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+*** START OF THE PROJECT GUTENBERG EBOOK 77150 ***
+Transcriber’s Note:
+
+                              In Memory of
+
+                              Chris Curnow
+                              (1937-2023)
+            the Project Manager at Distributed Proofreaders
+                        who selected this book,
+                       and more than 2200 others,
+             to be preserved as free digital transcriptions
+                         by Project Gutenberg.
+
+
+
+
+The book uses two symbols for which no unicode exists; ◍ was
+substituted for a small circle overlapping slash marks, inside a box;
+▦ was substituted for horizontal lines with a black dot, inside a box;
+horizontal braces above or below columns are indicated like this:
+/~~~~~\ \~~~~~/.
+
+The discussion of twills uses notation like this:
+
+  3         3
+  --- and ---. These were reformatted as [3/1] and [1\3].
+    1     1
+
+Words and phrases in italics are surrounded by underscores, _like
+this_. Final stops missing at the end of sentences and abbreviations
+were added. Footnotes were renumbered sequentially and were moved to
+the end of the chapter. There are multiple anchors to footnotes [9],
+[13] and [14]. Ditto marks were replaced with text in some tables to
+accommodate column alignment.
+
+
+
+
+                         COLOUR IN WOVEN DESIGN
+
+
+
+
+                         COLOUR IN WOVEN DESIGN
+
+                          _BEING A TREATISE ON_
+             THE SCIENCE AND TECHNOLOGY OF TEXTILE COLOURING
+              (WOOLLEN, WORSTED, COTTON AND SILK MATERIALS)
+
+                                   BY
+
+                  ROBERTS BEAUMONT, M.SC., M.I.MECH.E.
+        PROFESSOR OF TEXTILE INDUSTRIES, THE UNIVERSITY OF LEEDS;
+                                AUTHOR OF
+“FINISHING, OF TEXTILE FABRICS,” “WOOLLEN AND WORSTED CLOTH MANUFACTURE,”
+                  “WOVEN FABRICS AT THE WORLD’S FAIR.”
+
+   VICE-PRESIDENT OF THE JURY OF AWARD AT THE PARIS EXHIBITION, 1900;
+   INSPECTOR OF TEXTILE INSTITUTES; SOCIETY OF ARTS SILVER MEDALLIST;
+     HONORARY MEDALLIST OF THE CITY AND GUILDS OF LONDON INSTITUTE.
+
+                                EDITOR OF
+   “THE JOURNAL OF THE LEEDS UNIVERSITY TEXTILE STUDENTS’ ASSOCIATION”
+
+          WITH 39 COLOURED PLATES, CONTAINING 187 ILLUSTRATIONS
+                       AND 280 FIGURES IN THE TEXT
+
+                _SECOND EDITION, REWRITTEN AND ENLARGED,
+            WITH NUMEROUS ADDITIONAL ORIGINAL ILLUSTRATIONS_
+
+                             WHITTAKER & CO.
+                 2 WHITE HART STREET, PATERNOSTER SQUARE
+                          LONDON, AND NEW YORK
+                                  1912
+
+
+
+
+                      THIS NEW AND ENLARGED EDITION
+              IS DEDICATED TO THE MEMORY OF MY LATE FATHER
+
+                             JOHN BEAUMONT,
+
+                     PROFESSOR OF TEXTILE INDUSTRIES
+                      THE YORKSHIRE COLLEGE, LEEDS,
+                               1875-1889.
+
+
+
+
+                        PREFACE TO FIRST EDITION.
+
+
+Three years ago the first edition of my work on _Woollen and Worsted
+Cloth Manufacture_ appeared, and in the preface of the book I observed
+that should it be satisfactorily appreciated I would write other
+treatises on specific branches of textile designing and weaving.
+
+Partially in fulfilment of this promise, and partially because I have
+frequently been requested by designers, manufacturers, and students who
+have attended my lectures on textile colouring at Leeds, Huddersfield,
+and other places, to prepare a text-book on the application of colours
+to woven fabrics, this volume has been written, which, to use the
+hackneyed prefatory phrase, _is intended to meet a long-felt want_.
+
+Though there are several useful works on Colour--to wit, those of
+Chevreul, Rood, Benson, Hay, Field, Maxwell, and Guichard--dealing
+with its scientific phases, yet they can scarcely be said to lend that
+kind of help to the student of applied design that is needed; hence
+the necessity of this handbook, which is the first treatise published
+professing to treat exclusively of the colouring of woven styles.
+
+During the last fifteen years various efforts have been made to teach
+textile designing and manufacturing systematically, and to specify
+the principles which underlie the origination of pattern in the
+loom: what to some extent was, previously, haphazard work, inasmuch
+as there were no schools for teaching textile technology, and those
+apprenticed in the mill were generally allowed to glean information
+as best they could, has now become an exact science. Colouring,
+however, though practically of primary importance in design, has not
+been so efficiently taught as some branches of textile manufacturing.
+The object of this book is, therefore, to supply as far as possible a
+complete scheme of textile colouring, and to demonstrate the methods of
+applying fancy shades to all descriptions of woven manufactures.
+
+Referring briefly to the plan of the book: In the early chapters the
+pigment and light theories of colour are expounded, and also the
+attributes and qualities of colours, and the laws of contrast and
+harmony. Subsequently, the technicalities characterizing woven colour
+combinations are analyzed _in extenso_.
+
+As the initiatory method of introducing tints and shades into fabrics
+consists in blending raw materials of divers colours, the art of
+mixing to obtain artistic mingled compositions is at the outset
+fully considered. This part of the subject is possibly of the first
+importance to those engaged in designing fancy tweeds and kindred
+classes of woollen goods.
+
+After having treated of the combination of shades in “blending,”
+reference is made to the principles of developing simple patterns by
+amalgamating warp and weft yarns. The various kinds of stripe, check,
+mixture, and figured effects, and the tinting of all types of single,
+backed, and double cloths, of combination patterns, of fabrics figured
+in the warp, in the weft, and in both warp and weft, are all treated of
+at length. Woollen, worsted, cotton, and silk fabrics, and the specific
+styles of colouring applicable to each, have also obtained detailed
+notice.
+
+Many of the patterns printed on the plates have been woven at the
+Yorkshire College under my supervision, and are now published for the
+first time; while the other figures, with the exception of a small
+number appearing in the _Textile Recorder_ in articles I have written
+for that journal, and which the Editor has kindly permitted me to
+use, have been specially prepared for this book. It need scarcely
+be observed that the coloured illustrations are unique, being exact
+representations of the woven textures.
+
+I have pleasure in acknowledging my indebtedness to my publishers, who
+have done all in their power to meet my wishes in the execution of the
+plates of woven samples.
+
+                                                         R. B.
+
+
+
+
+                       PREFACE TO SECOND EDITION.
+
+
+This Work has been rewritten and enlarged. Numerous original
+illustrations have been added in the text and also to the coloured
+plates, which should enhance its value to the Textile Colourist,
+whether Student or Expert.
+
+A chapter has also been prepared on Colour Standardization, the scheme
+for which has been originated and developed in the Textile Industries
+Department of the Leeds University, under my supervision and in
+collaboration with Mr Thos. Hollis, Lecturer in Yarn Manufacture.
+
+In reading the proof sheets, I acknowledge the help of Miss Clara
+Benton, of the Clothworkers’ Museum of the University.
+
+I am indebted to my Publishers for the regard and consideration they
+have had to my wishes in the preparation of the Book.
+
+                                                         R. B.
+  UNIVERSITY OF LEEDS,
+          1911.
+
+
+
+
+                                CONTENTS.
+
+
+                               CHAPTER I.
+
+                           THEORIES OF COLOUR.
+                                                                    PAGE
+  1. Elements of Woven Pattern--2. Occurrence and Utility
+       of Colour in Loom Productions--3. Treatment of
+       Colour in Relation to Textiles--4. Methods of Using
+       Colour in Textiles--5. Colour Phenomena--6. Analysis
+       of Light--7. Utility of Prismatic Experiments--8.
+       Schemes of Colouring--9. Primary Colours--10.
+       Compound Colours--11. The Three Constants of
+       Colour--12. Temperature of Colours                           1-19
+
+                               CHAPTER II.
+
+                         ATTRIBUTES OF COLOURS.
+
+  13. Utility of a Knowledge of the Qualities of
+       Colours--14. Qualifications of the Textile
+       Colourist--15. Functions of Pure Colours in
+       Design--16. Red: its Characteristics--17. Methods
+       of Modifying Colours--18. Derivatives of Red: their
+       Qualities and their Province in Textiles--19. Blue:
+       its Properties and Uses--20. Derivatives of Blue
+       and their Application to Woven Textures--21. Shades
+       and Tints of Blue mixed with Shaded and Tinted Reds
+       and Yellows--22. Methods of obtaining Well-balanced
+       Colourings--23. Uses of Blue in Twist Yarns--24.
+       Points in the Application of Blue and Red to
+       Textiles Summarized--25. Attributes of Yellow--26.
+       Province of Yellow in Woven Fabrics--27. Derivatives
+       of Yellow--28. Secondary Colours--29. Green: its
+       Attributes and Derivatives--30. Tints of Green--31.
