  observed that the binding of  
two succeeding weft shots does not fall 
on the same warp thread1 and that the   
binding dot will be covered by  the     
floats of the preceding and succeeding  
weft shots when the weft is  knocked up 
close4 ,there are other squares on which
 the binding dots  might be placed as   
well as those in ,fig4 #aed1 one check  
to the left of  where they are being    
frequently used4 ,a stripe pattern1 as  
,fig4 #aeb1  can be put upon design     
paper with each line representing two   
cards1  and be twilled to give the      
texture in ,fig4 #aed1 as is shown in   

,fig4 #aee4    ,when cutting this the   
cutter cuts the shaded squares and black
 dots  for the first card1 and for the  
second card he cuts white and crossed   
squares on the stripe ,b1 and the solid 
black squares on the stripe ,a1  which  
it will be seen is exactly the same as  
cutting the black for the  first two    
lines of ,fig4 #aed4    ,illustration3  
,fig4 #aee    ,when painting the design 
the shaded squares may be red1 the black
  ones black1 the black dots yellow or  
white1 and the crosses green2  or any   
other convenient colours may be adopted4
 ,it will be observed  that in ,figs4   
#aeb and #aee1 where the raised and sunk
 twills come  together at the junction  
of the two stripes1 there are no binding
  dots on the two threads lying beside  
each other4 ,it is not necessary  to    
have any binding for these threads1 as  
the two wefts crossing bind  them       
sufficiently4 ,any desired figure may be
 woven on cloth on this  principle1     
which is a very convenient one1 as the  

colours can be so  readily changed1 and 
three or more colours may be used as    
well as two2  but in this case there is 
generally a right and a wrong side to   
the  cloth1 the body of the wefts being 
at the back and each colour brought     
through to the face to form the figure4 
,instead of the body of the  weft1 or   
that portion not required for the       
figure1 being at the back  of the cloth1
 it may be in the centre of the warp1   
and an equally good  face made on both  
sides of the cloth2 but this requires   
more wefting1  makes a thicker and      
harder cloth1 and is more expensive and 
more  troublesome to weave4 ,warp       
figuring may be done in exactly the same
 way  as described for weft figuring1   
and the pattern turned sideways shows   
how it would be for warp2 the only      
difference in the work all through  is  
to treat the warp as explained for weft4
 ,of course1 in the designing  and      
card-cutting1 cutting two cards1 one the
 reverse of the other1 from  a design   

painted as if for a damask1 would not   
fall in1 but the designs  that are      
wrought fully out on the design paper   
would be all right4 ,a  contraction of  
the work similar to cutting two cards   
from one line of  the design paper would
 have to be sought for in the mounting  
in the  first place1 and in the         
card-cutting1 to suit it4               
,illustration3 ,fig4 #aef    ,suppose   
the design to be as in ,figs4 #aeb and  
#aee1 and to be painted  for a          
#bjj-;jacquard1 then to allow for double
 the quantity of warp a  #djj-;jacquard 
would be required1 the machinery being  
increased instead  of the number of     
cards4 ,now1 to mount a loom for this   
class of work  the simplest plan is to  
divide the machine and cumber board into
 two  divisions1 one half being used for
 one warp1 which may be called the  face
 warp1 and the other half for the other 
warp1 which we may call  the back warp4 
,a mounting of this description is shown
 in ,fig4 #aef1 in  which the machine is

 divided into two portions1 #a and #b1  
with #bjj hooks  in each2 the cumber    
board is also divided into two sections1
 marked ,a  and ,b4 ,here only four rows
 of needles are given1 but any number   
can  be used4 ,the cords from the hooks 
#a to #bjj are taken through the back   
cumber board ,a1 and those from the     
hooks #bja to #djj through the front    
cumber board ,b4    ,when entering the  
yarn1 one thread is taken from the back 
warp and  drawn into the first mail of  
the back harness1 and the next thread is
  taken from the face warp and drawn    
through the first mail of the front     
mounting4 ,now1 in reference to the     
card-cutting3 instead of cutting two    
cards one the reverse of the other1 one 
half of the card must be cut  the       
reverse of the other half1 the          
card-cutter cutting the coloured        
squares of the design 7#bjj checks7 on  
the first half of the card1 and  going  
back again and cutting the blank squares
 on the second half of  the card2 or1   

when there is any variation in the      
twill1 the pattern for  the face may be 
painted on #bjj checks1 and that for the
 back on #bjj  checks1 and when cut on  
the card the threads of the warp will be
 raised  in proper order by the         
mounting4    ,fig4 #aeg shows this      
principle of mounting with a straight or
 ,norwich  tie1 for which it is not so  
suitable as for the ,london tie 7,fig4  
#aef7  on account of the crossing over  
of the harness1 though it is not very   
objectionable if a narrow cumber board  
be used4 ,instead of having two         
separate cumber boards with four or     
eight rows in each1 one broad board     
with eight or sixteen rows is better for
 the ,norwich tie2 then let the  first  
row of the back harness pass down       
through the back row of the  cumber     
board1 and the first row of the front   
harness pass through the  second row of 
the cumber board1 and so on1 the back   
harness filling the  odd rows and the   
front the even rows2 and when drawing in

 the yarn1  taking an end from the back 
and face warps alternately and drawing  
them regularly over the harness causes  
them to fall correctly on their         
respective mountings4 ,instead of       
dividing the card in this way and       
reducing the machine to half its        
figuring capacity1 a double-cylinder    
machine might be used1 the hooks from   
one set of needles being used for  one  
mounting1 and those from the other set  
of needles for the other  mounting2 then
 cutting the face pattern on one set of 
cards and hanging  them on one cylinder1
 and using a second set of cards        
containing the  back pattern for the    
other cylinder1 should attain the same  
results1  and give double the extent of 
pattern on the same size of machine1    
both  griffes being raised and sunk     
together1 and both cylinders being also 
brought in and out together4            
,illustration3 ,fig4 #aeg               
,illustration3 ,fig4 #aeh    ,a         
modification of cutting the back and    

face pattern on its own half  of the    
card is to be found in the double-cloth 
quilting mounting  common about         
,paisley4 ,these quilts are generally of
 a plain texture1  and the figuring is  
formed by passing one cloth up and down 
through  the other4 ,the machine        
generally used is an improvement on the 
old  ,french draw loom1 and is shown in 
,fig4 #aeh as it is made1 principally   
of wood1 for hand looms4 ,in this sketch
 the needles and cords in lieu  of hooks
 are not shown1 but one row of them is  
shown in ,fig4 #aei with  only four     
hooks to each section instead of eight4 
,h and ,k are the two  lifting levers   
for raising the griffes or trap-boards  
,a and ,a#a 7,fig4  #aei74 ,nos4 #a1 #b1
 #c1 and #d1 and #a;a1 #b;a1 #c;a1 and  
#d;a are the cords  in lieu of hooks to 
which the harness is connected4 ,a and  
,a#a are  two perforated boards with the
 slotted holes through which the cords  
pass1 turned in the reverse direction in
 one from what they are in the  other4  

,each needle is connected to two of     
these cords--one through each           
hole-board--and the knots on the cords  
above the holes stand over the  slots or
 saw-cuts of the holes in the board ,a  
and over the round or  open portion of  
the holes in the board ,a#a1 clearly    
shown at ,f 7,fig4  #aei71 so that if   
the lever ,h 7,fig4 #aeh7 were pressed  
down and the board  ,a raised without   
any card acting upon the needles1 all   
the harness tied  to this portion of the
 machine would be lifted1 and if the    
board ,a#a  were raised by the lever ,k1
 none of the harness tied to this       
portion of  the machine would be lifted4
 ,now1 if a blank card were placed on   
the  cylinder1 the reverse of this would
 be the case1 and anything between      
these two extremes can be got by cutting
 the cards4    ,illustration3 ,fig4 #aei
    ,the cylinder is connected with the 
back griffe only1 and remains in  for   
two shots4 ,the griffe ,a is first      
raised1 and a shot thrown in2  it is    

then lowered1 and the griffe ,a#a       
raised1 which presses out the  cylinder 
and changes the card2 a second shot is  
thrown in1 and so on4 ,e  and ,f 7,fig4 
#aeh7 are two slide rods or spindles to 
steady the griffes  or trap-boards when 
rising3 ,g and ,g#a are bottom          
hole-boards to steady  the cords2 ,l is 
a clap-board for pressing back the      
needles instead of  springs 7it is      
fastened on springs ,i ,i1 which hold it
 out a little from  the needles1 and    
these springs are fastened from the top 
by cords to  the cylinder frame1 which  
slides out with the cylinder1 and draws 
in  the clap-board1 pressing forward all
 the needles74 ,now to mount this       
machine for double cloth4 ,suppose each 
frame to have #djj cords1 and  that     
there are #djj needles1 the same as an  
ordinary #djj-machine4 ,let  the texture
 of the cloth be plain1 and to work this
 #hj needles may be  set off1 leaving   
#cbj for figuring4 ,these #hj needles   
will be connected  to #hj upright cords 

in the trap-board ,a1 and the same in   
,a#a4 ,the  harness for the face cloth  
is tied to the remaining #cbj cords in  
the  trap-board a1 and that for the back
 cloth to the #cbj cords in the         
trap-board ,a#a1 and this portion of the
 harness works the figuring  only       
without the texture4 ,the texture is    
wrought by the #hj cords in  each board 
connected to the first #hj needles4 ,to 
each of these upright  cords a number of
 harness twines are tied1 one of which  
is fastened to  each twine of the       
harness from the #cbj cords1 just above 
the cumber  board2 but in doing so the  
twines from the #hj hooks on the cords  
in  the trap-board ,a must be connected 
with the twines of the harness from  the
 trap-board ,a#a1 and the reverse for   
the other set4 ,in this way  all the    
back harness could be raised with either
 griffe1 and the same  with the front   
harness4 ,either griffe could raise one 
warp with the  plain harness1 and the   
other with the figuring harness4 ,when  

cutting  the cards plain texture is cut 
on each card for the first #hj needles1 
and the figuring portion without any    
texture is cut on the remainder  of the 
card4 ,the #hj cords open the texture or
 plain shed1 and the #cbj  cords keep   
the two warps in their proper places1   
raising what should be  above the weft1 
and leaving down what should be below it
 for each shot  according to the        
pattern4 ,in these mountings the cards  
hang over the  side of the loom4    ,the
 same method of working can be applied  
to a jacquard with upright  hooks1 by   
having the heads of the hooks for each  
machine or set turned  in opposite      
directions1 as shown in ,fig4 #afj4 ,one
 set of hooks stand  with their heads   
over the knives in the usual way1 as at 
,a1 and the  others require to be pushed
 back by the card to bring them over the
  knives1 as shown at ,b1 so that       
pushing any needle back pushes the      
front hook connected with it off the    
knife and the back one over the  knife4 

,the mounting may be made up as before1 
or a twill or any smaller  texture may  
be used instead of plain2 or a different
 texture may be  made on face and back  
cloths4    ,illustration3 ,fig4 #afj    
,illustration3 ,fig4 #afa               
,illustration3 ,fig4 #afb    ,this      
description of cloth is much used for   
other makes of goods as  well as quilts4
 ,kidderminster or ,scotch carpets are  
woven on the same  principle1 and       
curtains1 cotton vestings1 c41 are      
frequently woven  with the same texture4
 ,it can always be woven with a full    
harness  mounting by preparing the      
design to suit it4 ,fig4 #afa is a      
pattern for  a diagonal figure in plain 
texture for this class of work4 ,the    
black  squares represent the face warp  
raised to the face of the cloth1 and    
the shaded squares represent the back   
warp raised to the face also4  ,the     
blank squares represent weft on the face
 of the cloth4 ,this would  give a      
magnified view of the face of the cloth 

if it were woven with a  black face     
warp1 a grey back warp1 and a white or  
light-coloured weft4  ,if each warp had 
a weft of its own colour the effect     
would be as shown  in ,fig4 #afb1 which 
would be the way the pattern would be   
painted on  the design paper if intended
 for weaving on looms specially mounted1
  or with special machines as described2
 but if a full harness is to be  used1  
then the pattern must be spread over the
 design paper so as to  give a line of  
the paper for each thread of warp and   
pick of weft4  ,fig4 #afc is the same   
pattern arranged in this way4 ,the black
 and grey  squares represent the face   
and back warp raised for the pattern4   
,the  crosses show where the back warp  
is raised for the texture of the back   
cloth at the back of the face cloth1 and
 the dots represent the face  warp      
raised for the texture where the face   
cloth goes behind the back  cloth1 or   
where the back cloth comes to the face4 
,of course1 on a cloth  of this kind the

 warps are alike1 face and back4        
,illustration3 ,fig4 #afc               
,illustration3 ,fig4 #afd    ,it will be
 understood that1 when the threads of   
the back cloth are  being raised to form
 a shed1 all the face threads of the    
corresponding  portions must also be    
raised to clear them out of the way of  
the  shuttle1 and the raising marks for 
these are the short dashes on the       
painting4 ,fig4 #afd is the same pattern
 arranged for two threads face to  one  
of back1 which admits of a heavy backing
 with a fine face1 and is  suitable for 
quilts1 c4 ,the markings are similar to 
those in ,fig4 #afc1  but the number of 
threads is not such as to admit of the  
plain texture  repeating on the back    
cloth4 ,it is therefore broken round the
 edges of  the figure where it would    
least show4    ,instead of having the   
extra harness for working the plain     
texture as  explained in connection with
 the quilt harness1 ,fig4 #aei1 it might
 be  done with four leaves of long-eyed 

heddles in front of the harness1  or by 
having shafts through loops in the      
harness to act as heddles1  or by having
 the cumber board divided into strips   
for each row of the  harness1 and knots 
on the harness twines above them1 so    
that raising  any strip will raise a row
 of the harness1 or the machine may act 
as a  twilling machine to work the      
texture4    ,a ,marseilles quilt is a   
double cloth with a fine face and a     
coarse  back1 both stitched together    
round the edges of the pattern1 and a   
wadding shot thrown in between them1    
which causes the pattern to be  embossed
 or to rise up full and rich4 ,the face 
is usually a plain  texture1 and the    
back the same2 but the face has double  
the number  of threads in it that the   
back has1 and the yarn for the face is  
proportionately finer than that for the 
back4 ,two picks of fine and two  of    
coarse weft are thrown in               
alternately--one pick of the fine goes  
into the face cloth only1 and the other1

 also a face pick1 stitches  the face to
 the back4 ,one of the coarse picks is  
thrown in between the  two fabrics1 and 
is called the wadding1 and the other    
pick goes into  the back cloth4 ,in     
these fabrics a very fine effect can be 
produced by  covering the ground with a 
small bird-eye pattern1 stitching the   
back  and front closely together1 then  
having a bold floral pattern for the    
figuring1 which1 being only bound round 
the edges of the pattern and  along     
veins1 c41 is comparatively loose and   
produces a rich embossed  effect4 ,these
 fabrics may be woven with a twilled as 
well as a plain  ground4    ,matelasses 
are a similar description of fabric1 but
 usually more  ornamented1 the face     
fabric being any fancy texture4 ,when   
used for  ladies' jackets or mantles    
they are made of fine worsted or silk   
for  the face1 with perhaps a woollen   
back and a woollen or cotton wadding4   
,the binding of the face and back cloths
 together takes place round the  edges  

