Part 12

The table with which this problem deals was found in an old furniture shop among a large number of pieces probably of equal antiquity but of poor design; for all old furniture was not conceived on beautiful lines. Much of it was quite as ugly as some of the modern furniture. This table, however, when separated from the rubbish which almost concealed it, was found to have good proportions, with simple but graceful elements designed to make it useful as well as attractive. It was a drop-leaf table, the leaves being cut in with a double curve at each of the four corners. The legs were of turned stock and fluted, terminating in brass thimbles with casters. One leg was broken off, one of the leaves had broken away entirely from its hinges and the other was partly broken, the table top had received some hard knocks, and the entire surface was so begrimed with dust and dirt that it was with difficulty that one could tell the kind of wood of which the table was made. It took some imagination to conceive the possibilities which lay in this much abused and dilapidated old relic.

The first thing to do was to wipe off the dust and dirt as well as possible with a damp sponge. The part of the top that remained on the frame was then removed so that the repairs could be easily made. The broken leg was replaced by boring each of the broken parts and setting them together with a 3/4-inch dowel, glued in. The brass tips and casters were removed and set aside to be burnished. The missing parts of the top were replaced by new pieces of baywood, fitted in, glued, and stained to match the original wood. After the necessary repairs had been made the entire table was treated with varnish remover and the old finish scraped off with a putty knife. This part of the process was completed by washing all the surfaces thoroughly with turpentine, carefully picking out with a pointed knife from corners, cracks, and openings of any kind, all remnants of the old finish and of the varnish remover. After carefully wiping off the results of this treatment with clean cheese cloth all the broad surfaces were then smoothed off with fine sand-paper. It was found that the wood was well filled, so that all it now needed was a final finishing with wax. The transformation from the begrimed old table found in the shop to a graceful and beautiful article of antique furniture was complete.

IX

HAND WEAVING

And Aphrodite came to comfort them With incense, luscious honey, and fragrant wine; And Heré gave them beauty of face and soul Beyond all women; purest Artemis Endowed them with her stature and white grace; And Pallas taught their hands to flash along Her famous looms.

The "Daughters of Pandarus" (from the "Odyssey," Lib. XX). Translation by Mrs. Browning.

Among the home industries which the arts and crafts societies have lately revived, perhaps none invite more interest or deserve greater honour than weaving with the hand loom. Weaving is an ancient art. If we were to seek its origin we should have to go back to the time when men adopted homespun clothing in place of rude coverings made from the skins of animals. That was a great change, for it meant the beginning not only of the textile industries but of civilization itself. It is no wonder that the distaff and the loom were highly honoured in ancient mythologies. Not less honour is due the spinning wheels and looms of our grandmothers, which played an important part in the early beginnings of our own history. The New England colonists spoke with pride of communities which showed progress in the weaving of cloth; and this was then largely a home industry in the hands of honourable women. It was a work of necessity, but not without love and devotion. Many evidences remain in beautiful coverlets or bedspreads, in towels of homespun flax, in durable linen sheets and table-cloths--examples of unfailing patience, great ingenuity, and marvellous skill--handed down from generation to generation to their present fortunate and proud possessors.

_The Primitive Loom._--In the Orient, where our choicest rugs are made, two trees growing near each other, some strings and pieces of bamboo, and a few simple accessories, are all the worker requires. This is a primitive loom. The modern hand loom is the same in principle; and the looms of our factories do not differ from it essentially. While it is true that their productive power has been enormously multiplied, this great improvement, which was actually one of the chief causes of a great industrial revolution, was due mainly to the inventive genius of two men who harnessed the motive powers of nature to the English hand looms.

_Warp and Woof._--The fundamental process in all weaving is essentially the same; and it is exceedingly simple. It consists in passing one set of threads between two other sets of threads which cross each other alternately and are moved first up and then down to allow the passage of the shuttle with its bobbin and thread. The set of threads which cross each other and which, by being moved up and down, interlock the thread which is passed between them, is known as the _warp_. The thread which the shuttle carries across and between the warp threads is called the _woof_. By careful selection of materials, by skilful design in the dyeing and arrangement of these materials, and by proper management of the warp and woof to express the design, the most beautiful Oriental rugs are fashioned; and, though we may not be able to reproduce these in our homes, very beautiful and very useful things may be made upon the hand loom by those who have the necessary enthusiasm and patience.