+       Orange: its Shades and Tints--32. Purple                    20-41
+
+                              CHAPTER III.
+
+                          CONTRAST AND HARMONY.
+
+  33. Colours Affected by Adjacent Colours--34. How
+       Colours are Changed by Juxtaposition--35.
+       Contrast--36. Examples in Contrasts--37. Economic
+       Contrasts--38. Two Kinds of Contrasts--39.
+       Poly-chromatic Contrasts--40. Mono-chromatic
+       Contrasts--41. Toned and Tinted Contrasts--42.
+       Comparison of Contrasts by Shade and Contrasts by
+       Colour--43. Shaded and Tinted Compositions--44.
+       Bright Colour Contrasts Modified with Black and
+       White--45. Successive and Simultaneous Colour
+       Effects--46. Methods of Neutralizing the Effects of
+       Strong Colour Contrasts--47. Harmony--48. Principles
+       of Harmony                                                  42-59
+
+                               CHAPTER IV.
+
+                         COLOUR STANDARDIZATION.
+
+  49. Objects of Standardization in Colouring--50. Systems
+       of Colour Standardization--51. Standardization by
+       Selected Colours--52. Analysis of Standardization
+       Scheme, Plate XII.--53. Use of Standards in
+       Blending--54. Applications of the Scheme                    60-65
+
+                               CHAPTER V.
+
+                                MIXTURES.
+
+  55. Varieties of Mixture Patterns--56. Elements
+       of Mixture Colouring--57. Importance of Pure
+       Materials--58. Several Classes of Mixtures
+       Compared--59. Simple Blends--60. Blends of Wools
+       and Pigments Compared--61. Modes of Testing
+       Composition of Colours--62. Mixtures composed of two
+       Shades--63. Compounds of two Colours in which White
+       is used--64. Illustrations in Mixtures composed of
+       White and a second Colour--65. Mixtures composed of
+       Black and another Colour--66. Grey Mixtures--67.
+       Bloomed Greys--68. Coloured Greys--69. Two-Coloured
+       Mixtures--70. Multi-Shaded Mixtures--71. Twist Yarn
+       Mixtures--72. Marls--73. Weave Mixtures                     66-91
+
+                               CHAPTER VI.
+
+                 ELEMENTS OF TEXTILE COLOURING--STRIPES.
+
+  74. Colours applied to Textiles on Various Systems--75.
+       Types of Woven Colouring--76. Single Weave
+       Colourings--77. Colour in relation to Backed,
+       Double, and Compound Cloths--78. Colour applied to
+       Single-make Figured Cloths--79. Fancy Shades applied
+       to Backed and Double Weave Combination Designs--80.
+       Colour in Designs in which the Figures are produced
+       by the Weft Yarns--81. Figured Effects obtained by
+       Warp Colouring--82. Colour in Textiles Figured by
+       both Warp and Weft Yarns--83. Pattern Design--84.
+       Styles due to Colouring only--85. Stripes--86.
+       Checks--87. Mixtures--88. Figures--89. Classes
+       of Striped Patterns--90. Hairlines--91. Compound
+       Hairlines--92. Stripes composed of Longitudinal
+       and Transverse Lines--93. Stripes composed of Two
+       Colours--94. Stripes composed of Three or more
+       Colours--95. Irregular Stripes composed of Black and
+       White Yarns--96. Irregular and Indefinite Stripes
+       in Two Colours--97. Irregular Stripes--Shades in
+       Two Colours--98. Shaded Stripes in Two Colours--99.
+       Irregular Stripes containing several Colours--100.
+       Shaded Stripes in several Colours                          92-118
+
+                              CHAPTER VII.
+
+                             CHECK PATTERNS.
+
+  101. Utility of Check Styles--102. Principles of
+       Checking--103. Several Styles of Checks. CHECKS
+       COMPOSED OF TWO COLOURS--104. Forms of Checking in
+       Two Shades--105. Common Check--106. Modification of
+       Common Check--107. Check consisting of Two Sizes of
+       Squares--108. Pattern composed of Solid Squares and
+       of an Over-check--109. Counter-change Check--110.
+       Compound Checking--111. Gradated Check--112. Broken
+       Check in Two Colours--113. Basket Check. CHECKS
+       COMPOSED OF THREE OR MORE COLOURS--114. Principle
+       of Checking with Three Colours--115. Ordinary
+       Three-shade Check--116. Set Check--117. Compound
+       Checking in Three Shades--118. Counter-change Check
+       in Three Shades--119. Interchanging Check--120.
+       Counter-change with Over-check. SHADED AND
+       IRREGULAR CHECKS--121. Shaded Check in Black and
+       White Cassimere Twill--122. Shaded Cheek in Two
+       Colours due to using Designs composed of Various
+       Weaves--123. Irregular and Mixture Checks--124.
+       Fancy Broken Check--125. Examples in the Colouring
+       of Tartans--126. Types of Tartans--127. Two-colour
+       Plaids--128. Three-colour Plaids-129. Four-colour
+       Plaids--130. Five-, Six-, and Seven-colour Plaids         119-158
+
+                              CHAPTER VIII.
+
+                           SIMPLE COLOURINGS.
+
+  131. Simple and Compound Colourings--132. Regular Simple
+       Colourings--133. One-and-One and Two-and-Two
+       Systems--134. Figured Styles in Common Weaves
+       and One-and-One Colouring--135. Utility of the
+       One-and-One Principle in Figured Textiles--136.
+       One-and-One and Two-and-Two Colourings in Fancy
+       Weaves--137. Three-and-Three Colouring--138.
+       Four-and-Four Arrangement--139. Four-and-Four Method
+       applied to Fancy Weaves--140. Six-and-Six and
+       Eight-and-Eight Schemes--141. Six-and-Six Colouring
+       in Various Crossings--142. Three-Odd-Thread
+       Arrangement--143. Various Three-Shade Patterns--144.
+       Simple Colourings, composed of Four Shades--145.
+       Irregular Simple Colourings--146. Irregular Simple
+       Patterns of Two Shades--147. “Irregulars” composed
+       of Three Shades--148. “Irregulars” composed of Four
+       Shades--149. Cross Wefting                                159-191
+
+                               CHAPTER IX.
+
+                          COMPOUND COLOURINGS.
+
+  150. Compounds--151. Compounds composed of Three Types
+       of Elementary Colouring--152. Results of Combining
+       Simple Colourings--153. Compounds and Weave
+       Combinations compared--154. Utility of a Practical
+       Acquaintance with the Woven Effects of Simple
+       Colourings--155. Compound Patterns subjective to
+       the Nature of the Fabrics Manufactured--156. Types
+       of Compounds--157. Compounds composed of Two Simple
+       Types--158. Patterns composed of Two Types and Three
+       Shades--159. Styles of Four Shades containing Two
+       Simple Types--160. Styles composed of Three Simple
+       Types--161. Irregular Compounds                           192-219
+
+                               CHAPTER X.
+
+                FANCY SHADES APPLIED TO SPECIAL DESIGNS.
+
+  162. Colour applied to Special Makes--163. Colouring
+       of Corkscrews--164. Modified Corkscrews--165.
+       Fancy Woollen Weaves--166. Granite Effects--167.
+       Diagonals--168. Diagonals composed of Plain and
+       Double Plain Makes--169. Stripe and Check Colourings
+       on Diagonals--170. Methods of Colouring Fancy Weaves
+       for Cottons or Silks--171. Gauze Textures--172.
+       Systems of Colouring Gauzes--173. Imitation or Mock
+       Gauzes--174. Colour in relation to Rib or Cord
+       Styles                                                    220-243
+
+                               CHAPTER XI.
+
+                    COLOURING OF COMBINATION DESIGNS.
+
+  175. Principles of Colouring Weave-Combinations--176.
+       Examples in Colouring Compound Designs--177.
+       Main Points in applying Shades to
+       Weave-Combinations--178. Examples in Drafted
+       Patterns--179. Designs composed of Two Prunelle
+       Twills--180. Drafted Designs composed of Two
+       Four-Shaft Weaves--181. Styles composed of Prunelle
+       and Cassimere Twills--182. Combinations composed
+       of two-, Six-, Seven-, Eight-, and Nine-Shaft
+       Weaves--183. Drafted Designs composed of Three or
+       More Weaves--184. Fancy Stripe Combinations--185.
+       Irregular Woollen Weave Combinations--186. Cotton
+       Stripes--187. Colouring of Designs containing
+       several Weaves of Varied Construction--188. Figured
+       Designs striped in the Warp                               243-266
+
+                              CHAPTER XII.
+
+                            SPOTTED EFFECTS.
+
+  189. Varieties of Spotted Fabrics--190. Spots due to
+       Specific Systems of Weaving--191. Swansdown Twill
+       Spotted--192. Spots composed of [3/1] and [1/3]
+       Twills--193. Weave-spotting produced by both Floats
+       of Warp and Weft--194. Irregular Spotted Stripes
+       and Checks--195. Spots developed by single Extra
+       Warp threads--196. Fabrics Spotted with Single Picks
+       of Weft--197. Mat Weaves Spotted--198. Corkscrew
+       Weaves with Extra Spotting Picks--199. Spotted
+       Diagonals--200. Warp and Weft Spots compared--201.