of the figure1 and in any other portion1
 such as veins of leaves1  c41 that may 
be thought desirable4 ,the binding may  
be effected either  by leaving down a   
portion of the face warp when the back  
pick is being  thrown in1 or by raising 
a portion of the back warp when the face
 pick  is being thrown in1 this         
depending upon the pattern and the      
counts  of yarn used4 ,the finer threads
 should be used for stitching1 so as    
not to injure the face by bringing any  
coarse threads through to it4  ,if the  
face of the cloth is a warp pattern it  
will be best to stitch  by raising a    
back thread over a face pick1 but if the
 face is a weft  pattern then sinking   
the face warp for the back picks will   
probably  be more satisfactory4 ,if the 
cloth is made1 as is frequently done1   
with a mohair or lustre worsted warp    
face with a cotton weft1 and a  cotton  
warp back with a woollen weft1 and a    
woollen wadding1 then the  binding would
 be effected by raising some of the back

 warp thread over  the face picks4 ,one 
pick 7woollen7 for wadding would be     
thrown into a  shed formed by raising   
all the face warp2 the next pick would  
be for  the back1 thrown into a shed    
formed by raising all the face warp and 
that portion of the back warp required  
to form the texture of the back  cloth2 
the third pick would be for the face1   
thrown into a shed formed  by raising   
the portion of face warp required for   
the pattern1 as well  as those ends of  
the back warp that are to form the      
stitchings4    ,quiltings4--,a great    
variety of the cheaper description of   
quiltings1  toilet covers1 c41 consist  
of a face cloth with an additional thick
  weft4 ,this thick weft is woven into  
the ground1 which may be a twill1  mat1 
c41 but flushed loosely at the back of  
the figure1 which is a  plain texture4  
,sometimes there is a small quantity of 
thin warp for  binding the thick weft   
loosely at the back of the figure1      
making a  double cloth in this portion1 

but all working together for the ground1
  making it a solid cloth4    ,of more  
recent origin are the satin quilts made 
by ,messrs4 ,barlow and  ,jones1 of     
,bolton1 and some other firms4 ,they    
consist of two plain  cloths1 intimately
 bound together2 one cloth has a fine   
warp and a  very coarse weft1 and the   
other has a fine weft and a coarser     
warp4  ,when binding1 the fine warp is  
made to catch on the fine weft1 and  the
 thick warp and weft cover the bindings4
 ,suppose the fine warp to  be white and
 the thicker warp to be blue1 and let   
the warping be two  threads blue and one
 white4 ,let the white warp be wefted   
with a thick  twist weft--say four times
 as thick as the warp--and this coarse  
weft  will form the figure4 ,let the    
blue warp be wefted with a blue weft    
perhaps double the count of its warp1   
and in binding this weft catches  on the
 fine white warp4 ,the thick white weft1
 which is fully double  the thickness of
 the thick warp1 effectually covers the 

tie1 and when  the yarns are properly   
proportioned the pattern stands out1    
producing  a clear stamped or embossed  
effect4 ,these cloths may be made with a
  twilled ground1 and either all white  
or white and coloured4 ,they are  a good
 firm fabric and wear well1 but are     
liable to have a coarser  appearance    
after being washed4 7,see also          
,terry-,pile ,quilts47    ,woollens and 
,worsteds4--,weaving woollen and worsted
 cloths in the  jacquard loom is merely 
an extension of the patterns produced   
with  shaft mountings1 or sometimes the 
same patterns are woven on small        
jacquards by those who prefer the       
jacquard to working a larger number  of 
healds when the cloth is not so heavy as
 to require the latter to  be used1     
healds as a rule making a firmer and    
heavier cloth than a  jacquard will4    
,light worsted goods for dress fabrics1 
c41 are figured  like damask1 or as     
double weft or double warp-faced cloths1
 or may be  as double cloths4           

,curtains and ,tapestries4--,these1     
though sometimes of damask1 are  usually
 made on some principle of double cloth1
 as indeed all cloths  must be when a   
rich brilliant effect of colours is     
required4 ,one of  the simplest methods 
of making these fabrics1 and which      
produces a  very good effect1 is to     
employ a fine binding warp of twist     
cotton  and produce the pattern on it   
with two1 three1 or more coloured wefts 
of worsted1 mohair1 or silk--say a spun 
silk ground weft and a mohair  or fine  
worsted figure4 ,a small portion of a   
diamond pattern1 greatly  reduced for   
want of space1 is given in ,fig4 #afe4  
,it is intended for  three colours of   
weft--one for the ground and two for the
 figure4 ,the  ground weft might be     
black or gold1 and the figure wefts     
olive green  and dull red1 or claret1   
the warp to be black or a deep navy     
blue4    ,for this pattern three cards  
must be cut from each line of the design
  paper--one for the ground weft and one

 for each colour of the figure4  ,the   
design is painted in various colours1   
which are here represented  by different
 markings on the squares4 ,let the black
 squares represent  the olive and the   
dotted squares the red of the figure4   
,the white  squares represent the ground
 weft1 and the shaded squares on it are 
for binding the face weft down1 while   
the crosses are for binding up  the weft
 at the back4 ,the cutting of the cards 
is as follows3--,for the  ground shuttle
 cut all the shaded1 black1 and dotted  
squares--that is1  the shaded squares on
 the ground and all the figure4 ,for the
 first  figure shuttle 7olive7 cut all  
the ground except the crosses 7that is1 
the white and shaded squares7 and the   
dotted squares of the figure4 ,for  the 
second figure shuttle 7red7 cut all the 
ground except the crosses1  as before1  
and the black squares of the figure4    
,illustration3 ,fig4 #afe    ,in this   
example the figure is so small as not to
 require binding dots  over it1 but for 

a large figure the ground weft threads  
would require  to be bound up at the    
back of the figure in the same way that 
the  figure threads are bound up at the 
back of the ground in the design  given4
 ,the figure wefts might also require to
 be bound at both face and  back4 ,on   
the design these binding marks would be 
dotted over the figure  in the same way 
as they are dotted over the ground on   
the design given1  using any suitable   
texture that may be desired4    ,to make
 the cutting clear1 five lines of the   
pattern 7,fig4 #afe7 are  put upon      
design paper in ,fig4 #afe;,a1 as they  
would be cut on the cards1  beginning   
with the ground weft1 olive and red     
following1 in all making  #ae lines or  
#ae cards4 ,this cutting would make the 
upper side of the  cloth in the loom the
 right side or face2 but it may1 in some
 cases1 be  desirable to weave the cloth
 with the face down to avoid heavy lifts
 in  the harness4 ,this pattern would   
suit for a warp of about #ej threads of 

warp per inch1 and say #fj to #hj shots 
per inch of each colour4                
,illustration3 ,fig4 #afe;,a    ,for the
 convenience of the designer and        
card-cutter1 a much better plan  of     
working this class of fabric is to have 
an additional binding warp1  which may  
be in heddles or in a front row of the  
harness4 ,this warp  can work plain     
twill or satin as required1 and1 being  
light and openly  set1 can bind the back
 weft up and the face weft down1 or the 
face may  be bound by the warp in the   
harness and the back bound by the       
binding  weft2 but in this case there   
should be a fine thread of weft thrown  
in  every fourth pick1 which should pass
 over the warp in the harness1 or a     
portion of it1 and under that in the    
heddles1 so as to bind both warps       
together4 ,in this case the twilling    
dots on the design are omitted1  which  
simplifies the cutting and designing of 
the pattern4 ,if the face  is to be     
twilled with the harness warp1 the dots 

for binding must1 of  course1 be put on 
the design1 or the figure only may be   
twilled on the  design1 and let the     
ground be bound by the binders4 ,shafts 
mounted in  this way may be wrought from
 tappets if the loom is mounted with    
them1  or may be wrought by strong hooks
 at each side of the jacquard and sunk  
with springs4 ,the principle of working 
fabrics of this description has  been   
given in detail1 as from it many other  
varieties can be wrought  out1 and any  
number of shuttles used to suit the     
colours wanted4    ,figuring with two   
warps and one weft is a common method of
 working1 and  gives three colours on   
the face of the cloth4 ,an extra warp of
 fine  yarn may be used for binding the 
wefts1 admitting of the coloured weft   
being more used for figuring4 ,extra    
warps cannot be used to so great  an    
extent as extra wefts1 as they crowd up 
the reed and prevent proper  shedding1  
particularly when soft or hairy yarns   
are used2 but when  properly suited to  

the reed they make a firmer and more    
regular cloth  than a weft cloth1 and on
 account of less picking the weaver gets
 over  the work much faster4 ,two warps1
 each having its own weft1 are a good   
method of figuring1 but unless for goods
 with a large number of threads  and    
picks per inch1 so that fine yarn can be
 used1 it makes a heavy  cloth4 ,two    
warps and two wefts1 all of different   
colours1 with a fine  binding warp in   
addition1 to admit of the colours of the
 wefts being  kept comparatively pure1  
gives a still richer effect4 ,in this   
case  the binding warp may be of fine   
black cotton1 the two figure warps of   
thicker cotton1 and two threads drawn   
into each mail2 the colours may  be1    
say1 dark blue and dark citrine1 or     
clear sage4 ,the wefts are soft  wool or
 worsted1 say light gold and deep dull  
red4 ,in this method of  weaving1 pure  
red and pure gold can be got from the   
wefts1 as the black  binders show but   
little4 ,pure blue and pure citrine can 

be got in small  quantities by floating 
the warps1 and an admixture of the warps
 and  wefts can be got in any place     
desired4    ,a very handsome curtain    
fabric can be made as follows3--,there  
are #abj  to #adj threads of warp per   
inch2 every second or every fourth      
thread of  the warp is used for binding 
the ground1 which may be a plain texture
  or a three-shaft twill4 ,the binders  
may be an extra warp1 wrought with      
heddles1 forming plain all over the     
cloth1 or may be in the harness  and be 
portion of the ordinary warp working    
plain for the ground1 but  rising to    
assist in forming the figure1 which may 
be bound as desired1  say #h-or #aj-;end
 satin4 ,the warp is of fine silk yarn  
loosely twisted1  and may be one or more
 ply1 of a rich olive-green or deep     
scarlet  colour4 ,there are two wefts1  
one a rich silk1 say a golden colour1 of
  twist yarn2 the other is a backing    
weft of the same colour as the  warp1   
and of cotton yarn1 about the same      

thickness as the silk weft4  ,there are 
from #ej to #fj threads of weft per inch
 of each colour4 ,the  gold weft forms  
the ground of the pattern1 and the warp 
the figure1  which is bound with an     
#h-;end satin binding4 ,the cotton weft 
goes to  the back when the silk weft is 
on the face1 forming the ground of the  
pattern1 the warp lying between them2   
but when the warp is on the face  for   
figuring1 the gold weft goes to the back
 and the cotton weft lies  under the    
warp face1 binding it and giving an     
embossed effect to the  figure4 ,the    
gold weft is bound up by sinking a      
portion of the warp4 ,the  ground may be
 formed with the warp1 and the figure   
with the weft1 if  desired1 producing a 
sunk figure on a raised ground2 but this
 is just  a reversal of the process1 or 
making the ground in this case as the   
figure in the previous case4 ,this makes
 a light1 close1 and very rich  fabric4 
,figured ,poplins are among the richest 
description of curtain fabrics2  they   

may be made of all silk1 or silk and    
fine wool1 the latter forming  the weft4
 ,the ground is a clean1 sharp cord     
running across the cloth1  and the      
figure is formed by flushing the warp   
over the cords1 binding  it with a long 
twill or satin binding4 ,the weft may   
also be used for  figuring2 but in this 
case it should be a silk weft put in for
 the  purpose of figuring4    ,two      
portions of patterns of good makes of   
figured poplins or repps are  given in  
,figs4 #aff and #afg4 ,fig4 #aff is     
warped two threads of rich  crimson silk
 and one thread of rich golden yellow   
silk1 #ahj threads per  inch4 ,the weft 
is pick-and-pick1 #ej picks per inch1   
one thread a round1  firm cord of firmly
 twisted worsted of the same colour as  
the warp1 and  the other yellow silk1   
the same as the warp4 ,this thread      
passes over  the crimson warp and under 
the yellow1 the crimson cord reversing  
this1  thus producing a very fine yellow
 line between each pair of cords4  ,the 

method of forming the figure can easily 
be seen from the pattern4  ,instead of a
 thick cord being put in for the weft to
 form the rib1  several fine shots could
 be thrown in as one1 as in repp        
figuring1 and  these threads could be   
brought out for figuring as well as the 
warp2  but they would in this case      
require to be of silk1 which would make 
the  cloth very expensive4              
,illustration3 ,fig4 #aff               
,illustration3 ,fig4 #afg    ,fig4 #afg 
makes a very rich and handsome fabric4  
,it is warped all a rich  purplish-brown
 silk1 #ahj threads per inch4 ,there are
 four weft picks  in the pattern4 ,the  
first is a clear olive-green silk about 
double the  thickness of the warp silk1 
the second shot is a round1 firmly      
twisted  worsted cord of the same colour
 as the warp1 the third is the same as  
the first1 and the fourth is silk of the
 same colour as the warp4 ,there  are   
#ajj picks per inch1 but the two green  
silks go along with the cord  to form   

the complete cord or ridge4 ,these silk 
picks can be brought  out to the surface
 for figuring1 as shown by the shaded   
squares in the  pattern1 which are not  
cut on the cards4 ,the black squares are
 the warp  figuring1 the dots the warp  
raised for the ground1 and the crosses  
the  warp of the binding threads raised4
 ,these binding threads rise over the   
brown silk pick1 and are similar to the 
yellow warp in the previous  pattern4   
,for richer fabrics than these we must  
go to pile work1 which is1  perhaps1 the
 most exquisite production of the loom4 
,curtains or  hangings can be made      
extremely rich by figuring a rich corded
 silk  ground with a pile of different  
lengths and colours4 ,the long pile can 
be cut to form a plush or velvet pile1  
and the shorter pile may be left  uncut 
to form a looped or terry pile4 ,by a   
judicious arrangement of  colours and   
length of pile1 fabrics of extreme      
beauty can be made 7see  ,pile ,work74  
,for curtains of a heavy description    