_What the Hand Loom is._--The hand loom consists of four uprights or posts, joined on two sides at the top and bottom by cross pieces. Attached to the lower cross piece are two other uprights, one on each side of the loom, bolted in such a manner as to give free play back and forth. This is the beater. These cross pieces are grooved on their inner edges, and into this groove is slipped the reed, which is a frame divided into sections by short, stiff wires, making from 10 to 25 or more sections to the inch. It is called a reed because it was formerly made from reeds. The sections of the reed are called dents, and through each one is to be threaded a single strand of the warp. From the upper cross pieces extend two other uprights, one on each side, to a height of about two feet above the general framework. They are united at the top by a round piece called the roll, over which, near each end, are passed cords attached to pulleys which in turn carry other cords fastened by means of screw eyes to inch-wide sticks extending across the width of the loom. These sticks are in pairs and carry cords or wires of uniform length through the centre of each of which a thread of the warp is passed by means of an eye in each wire, as through the dent of the reed. This is called the harness. There must be at least two of them, and there may be more. Two are necessary for the simplest weaving of a plain surface, and more than two if the work is to be more complex, as is required for scarfs with fancy borders, cushions, or any figured products of the loom. Near each end of the loom are two rollers to which the two ends of the warp threads are attached when the loom is set up for weaving. These rollers are called beams. Over one of them the woven product passes as the loom is operated, while the other holds the unwoven warp. At the back of the loom is still another cross piece, underneath which pedals are fastened. These pedals connect by chains with the harnesses in such a manner that when the foot is placed on one of them the cords attached to it play over the pulleys, throwing the harness and the warp threads which it carries below the level of the other set or sets of warp threads. An ingenious device of cogs at the side of the loom holds the work taut and enables the worker to let out fresh warp and also to roll up completed work.

THE PROCESS

_Preparing the Warp._--When the essential parts of the hand loom and their uses are understood, the amateur weaver is prepared to make ready the warp and attach it to the machine. The thread or warp is taken from spools or cones, four threads at one time, which constitute what is called a bout. After determining how many threads will be required, allowing so many threads to form one inch of the woven cloth, the operator must decide how wide her warp is to be and how long. With the width, the length, and the number of threads to the inch in mind, she proceeds to wind upon her warping bars or frame the requisite amount until she has it all in one great skein. In putting this upon the bars or frames she should be very careful to cross each bout--_i. e._, each four threads--so that one bout shall go above and one below, in order to allow the introduction of a pair of sticks, called lease-sticks or leash-sticks. These attachments keep the order of the threads so that they may be drawn into the harness in the same order in which they are wound on the beam.

_Warping the Loom._--To warp the loom the operator loosens one end of the skein and, passing it from the warping bars to the loom, attaches it to the roller or beam at the back of the loom, after carefully dividing it so that it may be evenly distributed. At this point an attachment called a rake is firmly fastened to the loom by cords and a certain number of threads placed in each division. By the aid of the lease-sticks, which are inserted, and with the assistance of a second person to hold the skein firm, the threads are wound upon the beam. The rake is now removed and the worker proceeds to set up the piece.

_Drawing in the Warp._--As has already been explained, two harnesses only will need to be used for simple weaving. Taking the first bout of four threads, the weaver draws the first thread through the centre of the first loop in the first harness, or the one to which the right-hand pedal is attached. The next thread is put through the centre of the first loop of the second harness, or the one attached to the left-hand pedal. The third is drawn through the second loop of the harness connected with the right-hand pedal, and the fourth, in turn, through the second loop of the harness attached to the left-hand pedal. Great care must be exercised that no mistakes are made; for a single misplaced thread means that the work of drawing in must be all done over again. A special kind of hook is used to assist in drawing in the warp. When the drawing in is completed properly, the operator begins at the right-hand side of the loom and, measuring the reed, allows one half the width of web from the centre of the reed and draws each thread through each dent in regular order. When this is done it is only necessary to connect the warp threads to the canvas of the beam by means of heavier threads which hold the warp out in the loom, test the work, and proceed joyously with the weaving.

_Beating Up the Woof._--The weaver presses the right-hand pedal, and every alternate thread separates from the other, leaving a space between the two sets of warp threads for the shuttle to be thrown from right to left, carrying the woof threads through. The operator then draws this thread up at the side to make a good selvedge and brings home the beater, thus pressing the woof into the warp. A sheer fabric requires a light stroke of the beater, while firm cloth requires more force. Releasing the right pedal, the operator presses the left, which causes the warp threads to cross, holding more firmly the woof threads just thrown. The shuttle now passes from left to right, carrying through another woof thread which, in turn, is beaten up as before. So the work goes merrily on with the throws of the shuttle alternating from right to left and from left to right, interspersed with the strokes of the beater.