+       Spotting in both Warp and Weft--202. Advantages of
+       the Warp and Weft Methods of Spotting--203. Yarns
+       used for Spotting--204. Spotted Effects in Ordinary
+       Weaves--205. Application of Fancy Yarns to Compound
+       Weaves                                                    267-292
+
+                              CHAPTER XIII.
+
+               COLOURING OF DOUBLE WEAVES AND REVERSIBLES.
+
+  206. Principles of Double Cloth Colouring--207.
+       Styles of Colour Effects obtained in Double
+       Weaves--208. Double Plains--209. Classification of
+       Double Plain Stripes--210. Double Plain Stripes
+       in Two Shades--211. Two-Shade Stripes Warped
+       Irregularly--212. Styles in Three Colours--213.
+       Double Plains combined with other Weaves--214.
+       Intermingled Double Plain Compounds--215.
+       Reversibles--216. Methods of Colouring Double Plain
+       Reversibles--217. Colouring of Figured Designs
+       containing Double Plain and other Weaves--218.
+       Reversibles arranged Two and One--219. Figured
+       Compound Weave Patterns--220. Compound Colourings in
+       Compound Weaves--221. Colouring of Double Cloths,
+       such as Golf Cloakings and Rugs                           293-318
+
+                              CHAPTER XIV.
+
+                 FIGURED TEXTILES COLOURED IN THE WARP.
+
+  222. Methods of Colouring Figured Fabrics--223. Special
+       Elements of Ornamental Woven Design--224. Art and
+       Technique--225. Styles of Figured Fabrics Coloured
+       in the Warp--226. Cotton Quilting Fabrics--227.
+       Ornamental Characteristics of Quilting Designs--228.
+       Attributes of Plush Fabrics--229. Origin of Velvet
+       Weaving--230. Velvets, Compound in Structure--231.
+       Two Classes of Plush Fabrics--232. Warp
+       Plushes--233. Methods of securing the Pile--234.
+       Analysis of the Process of Velvet or Warp Plush
+       Weaving--235. Colouring of Warp Plushes and Figured
+       Velvets--236. Brussels and Tapestry Carpets
+       compared--237. How the Pattern is developed in
+       Brussels--238. Structure of Pile Carpets                  319-334
+
+                               CHAPTER XV.
+
+              WEFT-COLOURED FIGURED FABRICS--CURL TEXTURES.
+
+  239. Warp and Weft Colouring compared--240. Classes of
+       Designs Coloured in the Weft--241. Designs in which
+       the Pattern is a product of the Ground Weft--242.
+       Extra-Weft Styles--243. Vestings--244. Vestings
+       with one Extra Weft--245. Two-Cover Vestings--246.
+       Four-Cover Styles--247. Honeycomb Vestings--248.
+       Two-Cover Colouring--249. Four-Cover Designing--250.
+       Paisley Shawl Colouring--251. Compound-Weft
+       Reversibles--252. Warp and Weft Coloured
+       Figuring--253. Curls, Textiles of the Astrakhan
+       Group--254. Four Types of Curled Effects--255. Curls
+       obtained by Wires--256. Process of Weaving Curls
+       produced by Wires--257. Curls formed by the Weft in
+       which the Warp is Cotton--258. The Weave of Weft
+       Curls--259. Structure of Weft-Curl Fabrics--260.
+       Operation of Cutting after Weaving--261. Curls
+       developed by Milling--262. Points of dissimilarity
+       in the various Builds of Curled Textures--263. Two
+       kinds of Curls developed by Milling--264. Spiral
+       Threads used for Warp--265. Variety of Pattern in
+       Spiral-Warp Curls due to Colour--266. Twist-Yarn
+       Cotton Warp Curls--267. Backed Weaves for Curled
+       Cloths--268. Essential Characteristics of Cotton
+       Warp Curls due to Milling--269. Examples in Designs
+       for Cotton Warp Curls                                     335-367
+
+  INDEX                                                              368
+
+
+
+
+                        LIST OF COLOURED PLATES.
+
+     PLATE                                                  TO FACE PAGE
+        I. A = Spectrum                                               10
+           B = Spectrum resultant from viewing a strip of black on
+                 a white surface through a prism.
+
+       II. Spectral colouring of fabrics                              16
+             1. Woven-design specimen.
+             2. Printed-yarn     „
+
+      III. Primary, secondary, and tertiary colours                   22
+
+       IV. Tones and tints of the “primaries”                         28
+
+        V. Plaid in which yellow is the bright overchecking colour    34
+
+       VI. Tones and tints of the “secondaries”                       40
+
+      VII. 1. Blue texture                                            44
+           2. Fancy-twist yarn specimen.
+
+     VIII. Examples in colour contrasts                               50
+             1, 2. Stripes.
+                3. Figuring in bright colours.
+
+       IX. Mono-chromatic contrasts                                   54
+             1. Contrasts in tone.
+             2.     „     „  tints.
+
+        X. Specimen of bright colouring in plaids                     58
+
+       XI. Red, green, and blue colouring                             64
+             1. Figured pattern.
+             2. Check      „
+
+      XII. Chart of colour standardization scheme                     68
+
+     XIII. Blends of coloured wools                                   76
+
+      XIV. Specimens of marl yarns                                    90
+             Series I. Greys.
+                   II. Colour.
+
+       XV. Regular stripes                                           104
+             1 and 2. Two-colour patterns.
+                   3. Four-colour pattern.
+
+      XVI. Forms of irregular stripes                                112
+             1. Tennis stripe.
+             2. Shaded   „
+             3. Compound of ordinary and shaded stripes.
+
+     XVII. Fancy tweeds                                              120
+
+    XVIII. Compound stripings in bright colours                      126
+
+      XIX. Check styles                                              134
+             1. Pattern in maroon and green.
+             2. Compound check.
+             3. Small interchanging check in fancy yarns.
+
+       XX. Check styles                                              144
+             1 and 3. Intermingled effects.
+                   2. Broken check.
+
+      XXI. Figuring in simple twills                                 166
+
+     XXII. Styles due to simple orders of colouring                  190
+
+    XXIII. Check and stripe patterns                                 228
+             1 and 2. Checks.
+                   3. Gauze stripe.
+                   4. Cord or rib stripes.
+
+     XXIV. Colouring of drafted styles                               252
+             1. Weave compound--prunelle and [2\2] twills.
+             2.   „       „     [1\3], [3\1], and [2\2] twills.
+             3.   „       „       „      „       „   twist-warp
+                  yarns.
+
+      XXV. Fancy yarns                                               262
+             1. Ordinary folded or two-ply and three-ply yarns.
+             2. Flake and cloud twists.
+             3. Curl twists.
+             4. Gimp   „
+
+     XXVI. Fancy yarn colourings                                     272
+             1. Donegal tweed.
+             2. Compound-weave worsted.
+
+    XXVII. Colouring with curl and knop yarns                        280
+             1. Twill weave.
+             2. Small figure.
+
+   XXVIII. Costume colouring in fancy yarns                          288
+
+     XXIX. Reversible knop-twist yarn pattern                        296
+
+      XXX.  Double-plain styles                                      304
+              1, 2, 3. Stripe patterns.
+                    4. Figured shawl.
+
+     XXXI. Various double-plain designs                              308
+             1. Warped and wefted one-and-one.
+             2, 3 and 4. System of warp colouring coinciding with
+                  the weave construction.
+             5. Irregular warp and weft colouring.
+
+    XXXII. Reversible double-weave fabrics                           314
+             1. Double plain--velvet finish.
+             2. Double twill.
+
+    XXXIII.                                                          320
+             1. Vesting.
+             2. Reversible golf cloaking.
+
+     XXXIV.  Extra-warp colouring                                    324
+               1. Stripe style.
+               2. Quilting texture.
+
+     XXXV. Colouring of figured fabrics in the warp                  330
+             1. Old vesting design (quilting).
+             2. Cut and uncut pile pattern.
+
+    XXXVI. Figured-pile specimen, sateen ground                      334
+
+   XXXVII. Figured and spotted fabrics (extra-weft colouring)        340
+             1. Chintzed.
+             2 and 4. Extra-weft spotting.
+             3. Extra weft.
+
+  XXXVIII. 1. Honeycomb                                              348
+           2. Pine figuring.
+
+    XXXIX. Figured styles developed in warp and weft colourings      360
+
+
+
+
+                            LIST OF FIGURES.
+
+
+   FIG.                                                             PAGE.
+     1. Weave design, effect of                                        2
+    1A.     „                                                          2
+     2. Prismatic experiment                                           8
+     3. Design for prismatic experiment                               10
+     4. Lambert’s experiment                                          14
+     5. _A_, _B_, _C_. One-and-one colouring effects in the
+          plain weave                                                 98
+     5. _D_, _E_, _F_. One-and-one colouring effects in the
+          [2\2] twill                                                 98
+     6. Hairline pattern in [3/1] twill                              105
+     7. Hairline pattern in [3/1] twill, fine and broad effects      105
+     8. Hairline pattern in mat weaves                               106
+     9. Hairline and broken effect in [3/1] and [2\2] twills         106
+    10. Vertical and transverse lines or stripes                     107
+    11. _A_, _B_, _C_, _D_, _E_, and _F_. Stripe patterns in two
+          shades                                                     108
+    12. _A_, _B_, _C_, _D_, _E_, and _F_. Stripe patterns in three
+          shades                                                     109
+    13. Line patterns in warp face weaves                            110
+   13A. Ten-shaft whip cord                                          111
+    14. Compound stripe of two sets of lines                         111
+   14A. Compound stripe of several sets of lines of different width
+          in three shades                                            112
+
+
+                            PRINCIPLES OF CHECKING.