chenille is much used1  and makes a very
 rich1 warm-looking fabric2 but it is   
too heavy and of  too coarse a nature   
for small rooms unless they are very    
well lighted4  ,it is very suitable for 
screens1 or curtains dividing two       
portions of a  room 7see ,chenille74    
,,chapter ,,ix    ,,tapestry ,,and      
,,pile ,,work      ,tapestry4--,what are
 generally known in trade as tapestries1
 are  figured fabrics for curtains1     
hangings1 c41 not damask1 which is      
distinct1 being woven with only one warp
 and weft4 ,real tapestry is  a         
hand-made fabric of very ancient origin1
 being in use since the  days of the    
ancient ,egyptians1 who wove or worked  
it in a manner very  similar to that    
employed at the present time4 ,it does  
not belong to  #8jacquard weaving1' but 
being the first in point of the         
excellence of  its patterns amongst     
figured fabrics1 a short description of 
it may  not be out of place4 ,henry     
,,viii4 tried to establish tapestry     

weaving  in this country1 but failed1   
but ,james ,i4 had a flourishing factory
 at  ,mortlake4 ,tapestry weaving       
appears to have been introduced into    
,france  about the ninth century4 ,the  
,flemish were celebrated for it from the
  twelfth century4 ,arras work surpassed
 all the others1 and tapestry  was      
commonly known as arras work4 ,the      
sixteenth century gave a new  impulse to
 the trade in ,france4 ,francis ,i4     
founded the manufactory of              
,fontainebleau1 and ,henry ,,iv4        
re-established tapestry making in ,paris
  in the years #aeie to #afjf4 ,about   
the year #afff ,louis ,,xiv4 bought the 
,gobelins ,works 7which take their name 
from the original owners1 a rich  family
 of wool dyers71 and established the    
,royal ,gobelins ,tapestry              
,manufactory1 which is now one of the   
sights of ,paris4    ,there were two    
methods of working tapestries--one known
 as #8basse  lisse1' or low warp1 the   
threads of warp being placed in a       

horizontal  position in the loom2 the   
other was called #8haute lisse1' or high
 warp1  as the threads of warp were     
placed in an upright or vertical        
position4  ,it is the latter method of  
working that is now adopted4    ,the    
loom consists of an upright frame of    
wood of a size to suit the  cloth to be 
made4 ,there is a strong roller at the  
top1 which acts as  a warp beam1 and    
another at the bottom for the cloth     
beam4 ,both these  rollers have ratchet 
wheels on one end1 and are held with    
pawls or  catches so as to allow the    
warp to be wound off and the cloth to be
  wound up when required1 and then hold 
the stretch of warp steady to  be woven4
 ,the warp is coarse1 but a clean1      
regular thread of twist1  cotton1 or    
linen1 about #ab to #ah threads per inch
 7more or less1 as  desired17 and of    
such a thickness that the spaces between
 the threads  are somewhat less than the
 diameter of the threads4 ,the weft is  
usually  of fine wool but a fairly thick

 thread1 say #d's or #f's worsted4 ,this
  is generally used alone1 of whatever  
shade of colour is required1  and there 
is no end to the shades used2 but in    
some places1 to give  brilliancy and    
richness of effect1 silk is used along  
with the wool1  and sometimes tinsel or 
gold cord4 ,these are put in separate   
threads  along with the woollen or      
worsted weft4 ,the silk is much finer   
than the  worsted1 say about equal to   
#ab's or #af's cotton1 and1 of course1  
can be  regulated to give the effect    
required4 ,the gold is sufficient to    
give  sparkle to the portion it is      
employed in4    ,after leaving the warp 
beam the warp is divided by two thick   
glass  lease rods4 ,then every alternate
 thread1 those to the front of the      
frame1 is drawn through a doup of a     
half-leaf of heddles which is fixed  in 
a horizontal position above the weaver's
 head4 ,this enables a plain  shed to be
 formed1 as the thick lease rod divides 
the threads and forms  one shed4 ,then1 

when the weaver1 sitting at the back of 
the loom1 draws  back the half-leaf of  
heddles1 all the front threads or any   
portion of  them can be drawn back past 
the back set1 and form a cross shed4 ,as
  the doups of the heddles are long and 
strong1 the weaver can take any  number 
of them he requires and draw the front  
warp back2 then putting  his fingers    
into the shed thus formed1 clear it down
 to the fell of the  cloth and insert   
his bobbin4    ,illustration3 ,fig4 #afh
    ,the pattern is painted on design   
paper1 shaded in the way it is to       
appear on the cloth1 and the weaver must
 have a bobbin of weft to  suit each    
tint or shade of colour on the design4  
,the outline of the  pattern is traced  
on the warp to guide the weaver1 and the
 painted  pattern is fastened up either 
before him or to one side of him1 so as 
to be convenient to read the stitches   
off it4 ,when ready for work he  looks  
at the pattern and finds perhaps #bj    
stitches of blue2 then he  selects a    

bobbin of the correct shade and passes  
it through the open  shed of the warp   
round #aj threads2 then he draws the #aj
 doups of the  heddles that are round   
the #aj threads intermediate with and in
 front of  these1 pulling them back     
through the others and forming a cross  
shed4  ,the same bobbin is now passed   
through this shed1 and the weft pressed 
down with a pin or comb1 both of which  
articles the weaver uses for            
straightening and beating up the weft4  
,this covers #bj threads of warp  with  
blue weft4 ,the texture of the cloth is 
plain throughout1 the weft  being bent  
round the warp and pressed close        
together1 forming a rib4  ,now1 instead 
of completing this weft line all along  
the cloth1 as is  usual in coloured     
weaving1 the weaver goes on working with
 the bobbin  he has taken up1 following 
the colouring on the pattern1 and may   
change  his bobbin when required for a  
new shade or colour1 and go on working  
this portion for some distance upwards1 

and then begin an adjoining  portion and
 work it up in the same way4 ,this will 
come all right when  the outlines of the
 portion he is working run obliquely2   
but if they  should run upright for any 
distance in the same direction as the   
warp1  it is plain there would be two   
selvages coming together without any    
connection between these portions of the
 cloth1 as shown in ,fig4 #afh4  ,when  
the pattern runs in a diagonal          
direction1 the weft threads passing     
across from one warp thread to the next 
one make a sufficient binding  or       
connecting link between the two colours1
 as may be seen at the upper  portion of
 this figure1 which would be quite      
sufficiently connected  when it is      
considered that the weft threads are    
pressed so closely  together as to      
entirely cover the warp4 ,to remedy the 
objection of a  slit or division between
 the two portions of a pattern in the   
case of  a vertical line1 it is         
customary to tack the bobbin of one     

colour of  weft round the first warp    
thread of the adjoining colour1 at      
intervals  of1 say #c_/af in4 ,this     
produces a toothed appearance1 but is   
not very  remarkable4 ,the only other   
remedy would be to link the two wefts on
  each other occasionally4 ,in many of  
the old tapestries it may be seen  that 
this was neglected1 even when the       
distance was as much as #c in4  or #d   
in4 ,sometimes they were stitched       
afterwards in these places with  a      
needle and thread4 ,when there are many 
long straight lines running  in one     
direction1 as in architectural subjects1
 it is best to work the  pattern so that
 these will run in the direction of the 
weft1 to avoid  any joining being       
required4 ,patterns can be wrought      
sideways or upright  on the cloth as    
desired to suit the size1 subject1 c4   
,illustration3 ,fig4 #afi    ,as the    
weaver sits at the back of his frame or 
loom when working1  he has to come round
 occasionally to examine the face of his

 work4  ,sometimes he keeps a           
looking-glass in front to show him how  
he is  getting on4 ,he has also a rough 
pattern on the back of the cloth        
similar to that on the front1 as the    
nature of the weave must give him  the  
same on both sides were it not for the  
loose ends at each change  of bobbin1   
which have to be tacked up at the back4 
,tapestry weaving is  a very tedious    
process of working1 but in skilful hands
 very beautiful1  and artistic results  
can be produced4    ,figured ,pile      
,fabrics4--,when we come to pile work we
 have a great  scope for the            
ornamentation of fabrics1 but the nature
 of the work is  such that it is only   
suited to heavy or moderately heavy     
cloth1 and a  large number of either    
threads or picks per inch are required4 
,forming stripes of plain or figured    
pile alternately with twilled  or       
figured stripes can easily be           
accomplished with either a weft or  warp
 pile1 but when we come to figure       

indiscriminately over the cloth  there  
is more trouble4 ,for a length of time  
there was a difficulty in  cutting      
weft-pile figured fabrics1 as the knife 
or cutter would not  always enter the   
proper #8race' round the edges of the   
figure1 and the  floats were cut        
irregularly4 ,this has now been overcome
 by arranging  the design to suit4 ,fig4
 #afi is a common velveteen designed for
 a weft  pile figure4 ,only a portion of
 the pattern is given1 but enough to    
show  the method of arranging the       
design4 ,it will be seen that the       
figuring  is produced by flushing the   
weft on one side of the cloth1 and for  
the  ground it passes to the other side4
 ,the edges of the pattern are moved    
across the design paper in steps of two1
 and no flush or float is less  than    
over four threads4 ,in addition to this 
the figure should be turned  in the     
centre on an odd number of ends1 which  
in cutting keeps the race  end on the   
inside of the step into which the knife 

enters4 ,the knife is  run up on all the
 odd numbers of ends moving across in   
steps of two1  and1 leaving no flushes  
of less than four1 gives it a better    
chance of  entering in the proper place 
along the edges of the pattern4    ,fig4
 #agj is another make of velvet for a   
heavier fabric1 with #fj  threads of    
warp per inch1 and from #cej to #djj    
picks4 ,it makes a good  firm cloth1    
suitable for curtains or furniture      
coverings4 ,the principle  of designing 
is the same as for ,fig4 #afi4 ,both    
these patterns are  portions of a       
diamond figure4    ,when the figure is  
produced with a warp pile1 it is only   
necessary to  raise the proper warp     
threads with the jacquard for the       
insertion  of each wire1 but the        
difficulty to contend with is that there
 will  be an irregular take-up of the   
warp pile threads1 and this can only  be
 remedied by having a number of small   
warp beams4 ,in some cases a  separate  
spool for each warp thread may be       

required1 which1 of course1  for a fine 
velvet means a very intricate           
arrangement1 though it suits  very well 
for pile carpets4 ,different heights of 
pile can be formed  through a pattern in
 this way--say1 a short pile to be left 
looped1 and  a longer pile to be cut1   
which1 in suitable colours of pile and  
ground1  forms a very beautiful though  
costly fabric4    ,illustration3 ,fig4  
#agj    ,another method of warp pile    
weaving1 more easily accomplished1 is   
that known as terry1 or ,turkish towel  
weaving4 ,it is largely used for        
quilts1 toilet covers1 towels1 c41 and  
any bold figure can be woven on  it with
 almost as much ease as on ordinary     
damask work4    ,there are two methods  
of forming figures on the cloth in this 
style of  weaving1 one by having two    
colours of pile warp and changing them  
from  one side to the other to form the 
figure or ground--that is1 supposing    
the one pile warp to be red and the     
other white--pile would be thrown  up on

 both sides of the cloth at the same    
time2 on one side the figure  would be  
formed by the red pile and the ground by
 the white pile1 and  the other side    
would be the reverse of this4 ,fig4 #aga
 is a portion of  a pattern of this     
style4 ,the black squares represent1    
say1 the red  warp-forming loops on the 
face of the cloth1 and the shaded       
squares the  same for the white warp4   
,the crosses are the ground or binding  
threads2  and the dots represent the    
pile threads of the colours they are on1
  raised to bind with the weft1 when    
these threads are forming pile on  the  
underside of the cloth4                 
,illustration3 ,fig4 #aga    ,the other 
method is to have only one colour of    
pile warp--in fact1  to have only one   
pile warp1 it might be said1 instead of 
two1 as in  the previous case4 ,the     
cloth consists of a pile figure and a   
plain or  solid ground on one side1 and 
the reverse of this on the other side4  
,the pile and ground may be of the same 

colour1 or of different tints  if       
desired--say a rich cream ground and a  
white pile4 ,this style of  working is  
very suitable for quiltings1 toilet     
covers1 c4 ,fig4 #agb  is a portion of a
 pattern for weaving in this way4 ,the  
black squares  represent the pile-warp  
raised to form loops1 and the round dots
 are  also pile-warp raised1 but only   
for binding when the loops are being    
formed at the other side of the cloth4  
,the shaded squares show the  ground    
warp raised to form the body texture4   
,this cloth has about #fj  threads of   
warp per inch1 and the same or a little 
more weft4    ,illustration3 ,fig4 #agb 
,figs4 #agc and #agd are two examples of
 six-shot pile cloth for quilts2  it is 
made with #ej to #fj threads of warp per
 inch1 and double that  quantity of     
weft4 ,the same method of marking the   
design paper is used  as that for #agb  
pattern4 ,it will be seen that in ,fig4 
#agc the loops or  flushes of pile are  
over five and under one1 and in ,fig4   

#agd they are  over two1 under one1 over
 one1 and under one1 thus making a fast 
pile  fabric1 whereas the floats of five
 in ,fig4 #agc would be rather loose    
unless the cloth is over-wefted4 ,both  
these piles may be used in the  one     
cloth1 one for the face and the other   
for the back1 as is given in  the       
figures2 the light portion of ,fig4 #agc
 being of the same texture as  the dark 
portion of ,fig4 #agd4 ,one pattern may 
be taken as the face of  the cloth and  
the other as the back4 ,of course they  
may also be used  separately if desired4
 ,any full-harness mounting that will   
suit the  pattern will answer for these 
fabrics1 the loops being thrown up in   
the  usual way1 by leaving a few shots  
standing out from the fell and then     
knocking all up1 drawing forward the    
pile warp1 which is slackened at  this  
beat1 but sliding on the ground warp1   
which is held firm4    ,illustration3   
,fig4 #agd    ,illustration3 ,fig4 #agc 
,another method of forming figure pile  

is to weave a plain pile1 and  when cut 
press or stamp a pattern on it with     
heated blocks cut to the  pattern2 the  
standing pile is then shorn off1 and    
afterwards that which  was pressed down 
is brushed up again1 forming a full-pile
 figure on a  shorn-pile ground4        
,,chapter ,x    ,,carpets      ,the     
manufacture of carpets has been in      
existence since the days of  the ancient
 ,egyptians1 who made rugs and carpets  
of various kinds and  ornamented them   
with animals and various devices4 ,the  
manufacture  passed on to the ,east1 and
 we find ,india1 ,turkey and ,persia    
celebrated  for the richness of their   
carpets in early times4 ,the ,moors of  
,spain  introduced the ,oriental floor  
coverings into ,western ,europe1 and the
  ,belgians and ,french took up the     
manufacture and produced excellent      
imitations of them4 ,even in the ,middle
 ,ages carpets were only used  as a     
luxury by the rich4 ,queen ,elizabeth   
had a carpet spread upon  rushes1 while 