PROBLEM: MAKING A RUG

_The Design._--This problem, like all others in house decoration, involves in its initial stages questions of design. Before planning the rug it is necessary to know what use the rug is to have--whether it is to be for a hall, a living room, a dining-room, or a chamber, and whether it is to be used upon hard wood floors or with a carpet. This is a question of colours, and of materials; for the designer must avoid too sharp contrasts in colour, not only in the rug itself but in its relation to the other colours with which it should harmonize, and the materials used must not display glaring inconsistencies of texture. Unless the beginner has special talent as a colourist it is not wise to attempt the introduction of too many colours in one piece of work. If the warp is dark it is usually better to use light or medium woof. If several shades are used in the body of the rug, better results are obtained by using for the border or end decoration one or more plain colours which match or readily blend with the principal colours of the body of the rug.

_Materials: Denim._--There are many materials suitable for rug making. Denim in moss or forest green makes a rug fit for a queen. This should be woven on a blue or green warp thread of carpet size. In preparing the woof it will be necessary to cut the denim on a true bias into strips from 1/2 to 3/4 of an inch wide. The latter width is better. In cutting, the best method is to fold back one corner of a square cut end along the selvedge, forming a fold across the cloth at an angle of 45 degrees. Crease this fold carefully and make the first cut along the fold. With a yardstick or a straight edge of some kind rule off lightly with a piece of chalk or soft pencil strips of the proper width for the succeeding cuts, taking great pains to maintain a true bias. When a sufficient amount has been cut, the pieces should be ravelled or fringed on each edge by drawing them quickly through a button hook. There is a certain knack in this, but it is soon acquired. The fringed strips should then be fastened together at the ends by means of overhand stitching, trimming off neatly all projecting corners. The moss-like effect when woven is improved if the woof, as soon as it is prepared, is not rolled into balls but left in suitable lengths for filling the shuttle. A special form of shuttle without a bobbin or spool is used for carrying the woof cloth for rug weaving. Its simple construction is shown in the illustration. The woof is wound endwise and unwound in weaving by turning the shuttle.

Another good material for rug making is found in various kinds of woollen cloth. Warm, durable, and handsome effects may be obtained by using a gray wool with catawba or some other warm shade of red as the end decoration, with set figures for the body of the rug. Geometric designs, arrows, swastika, the pine tree, and many other forms are possible. Very dainty colours also may be combined in rugs for chamber use. Materials for these may be obtained from worn lawn dresses, discarded silkaleen and mull, which work up beautifully with one or two plain colours reserved for use in the borders.

_Combination of Blue and White._--Blue and white is always a happy combination; and exceedingly dainty creations may be woven, to be placed perhaps in the guest chamber, by using a woof of old blue with a white warp, combined with white borders and a white knotted fringe. A vine-like effect may be obtained in the border by twisting blue and white together in opposite ways and weaving in a plain thread of white or blue between the two. Another happy combination of blue and white results from weaving on a blue warp a woof of white outing flannel, cut and fringed as described for the moss rug of denim, with a border of old blue and figures of the same colour. For a chamber or for a bath room in white such a rug as this will leave nothing to be desired.

_A Weaving Design._--It has just been said that design in rug making is a question of colours and of materials. It is already apparent that it is more than that. It is largely a question of procedure in the process of weaving. That this is so may be shown in the following account of the making of a blue and white rug. The thought was to produce a rug with five stripes of blue running lengthwise, with white figures at regular intervals through the middle of the rug. To accomplish this result two threads of white warp were removed from the reed and harness every two inches for a space of ten inches on each side, thus making what may be called a weaving design; for the blue stripes, it will be easily seen, had to appear to the number of five on each side when the rug was woven. The white figures were formed by first throwing the blue cloth or woof through the warp by the usual throw of the shuttle and, before beating it up, threading into the warp white cloth in the desired pattern, after which the woof and pattern were beaten up together. For the pattern five threads or pieces of white cloth were used, two of which were 6 inches in length and three 2 inches, the two longer ones being placed between the shorter ones as illustrated. A space of 7 inches was left between the white figures, the location of which was carefully determined by counting the threads, both of warp and of woof, so that in weaving the figures should appear at the right place. The result of this weaving design was a very beautiful rug.