+
+    15. Common check                                                 123
+    16. Common check modified                                        123
+    17. Check composed of two sizes of squares                       124
+    18. Check composed of two sizes of squares modified              124
+    19. Overcheck                                                    125
+    20. Overcheck modified                                           125
+    21. Counter-change check                                         126
+    22. [4\4] and [8\8] check                                        126
+    23. Graduated check                                              127
+    24. Common three-colour check                                    130
+    25. “Set” check                                                  132
+    26. “Set” check modified                                         132
+    27. Compound checking in three colours                           133
+    28. Compound checking in three colours modified                  133
+    29. Counter-change check in three colours                        134
+    30. Three-colour interchanging check                             134
+    31. Three-colour interchanging check modified                    136
+    32. Shaded check                                                 137
+    33. Weave shaded check                                           140
+    34. Weave shaded check reverse section                           141
+    35. Shaded figured style                                         142
+   35A. Shaded figured style section of weave design for             143
+
+
+                                   TARTANS.
+
+    36. The Menzies                                                  147
+    37. The Menzies, modification of                                 147
+    38. The Montgomery                                               148
+    39. The Montgomery, I. modification of                           148
+    40. The Montgomery, II. modification of                          149
+    41. The Douglas                                                  149
+    42. The Douglas, I. modification of                              149
+    43. The Douglas, II. modification of                             149
+    44. The Douglas, II., modification of, in the [3\3] twill        150
+    45. The McQueen                                                  151
+    46. The McQueen, I. modification of                              152
+    47. The McQueen, II. modification of                             152
+    48. The Hamilton                                                 153
+    49. The Maxwell                                                  153
+    50. The Elliot                                                   154
+    51. The McKinnon                                                 154
+    52. The McKinnon, I. modification of                             155
+    53. The McKinnon, II. modification of                            155
+    54. The Dundas                                                   155
+    55. The Dundas, I. modification of                               155
+    56. The Dundas, II. modification of                              156
+    57. The Fraser                                                   156
+    58. The Fraser, I. modification of                               157
+    59. The Fraser, II. modification of                              157
+
+
+                      STANDARD ELEMENTARY COLOUR EFFECTS.
+
+    60. ⎫ Plain weaves                                               162
+   60A  ⎭
+    61.  ⎫ [2\2] twills                                              162
+   61A.  ⎭
+    62. ⎫
+   62A. ⎬ Two-and-two colour effects in the [2\2] twill              163
+   62B. ⎭
+    63. Effect in the plain weave (bird’s-eye spot)                  164
+    64. Spotted design composed of plain weave                       165
+    65. Spotted design composed of plain weave, effect of colouring
+          one-and-one                                                166
+    66. Spotted design composed of [2\2] twill, effect of colouring
+          one-and-one                                                167
+    67. Spotted twill weave, effect in the fabric, one-and-one
+          colouring in warp and weft                                 168
+   67A. Spotted twill weave                                          168
+    68. Mat and twill weave, effect in the fabric, one-and-one
+          colouring in warp and weft                                 169
+   68A. Mat and twill weave                                          169
+    69. Checked weave, effect in the fabric, one-and-one colouring
+          in warp and weft                                           169
+   69A. Checked weave                                                169
+    70. [2\2] mat design, effect in the fabric, two-and-two-
+          colouring                                                  170
+   70A. [2\2] mat design                                             170
+    71. ⎫
+   71A. ⎬ Three-and-three colour effects in the [3\3] twill          171
+   71B. ⎭
+    72. ⎫
+   72A. ⎬ Four-and-four colour effects in the [2\2] twill            171
+   72B. ⎭
+    73. Four-and-four colouring in [2\2] mat                         172
+    74. Four-and-four colouring in weave 74a                         172
+   74A. Fancy eight-shaft weave                                      172
+    75. ⎫
+   75A. ⎬ Six-and-six colour effects in the [3\3] twill              174
+   75B. ⎭
+    76. Eight-and-eight colouring in the [4\4] twill                 174
+    77. Six-and-six colouring in weave 77A                           175
+   77A. Twelve-shaft irregular warp cord                             175
+    78. Star check (six-and-six colouring)                           175
+   78A. Weave for Fig. 78                                            175
+    79. Three-odd thread colour effect in the [3\3] twill            176
+    80. Three-odd thread colour effects in a [3\3] twill check
+          design                                                     177
+   80A. Design for Fig. 80                                           177
+    81. Three-2’s colour effect in the [3\3] twill                   178
+    82. Three-3’s colour effect in the [3\3] twill                   178
+    83. Hairline in four shades in the [3\1] broken twill            180
+    84. Four-2’s colour effect in the [2\2] twill                    181
+    85. Four-3’s colour effect in the [3\3] twill                    181
+    86. Four-2’s colour effect in the Mayo                           182
+   86A. Mayo weave                                                   182
+    87. Four-and-one colour effect in the [3\2] twill                184
+   87A. [3\2] twill                                                  184
+   87B. Irregular checking in Fig. 87a                               184
+    88. Six-and-two colour effect in a fancy mat weave               185
+    89. Fancy eight-shaft mat                                        185
+   89A. Weave for Fig. 89                                            185
+    90. Six-and-two colour effect in an irregular weave              186
+   90A. Weave for Fig. 90                                            186
+    91. Irregular colour effect in an eight-shaft twill              186
+   91A. Weave for Fig. 91                                            186
+    92. Two-two-and-one colour effect in the [3\2] twill             186
+    93. Three-two-and-one colour effect in the [3\3] twill           187
+    94. Six-four-and-two colour effect in the [3\3] twill            187
+    95. Six-four-and-two colour effect in the [2\2] mat              187
+    96. Twelve-shaft fancy twill                                     187
+    97. Irregular colour effect in four shades in Fig. 96            188
+    98. Irregular colour effect in four shades in ordinary twill     188
+    99. Irregular colour effect in four shades in the Mayo           189
+   100. Shaded check in four shades                                  189
+   100A. Weave for Fig. 100                                          189
+   101. A series of elementary colour patterns in [2\2] twill and
+          mat                                                        190
+
+
+                       EXAMPLES IN COMPOUND COLOURINGS.
+
+   102. Regular compound check, 2-and-2 and 1-and-1 colouring, [2\2]
+          twill                                                      193
+   103. Regular compound check, 4-and-4, 2-and-2, and 1-and-1
+          colouring, [2\2] twill                                     195
+   104. Regular compound stripe, 4-and-4 and 8-and-8 colouring,
+          light weft, [2\2] twill                                    203
+   105. Regular compound stripe, 4-and-4 and 8-and-8 colouring,
+          dark weft, [2\2] twill                                     203
+   106. Regular compound check, 4-and-4 and 8-and-8 colouring, [2\2]
+          twill                                                      204
+   107. Regular compound stripe, 1-1-and-1 and 2-2-and-2 colouring,
+          light weft, [2\2] twill                                    204
+   108. Regular compound check, 1-1-and-1 and 2-2-and-2 colouring,
+          [2\2] twill                                                204
+   109. Regular compound stripe, 3-3-and-3 and 6-6-and-6 colouring,
+          dark weft, [2\2] twill                                     207
+   110. Regular compound stripe, 3-3-and-3 and 6-6-and-6 colouring,
+          light weft, [2\2] twill                                    207
+   111. Regular compound check, 3-3-and-3 and 6-6-and-6, [2\2] twill 208
+   112. Regular compound stripe, 3-3-3-and-3 and 6-6-6-and-6
+          colouring, dark weft, [2\2] twill                          209
+   113. Regular compound stripe, 3-3-3-and-3 and 6-6-6-and-6
+          colouring, light weft, [2\2] twill                         209
+   114. Regular compound check, 3-3-3-and-3 and 6-6-6-and-6, [2\2]
+          twill                                                      210
+   115. Regular compound stripe, 1-1-and-1, 2-2-and-2, and 4-4-and
+          4 colouring, light weft, [2\2] twill                       211
+   116. Regular compound stripe, 1-1-and-1, 2-2-and-2, and 4-4-and-4
+          colouring, dark weft, [2\2] twill                          211
+   117. Regular compound check, 1-1-and-1, 2-2-and-2, and 4-4-and-4,
+          [2\2] twill                                                211
+  117A. Regular compound check, 1-1-and-1, 2-2-and-2, and 4-4-and-4,
+          [2\2] mat                                                  213
+   118. Irregular compound stripe, 2-and-1 and 4-and-2, dark weft,
+          [2\2] twill                                                215
+   119. Irregular compound check, 2-and-1 and 4-and-2 colouring,
+          [2\2] twill                                                215
+   120. Irregular compound stripe, 6-4-and-2 and 3-and-3, dark weft,
+          [3\3] twill                                                216
+   121. Irregular compound check, 6-4-and-2 and 3-and-3, [3\3] twill 216
+   122. Irregular compound check, 3-and-3 and 4-and-2 colouring,
+          [3\3] twill                                                217
+   123. Irregular compound check, 3-and-3 and 2-1-1-and-2 colouring,
+          [3\3] twill                                                217
+   124. Irregular compound check, 3-and-3 and 2-1-1-and-2 colouring,
+          differently grouped, [3\3] twill                           218
+
+
+            ILLUSTRATIVE OF COLOURING SPECIFIC WEAVES AND DESIGNS.