,queen ,mary had rushes only4 ,these    
rushes were the ,acorus  ,calamus 7sweet
 reed of ,norfolk71 which were the usual
 floor coverings  down to about this    
time4    ,tapestry weaving was started  
in this country in the beginning of the 
seventeenth century1 but the first we   
hear of carpet manufacturing in         
,england was at ,kidderminster about    
#agce1 the carpets then made being1  no 
doubt1 the ,kidderminster or ,scotch    
carpet4 ,the making of ,brussels  carpet
 was introduced about #agej2 they were  
first made in this country  at ,wilton1 
near ,salisbury4    ,the ,axminster     
carpets take their name from being first
 made in the  town of ,axminster about  
#agee4 ,they rivalled the work of the   
,eastern  looms for beauty1 durability1 
and colour2 but owing to the cost of    
their manufacture1 and the introduction 
of the cheaper ,brussels and  patent    
tapestry carpets1 the demand became very
 small1 and the work was  removed to    
,wilton in #ahce4 ,the patent ,axminster

 or chenille carpet was  brought out by 
,messrs4 ,templeton1 of ,glasgow1 in    
#ahci4    ,in the early ages carpets or 
rugs were used for spreading on the     
floor  or grass to lounge upon4 ,it is  
recorded that in ,babylon the guests of 
despotic sovereigns lounged on rich     
carpets1 and walked over priceless      
works of textile art2 also how figured  
carpets made of the finest wool  were   
strewed under golden couches1 and rugs  
richly embroidered with  figures were   
spread over das1 stool1 and table4      
,the ,egyptian carpets may have been    
tapestries and embroidered fabrics4     
,they also had a method of making tufted
 carpets by drawing a portion  of the   
weft threads out of a piece of coarse   
linen and sewing tufts of  coloured     
worsted to the warp threads1 enough of  
the weft being left in  to bind the warp
 threads together4    ,illustration3    
,fig4 #age    ,persian and ,indian      
carpets were made of wool2 the latter   
were  occasionally made of silk1 and    

sometimes an inferior description of    
carpet was made of cotton4 ,these1 as   
well as ,turkey carpets1 are made  on a 
very simple loom consisting of two posts
 fitted at a suitable  distance apart to
 form a vertical frame4 ,there is a     
roller at the top  and another at the   
bottom between which the warp threads   
are stretched1  much in the same manner 
as in tapestry weaving4 ,the weaver sits
 in  front of the loom with a design    
before him1 and is provided with a      
quantity of bobbins of the colours      
required for the pattern2 he looks  to  
the design for the colour1 and1 taking a
 bobbin of the colour  required1 forms a
 loop round two of the warp threads with
 the weft1  cutting it off as shown in  
,fig4 #age4 ,after having completed a   
row along  the cloth forming one weft   
line of the design1 he opens a shed and 
inserts a ground shot all across the    
web1 each ground shot going into a  shed
 the reverse of the preceding one1      
forming a plain texture ground  with a  

row of tufts between the ground shots4  
,the ground shots are  beaten down with 
a comb4 ,instead of going across in even
 rows of tufts1  where there is a patch 
of colour several rows of tufts may be  
put in at  this place with a ground     
thread between the rows1 leaving the    
ends of  these threads projecting so    
that they can be carried across when the
  remaining portions of the rows are    
completed4 ,the ends of the tufts  are  
cut off roughly at first1 and afterwards
 shorn level with a pair  of shears4    
,persian carpets are sometimes very     
costly1 a small-sized  carpet1 when made
 of fine cashmere wool1 costing #ejjl4  
or #fjjl4    ,axminster carpets are made
 on the same principle1 and other art   
carpets  are being made similarly4      
,there are about sixteen or twenty warp 
threads per inch of strong cotton or    
linen thread2 the weft is of fine  wool1
 three or four ply being put into each  
tuft2 the ground weft is  soft hemp or  
flax1 eight ply of yarn going to each   

shot4 ,this makes  a full soft cloth4   
,these carpets are about three-quarters 
of an inch  thick1 and1 like tapestries1
 there is no end to the variety of      
pattern  or colour that can be          
introduced4    ,kidderminster or ,scotch
 ,carpet4--,this carpet1 also called    
ingrain  carpet1 is the oldest          
machine-made carpet in this country2 it 
was  originally made at ,kidderminster1 
but the chief centre now is ,scotland4  
,originally it was a two-ply cloth1 the 
pattern being formed by passing  the two
 cloths1 which were of different        
colours1 through each other4  ,mr4      
,morton1 of ,kilmarnock1 improved on    
this by making it a three-ply  cloth1   
which enabled it to be made a thicker   
cloth with a richer  pattern4 ,it is now
 made both two-and three-ply1 and when  
made of  all-wool is a rich and durable 
article1 taking a position between the  
jute and felt carpets and the tapestry  
and ,brussels2 it is1 however1          
sometimes made with cotton warps and    

woollen wefts1 and is in this case  an  
inferior article4    ,both two-and      
three-ply carpets may be woven with only
 one colour of  weft1 in which case the 
pattern is formed by the warp threads1  
which  must be much thicker so as to    
close in over the weft and hide it as   
much as possible2 on the other hand1    
there may be two warps and four  colours
 of weft1 two of which are the same     
colours as the warp1 and in  this case  
the weft is much thicker than the warp4 
,the best of these  carpets are made    
with as many colours of weft as warp1   
as1 in order to  get a pure effect1 it  
is necessary to have wefts traversing   
warps of  their own colour2 but a       
variety of effects can be produced by   
using  additional colours in both warp  
and weft4    ,one advantage in this     
style of carpet is that it is           
reversible2 for  when one cloth rises to
 the face the other passes to the back1 
making  the pattern on both back and    
face alike1 but of different colours4   

,this  is the case when the carpet is   
two-ply cloth woven in the ordinary way1
  but sometimes the back has to a       
certain extent to be sacrificed to  give
 more ornamentation to the face1 at     
least in the ordinary method  of        
weaving4 ,whether woven two- or         
three-ply1 the principle of working  is 
the same4 ,take a two-ply carpet4 ,the  
fabric is a double or two-ply  plain    
cloth1 figured in the usual way by      
passing the two cloths through  each    
other1 there being no binding between   
the cloths except what is  formed by the
 one passing through4    ,the warps are 
of different colours--as1 say1 scarlet  
and black1  green and black1 c4--and    
each warp should have a weft of its own 
colour if pure effects in the cloth are 
required4 ,usually four sets  of warp   
threads are employed instead of         
two--that is1 two colours1  end-and-end1
 for each warp--and each colour of warp 
has its own colour  of weft4 ,say we    
take red and black for the face or      

figuring warp1  and white and olive for 
the back or ground warp4 ,various       
effects can  be produced from this      
arrangement--viz4 the effect of the     
figuring  cloth1 formed by weaving the  
red and black warps and wefts together1 
which in plain texture with one weft    
will produce a rich brown effect2  the  
ground cloth produced by the white and  
olive warps and the weft  will be of a  
light olive colour2 then lined1 or what 
are known as  #8shot-about' effects can 
be produced by throwing in a light and a
 dark  shot alternately--as white and   
black1 olive and red--and binding them  
on the face by warps of the same colour4
 ,all the weft on the face of  the cloth
 should be bound by warp of its own     
colour in order to give  pure effects4  
,when a thread of one cloth is raised1  
the corresponding  thread of the other  
cloth goes to the back 7white and red   
and olive  and black correspond in this 
case71 but the red weft will be bound   
with black warp on the under side of the

 cloth1 and the black weft  will be     
bound with red warp1 and the same with  
the others1 as in the  system of working
 the harness with journals to form the  
texture1 all  the black warp is         
controlled by one of the journals and   
must all rise  with it4 ,therefore when 
the black shot is being thrown in1 the  
black  warp must be raised to make the  
pattern correct on the face of the      
cloth1 and this will also cause it to be
 raised for that portion of  the cloth  
that goes to the back1 and when the     
black is up the red is  down2 therefore 
the black weft must be bound by red warp
 on the under  side of the cloth1 and   
the same with the other colours4 ,it is 
easy to  understand that if an          
end-and-end warp--black and red--be     
wrought plain  on two shafts or leaves  
of heddles1 and shot pick and pick of   
the same  colours1 when the black weft  
is bound with the black warp on one side
  it must be bound with red 7which is   
the other half of the warp7 on the      

other side1 and if the red is bound with
 red on one side it must also  be bound 
with black on the reverse side4 ,to     
apply this to the double  cloth or      
carpet weave it is only necessary to    
consider this piece of  cloth as passing
 up and down through another one of a   
different colour4  ,had we the power of 
raising any portion of the black or red 
warps  required1 we could bind a portion
 of the black weft with black on one    
side1 and any other portion of it with  
black on the other side2 to do  this we 
require a full or thread harness4       
,illustration3 ,fig4 #agf    ,a section 
through the weft of a piece of two-ply  
carpeting is given  in ,fig4 #agf1      
showing the position of the threads when
 arranged to  give the different effects
 of face cloth up as at ,a1 back cloth  
up  as at ,b1 shot-about effect of red  
and olive on the face as at ,c1 and     
shot-about effect of white and black on 
face as at ,d4 ,the warp threads  are   
marked ,w1 ,o1 ,r1 ,b1 the initial      

letters of the colours2 and the  numbers
 #a to #cb give the order of picking4   
,the shot-about effect is  here produced
 with the opposite threads--that is1 the
 first thread of  one warp and the      
second thread of the other warp--as     
white and black2  but it might be       
preferred to produce the effect the     
corresponding or  mate threads 7white   
and red1 or olive and black7 would give4
 ,in working  with journals1 two picks  
face and two picks back would be        
required to  obtain this1 and the       
needles of the jacquards would require  
to be acted  upon by the cards for each 
shot1 thus requiring double the number  
of  cards4 ,with a full harness any     
effect desired can be produced4 ,extra  
colours of weft may also be used 7as    
drab7 in addition to the white  and     
olive--to work1 say1 white1 olive1 drab1
 olive1 c42 and dark  green or blue in  
addition to the red and black1 which    
would come in as  red1 green1 black1    
green1 c41 a shot of the light and one  

of the dark  colours following each     
other in succession4 ,stripes of a      
bright colour  may be introduced into   
the warp or weft and kept in the back   
cloth1  only being brought to the face  
in small portions1 at intervals1 to     
sparkle up the centres of flowers1 c4   
,ingrain carpets are made #cf in4 wide1 
and with1 say1 #hcb or #ajhh  threads of
 warp1 according to quality4 ,the former
 can be woven on a #bjj  jacquard 7say  
#bjhdaf71 as the machine is double2 and 
as there are two  repeats of the pattern
 in the width of the cloth1 #daf  #b    
#hcb threads  of warp4 ,for the latter  
#bgb needles are required  #edd  #b     
#ajhh hooks4    ,when woven with        
journals1 the jacquards used for        
figuring these carpets  are similar to  
those explained under #8,quilt          
,weaving'--that is1 double  machines    
with trapboards and knot cords2 and when
 the card is pressed  against the       
needles it is held in for two shots1 one
 trapboard raising  the harness for the 

first shot1 and the other reversing the 
shed for  the second shot4 ,the journals
 are four sections of the cumber board1 
as shown in ,fig4 #agg2 each section    
contains two rows of the harness  and   
one colour of warp4 ,no4 #a journal     
controls the white warp1 ,no4 #b  the   
olive1 ,no4 #c the red1 and ,no4 #d the 
black2 the draft is shown by  the       
numbers #a to #h alongside the harness  
cords4 ,these eight cords only          
represent half a row from each machine1 
as there are eight rows of  hooks to the
 machine4 ,one row of the two machines  
fills two rows across  the journals1 or 
#af holes4 ,a represents the trapboard  
of the machine  for the ground or dark  
warp1 and ,b that of the machine for the
 figuring  or light warp4    ,the       
harness twines are furnished with large 
knots above the cumber  board or        
journals1 so that when one of the       
journals is raised the  harness will be 
lifted with it4 ,the journals may be    
raised by strong  cords or wires from   

the machine1 or by a tappet or shedding 
motion  working either above or below   
them4 ,if the machine is divided into   
two  parts1 four hooks in succession    
going to each colour of warp for each   
cloth1 the cords from these four hooks  
making two rows of the journal1  there  
will be no crossing of the harness in a 
straight or ,norwich tie4               
,illustration3 ,fig4 #agg    ,the order 
of working for the section ,fig4 #agf   
would be as follows3--,for  the first   
pick1 which is white1 raise the         
trapboard ,b and the first  journal2 for
 the second pick1 which is red1 raise   
the trapboard ,a and  the third journal2
 for the third pick1 raise the trapboard
 ,b and the  second journal2 for the    
fourth pick1 raise the trapboard ,a and 
the  fourth journal4 ,this is the       
general order of lifting for a pattern2 
but  a simple lined effect across the   
cloth as the section could be wrought   
with the journals without the machine1  
using them as heddle shafts4  ,it could 

also be wrought by the machine without  
the journals4 ,the use  of the journals 
in conjunction with the machine is to   
pass the cloths  through each other and 
make a pattern4 ,for figure work1 when a
 card  is pressed in against the        
needles1 all the warp for the figure on 
the  design paper is raised by the      
trapboard ,b1 which clears this portion 
of the red and black warps out of the   
way of the ground shed2 and as  the     
first pick of the ground is white1 the  
white journal is raised to  bind the    
white pick1 leaving the olive warp down 
to bind it at the  back4 ,for the next  
shot the same card acts1 and the        
trapboard ,a is  raised1 which lifts all
 the white and olive warp corresponding 
with  the portion of the red and black  
that was left down at the last shot1  so
 as to clear this portion out of the way
 of the face shed4 ,as a red  pick      
follows white1 the red journal 7,no4 #c7
 is raised to bind the red  on the face1
 leaving the black warp down to bind it 

on the back4 ,the  other picks follow   
similarly4 ,this shows the defective    
binding common  to journal weaving1 the 
white being bound with olive and the red
 with  black at the under side of the   
cloth4 ,to have pure binding1 instead of
  all the white or red being raised by a
 journal as above1 only as much  of     
either should be raised as is required  
to bind its own colour of  weft on the  
face of the cloth4 ,the olive or black  
in respective cases  should be raised   
for the remainder of the shed1 leaving  
the white and  red down to bind their   
own wefts where these colours come out  
on the  back or under side of the cloth1
 thus giving pure colours on both sides 
of the cloth1 and letting the mixed or  
impure binding be in the centre  between
 the two cloths4 ,this1 however1 is     
beyond the range of journals1  and      
requires a harness4    ,illustration3   
,fig4 #agh    ,fig4 #agh gives a neat   
pattern on a small scale for a two-ply  
cloth  with1 say1 a red and a pale olive

 warp for ground and figure cloths      
respectively1 the shaded squares being  
red and the ground or white  squares    
olive2 the weft for each cloth to be the
 same colour as the  warp1 or sometimes 
a tint one or two shades lighter and    
brighter1  or deeper and duller1        
according to the colours or shades of   
colours  used1 gives a good effect4 ,a  
further effect in this can be produced  
by  having the #fth to #ajth and #ahth  
to #bbnd threads black1 brown1 or dark  
green1 end-and-end with pale olive1 for 
the back warp1 and picking  similarly on
 the #eth to the #ith picks for the     
ground cloth4 ,this would1  of course1  
make a striped effect on the under side 
of the cloth1 as  where the additional  
colours do not show above they must     
appear below4  ,a still better effect   
can be produced by having an additional 
weft  lying between the two cloths which
 can be flushed on the face in spots  as
 at picks #ab1 #ac1 and #ad1 and of     
course a three-ply cloth will be a  step

 farther in advance2 lined effects can  
then be produced anywhere  desirable1 in
 portions to suit the nature of the     
design1 to vary and  enrich it1 at the  
same time the breadth of effect is      
maintained by  working the greater      
portion of the pattern in masses of pure
 colour1  whether they be large or      
small4 ,for full-harness work the       
harness is  divided into two sections1  
four rows for the back cloth and four   
rows  for the face cloth1 on an #h-row  
machine2 no journals are used1 the      
machine doing all the work4 ,the harness
 is tied up in the usual way1  the cord 
from the first hook passing through the 
first hole of the  cumber board1 and the
 cord from the second hook passing      
through the  second hole1 and so on4    
,the harness is nominally divided into  
two sections1 the front four rows  being
 for the face cloth and the back four   
for the back cloth2 when  drawing the   
warp into the harness the mails are     
taken in the following  order3 #a1 #e1  