_Another Example of Weaving Design._--This feature of rug designing is capable of indefinite expansion. Perhaps one more example may be given. The object was to produce a rug of medium dark centre with an 8-inch border all around of a darker colour. This effect was produced by first weaving 8 inches of the dark end border, which was of mixed goods showing several dark colours contrasting happily. Having reached the place where the medium centre was to begin, a woof thread of this medium colour and of the right length was joined each time to short pieces of woof of the border colour so that, as the weaving progressed along the length of the centre, not only the centre colour appeared in its proper place but 8 inches of border on each side. When the proper length of the centre had been woven, the rug was finished by weaving another 8 inches of the border colour. The result was a rug of individuality and charm.

_Great Variety of Material._--Endless combinations will occur to any one who becomes interested in this captivating art. The field for colour design is almost without limit. No material is so old and useless as to be despised by the clever rug maker. Old bed ticking with its blue and white stripes cut on the bias makes a very desirable combination when woven on a blue warp with a plain blue border. A charming mottled effect in one instance was produced by a yarn which was ravelled from an old raw silk portière of a mahogany shade and wound into balls with finely cut strips of tan cloth, the balls being rewound several times. This was used as the woof for the centre of the rug. The border was made of a weaving thread of the unravelled mahogany yarn, doubled several times to give thread of a size equal to that of the tan cloth. Discarded clothing in which the prevailing colours are red, when made up into woof threads and woven on a white warp, gives a charming effect which may be strengthened or toned down by a border combination as desired. Dyes may, of course, be used if the colours of the weaving threads made up from old cloths and discarded clothing are not suited to the design that is to be worked out.

_Weaving the Rug._--When the design for the rug has been thoroughly worked out, determining the colours, materials to be used, and the method of procedure, the warp and the woof threads should be prepared and the warp attached to the loom, as already explained in the discussion of the general process of weaving. Further details of procedure are not needed here. The thing to do is to weave a rug as designed. The next thing to do is to design and weave another rug, and then another and so on. As in most crafts so in weaving, experience is the great teacher--a teacher who demands faithful work, who finds lessons of value in every failure and abundant satisfaction in every success. Some of these successes were found in the rugs illustrated opposite page 252.

Rug weaving is probably the simplest of all weaving and therefore a good problem with which to begin. After serving a satisfactory apprenticeship in this field the amateur will have acquired sufficient knowledge of design and sufficient skill in the art to pass to more difficult problems. This will take her out into a large field of opportunity. Portières, window draperies, table scarfs, bedspreads, and covers for pillows and cushions in endless variety will suggest themselves to the ambitious worker. In all these, as has been seen in the case of rug making, design is all important. The management of the loom is much the same in all plain weaving. What differences there are will be found, for the most part, in the weaving designs. In the following problems are described some of the special features involved in the other forms of weaving.

PROBLEM: PORTIÈRES AND COUCH COVERS

_Suggestions for the Design._--If the loom is wide enough these may be woven in one piece; but usually it is necessary to weave them in sections or breadths. In this case, of course, they must be afterward neatly joined. The possibilities in colour design are naturally varied. They may be woven with a woof of plain colour contrasting with the colour of the warp, in stripes, or with plain centres with striped ends. Harmony of colour effects is always to be sought. Depth and richness may sometimes be obtained to a highly satisfactory degree by a generous use of black. Materials may be yarns, bits of silk or velvet, or pieces of fine, soft woollen goods. The warp may be silk or linen or mercerized cotton. Beautiful portières have been woven by leaving out two threads of warp at regular intervals, giving a loose and fluffy effect. Silk and wool pieces may be used in the woof, alternating with one or more threads of wool yarn of any desired shade; and, if of the same colour as the warp used, they will impart a very decided tone to the whole product. In portières, the general appearance is much improved if the woof is not beaten up hard into the warp. The soft beating gives a resulting texture that is more pliable and more suitable for hanging in easy folds such as is demanded in portières. Couch covers, however, which will have to resist more wear and tear, should be beaten up harder. In preparing the silk and wool pieces the cloth should be cut into very fine strips, joined by carefully lapping the ends, and, by cutting away a part of the cloth, making the joint uniform in size. If the material is cloth of ordinary thickness 1/2 an inch is quite wide enough for strips. The length of the pieces used may vary greatly, though they may be somewhat different in colour. They may vary all the way from a few inches to a length long enough to weave an inch in the portière or cover. This makes it very easy to secure a source of supply for the material in saving old garments and short pieces of cloth for the specific purpose of making up the woof threads for these products of the loom. Almost any household will be able to save enough in a short time to furnish the material for a beautiful pair of portières or a couch cover which will be durable in quality, easy to clean, attractive in colour, and satisfactory from every point of view.

PROBLEM: WINDOW DRAPERIES AND CURTAINS