+
+   125. Corkscrew weave, colour effect in                            222
+   126. Corkscrew weave, colour effect in broad stripe               224
+   127. Corkscrew weave, colour effect in angled stripe              224
+   128. Modified corkscrew weave                                     225
+   129. Pattern obtained in Fig. 128                                 225
+   130. (Upper section) Check produced in fancy weave                226
+   130. (Lower section) Pattern due to Fig. 132                      226
+   131. Weave for Fig. 130 (upper section)                           226
+   132. Warp and weft cord and prunelle twill design                 228
+   133. Diagonal pattern in single- and double-plain weaves          230
+   134. Section of design for Fig. 133                               231
+   135. Striped spotted design                                       233
+   136. Wave or zig-zag effect                                       233
+   137. Section of gauze and plain-woven pattern                     234
+   138. Gauze structure (photo-micrograph)                           235
+   139. Plan for gauze twill and plain stripe                        235
+   140. Healding draft for Figs. 139 and 140                         235
+   141. Similar to Fig. 139                                          235
+   142. Fancy gauze and ordinary weave compound                      236
+   143. Mock gauze stripe design                                     239
+   144. Mock gauze check                                             240
+  144A. Structure of mock gauze (photo-micrograph)                   240
+  144B. Weave for Fig. 144A                                          241
+   145. Cord stripe. Weaves, weft cord, and whip cord twills         241
+   146. Cord stripe. Weaves, weft cords and buckskin twill           242
+
+
+                   COLOUR EFFECTS IN COMPOUND WEAVE DESIGNS.
+
+   147. Figured pattern in [2\2] twill and double-plain weaves       247
+   148. Section of design for Fig. 147                               248
+   149. Woven effect of Figs. 150 and 151                            250
+   150. Compound design [1\2], [2\1] and [2\2] twills                250
+   151. Healding draft for Fig. 153                                  251
+   152. Woven effect of Figs. 153 and 154                            250
+   153. Compound design, small twill weaves reversed                 251
+   154. Healding draft for Fig. 153                                  252
+   155. Compound check design, [2\2] twill weave reversed            252
+   156. Healding draft for Fig. 155                                  253
+   157. Six-and-three colour effect in Fig. 158                      255
+   158. Stripe design composed of [3\3] mat and a broken mat         255
+   159. Healding draft for Fig. 160                                  257
+   160. Compound style in [2\2], [3\1], and [1\3] twills             258
+   161. Stripe design consisting of a seven-shaft diagonal reversed  259
+   162. Stripe design consisting of warp and weft cord effects on a
+          plain weave ground                                         260
+   163. Stripe design consisting of thirteen-shaft weaves            260
+   164. Stripe design consisting of fancy weaves                     262
+   165. Stripe design consisting of sixteen-shaft twilled mat and
+          other weaves                                               263
+   166. Compound of warp and weft corkscrews and whip cord weaves    263
+   167. Wave pattern, sateen ground                                  265
+  167A. Design for Fig. 167                                          265
+
+
+                         COLOURING OF SPOTTED DESIGNS.
+
+   168. Angled [2\2] twill spotted pattern                           268
+   169. Effect of Fig. 168                                           269
+   170. Spotted warp twill                                           269
+   171. Spotted warp twill                                           270
+   172. Spotted effect in [3\1] broken twill ground                  271
+   173. Spotted effect in [2\2], [3\1], and [1\3] twills             271
+   174. Spotted effect in [3\1] and [1\3] broken twills              271
+   175. Stripe spotted design                                        272
+   176. Method of grouping “spots”                                   272
+   177. Irregular distribution of “spots”                            273
+  177A. Pattern for Fig. 177                                         274
+   178. Warp and weft spotting on a plain ground (small effects)     274
+   179. Warp and weft spotting on a plain ground (broad effects)     275
+   180. Warp and weft spotting on a twill ground                     276
+   181. Warp and weft spotting to form checks                        278
+   182. Pattern for Fig. 181                                         278
+   183. Single-thread warp spotting                                  280
+   184. Single-pick weft spotting (corkscrew twill)                  281
+   185. Single-pick weft spotting (mat ground)                       283
+   186. Modification of Fig. 184                                     283
+   187. Warp-backed design, single-pick spotted                      283
+   188. Diagonal single-pick spotted                                 284
+   189. Single-thread and single-pick spotting                       285
+
+
+                           COMPOUND WEAVE COLOURING.
+
+   190. Double-plain stripe, thread-and-thread colouring             299
+   191. Double-plain stripe, thread-and-thread colouring             299
+   192. Double-plain stripe, weaves cutting                          299
+   193. Double-plain stripe, warp colouring fitting with weave
+          structure                                                  301
+   194. Double-plain stripe in three colours                         301
+   195. Double-plain stripe in three colours                         302
+   196. Compound design, double-plain and warp-twill weave           302
+   197. Double-plain check                                           304
+   198. Figured reversible design                                    306
+   199. Figured reversible design                                    308
+   200. Figured reversible design double-plain and [2\2] twill
+          weaves                                                     309
+   201. Double-weave reversible 2-and-1 principle                    310
+   202. Double-twill figuring                                        312
+   203. Double-weave vesting                                         313
+   204. Double-twill, warp stitched for golf cloaking                316
+   205. Check golf cloaking pattern                                  317
+  205A. Weave for Fig. 205, centre-warp stitched                     316
+
+
+                     PRINCIPLES OF COLOURING IN THE WARP.
+
+   206. Warp-figured design                                          322
+   207. Extra-warp figuring                                          323
+  207A. Section for Fig. 207                                         323
+   208. Warp-pile structure                                          329
+   209. Weave structure for three-colour warp pile                   331
+   210. Section of three-colour pile fabric                          334
+
+               PRINCIPLES OF COLOURING IN THE WEFT-CURL FABRICS.
+
+   211. Ordinary principle of weft figuring                          338
+   212. Extra-weft colouring                                         338
+   213. Section design for Fig. 212                                  339
+   214. Rib or cord stripe, extra weft coloured                      342
+   215. Spotted vesting, extra weft colouring                        342
+   216. Diagonal design, extra weft colouring                        343
+   217. Section of four-cover vesting design                         344
+   218. Honeycomb weave                                              345
+   219. Honeycomb fabric                                             346
+   220. Honeycomb striped design                                     346
+   221. Figured pattern, sateen ground                               347
+   222. Section of pine figuring, four extra wefts                   348
+   223. Pine figuring, Border style                                  350
+   224. Section of Paisley shawl design                              351
+   225. Section of two-ply weft reversible fabric                    352
+   226. Weave for Fig. 227                                           352
+   227. Design for a reversible fabric                               352
+   228. Three-shade weft coloured reversible                         353
+   229. Three-ply weft weave, four-shaft                             354
+   230. Three-ply weft weave, six-shaft                              354
+   231. Weft figuring on a warp cord ground                          355
+   232. Figuring in solid weft floats and bold warp cord on a rep
+          ground                                                     356
+   233. Section of pile fabrics                                      357
+   234. Section of pile fabrics, (cut)                               359
+   235. Section of pile fabrics, long curl effect (cut)              359
+   236. Section of pile fabrics, long curl effect (uncut)            360
+   237. Feather trimming textures                                    361
+   238. Weft curl weave                                              364
+   239. Striped curl pattern                                         365
+   240. Weave design for Fig. 239                                    365
+   241. Irregular “curl”                                             366
+   242. Weave design for Fig. 241                                    366
+   243. “Curl” in two colours of weft                                367
+   244. Design for two-colour weft “curl”                            367
+
+
+
+
+                                   TABLES.
+
+                                                                    PAGE
+     I. Methods of applying Colour to Textiles                         7
+    II. Wave Frequency of the Spectral Colours                         9
+   III. Compounds of Coloured Lights                                  14
+    IV. Colours resulting from combining Pigments                     15
+     V. Compounds of Shades or Tones of Colour                        30
+    VI. Compounds of Tints of Colour                                  31
+   VII. Types of Woven Colouring                                      93
+  VIII. Illustrating the Effects on the Plain and [2\2] Twill
+          Weaves of changing the Order of Warping and Wefting         99
+    IX. Regular Simple Colourings                                    161
+     X. Irregular Simple Colourings                                  182
+    XI. Compound Colourings                                          199
+
+
+
+
+                         COLOUR IN WOVEN DESIGN.
+
+
+
+
+                               CHAPTER I.
+
+                           THEORIES OF COLOUR.
+
+     1. Elements of Woven Pattern--2. Occurrence and Utility
+     of Colour in Loom Productions--3. Treatment of Colour
+     in Relation to Textiles--4. Methods of Using Colours
+     in Textiles--5. Colour Phenomena--6. Analysis of
+     Light--7. Utility of Prismatic Experiments--8. Schemes of
+     Colouring--9. Primary Colours--10. Compound Colours--11.