#b1 #f1 #c1 #g1 #d1 #h1 the back or     
ground warp coming on #a1 #b1  #c1 #d   
mails1 and the face or figure warp on   
#e1 #f1 #g1 #h4    ,suppose the pattern 
to be a dice1 as ,fig4 #agi1 the warps  
to be white  and olive1 and red and     
black1 with the same colours of weft4   
,each  upright line of the design       
represents two threads of warp1 one of  
which  will be drawn on the front half  
of the harness and the other on the     
back half2 and each horizontal line of  
the design represents two weft  shots1  
for which there must be two cards cut4  
,let the order of drawing  the warp into
 the harness be as ,fig4 #ahj4 ,the     
white is on the odd and  the olive on   
the even numbers of the four back rows  
of the harness1 and  the red is on the  
odd and the black on the even numbers of
 the four  front rows4    ,now to cut   
the cards3--,take the first line of the 
design ,fig4 #agi1 cut  the odd numbers 
of holes 7that is1 the first and third7 
on the first  half1 or first four holes1

 of the card1 and cut the white and     
olive on  the second half of the card4  
,for the second card1 from the same line
 of  the design cut red and black on the
 first half of the card1 and the  odd   
numbers of holes on the second half of  
the card4 ,for the third  card1 take the
 second line of the design and cut even 
numbers of holes  on the first half of  
the card1 and white and olive on the    
second half  of the card4 ,for the      
fourth card1 from the second line of the
 design  cut red and black on the first 
half of the card1 and the even numbers  
of holes on the second half of the card4
 ,of course when there is none  of a    
colour raised1 as in the first line     
there is no black1 no notice  is taken  
of it4 ,for the pattern in ,fig4 #agh   
the cutting would be the  same1 except  
that there are only two colours of warp 
to be dealt with  instead of four4 ,no4 
#a card3 cut odd numbers of holes on the
 first half  of the card1 and olive on  
the second half of the card4 ,no4 #b3   

cut red  on the first half of the card1 
and odd numbers of holes on the second  
half of the card1 c4    ,illustration3  
,fig4 #agi    ,illustration3 ,fig4 #ahj 
,illustration3 ,fig4 #aha    ,the       
cutting of four cards is given is ,fig4 
#aha4 ,the crosses indicate  the cutting
 of the odd and even holes in the cards1
 and the dots are  the figure4 ,it will 
be seen that the crosses in ,no4 #c card
 would  reverse the shed formed by those
 in ,no4 #a card1 thus working plain    
texture on the back cloth1 and the same 
would take place with ,nos4  #b and #d  
cards for the face cloth4 ,this is      
simply the action of the  journals      
included in the harness1 which it will  
be seen requires double  the number of  
needles in the machine1 and double the  
quantity of cards2  but an ordinary     
machine and mounting will answer1       
instead of having to  get a double      
machine and journals4    ,the above     
cutting acts the same as journals1 and  
is all right in both  cases when one    

warp with its own weft is used for each 
cloth2 but it  has been pointed out that
 when each warp is end-and-end of       
different  colours with wefts to match1 
the under side of the cloth is defective
  when wrought with journals1 and so it 
would be with the full harness  if the  
cards were cut as above4 ,to get each   
colour of weft bound with  its own      
colour of warp on both sides of the     
cloth1 the following change  must be    
made3--,take the small piece of pattern 
given in ,fig4 #ahb1 and  let the warps 
be as before--white and olive1 red and  
black4 ,the card  cutting for this      
pattern will be as follows1 the warp    
being drawn  through the harness as     
before3    ,for the first card1 cut odd 
numbers of red and even numbers of white
 on  the first half1 or first four      
holes1 of the card1 and white solid on  
the second half4 ,this will form a shed 
for the red shot4    ,second card3 ,cut 
from same line of the design red solid  
on the first  half of the card1 and even

 numbers of white and odd numbers of red
 on  the second half of the card4 ,this 
is for the white shot4    ,illustration3
 ,fig4 #ahb    ,third card1 for black   
shot3 ,cut from the second line of the  
design even  numbers of black and odd   
numbers of olive on the first half of   
the  card1 and olive solid on the second
 half of the card4    ,fourth card1 for 
olive shot3 ,from the same line cut     
black solid on the  first half1 and odd 
numbers of olive and even numbers of    
black on the  second half of the card4  
,these four cards are shown in ,fig4    
#ahb1 from which the cutting may be     
traced4 ,it must not be supposed1       
however1 that cutting odd numbers of    
red and even numbers of white as on the 
first card1 means that these  colours of
 threads are to be raised2 the colour   
has no reference to the  threads--only  
to the coloured checks on the design    
paper4    ,for the first card the white 
checks on the design paper are cut solid
  on the second half of the card2 this  

raises the white and olive warp         
corresponding to the white portion of   
the design4 ,then1 to form the  plain   
shed in the other warp1 the even numbers
 of the white checks and  the odd       
numbers of the red checks are cut on the
 first half of the  card1 which acts on 
the other warp4 ,as the black warp is   
drawn on the  even numbers of harness   
twines it will be raised for that       
portion of  the design that is white1   
and the red will remain down to bind the
 red  weft2 but passing along the design
 till the red weft is above1 it will  be
 seen that the red warp should here be  
up to bind it1 and the black  should    
therefore be down1 so1 as the red warp  
is on the odd numbers of  the harness   
and on the second half of the card1 the 
odd numbers must be  cut on the card for
 the red portion of the design4 ,this   
gives a pure  binding on both sides3 and
 the same applies to the other colours4 
,it  will be seen that the first halves 
of the #ast and #crd cards together     

work a broken plain texture1 and the    
second halves of the #bnd and #dth      
cards do the same4    ,in case the      
card-cutter cannot follow this method of
 cutting1 and if  the design is so      
varied in order of weaving that a gamut 
or index for  cutting cannot be         
arranged1 then it will be necessary to  
paint the  full texture of the pattern  
on the design paper in the same manner  
as is done for double cloth4 ,the first 
row of designs of the pattern  given in 
,fig4 #agh is painted out in full in    
,fig4 #ahc4 ,the shaded lines           
underneath represent the back warp1 and 
the white lines the face warp4  ,the    
black squares are the figure1 and the   
large crosses the ground1  or the white 
squares in ,fig4 #agh4 ,the dots are the
 rising marks for  the texture of the   
back cloth1 as would be formed by the   
back warp  journals1 and the small      
crosses are the same for the face warp4 
,this method of weaving is not confined 
to carpets1 but is equally  applicable  

to quilts1 curtains1 c41 and a plain    
texture need not be  adhered to2 a twill
 or any simple fancy texture may be     
used4 ,with #hj to  a #ajj threads per  
inch1 one warp peacock green in satin   
texture for the  figure1 and the other  
warp gold for the ground in a crpe or   
mottled  texture1 all shot peacock1 a   
handsome curtain can be made4           
,illustration3 ,fig4 #ahc    ,brussels  
,carpets4--,brussels carpets1 with their
 less expensive  allies1 the tapestries1
 are the commonest of the better class  
of  carpets4 ,they are a loop-pile      
fabric1 the pile being formed by the    
figuring warp1 which is wool1 the ground
 warp and weft being hemp or  flax4 ,as 
the pattern is formed by raising the    
figuring warp threads of  the required  
colours1 and as any thread of any colour
 may require to be  raised1 it follows  
that all the threads must be on separate
 spools or  small warp rolls1 so that   
any one thread can be drawn forward     
without  slackening any of the others4  

,large frames are therefore made to hold
  the number of spools of each colour1  
and these are placed one above the      
other in a slanting position1 at the    
back of the loom1 and when filled  with 
spools the whole set of threads are     
brought forward to the harness  as if   
from a warping creel or bank4 ,according
 to the number of these  frames used the
 carpet is styled a #c1 #d1 or #e-;frame
 carpet1 the greater  the number of     
frames the richer the carpet both in    
colour 7generally  speaking7 and in body
 of warp4 ,sometimes #f frames are used2
 but #d or #e  are more frequent1 #c and
 #d frame being the lower qualities4    
,the texture of a ,brussels carpet is   
shown in ,fig4 #ahd1 which is a  section
 through the weft4 ,a and ,b are two of 
the ground warp threads1  a pair of     
these coming between the rows of pile   
loops1 a portion of  one row being shown
 in the section4 ,the weft threads are  
shown in  section coming under the loops
 of the ground warp at the top1 and     

above  them below4 ,both this warp and  
weft are of coarse hemp1 about #c's3 the
  weft is steeped in glue size before   
being thrown into the cloth1 which      
makes it stiff and firm when dry4 ,the  
pile warp threads are numbered1  #a1 #b1
 #c1 #d1 and #e2 they are of soft-spun  
worsted1 about #b_/bd's1 #b  and        
sometimes #c threads being drawn in     
together as one through the  mails and  
reed4 ,these five warp threads go to    
form one line of loops1  being raised   
over the wires as is required for the   
pattern1 and lying  straight between the
 weft threads when not raised4 ,by      
considering this  it will easily be     
understood that each thread must be on a
 separate  bobbin so as to admit of     
being drawn forward independently of any
  of the others4 ,in low qualities of   
these carpets one or two threads  of    
hemp warp are used to each splitful or  
row of pile threads2 the  hemp thread   
lies in a straight line below the       
worsted threads in the  same way that   

,no4 #e thread is shown in the section4 
,these stuffing  threads add to the     
weight and thickness when the worsted is
 reduced in  quantity1 but make a       
harsher and stiffer carpet4 ,this warp1 
when used1  is put on a beam or warp    
roll1 as is also the ground warp of the 
carpet4    ,illustration3 ,fig4 #ahd    
,illustration3 ,fig4 #ahe    ,fig4 #ahe 
is the plan of drawing-in and weaving a 
carpet similar to  that shown in section
 in ,fig4 #ahd4 ,the draft is given at  
,a1 and the  treading and cording for a 
hand loom at ,b4 ,a #aj-row jacquard    
should be  used for a #e-;frame carpet1 
as twice over the #e threads makes one  
row  of the cumber board4 ,five threads 
are drawn into the harness1 one from    
each frame1 then two ground warp threads
 are brought through and drawn  on two  
leaves of heddles4 ,in weaving1 one     
ground thread is raised and a  shot     
thrown in2 then all the pile warp and   
the same ground thread are  raised for  
the next shot2 the third tread raises   

the harness and a wire  is inserted to  
draw up the pile2 the fourth tread      
crosses the ground  warp threads2 the   
fifth tread raises this thread again1 as
 well as all  the pile warp1 and the    
sixth tread raises the harness for the  
insertion  of the second wire2 this     
completes1 the order of treading4 ,for  
the  second and fifth treads it will be 
observed that all the warp in the       
harness must be raised2 this was usually
 done by having shafts through  the     
harness or by raising the cumber board  
to act as a journal in the  manner      
explained for ,scotch carpet weaving2   
but now jacquards are made  with bottom 
boards or gratings that can be raised or
 lowered to form  these sheds4    ,the  
pile wires are now commonly inserted at 
the time the adjoining pick  is being   
thrown in1 a double shed being formed1  
and both the wire and  shuttle passed   
across at the same time1 the former     
being uppermost2 in  power looms the    
wires are both inserted and withdrawn by

 machinery2  about twenty-five are      
inserted before any are drawn out1 to   
prevent  the loops from slipping4       
,jacquard machines are made specially   
for the  purpose of forming this double 
shed1 the grating raising the hooks from
  the bottom to the centre position1    
thus raising the worsted or figuring    
warp above the shuttle1 while the griffe
 carries the figuring hooks on  to the  
top1 making a second or upper shed for  
the wire4 ,the old method  was to form  
the lower shed by raising the cumber    
board1 and the upper  one by the griffe4
 ,jacquards with cords instead of hooks 
are frequently  used4    ,brussels      
carpets are made #bg in4 wide1 with     
nominally #bfj loops or rows  of pile in
 the width2 but #bef rows are commonly  
used instead of #bfj for  the better    
classes of goods1 and a further         
reduction of #cj or #dj loops  is made  
for lower classes1 the reduction going  
to cheapen the goods  or to the credit  
of the manufacturer4 ,although only #bef

 loops are on  the surface of the cloth1
 it must be remembered that for a       
#e-;frame  carpet there are #e times    
this number of threads1 and that #a1bhj 
cords  will be required for the harness1
 and an equal number of needles in  the 
jacquard when the pattern is single1 or 
not repeated on the cloth2  but the     
design only covers #bef spaces on the   
point paper1 each space  or check across
 it representing #e threads4 ,in        
,scotland a reed with #cej  splits on   
#cg in4 is used1 one row of pile warp   
with its ground warp  going into each   
split4 ,a carpet known as ,axminster    
,brussels is made in  ,scotland4 ,it is 
similar in structure to the common      
,brussels1 but has  in addition a       
woollen weft1 which is thrown in        
pick-and-pick with the  usual hemp weft4
 ,the addition of the wool weft adds to 
the softness and  thickness of the      
carpet1 giving more elasticity or spring
 to it1 and  making it wear better4     
,designs for ,brussels carpets are      

sketched out and coloured in the  usual 
way2 the method of repeating the        
patterns is much the same as  is adopted
 for wall papers4 ,usually there is one 
repeat in the width  of the cloth 7#bg  
in471 and the length of the repeat may  
be shorter  or longer to suit the       
pattern1 expense1 c42 #bef checks1      
#c_/dths of  a yard1 is a common length1
 and #a-a_/b yard for bolder effects4   
,the  number of colours must be         
regulated to suit the frames to be      
employed  in the weaving1 unless the    
frames can be made to suit the pattern4 
,say  five frames are to be used1 this  
would suggest five colours2 but it  does
 not follow that only five colours can  
be used4 ,a clever designer  may work   
out most patterns so that six or more   
colours may be used on  five frames1 by 
arranging the design so that two colours
 may be put to  one or more of the      
frames1 which process is called         
#8planting4' ,but it  may be that an    
extra number of colours will not improve

 the design1  in which case they should 
not be used4 ,the process of #8planting'
 or  striping the warp--which is on the 
same principle as #8chintzing' by       
striping the weft in other makes of     
goods--will be best understood by       
referring to ,fig4 #ahf1 which is a     
,brussels carpet pattern on a small     
scale for working with five frames4 ,the
 colours are indicated by  different    
markings on the squares of the          
design-paper1 as shown by the  index or 
gamut below the design4 ,on the first   
line of the gamut there  are two        
varieties of markings1 and as this line 
indicates reds1 there  are two colours  
of red used on this frame4 ,following up
 the design  above these markings1 it   
will be seen that one colour of red is  
used in  one of the sets or rows of     
octagonal figures1 and the other colour 
on  the intermediate rows1 and that the 
two colours of red are not required  in 
the same portions of the design1 the    
gamut showing where each is  required4  