+     The Three Constants of Colour--12. Temperature of Colours.
+
+
+1. _Elements of Woven Pattern._--Weave, compounds of form, and blending
+of colour are the three primary elements of textile design. They
+enter, either separately or in combination, into the many styles of
+loom effects. Weave relates specifically to the build or structure
+of the fabric, and is a necessary factor in any type of texture,
+whether plain, twilled, or ornamental in character. It is the scheme
+or plan of crossing the warp and weft yarns that forms or produces
+the fabric. Weave may give a compact texture subordinate in effect to
+other elements in the design; or, it may be the constructive and not
+the ornamental part of the pattern; yet in several woven specimens it
+possesses both these qualities. Fabrics of this description are not
+embellished with compounds of form or colour, and hence derive their
+design from the structural plan employed in the operation of weaving.
+Schemes of intertexture giving these results are devised in such a
+manner as to form, by interlacing warp and weft, an even fabric,
+decorated with a type of pattern consisting of minute effects in
+threads or yarns, and which may be subdued or decided in definition.
+
+Fig. 1 is an elementary type of Weave design or Pattern. The weave used
+is Fig. 1A. The sections are produced thus:--
+
+    _A._  White warp crossed with white weft.
+    _B._  Grey    „        „        „     „
+    _C._  White   „        „      black   „
+    _D._  Grey    „        „        „     „
+
+[Illustration: FIG. 1.]
+
+[Illustration: FIG. 1A.]
+
+Four degrees of definition of the design are present. The textural
+effect is clearly visible in section _A_, but increasingly distinct
+in sections _B_, _C_, and _D_, due to the improved or more pronounced
+contrasts of the shades of warp and weft combined.
+
+Briefly considered, Weave has the following functions in textile
+design:--
+
+  (1) In the construction or build of the fabric.
+
+  (2) In the development of textural design (Fig. 1).
+
+  (3) In the production of special and compound makes of fabrics.
+
+  (4) It is employed to accentuate or subdue in simple and
+        decorative styles certain parts of the design--producing
+        harmony of composition, whether due to blends of form,
+        colour, or both.
+
+Combinations of form have no relation whatever to the structural
+arrangement of the fabric. The sphere of form in woven design is not
+constructive or utilitarian, but in the amplest sense ornamental. It is
+surface decoration obtained by amalgamating, on definite principles,
+linear and curvilinear lines: ornament, consisting of geometrical or
+floral features, is applied to such loom products as dress, mantle,
+and vesting fabrics; silk textures, including neckties, handkerchiefs,
+robes, and decorative styles; damasks, quiltings, tapestries, etc.;
+carpets, hand-woven or tufted (produced on the vertical loom and now
+made in Donegal and some parts of Scotland as well as in the East);
+velvet, or cut pile (Axminster type); looped or uncut pile (Brussels
+type); and Kidderminster and other plain-surface productions.
+
+Colour, the third characteristic in design, is differently related to
+textile effects from Weave and Form. The special function of colour is
+to impart brightness of tone and improve the qualities of the design.
+There are many varieties of pattern in fabrics for wear, which possess
+freshness owing to the style and method of colouring practised. In
+the woven decorative arts, colour may be the main constituent of the
+design, or employed to develop its integral parts.
+
+2. _Occurrence and Utility of Colour in Loom Productions._--Colour is
+extensively used in woven design. It obtains, and is the prevailing
+element of the pattern, in all classes of fancy woollens, such
+as tweeds, flannels, and light textures, and thick figured rugs,
+wraps, and shawls. Whether the pattern be stripe, check, figure,
+or intermingled effect, it obtains its outline and detail from the
+method of colouring adopted. But colour is not confined to woollens;
+it is also an important factor in design produced in worsted, silk,
+cotton, jute, ramie, and other yarns. There is, in worsteds, a larger
+diversity of weave design than in woollen or carded-yarn textures;
+but, still, colour is very extensively employed to develop the effects
+due to weave and form, and also to impart a cheerful and lustrous
+appearance to the cloths. Patterns in dress fabrics, shirtings and
+blouses, made entirely of cotton, are frequently combinations of fancy
+shades; while, if the fabrics composed of silk and jute materials are
+considered, including--in silk--ties, handkerchiefs, and various
+kinds of matelasses; and--in jute--simple carpets, mats, and coarse
+rugs, it will be discovered that the colour element of the design
+largely predominates. This brief summary of the textures, in which
+fancy shades are used, shows that colouring, and the combinations of
+colours, in all branches of woven products embellished with design,
+are the elements which give tone and character to the styles. Though
+the fabrics produced may be soft to the touch, substantially made,
+uniform in structure, and skilfully finished, yet a lack of brightness
+and harmony of colouring so powerfully detracts from the merit of the
+pattern, that these qualities, in themselves, are not sufficient to
+give the fabric an attractive appearance--particulars which demonstrate
+the importance of choice and tasteful colouring in designs produced in
+the loom. Evidently colour is of twofold utility in the development
+of woven effects; for it may, firstly, be the sole constituent of the
+pattern; and, secondly, a supplementary element which affords precision
+and beauty to the composition of the design.
+
+3. _Treatment of Colour in Relation to Textiles._--Though, to a
+considerable extent, the principles of colouring are similar in all
+types of decorative design--harmonious blending and contrasting
+combinations possessing like qualities in whatever materials they
+obtain--still there are several reasons why some of the recognized
+canons of the science of colour are inappropriate, if not inapplicable,
+when textiles are the media of development. Foremost of these reasons
+are the technical difficulties which arise in the employment of colour
+in woven pattern. There is not the same facility nor means for its
+application here, as in the treatment of ordinary surface decoration.
+The make of the fabric, and the principles of its structure, determine
+the system of distribution; while the general aspect of the entire
+body of colouring varies according to the nature of the materials
+employed. If the same colourings which appear harmonious, neatly toned,
+and cheerful in arrangement in a velvet pile carpet, were reproduced
+in a silk texture, many points of dissimilarity would be noticed in
+the general effect obtained, though the tint and hue of the shades
+combined, might be identically the same in the respective fabrics. Why
+is this? Are not the apparent modifications in the colourings--for
+such they appear when thus compared--due, first, to the difference
+in the nature of the materials composing the textures; second, to
+the dissimilitude of their structural character; and, third, to the
+distinct principles of weaving practised in their production? The pile
+of the carpet--dense and compact--gives breadth, force, and richness to
+the colours; whereas the fine and clear texture of the silk imparts a
+more precise effect to the shades, causing the whole blend to possess
+an aspect which, while harmonious, lacks that mellow quality of bloom
+so characteristic of the pile production. It is clear, therefore,
+that colour in textiles requires to be studied as a special art. Its
+functions and effects in woven fabrics are so various and distinct
+from what they are in ordinary decorative work, that it can only be
+effectively treated when the nature of textile materials, and the
+diverse structures of the fabrics, are considered. In a word, there
+are not only recognized principles of woven design which have no place
+in purely ornamental art, but also schemes and laws of colouring which
+simply apply to the development of pattern in textile fabrics. Any
+exposition, therefore, of the theory and practice of colouring, to be
+useful to the textile technologist, must be given in relation to the
+varied technicalities of the weaver’s craft.
+
+4. _Methods of Using Colours in Textiles._--Colour is not always
+applied to woven textures on the same system. The method of utilization
+depends upon the composition of the design to be woven, and on the
+structure of the cloth it is intended to produce. There are fabrics
+in which the colour element is so decided that the effect obtained is
+somewhat similar to the results noticed in ordinary surface decoration.
+Take, for example, silk textures of a ribbon class, in which, by
+skilful workmanship and exact sketching, any floral form may be
+developed with a delicacy of toning and correctness of delineation that
+cannot be improved upon, even though the crayon or the brush should
+be employed. But this is not a common, because not a useful, species
+of designing and colouring. Carpets and tapestry fabrics illustrate
+other principles of employing fancy shades. The structure of some types
+of carpets very materially affects the character of the colourings.
+In Brussels and tapestry, for instance, the loop or pile of the
+carpet which forms its distinguishing feature, prevents that solidity
+and compactness of colouring noticeable in the silk ribbon or dress
+material. If the same design and blend of shades introduced into a
+Kidderminster or Scotch carpet were subsequently applied to a Brussels
+production, they would be entirely changed in appearance; for there
+is no common principle of intertexture in the respective carpets. In
+cotton, silk, woollen, and worsted textures, colour is found to have a
+different tone or cast in each fabric. Fancy colours in cottons, while
+decidedly smart and clear in effect, are comparatively non-lustrous,
+raw, and dull in toning.[1] Silk is distinguishable by brilliance of
+hue; woollen colourings have a unique depth and saturation of hue
+characteristic of the material employed in their manufacture; while
+worsted colourings are bright, definite, and smart in appearance.