,it is only necessary to arrange the    
spools on the frame in  the loom and    
draw the threads through the harness1 as
 shown by the  gamut1 to make this fall 
in correctly4    ,illustration3 ,fig4   
#ahf    ,what the designer must guard   
against is giving the pattern a striped 
appearance1 which would be the case if  
the planted colours were  brought to the
 surface too frequently2 but if they are
 judiciously  brought up at intervals1  
the effect of a #e-;frame can be made   
almost  as good as that of a #f-;frame  
pattern1 and this can be carried still  
further if desired2 every frame may     
contain two colours1 or one frame  may  
contain several colours4    ,carpet     
patterns are sometimes painted on       
small-sized design paper--that  is1 the 
ordinary paper with1 say1 two designs   
per inch2 but before  working it is more
 satisfactory to have them put on       
large-sized paper1  so as to show the   
exact effect they will have on the      
cloth1 the  design-paper giving the     

pattern full-cloth size4    ,when       
painting patterns that are as large or  
larger on the cloth  than they are on   
the design-paper1 much more care and    
skill are  necessary than when the      
pattern is one that is much larger on   
the  design-paper than it will be on the
 cloth1 as is usually the case2  and in 
consequence of the large size of the    
checks required for  carpet             
design-paper1 it is evident that        
representations of any small            
objects--unless those of a very simple  
nature--cannot be put on it  without    
being greatly enlarged4 ,after the      
sketch is made the forms  should be     
carefully adapted to suit the paper1 so 
as to give a  satisfactory effect on it1
 rather than be a rigid adherence to the
  sketch4 ,natural floral forms should  
not be attempted unless to satisfy  the 
demands of trade1 and when they must be 
used they should be made  on so large a 
scale as to be fairly represented in a  
semi-conventional  manner4 ,large       

wild-floral patterns are frequently to  
be seen on  carpets1 but they are       
rarely1 if ever1 satisfactory4 ,persian1
 ,indian1  and other geometric or       
conventional forms that lend themselves 
readily  to a harmonious admixture of   
colours so that the carpet will1 when on
  the floor1 present a rich glow of     
colour instead of obtrusive masses  of  
floral misrepresentations1 are much to  
be preferred4 ,dull colouring  is not   
essential to good taste--rather the     
reverse2 but it is less  obtrusive and  
more easily managed1 particularly in the
 hands of an  inferior artist4 ,no      
matter how brilliant the colours are1 if
 properly  blended and broken up into   
masses in proportion to their           
intensities  in the spectrum scale they 
need not be in the least offensive2 but 
it  requires skilful hands to do this4  
,the pattern given in our last figure   
7#ahf7 is a simple repeating  pattern1  
so that two pieces of the carpet laid   
side by side will join  correctly       

together4 ,another method of arranging  
patterns so that they  will repeat is   
shown in ,fig4 #ahg4 ,in this figure it 
will be seen that  the two sides will   
not join as an ordinary repeat1 but if  
two pieces  are taken the right-hand    
side of one will1 if turned round1 join 
against the left-hand side of the other1
 and two pieces thus joined  will form a
 repeat4 ,this is objectionable in the  
case of cut pile1  which usually has a  
slope in one direction2 and when two    
pieces are  joined1 one running one way 
and the other the reverse1 the effect   
will  be that of shaded stripes1        
somewhat similar to that of a grass     
field  when rolled4 ,another method of  
forming repeating patterns is by making 
what is known as a #8drop repeat1' which
 is shown in ,fig4 #ahh2 though  the two
 sides will not join in against each    
other1 as in an ordinary  repeat1 if two
 pieces of the carpet be laid side by   
side1 and one of  them drawn a little   
down1 the point ,a in the figure of one 

piece will  fall in against ,b and ,b#a 
of the other piece1 and repeat4         
,illustration3 ,fig4 #ahg    ,these show
 the usual principles on which repeats  
are based1 and of  course it is for the 
ingenuity of the designer to form the   
best  arrangements of pattern he can to 
suit them1 or any other method he may   
think of4    ,when cutting cards for    
carpet patterns the usual method of     
picking  out the various colours for    
each cutting must be adopted by the     
card-cutter4 ,refer to ,fig4 #ahf for   
the pattern1 and to ,fig4 #ahe for the  
draft4 ,the order of drawing is green1  
blue1 black1 yellow1 reds1 which  gives 
five rows of holes on the card1 and this
 twice over makes the ten  rows2        
therefore1 green would be cut on the    
first and sixth rows2 blue  on the      
second and seventh2 black on the third  
and eighth2 yellow on the  fourth and   
ninth2 and reds on the fifth and tenth  
rows4 ,these may be  all cut when       
passing the card once along the cutting 

machine1 giving  more than one tramp1 if
 necessary1 to each shift of the card   
index2 or  the cutter1 if not accustomed
 to this1 may pass the card along once  
for  each colour1 working two of the    
punches at each passage of the card1    
and of course remembering to select the 
punches which correspond to the  colour 
being read4    ,illustration3 ,fig4 #ahh
    ,it must be remembered that two     
checks on the design-paper correspond   
with a row of ten holes on the cards1 as
 each check may have any of  five       
colours on it in the case of a #e-;frame
 carpet pattern1 and there  must be a   
space for a hole in the card for any of 
these colours2  therefore the designs or
 large squares on the design-paper would
  consist of two checks each4 ,suppose  
one of these checks--the first  one--to 
be green1 the first hole in the card    
would be cut for it2 if  the second     
check is also green1 the sixth hole on  
the card would be  cut2 but if it is    
black1 the eighth hole in the card would

 be cut1 not  the third hole1 as it1    
being the second check1 comes on the    
second half  of the card4 ,the first    
check stands against the first five rows
 of  holes in the card1 and the second  
check against the second five rows1     
each check on the design-paper          
representing five threads1 five mails   
and five needles1 or five spaces on the 
card2 but only one hole is cut  on the  
card for it1 and that must suit the     
colour the check is painted4            
,illustration3 ,fig4 #ahi    ,wilton    
,carpets4--,these carpets are made much 
in the same manner as  ,brussels1 but   
the pile is cut1 and they are of a      
better quality of wool  with a longer   
pile1 and altogether a superior article4
 ,as the pile is  cut1 the method of    
binding it into the ground is somewhat  
different  from that adopted for        
,brussels1 in order to secure a firmer  
binding4 ,a  section of the cloth       
through the weft is given in ,fig4 #ahi1
 showing two  pile loops cut and one    

uncut1 and also the method of binding   
the pile  warp threads ,nos4 #a1 #b1 #c1
 #d1 and #e1 with the ground warp ,a and
 ,b1 and  the weft is shown in section1 
or end view4    ,illustration3 ,fig4    
#aij    ,the warp or pile threads are   
cut similarly to velvet by drawing the  
wires out of the loops and having each  
wire furnished at its end with a        
cutting edge4 ,fig4 #aij shows the draft
 and treading of a ,wilton carpet       
arranged for a hand loom4 ,the back is  
the harness1 and ,nos4 #a1 #b1 and  #c  
the shafts4 ,no #b shaft is only        
required when an extra or silent warp   
is used for the purpose of giving weight
 and thickening the fabric4  ,this warp1
 if used1 lies straight between the     
weft1 and must be on a  separate beam   
from the ground warp4    ,tapestry      
,carpets4--,these carpets1 though they  
do not require a  jacquard to weave     
them1 are so closely allied to          
,brussels1 and patterns  so similar can 
be produced on them1 that it is thought 

desirable to  give a short description  
of them4 ,though figured weaving1 they  
are  not so in the strict sense of the  
term1 as the pattern is printed on  the 
warp instead of being formed by various 
coloured warps2 they are  simply an     
imitation of figured weaving in colours4
 ,any pattern that can  be put on a     
,brussels carpet can also be put on a   
tapestry1 and with  further variation if
 desired4 ,the effect is not so sharp   
and rich on  the tapestry1 as the       
colours1 being printed on the warp1 run 
into each  other more or less1 and      
produce a slight blurring round the     
edges of  the pattern2 whereas the      
pattern on the ,brussels is so sharp and
 clear  round the edges as to make it   
harsh if two very contrasting colours   
come together1 so that in some cases the
 tapestry patterns are softer  and more 
pleasing4    ,illustration3 ,fig4 #aia  
,fig4 #aia shows the texture of a       
tapestry carpet4 ,a and ,b are the      
ground  warp threads which bind the     

weft1 the same as in ,brussels2 these   
threads go on one warp roll4 #a1 #b1 and
 #c are the lying or filling warp       
threads of linen1 hemp1 or jute1 used   
for giving weight and thickness  to the 
cloth2 these threads go on a second     
roll4 ,p is the pile1 which1  it will be
 observed1 is of various colours and    
looped all along the  cloth1 or passes  
over every wire that is inserted1 and   
the pattern is  formed entirely by the  
colours that these threads are printed4 
,the pile  goes on a third warp roll4   
,all the pile can go on the one roll1 as
  every thread is looped alike by each  
wire inserted4 ,a pair of shafts  for   
the ground warp--one for the lying warp 
and one for the pile--is  all that is   
required for weaving the cloth4 ,the    
pile consists of two or  three ends of  
two-fold worsted yarn1 according to the 
quality of the  carpet4 ,as the fabric  
is made up to a great extent with the   
three lying  ends of stiffened hemp or  
flax to each row of pile loops1 the     

carpet  is of a harder and less pliable 
nature1 with less spring in it than a   
,brussels 7which has the five pile      
worsted threads in it71 and it is  also 
less durable4 ,the number of pile loops 
in the width of the cloth  is the same  
as for a low-class ,brussels carpet1 say
 #baf to #bbe1 and the  width of the    
cloth is the same--about #bg in4 ,five  
threads go to each  split of the        
reed--viz4 one pile1 two ground warp1   
and the three lying  or filling ends4   
,in these carpets1 as well as in        
,brussels1 it will be seen from the     
sections that one weft thread is above a
 lower one1 with a straight             
tightly-stretched warp between them4 ,a 
method of weaving has been  adopted on  
the ,continent in which both sheds are  
formed and both  wefts picked at the    
same time4 ,one shed is raised above the
 centre  warp1 and one is sunk below it1
 and both shuttles are driven through   
simultaneously2 then a pile shed is     
raised and a wire inserted2 and  this   

repeated1 reversing the ground sheds1   
makes the order of weaving  for tapestry
 carpets4 ,another method is to have    
double mails1 one  mail above the other 
on the same harness cord or heald2 the  
wool warp  goes to the upper mail1 and  
the lying warp to the lower one4 ,when  
the  mails are raised a double shed is  
formed1 and a pile wire and a pick  can 
be inserted at the same time4 ,the      
ground or binding warp is in  two       
additional leaves of healds4 ,to apply  
the former method to ,wilton  carpets1  
two picks are put in below to balance   
with the two above1  instead of one pick
 below1 as shown in ,fig4 #ahi4    ,for 
tapestry carpets the pattern is prepared
 in the same way as for  ,brussels4 ,the
 repeat of the pattern may be of any    
length1 but #bg1 #cf1  or #ed in4 are   
usual lengths4 ,the pattern1 though     
prepared as if for the  jacquard1 is    
only a guide for the printer when       
printing the colours on  the warp4      
,the pattern is printed on the warp in  

an elongated form1 the amount of        
elongation coinciding exactly with the  
reduction the pile loops make in  the   
length of the warp when it is woven4    
,the pattern was originally printed on  
the woven cloth by means of  blocks2    
next it was printed on the warp in an   
elongated form in the  same manner2 now 
it is printed by means of small rollers4
 ,the yarn for  each thread of the warp1
 or of a number of warps1 is wound      
separately  on a large reel or drum1 of 
such a size as will hold a suitable     
quantity of yarn 7about #ah-c_/d feet in
 circumference74 ,six or eight  threads 
are wound on together1 so as to lie     
closely together side by  side and not  
overlap each other1 till the drum is    
full1 or the required  length is wound  
on it4 ,this has now to be printed with 
the pattern in  an elongated form4      
,the right-hand edge of the drum is     
divided into as many divisions as a     
length of yarn equal to the             
circumference of the drum will make     

loops  on the cloth4 ,this is called the
 index1 and #fdh is a common number  of 
divisions for it to have1 or #hfd for a 
larger size4 ,of course the  number of  
loops any length of yarn will make      
depends upon the size of  them1 and the 
reduction in length from the yarn to the
 cloth depends  upon the height of the  
pile and the number of loops in a given 
space4  ,the number of loops per inch   
varies with the quality of the cloth2 #g
  or #h is usual for loop pile1 and #i  
or #aj for cut or velvet pile4 ,the     
design must contain such a number of    
checks in length as will divide  evenly 
into the index number1 such as #ajh1    
#afb1 #baf1 #cbd4 ,when painted  the    
design is cut into strips in the        
direction of its length1 one line  or   
row of checks in each strip4 ,when the  
yarn is wound on the drum1  and the     
printer is ready to begin work1 he takes
 one of these strips  and pins it up    
before him to guide him in the colours  
he is to print4  ,the printing is done  

by means of a trough of colour with a   
roller in  it1 set on a carriage beneath
 the drum1 so that when passed across   
the roller will press firmly on the     
yarn4 ,the printer finds the first      
colour on the design1 and setting the   
drum to the first tooth of the  rack or 
index1 he passes a trough of the proper 
colour across the drum  and back again2 
if the second check on the design is the
 same colour1  he turns the drum round a
 tooth of the index and passes the same 
colour across2 if the third check is a  
different colour1 this requires  a      
second colour trough1 and passing       
another tooth on the index this  colour 
is passed1 and so on with the remainder2
 or1 all one colour is  printed first1  
then the drum revolved again with the   
second colour1  and so on4 ,when this is
 all printed the yarn is taken off the  
drum and  marked ,no4 #a thread1 and the
 beginning and end of the thread should 
be marked in some way as a guide for the
 setters4 ,a fresh lot of yarn  is wound

 on for the second thread1 which is     
printed according to the  second strip  
of the design4 ,this must be continued  
for all the threads  in the warp4 ,after
 being printed1 the colours are fixed by
 a steaming  process1 and afterwards    
wound on bobbins and marked to their    
numbers4  ,the design may be cut into   
strips of two checks each1 instead of   
one  check1 which will be less liable to
 get torn4 ,one side of the strip can   
then be printed first1 and the other    
after4    ,the warp is made up by       
#8setters1' who arrange the threads     
together  in proper order in a frame for
 the purpose1 and set them so that the  
colours of each thread come together at 
the proper place to form on the  warp a 
correct elongated copy of the pattern2  
when correct it is wound  on the beam   
for the loom4    ,in printing and       
steaming1 the colours are liable to run 
into each  other2 some colours are worse
 in this respect than others1 but it  is
 reduced to a minimum by the use of an  

absorbent in steaming2 and  sometimes   
the designer makes a little allowance on
 the design-paper for  such colours as  
he knows will be liable to run and      
injure the pattern4  ,the pile of       
tapestry carpets is usually left uncut2 
but sometimes it is  cut1 forming a     
velvet pile4 ,in this case the carpet is
 made of a better  quality1 and the pile
 is longer4    ,the present method of   
preparing tapestry warps was invented by
 ,richard  ,whytock1 of ,edinburgh1 in  
#ahcb1 and perfected by ,messrs4        
,crossley1 of  ,halifax4    ,axminster  
,carpets4--,real ,axminster carpets1 as 
already said1 are  made by hand much in 
the same manner as ,turkish or ,persian 
carpets1  and attempts have also been   
made to produce them by machinery1      
several  patents having been taken out  
for the protection of the inventions4   
,these carpets1 with other art carpets  
now being made1 may be classed  with    
tapestry as works of art4    ,the       
,axminster carpets of commerce are the  

,royal ,axminster or ,moquette  carpets1
 and the patent ,axminster or chenille  
carpets4    ,royal ,axminster carpets   
are made by a peculiar process of       
weaving and  tufting on a loom made     
specially for the purpose4 ,a number of 
little  funnels carrying from spools    
threads of the different colours of yarn
  required for the pattern are fixed on 
the loom above the reed1 and  these     
threads1 by suitable mechanism1 are     
brought down and bound into  the backing
 cloth by the weft4 ,these threads1     
which form the pile1 are  cut off1 and  
afterwards the surface of the carpet is 
shorn level4    ,illustration3 ,fig4    
#aib    ,the texture of ,moquette       
carpets is shown in section in ,fig4    
#aib1 two  varieties of texture being   
given1 one at ,a1 the other at ,b4 ,in  
both  these textures the pattern shows  
through on the back of the cloth4       
,another variety is given in ,fig4 #aic4
 ,a is the section through the  weft1 ,b
 the texture1 ,c ,d ,e ,f shows the     

interlacing of each of the  four warp   
threads in the pattern with the weft1   
and ,g shows the pile4  ,similar numbers
 in these figures represent the same    
threads in the  cloth4    ,illustration3
 ,fig4 #aic    ,patent ,axminster       
,carpets4--,these were invented by ,mr4 
,jas4 ,templeton1  of ,glasgow1 about   
#ahci1 and are a description of chenille
 weaving4 ,they  do not require to be   
wrought by a jacquard any more than the 
other  ,axminster carpets1 but as the   
figures formed on them are so similar to
  those produced by the jacquard1 and as
 the method of designing the  patterns  
is the same for both them and other     
classes of chenille as it  is for       
jacquard work1 it may not be considered 
out of place to give a  full description
 of chenille here4    ,chenille is made 
by a double process of weaving4 ,first  
the weft or  chenille thread is woven1  
if for a figured pattern in various     
colours1  which corresponds to the      
printing of the warp in tapestry carpet 

weaving1 which gives a warp figure1     
whereas chenille gives a weft  figure4  
,when the weft is woven in a piece it is
 cut up into strips  and twisted1 if for
 curtains or any fabric on which the    
chenille weft  is to show on both sides2
 but for carpets1 where all the pile is 
raised to one side1 the weft is doubled 
up1 bringing all the pile in  one       
direction4 ,twisting machines are now in
 use for making the weft  for plain     
chenille fabrics1 but for figured ones  
it is still woven4  ,if twisted for     
figured work it would afterwards have to
 be printed  somewhat similar to        
tapestry carpet warps1 but without      
elongating the  pattern1 and the uneven 
surface is a difficulty in the way4     
,the method of weaving chenille weft is 
as follows3--,a loom fixed for  working 
gauze is supplied with a thinly laid    
warp1 which1 according to  the class of 
chenille required1 is drawn through the 
heddles either as  plain gauze1 two     
threads working plain with one crossing 

them1 or this  doubled1 as is shown in  
,fig4 #aid4 ,the two1 three1 or six     
threads of the  draft are drawn into one
 split of the reed1 which is finer or   
coarser  to suit the fabric required4   
,for shawls or curtains there would be  
six  to eight full splits of the reed   
per inch2 say in a reed of thirty to    
forty splits per inch1 four splits empty
 to one full4 ,for carpets there  would 
be two or three full splits per inch2   
say in a reed of ten to  fifteen splits 
per inch1 four empty and one full1      
coarser or finer to  suit the length of 
pile required4    ,for plain work this  
is tied up and woven as gauze1 the warp 
being  cotton of a dark colour1 and the 
weft woollen1 noil silk1 or other  fibre
 if desired2 but it should consist of   
several ends and be of such  a nature as
 will divide easily to form a rich pile4
 ,if for figured  work1 the pattern must
 be woven in stripes across the piece1  
which will  be explained after the      
designing4    ,illustration3 ,fig4 #aid 

,when the piece is woven it will be as  
shown at ,a1 ,b1 or ,c 7,fig4 #aid7  and
 must next be cut into strips midway    
between the ribs4 ,sometimes  this is   
done in the loom as the cloth is being  
woven1 by having cutting  knives        
arranged to divide it as it passes over 
the breast beam2 but it  is usually     
taken off in the piece and cut          
afterwards in a machine for  the        
purpose4 ,the piece is fed through      
rollers in the cutting machine  over a  
grooved roller1 shown at ,b 7,fig4      
#aie71 the grooves being at such  a     
distance apart that the ribs of the     
piece will fall into them4 ,above  this 
roller is a set of cutting blades fixed 
in a spiral form round a  roller2 one of
 these blades is shown at ,a 7,fig4     
#aie71 with a section  of the roller4   
,the blades are set at such a distance  
apart that when  revolving they fall    
into the cuts in the roller ,b1 and     
running at a  high speed they sever the 
piece into strips as it passes through  

the  machine4    ,so far the process is 
alike for all classes of chenille work4 
,the weft  is now in strips similar to  
that shown at ,a 7,fig4 #aif7 if for    
carpets1  and much smaller if for       
curtains or shawls4 ,for ordinary       
chenille the  weft is next twisted so as
 to make the projecting fibres stand out
  round the rib or core1 and when       
finished it has the appearance shown  at
 ,b 7,fig4 #aif74 ,if for carpets1 the  
fibres are turned up so that all  will  
project in one direction1 as shown at ,c
 and in the cross-section  at d4 ,this  
is done by running the strips over a    
grooved roller1 as  ,c 7,fig4 #aie71    
which is heated with steam1 and as the  
projecting ends  are doubled up by the  
grooves in the roller the heat sets them
 in this  position4 ,the weft is now    
prepared1 and is wound on bobbins and   
woven  in large shuttles4    ,the       
texture for chenille is the same as for 
plain cloth4 ,a fine black  warp of     
cotton is used1 with twenty to          

twenty-five threads per inch  7more or  
less1 to suit the fabric required71 and 
twelve to sixteen  shots per inch of the
 chenille weft are used1 which must also
 be varied  to suit circumstances and   
the thickness of the weft used4 ,the    
fibres  or points of the thread of weft 
project through the warp1 and a pile    
fabric is produced which should entirely
 conceal the warp on both sides  of the 
cloth4 ,for carpets the pile is1 as a   
rule1 only allowed to  project on one   
side1 though some rugs are made with a  
twisted chenille  weft1 and the colours 
on it are shown partly through the      
backing as  the fibres of the thread get
 mixed up with the ground or backing in 
weaving1 but usually all the pile       
projects through to the face4           
,illustration3 ,fig4 #aie               
,illustration3 ,fig4 #aif               
,illustration3 ,fig4 #aig    ,the       
texture for patent ,axminster carpets is
 shown at ,a 7,fig4 #aig71  and sections
 of the cloth through the weft are shown

 at ,b and ,c in the  same figure1 ,b is
 a section of the texture ,a with two   
picks between the  pile or chenille     
picks1 and ,c is for a coarser          
description of work with  four ground   
picks between the pile picks4 ,in ,a    
only the ground texture  is given       
complete2 the pile weft ,p lies over the
 picks f f1 and is  bound down by a fine
 black stitching thread ,c1 which passes
 over it and  under the picks g g4 ,the 
different thicknesses of the threads are
  represented in the drawing3 ,c are    
cotton1 and the others hemp1 flax1 or   
jute4 ,there are about ten thick and ten
 fine warp threads per inch1 and  five  
binding threads1 and about seven        
chenille picks per inch1 with two       
ground picks between these4 ,when there 
are four ground picks between  the pile 
picks the pile is coarse1 and only about
 four picks per inch  are used4 ,the    
chenille weft is wound on large wooden  
needles like huge  netting needles1     
about #d ft4 long1 so that it may come  

off without any  twist in it1 and the   
weaver pushes these through the shed1   
laying the  weft nicely in and combing  
it forward so as to get it straight and 
even  and have all the pile standing    
upright2 he then knocks in two ground   
picks and puts in another pile thread1  
as before4    ,this is all hand-loom    
work1 but power looms are sometimes used
 for the  purpose4 ,the ground of the   
fabric can be woven with heddles1 as    
before1  but the binding warp threads   
are through needles1 somewhat like gauze
  dents inverted1 and not through the   
heddles2 and the beam or spools         
containing them is above the loom in    
front4 ,the chenille weft is wound  on a
 reel1 and is through a guide or        
carrier4 ,when the chenille weft  is to 
be laid in1 the needles carrying the    
binders are raised and the  guide passed
 along1 laying in the weft4 ,the loom   
stands stationary  for a short time to  
give the weaver time to comb up the     
pile1 and  then moves on and throws in  

the ground picks4 ,everything is done   
automatically but the combing up of the 
pile4    ,the foregoing is a description
 of chenille weaving provided no pattern
  has to be attended to2 we must now    
consider the pattern4    ,the design    
paper used is the same as for ordinary  
work1 with a greater  number of warp    
than weft threads1 but it is ruled on a 
large scale so  that the pattern will be
 exactly cloth size4 ,fig4 #aih is a    
sample of  this design-paper for seven  
picks per inch4 ,the small checks1 or   
what  in ordinary weaving would         
represent the warp threads1 have here no
  reference to them1 nor do the warp    
threads require any consideration  when 
preparing the pattern4 ,the narrow way  
of the checks is a guide to  the weaving
 of the weft threads4 ,this paper might 
have been square1  seven by seven1 and  
would thus suit for such a pattern as is
 shown  in ,fig4 #aii--supposing seven  
shots of chenille weft per inch to be   
correct2 but there is an advantage in   

many cases to have it as it is1  or even
 more off the square1 say seven by      
twenty1 which is one of the  papers     
used4 ,this will be most readily        
understood by following the  working out
 of the pattern4    ,the pattern given  
7,fig4 #aii7 is necessarily very simple 
for want of  space4 ,the different      
markings on the squares are to indicate 
different  colours4 ,here nine are used1
 but there may be any number--say from  
eight to twenty--the only restriction on
 the number of colours employed  is that
 so many shades of yarn are required to 
match them1 and that the  weaver has a  
greater number of shuttles to pass over 
when weaving the  weft4 ,when the       
pattern is painted it is cut cross-ways 
into strips1 as  ,a1 ,b1 two rows of    
checks in each strip2 one row of checks 
may be in  each strip if desired2 but   
this is unnecessary1 and besides1 they  
are  more easily torn4 ,these strips are
 a guide to the weaving of the weft1    
just in the same way as the pattern in  

tapestry carpet work is a guide  to the 
printer4    ,illustration3 ,fig4 #aih   
,illustration3 ,fig4 #aii    ,the weaver
 takes a strip of the pattern and puts  
it through a widened  split in the reed 
and pins one end of it to the cloth2 to 
the other end  he attaches a cord and   
light weight1 which he hangs over the   
back rail  of the loom so that the strip
 of design will be held steady and move 
forward as the cloth is drawn up4 ,the  
strip must be pinned to the cloth  so   
that the first check of the design      
projects over the fell of the  cloth4   
,suppose the strip to be ,a1 ,fig4 #aii3
 ,c is the first check2 the  weaver sees
 that this is black1 and proceeds to    
weave the gauze with  black weft for the
 length of this check 7one-seventh of an
 inch74 ,the  next check1 moving along  
the strip in the loom1 or from left to  
right  on the design1 is a different    
colour1 say scarlet2 the weaver changes 
his shuttle and weaves as many checks as
 there are of this colour1  which in    

this case is only one4 ,another change  
of shuttle is made1  and so on till the 
end of the strip is reached2 it is then 
turned1 the  other end of it being      
brought to the fell of the cloth1 and   
the checks  on the second line of the   
design are woven in order as before1    
only  they must run from right to left  
on the design instead of from left  to  
right1 as the first line did1 which will
 be caused by the turning  of the strip 
of paper2 for it must be borne in mind  
that if the first  shot of chenille weft
 is put into the carpet from left to    
right1 the  next one will be put in from
 the reverse side or from right to left1
 so  that all the odd numbers of lines  
on the design-paper should be begun  by 
the weft weaver at the left-hand side1  
and all the even numbers at  the        
right-hand side1 provided the weaver    
works in this way2 in any  case one must
 be the reverse of the other4 ,when all 
the strips of the  pattern are woven1   
each rib of the piece of weft will be   

long enough to  weave as many shots as  
are in one repeat of the pattern1 and if
 there  be #dj ribs in the piece1 it    
would1 when cut up1 furnish weft for #dj
  repeats of the pattern4 ,for weaving  
this weft large needles are used1       
somewhat similar to netting needles1    
which are about #d ft4 long for  wide   
looms2 the chenille is wound on these1  
free from twist1 and must  be put on so 
that it will come off correctly to suit 
the pattern4 ,the  strips of chenille   
are marked to show which end is to be   
put on the  needle first4 ,these needles
 are pushed through the shed by the     
weaver  when weaving the carpet--put in 
at one side and drawn out at the other4 
,he lays in the weft as correctly as    
possible1 combing it up to the fell  of 
the cloth1 and makes the colours fall in
 nicely together1 drawing  it tighter or
 leaving it slacker as is necessary4    
,now the advantage of  using the special
 design-paper will be more readily      
understood4 ,it is  plain that if #ad by