+
+These differences are due to the physical formation and properties
+of the several fibres and yarns. Thus, a filament of silk is almost
+transparent, and shines like a smooth glass rod when light falls upon
+it; that of wool is solid and opaque in the centre, but its exterior
+consists of a multitude of semi-transparent scales, which, when of
+large dimensions and uniformly arranged--as in the best qualities
+of Lincoln and Leicester wools--reflect light with a minimum amount
+of dispersion, and impart to the woven material a lustrous aspect.
+Cotton has no such partially transparent surface. Its downy structure
+absorbs light freely, while what is reflected is so broken up, that
+the colour resultant is impoverished in saturation and brightness. To
+clearly apprehend the degree to which the nature of the raw material
+is capable of changing the tone or character of colours, compare three
+plain woven textures of the same colour made of silk, wool, and cotton
+respectively. Lustre, brilliance, and richness are the features of the
+silk colouring. Though thus bright, it lacks that fulness and depth of
+hue which appertains to the wool production, the filaments of which
+closely compounded, and all tinted alike, possess a peculiar bloom and
+saturation of colouring not to be found either in the silk or cotton.
+The cotton texture is somewhat dull and flat in quality of hue,
+lacking the brightness of silk. Such is the importance of the relation
+of the material to the species of coloured effect produced in textiles,
+that it will require subsequent analysis.
+
+The various methods of employing fancy shades in patterns obtained in
+the loom may be briefly summarized as follows:--
+
+
+                                TABLE I.
+
+                 METHODS OF APPLYING COLOUR TO TEXTILES.
+
+I. In mixture cloths, for suitings, coatings, and costumes.
+
+  _a._ By combining or blending various colours of materials.
+  _b._ By combining several classes of twist threads.
+
+II. In plain, twilled, mat, and fancy weave designs, for trouserings,
+coatings, suitings, dresses, costumes, flannels, shirtings, and fine
+textures.
+
+  _a._ By applying colour to the warp, forming stripes.
+  _b._ By applying colour to the weft, producing spotted patterns.
+  _c._ By applying colour to both warp and weft, giving
+                checks and other styles.
+
+III. In figured designs for dresses, mantlings, vestings, shawls, rugs,
+mauds, carpets, and tapestries.
+
+  _a._ By using one or several series of extra warp yarns.
+  _b._ By using one or several series of extra weft yarns.
+  _c._ By using one or several series of extra yarns in both
+                warp and weft.
+
+Each of these systems is capable of further subdivision; but, as here
+given, they represent the principles of colouring the general classes
+of woven designs.
+
+5. _Colour Phenomena._--Under ordinary conditions, light is essential
+to colour apprehension. Diversity of hue may be made evident to the
+mind by mechanical agitation of the optic nerves in a darkened room. Of
+course, such an experiment is only useful as showing the media by which
+colour sensations are rendered visible, or rather conveyed to the mind.
+
+The colour of an object is determined by three things: the nature of
+light, the physical properties of the material on which light falls,
+and the power of the observer’s eye. These are obvious conditions.
+Change the light from brilliant daylight to gaslight, and a richly
+coloured fabric undergoes several modifications--the hues suffer in
+brightness and lose a measure of their co-relative value. Or, by using
+a mono-chromatic light (that from burning sodium is a compound of two
+yellow lights of similar quality in the spectrum[2]), coloured objects
+may be changed to a similar hue. That colour is affected by the nature
+of the material has been stated in reference to fibres of wool, cotton,
+and silk.
+
+[Illustration: FIG. 2.]
+
+Incapacity to correctly distinguish the hues, tones, and tints of
+colour is caused by some affection of the retina. Training and practice
+in the matching and blending of colours may enhance the acuteness
+of colour vision. The Gobelin tapestry-weaver will select, without
+hesitancy, from a bundle of bobbins of tints of material of the same
+hue or colour, the one he requires. Similarly, the carpet-weavers of
+Donegal--after a period of training--will unerringly manipulate a
+varied assortment of delicate colours.
+
+“Light is due to waves--or other periodic disturbances, whose
+recurrence resembles that of waves--in the ether of space; and just as
+air-waves of a certain definite frequency of recurrence will induce in
+the ear the sensation of a sound of a particular pitch, so will the
+impact of ‘ether-waves’ of a certain particular frequency induce in the
+eye a sensation of light of a particular colour.”[3]
+
+The extreme visible red in the spectrum is produced by 392 billions,
+and the extreme visible violet by 757 billions of waves per second. The
+table gives the wave frequency of the spectral colours:--
+
+
+                                TABLE II.
+
+                 WAVE FREQUENCY OF THE SPECTRAL COLOURS.
+
+                Red               492·4 billions per second.
+                Orange red        484·1    „         „
+                Orange            503·3    „         „
+                Orange yellow     511·2    „         „
+                Yellow            517·5    „         „
+                Green             570      „         „
+                Blue              591·4    „         „
+                Cyan blue         606      „         „
+                Blue              635·2    „         „
+                Violet blue       685·8    „         „
+                Puce violet       740·5    „         „
+
+As the frequency of the vibrations increases, or as they are diminished
+in length, the visible colours of the spectrum are produced. Just as
+the pitch of a musical instrument depends upon the celerity of the wave
+it produces, so the colour of an object is subjective to the length
+of the undulations transmitted. This analogy between the phenomena of
+sound and light has led some colourists to attempt a scheme of colours
+based upon similar laws to musical harmony.[4]
+
+6. _Analysis of Light._--When a pencil of sunlight passes through a
+prism horizontally fixed, as in Fig. 2, it is decomposed, and produces
+on the screen the colour spectrum _A_, Plate I. In the intervals between
+each hue there is a gradation to which the colours are severally
+susceptive. Red passes, through a diversity of tinting, into orange,
+which graduates into yellow; and green, green blue, blue, indigo, and
+violet occur in succession, all softly toning into each other. The
+purity and intensity of each colour will be observed.
+
+[Illustration: FIG. 3.]
+
+A second and useful experiment may be made as follows:--Place a piece
+of black cardboard, about an inch wide and a few inches in length,
+on a white ground, and view it through the edge of a prism. If this
+experiment be correctly made, a result will be obtained corresponding
+to _B_, Plate I. The edge nearest the observer produces the violet,
+blue, and green side of the spectrum, while the opposite edge gives
+red, orange, yellow, and pale yellow--these two series of spectrum
+colours of distinct qualities being divided by a narrow band of black.
+Coldness is the distinguishing characteristic of the violet side, and
+warmness that of the red side; in the upper portion of the spectrum
+are found the intense, ostentatious hues, while in the lower portion
+are the colours of a subdued, soft quality. Yellow and green are
+beautifully toned. The former passes from a yellowish orange into a
+pure, bright tint, which is softly shaded off into white. Green, on the
+front edge of the black line, is similarly graduated in hue, but as the
+band of this colour is not so broad as the yellow strip, its shadings
+are not so extensive; still, it imperceptibly changes from deep into
+pale green, and diminishes in intensity until it disappears in white
+light. One feature of this experiment will at once be observed,
+namely, the brilliance and richness of coloured lights, when compared
+with corresponding colours obtained by pigments or dye substances.
+Bloom, depth, and purity of hue characterize the former; but however
+the latter are produced, they seem, in comparison, to be lacking in
+fulness, intensity, and brightness.[5]
+
+  [Illustration:
+                                Plate I
+                              A = SPECTRUM
+          B = SPECTRUM RESULTANT FROM VIEWING A STRIP OF BLACK
+                  ON A WHITE SURFACE THROUGH A PRISM]
+
+7. _Utility of Prismatic Experiments._--Experiments with the prism
+afford suggestive exercises in colour blending. Seeing that the
+results of these experiments are richer by far than those obtained
+by pigments, and always harmonious in tone, they are calculated to
+enhance appreciation for pure and lustrous colouring. For the purpose
+of successful manipulation of prismatic experiments, and of viewing in
+a suitable manner the effects that may, by this means, be produced,
+a piece of black velvet or cloth should be employed, and patterns
+cut out of white cardboard placed on it, and then the design thus
+arranged examined through the prism. The more ingenuity exercised in
+pattern origination, the more pleasing the combinations resultant.
+Fig. 3 illustrates the class of designs adapted for this work. Form
+and arrangement should be of the most elementary kind, and the
+whole pattern clear and pronounced, in order to allow of a complete
+development of the colours formed on the respective edges of the
+various figures. Intermingled, diminutive patterns give confused and
+indistinct effects. On the other hand, broad and large designs yield
+lustrous colourings, which the experimenter may feasibly dissect, and
+which teach principles in colour arrangement, harmony, and contrast, of
+utility in pattern production.
+
+When the pattern in Fig. 3 is viewed through the refractory angle of
+a prism at a distance of about two feet, and about three times larger
+than here sketched, it forms an interesting assortment of colourings
+and tinted effects. Any description of this experiment, however concise
+and clear, can only afford a vague idea of the real appearance of the
+pattern when prismatically examined. Still, to assist the reader to
+make the experiment accurately himself, a detailed analysis is given.
+Treating of the different sections of the patterns, the edge of band A,
+nearest the observer, should be considered first, which commences with
+pure green, running through blue, purple, deep violet, and crimson. The
+crimson results from the violet rays of this edge blending with the
+intense red rays of the further edge of band _A_.
+
+SMALL LINES _B_ AND _C_. The former begins with crimson, which
+successively changes into scarlet, orange, and yellow, a small strip of
+white separating these colours from those of band _C_, which consists
+of various tints of green and orange.