 #g design-paper be used1 instead of #g 
by #g1 any of  the colours may be       
changed in #a_/ad in4 on the design2 and
 also in the  chenille weaving1 when it 
is desirable to do so1 instead of in    
each  #a_/g in4 when #g by #g paper is  
used4 ,and if #bj by #g paper were used1
 the  changes might be still more       
frequent2 besides1 in flowing patterns  
the  advantage also comes in to assist  
in getting the forms more correct1  in  
the same way as paper over square in    
either warp or weft assists  in getting 
the form of the figure in damask        
designing over that where  only the     
coarser way of the paper square is used2
 though the effect is  not by any means 
so satisfactory as if the paper were    
finer both ways1  and square4 ,yet when 
one way is fixed by circumstances it is 
in many  cases preferable to alter it in
 the other way than to leave both alike 
coarse2 but not always so1 as1 for      
example1 the pattern given in ,fig4     
#aii4 ,when these carpets are woven they

 are passed through a shearing  machine1
 which makes the surface of the pile    
quite level4 ,they are rich  handsome   
carpets1 as well as very durable4       
,,chapter ,,xi    ,,lappets ,,and       
,,swivels      ,lappet and ,swivel      
,weaving4--,the only classes of figured 
weaving of  any importance not already  
mentioned are lappet and swivel work1   
both  of which are very limited1 but    
produce good effects4 ,with lappets1    
figures can be put on light fabrics     
without requiring any cutting off  of   
the surplus yarn4 ,it is principally in 
the muslin trade that they  are used1   
for figuring ,indian fabrics with gay   
colours4 ,the principal  seat of the    
manufacture in this country is about    
,glasgow4 ,the figure  is formed by an  
extra warp drawn through one or more    
frames of gauzing  needles set in the   
lay in front of the reed1 which can be  
moved to  either side as desired4 ,the  
pattern is cut on a large wooden wheel  
or disc1 in the face of which a groove  

is cut to form the pattern1  and a      
traveller working in this groove1 and   
connected with the needle  frame1 slides
 the needles to either side and stitches
 the figuring warp  into the cloth1 the 
needles rising and falling as the cloth 
is being  woven4 ,the figure is rather  
loose and only suited for simple        
effects4  ,a description of the process 
of working can be found in ,murphy's or 
,gilroy's works on weaving1 and is      
interesting1 though rather out of  date4
 ,swivel work is of a much better class1
 though not so suitable for  getting    
small figures1 as spots short distances 
apart4 ,but it gives a  much better     
bound figure--in fact1 it may be bound  
in any way--and is  very suitable when a
 few are required on the fabric1 such as
 crests1 or  any figures in the corners 
or centres of handkerchiefs1 napkins1   
etc4  ,these are weft figures and       
usually of a different colour to the    
ground  of the fabric1 which may be     
either plain or figured4 ,these figures 

could be formed with an ordinary box    
loom1 cutting off the loose weft  or    
binding it up to the ground cloth2 but  
the latter is useless for  light        
fabrics1 and the former leaves the      
figure unbound round the  edges4 ,if the
 figure is large enough it can be made  
in an ordinary  check or pick-and-pick  
loom1 and bound as with swivels4 ,the   
swivels are  small shuttles similar to  
those used for weaving silk book-markers
 and  such like fabrics1 and are usually
 attached to the hand rail of the  lay  
of the loom4 ,the swivel attachment is  
fixed so that when a shed is  opened the
 shuttle falls to pass through it1 or a 
second high shed may  be opened for the 
swivel shuttle4 ,the shuttle is driven  
by means of a  rack and pinion1 the     
former being in the shuttle1 and the    
pinions fixed  to revolve in the frame4 
,when the pinions are revolved the      
shuttle is  drawn across4 ,the breadth  
of the figures must be considerably less
 than  the length of the shuttle1 so    

that for large-sized figures this method
  of working is not suited4             
,,conclusion    ,since the foregoing was
 written up to the present time 7,sept4 
#ahid7  nothing new worth describing has
 made its appearance4 ,a few card lacing
  machines have been brought out and    
several patents have appeared in  print1
 but most of these disappear shortly    
after4    ,no mention has been made in  
this work of ,count ,sparres' patent    
card-cutting machine1 which was to have 
done away with the necessity  of putting
 patterns on point paper by cutting the 
cards direct from  the sketch embossed  
on a metallic plate4 ,this was a highly 
ingenious  machine1 and under suitable  
conditions produced very fair work1 but 
so  far it has proved rather expensive  
to the company that took it up4         
,another process to obtain similar      
results1 patented by ,messrs4 ,dawson   
and ,adams of ,macclesfield1 was        
described in the #8,textile             
,manufacturer'  in #ahic4 ,in this      

process a perforated plate is filled    
with small  pins2 a piece of strong     
paper is laid over this1 and over the   
paper  another plate4 ,the pattern is   
formed by pushing the pins through the  
paper between the plates4 ,a large      
portion of this work can be done  by    
mechanical means4 ,when all the pins    
required for the pattern are  pressed   
through the paper1 the top plate with   
the sheet of paper is  turned upside    
down1 the pins sticking in the paper4   
,by running a  roller over the paper the
 pins can be pressed out of it and into 
the  plate4 ,this plate is then put into
 a reading and punching machine1  and by
 suitable mechanism the pins can be     
brought to act on either a              
card-punching apparatus or on the       
harness of a pattern loom2 so the       
manufacturer can have a sample of the   
cloth woven without any cards and  can  
have the cards cut for the factory loom 
afterwards if he requires  them4 ,the   
cards can be punched at the rate of     

#bjjj per hour4    ,by means of a       
pattern cut out of a plate of wax1 and a
 reading in  machine1 the filling of the
 pins into the plate1 or the hand       
reading as  it is called1 can be        
dispensed with4    ,it has since been   
stated that this firm are now trying to 
perfect a  process which was tried      
thirty years ago1 viz4 to paint the     
pattern  with electric paint which is to
 act on needles charged with            
electricity4    ,these are all highly   
ingenious inventions1 and are           
interesting to those  who do not lose   
too much by them2 but it will require a 
nice machine to  produce all the        
variations in a pattern that an         
experienced designer  can1 though in    
many patterns this could be dispensed   
with1 and suitable  mechanical means may
 yet be devised to take a share of the  
work4          ,,index                  
,axminster carpets1 #bff1 #bhh          
,barrel or cylinder loom1 #ag           
,beeting a harness1 #hi      ,bessrook  

machine1 #ahe      ,border design1 #ig1 
#ajj1 #aae1 #acd      -- mountings1 #aje
      ,bouchon's loom1 #ah              
,brussels carpets1 #bg        ,cards1   
#ea1 #adg      ,card cutting1 #aci      
-- -- machines1 #adc      -- -- --      
7,count ,sparres'71 #bii      -- -- --  
7,french71 #afg      -- frames1 #dg1    
#aef      -- lacing1 #aci      -- --    
machines1 #adh      -- repeating        
machines1 #adi      ,carpets1 #bfd      
-- chenille1 #bij      -- ,axminster1   
#bff1 #bhh      -- ,brussels1 #bgf      
-- ,indian1 #bfe      -- ,ingrain1 #bfi 
-- ,kidderminster1 #bff      -- patent  
,axminster1 #bhi      -- ,persian1 #bfe 
-- royal ,axminster1 #bhh      --       
,scotch1 #bff      -- tapestry1 #bhe    
-- ,turkish1 #bfe      -- ,wilton1 #bhd 
,centred tie1 #ig      ,chenille1 #bij  
,comb draw loom1 #af      ,comber       
boards1 #hb1 #ajc      ,cross-border    
jacquard1 #aee      ,cross's            
counterpoise harness1 #ad      ,cumber  
boards1 #hb1 #ajc      ,curtains and    

tapestries1 #bdh      ,cylinder motions 
7horizontal71 #dd      -- 7self-acting71
 #cf      -- 7slide71 #dc1 #eg1 #fa     
-- 7swing71 #cc1 #ef1 #eh      -- to set
 a1 #dj1 #dc        ,designing and      
draughting1 #aaj      -- hints on1 #abj 
,design paper1 #aab      -- to prepare  
a1 #aae      ,designs1 #id1 #ig1 #ajj   
-- for dress goods1 #abb      -- for    
gathered borders1 #ig      -- for single
 borders1 #ajj      -- 7repeating71 #id1
 #abb      -- 7texture71 #abd           
,double cloth1 #bcc      -- -- jacquard1
 #bda      -- warp faced cloth1 #bcg    
-- weft faced cloth1 #bce               
,draughting a pattern1 #aae      ,draw  
loom1 #c      -- -- ,french1 #bd        
,drawing in a warp1 #ii        ,falcon's
 loom1 #ai      ,french card1 #ea       
-- -- cutting machine1 #afg      -- draw
 loom1 #bd      -- jacquard1 #di        
,full harness1 #fi      -- -- mountings1
 #fi        ,gathered tie1 #ig          
,gauze1 #aif      -- to design a        
pattern1 #bae      -- harness           

7hand-loom71 #bjc      -- --            
7power-loom71 #bje      ,gauze1         
jacquard1 #bad1 #bbc      -- patterns1  
#aig1 #aih1 #bag      -- reed1 #bbe     
,griffes1 #cg1 #eb        ,hair-line    
patterns1 #abi      ,half-harness1 #fi1 
#afi      ,harness1 drawing warp into1  
#ii      -- illustrations of1 #if1 #ih1 
#ajb1 #aia      -- to prepare a1 #ga    
-- to tie up a1 #hg      -- 7double     
cloth71 #bcc      -- 7full71 #fi      --
 7gauze71 #bjc1 #bje      -- 7half71    
#fi1 #afi      -- 7muslin71 #afi      --
 7pressure71 #gj1 #agd      --          
7quilting71 #bcc      -- reeds1 #hb     
-- 7split71 #fb1 #agb      -- twine1 #ge
      ,hecks1 #gg      ,hole board1 #hc 
,hooks for jacquard1 #ch1 #ci1 #eb1 #ei 
-- in double-acting jacquard1 #ee1 #ei  
,indian carpets1 #bfe      ,ingrain     
carpets1 #bfi      ,introduction1 #a    
,jacquard's machine1 #bc      ,jacquard 
machines1 #bg      -- 7cross-border71   
#aee      -- 7double-acting71 #eb       
-- 7double cloth71 #bda      --         

7double-acting with two cylinders71 #eh 
-- 7,french71 #di      -- 7gauze71 #bad 
-- 7,karl ,wein71 #aib      -- 7leno71  
#bad      -- 7open-shed71 #afa      --  
7quilting71 #bda      -- 7twilling71    
#ahe      -- 7,verdl71 #afc      --     
cards1 #ej      -- cylinder1 to set a1  
#dj1 #dc      -- hooks1 #ch1 #ci1 #eb1  
#ei      -- interior of1 #ch      --    
needles1 #ch1 #ci1 #eb1 #ei      --     
shedding1 #fj1 #fb      -- stop motion1 
#fd      -- to set a1 #dc1 #df1 #gf     
,karl ,wein jacquard1 #aib              
,kidderminster carpet1 #bff             
,lacing cards1 #aci      -- machine1    
#adh      -- twine1 #adg      ,lappet   
weaving1 #bih      ,lashing a pattern1  
#i      ,leno jacquard1 #bad            
,letters1 mottoes1 c41 #acf             
,levelling frames1 #he      -- the      
mails1 #hf      ,lingoes1 #gb1 #gd      
,london tie1 #if        ,marking off a  
cumber board1 #ajc      ,marseilles     
quilt1 #bdf      ,matelasses1 #bdf      
,mottoes and letters1 #acf              

,mountings1 #fi      ,muslin harness1   
#afi        ,neck of harness1 #gi       
,needles1 #ch      ,norwich tie1 #ie    
,open-shed jacquard1 #afa        ,paints
 for patterns1 #aaf      ,parrot        
machine1 #aa      ,patent ,axminster    
carpet1 #bhi      ,pattern1 to draught  
a1 #aae      ,patterns 7carpet71 #bhj1  
#bhb-c      -- 7gauze71 #aig1 #bag      
-- 7hair-line71 #abi      -- 7spot71    
#acj      -- 7texture71 #abd            
,persian carpets1 #bfe      ,piano      
machine1 #ade      ,pile work1 #bei     
,point paper1 #aab      ,poplins1 #beb  
,pressure harness1 #agd                 
,quilting1 #bdg      ,quilting harness1 
#bcc        ,reading a pattern1 #i      
,repeat of a pattern1 #id               
,repeating machines1 #adi               
,reversing motions1 #de      ,royal     
,axminster carpets1 #bh        ,scotch  
carpets1 #bff      ,set of harness 7to  
vary71 #ajf      ,setting a jacquard1   
#dc1 #df1 #gf      ,shading floral      
forms1 #aah      ,shedding of jacquards1

 #fb      ,simple 7draw loom71 #c       
,slabstock1 #he      ,sleepers1 #gc     
,slips 7comber board71 #hc      ,split  
harness1 #agb      ,spot patterns1 #aca 
,spring box1 #db      ,stop motion1 #fd 
,suggestions on design1 #abj            
,swivel weaving1 #bih        ,tail      
cords1 #ed      ,tapestry 7real71 #bee  
-- carpets1 #bhe      -- curtains1 #bdh 
,terry pile1 #bfj      ,texture         
patterns1 #abd      ,tie of a harness1  
#ic      ,trap board1 #ae      ,turkey  
carpets1 #bfe      ,turkish towels1 #bfj
      ,twilling designs1 #aag1 #acc     
-- jacquards1 #ahe      ,twills for     
damask1 #aha      ,tying up a harness1  
#hg        ,varnishing a harness1 #ib   
,varying the set of a harness1 #ajf     
,vaucanson's loom1 #bb      ,verdl      
jacquard1 #di1 #afc        ,wilton      
carpets1 #bhd      ,wiring cards1 #aec  
,woollens and worsteds1 #bdh            
,,printed ,,by                          
,,spottiswoode ,,and ,,co41             
,,new-,,street ,,square                 

,,london      ,transcriber's notes3     
,in the text version1 italics are       
represented by underscores1 and bold    
and black letter text by equals symbols4
 ,superscripts are represented  by  and 
subscripts by 4    ,missing or incorrect
 punctuation has been repaired4         
,inconsistent  spelling and hyphenation 
have been left as printed4    ,the      
following mistakes have been noted3     
p4 #ae4 boars has been changed to bars4 
,misaligned typeface has half           
duplicated the first letter of each line
 on this page4    p4 #bf4 ,both         
trapboard and trap board have been used 
in the text and  have been left as      
printed4    p4 #ce4 cyiinder has been   
changed to cylinder4    p4 #fe4 #b #d #f
 #h #ac #ab changed to #b #d #f #h #aj  
#ab4    p4 #acd4 coarses has been       
changed to coarser4    p4 #acb4 fig4 #c 
has been changed to ,fig4 #c as used in 
all other cases4    p4 #ada4 cyclinder  
has been changed to cylinder    p4 #bjh4
 tightly paced should probably read     

spaced or placed1 but has  been left as 
printed4