+
+DIAMOND FIGURES OF BAND _A_. The front edges of these are tinted with
+scarlet, orange, and yellow, and the opposite edges with various shades
+of green.
+
+CIRCLES OF BAND _D_. First, as to the edges nearest the observer.
+These are coloured with emerald-green and grass-green. It will be
+noticed that the green in this section of the pattern is distinct from
+that produced by the front edge of band _A_, being, as stated, more
+grass- than sea-green. Its peculiar tint results from the orange rays
+of the upper edge of band _C_ intermingling with the green rays of
+the circles. As the centres of the circles are approached, green is
+succeeded by blue, purple, and black. Second, as to the distant edges
+of the circles. At these points red, crimson, scarlet, and orange--the
+latter colour graduating imperceptibly into yellow--all occur. It is
+notable that the yellow hue is somewhat dingy, being adulterated with
+other colours. Compare it, for example, with the yellow resulting from
+the extreme edge of this diagram. Its dulness and impurity are due to
+certain colours intermingling with it. Thus, the space between the
+extreme edge of the circles and band _E_ is so limited, that the yellow
+rays of the circular objects combine with the green rays of the latter,
+and, as a consequence, the yellow suffers in purity and luminosity.
+
+BANDS _E_, _F_,AND THE FRONT EDGE OF _G_. These, very closely
+resembling strips _B_, _C_, and _A_, require no description.
+
+EXTREME EDGE OF BAND _C_. Here the red side of the spectrum is seen
+in its intensity and lustre; it begins with deep red, which gradually
+verges into orange, and the latter into yellow.
+
+This simple experiment demonstrates the value of prismatic results.
+All colourists should study shade combinations through these media.
+Analysis of the colourings obtained in this manner increases the
+acuteness of the faculty of discrimination of the brilliance and
+depth of hue of individual colours. Though, in practice, the textile
+designer has to deal exclusively with pigments and dye substances,
+yet the intensity and beauty of the combinations resulting from the
+decomposition of light are so novel and suggestive, that all desirous
+of cultivating aptitude for harmonious colourings will be at pains to
+multiply experiments of this class, which afford a true conception of
+what constitutes harmony and contrast in colours.
+
+That such compounds of spectrum colours have an application to textile
+design is evident from the specimens on Plate II., in which tints of
+the pure or prismatic colours are used in silk fabrics. The mode of
+distribution is irregular, but this is done for the purpose of subduing
+the strength of contrast which would be formed if the colours were used
+on the basis of the experiment described. Two fabrics are given as
+examples on Plate II. No. 1, a silk ribbon, is produced by weaving in
+a bold warp rep or cord weave, the colours being arranged in the warp
+to give the intermingled shaded effect. The weft is a thick, yellow
+cotton yarn, but, owing to the weave structure, does not show on either
+the face or underside of the texture. In the second example, No. 2,
+the colouring is due to printing the warp prior to weaving. It has a
+similar intermingled composition, but the colour contrasts are harsher
+in tone. Both examples show the utility of prismatic colours in their
+purity, or when slightly subdued by tinting.
+
+[Illustration: FIG. 4.]
+
+8. _Schemes of Colouring._--There are two important theories of
+colour--the Light Theory and the Pigment Theory. The former deals
+with the phenomena of colours, the attributes of light, and the laws,
+which control the modification of the intensity, hue, and tone of
+colours. These varied phenomena are theoretically of value, but as
+they have few practical applications, the pigment theory of colouring
+is necessarily adopted in the applied arts, and deals with colour as
+an active element in decorative design. Every possible shade and hue
+of colour may be obtained by mixing red, yellow, and blue in variable
+proportions, and, of course, by toning and tinting with white and
+black. Mixtures of lights and pigments, however, do not give analogous
+results. Lambert[6] is credited with being the first to discover and
+prove that the colours due to these two causes were rarely identical,
+and frequently widely dissimilar. His method of doing this consisted in
+using two coloured wafers, _A_ and _B_ (Fig. 4), which were placed on
+a black surface, and a piece of ordinary glass, _g_, fixed vertically.
+It was found that when blue and yellow were thus simultaneously seen,
+the rays reflected by them did not, when co-mingled, give green, but a
+whitish-coloured sensation. This fact was also subsequently elaborated
+by Helmholtz, who pushed his inquiries into the spectrum itself, and,
+by blending the lights, obtained valuable results. Blue-green, when
+mixed with red, instead of giving a brownish or greenish grey, as
+with pigments, was found, like ultramarine blue and yellow, to also
+constitute white light. With pigments, a mixture of chrome yellow and
+ultramarine blue, in variable quantities, forms different tints of
+green. Microscopic examination of this compound does not reveal the
+separate particles of yellow and blue pigments, but simply the greenish
+hue. The real and obvious distinction between spectrum and pigment
+combinations is that the former are additions, while the latter are
+subtractions. Knowing this, it will at once be evident that the colours
+obtained by these two methods cannot coincide.
+
+The following are some of the results of combining coloured lights and
+pigments respectively:--
+
+
+                               TABLE III.
+
+                      COMPOUNDS OF COLOURED LIGHTS.
+
+  Red + green = yellow. Should the green be slightly bluish = white.
+  2 red + green = orange.
+  Green + blue = sea-green.
+  2 green + blue = greenish sea-green.
+  Blue + red = purple.
+  2 blue + red = violet.
+  Red + green + blue = white.
+  2 red + green + blue = white + red, or pale red.
+  2 red + 2 green + blue = white + yellow, or pale yellow.
+  Red + 2 green + 2 blue = white + sea-green, or pale sea-green.
+  2 red + green + 2 blue = white + purple, or pale purple.
+
+
+                                TABLE IV.
+
+               COLOURS RESULTING FROM COMBINING PIGMENTS.
+
+   Primaries.  Secondaries.                       Tertiaries.
+  Red + yellow  = orange.  2 R + Y + B, or O + P = russet.
+  Yellow + blue = green.   2 Y + R + B, or O + G = citron or greenish
+                                                               olive.
+  Blue + red    = purple.  2 B + R + Y, or G + P = olive.
+
+9. _Primary Colours._--Writers on the pigment theory are all agreed
+as to the selection of the simple colours; but scientists have, in
+treating of this subject, chosen several sets of hues as primaries.
+Young and Helmholtz take red, green, and violet; vermilion,
+emerald-green, and ultramarine blue are selected by Maxwell. When
+the subject of colour is considered with a view to its practical
+application to the arts, it is needful to base all combinations on the
+scheme elucidated by Chevreul, Hey, Field, and others--that red, blue,
+and yellow (Plate III., Nos. 1, 2, and 3) are primary colours, and
+all others the resultants of mixing them in variable quantities. For
+technical purposes, it is therefore only feasible to deal with colour
+as it changes, according to the pigments combined; hence red, yellow,
+and blue will be regarded as primaries, because, when mixed with each
+other and with black and white, every possible shade of colour may be
+obtained.
+
+10. _Compound Colours._--These are of two classes--secondaries
+and tertiaries. The secondaries--green, orange, and purple (Plate
+III., Nos. 4, 5, and 6)--are composed of two primaries, while the
+tertiaries--russet, citron, and olive (Plate III., Nos. 7, 8, and
+9)--are composed of two secondaries. Orange and purple produce russet
+or reddish brown; orange and green produce citron or greenish olive;
+and green and purple, olive. On reducing these shades to their simple
+elements, it is found that they are each composed of three primaries,
+with one predominating and giving tone to the colour. Russet, for
+instance, contains a double portion of red, for red is a constituent
+of both the orange and purple which enter into its composition; citron
+contains a double portion of yellow, and olive a double portion of blue.
+
+The hue or tone of a compound colour is determined by the proportionate
+quantities of the primaries combined in its production. For example,
+to procure a bluish green, blue must be the predominating and yellow
+the subordinate colour; while, on the other hand, to obtain a yellowish
+green, yellow would be the predominating and blue the subordinate
+colour. Reddish or yellowish orange is got by increasing the red or
+yellow constituents of this colour; and bluish or reddish purple, by
+increasing the blue or red components of this secondary. This affords
+some idea of how colours are modified and multiplied. Taking the three
+secondaries and subjecting them to similar treatment, a diversity of
+shades will be found to result. Russet (Plate III., No. 7) is composed
+of two parts red, one part yellow, and one part blue. It will be
+obvious that by varying these proportions another series of hues will
+result. By increasing the red constituent, the warmth of the colour is
+intensified; by increasing the yellow, the reddish tone is neutralized;
+while an increase of the blue would add to its depth and saturation.
+Similar results are obtained by modifying the constituents of the other
+primaries. Thus citron--composed of two parts yellow, one part blue,
+and one part red--may be changed to a yellowish, bluish, or brownish
+citron, according to the quantity of yellow, blue, or red used.
+Olive, which consists of two parts blue, one part red, and one part
+yellow, varies from a deep olive-green, brownish olive, to a yellowish
+olive-green, as the blue, red, and yellow constituents are increased.
+
+  [Illustration:
+                                Plate II
+
+                     SPECTRAL COLOURING OF FABRICS
+                        1. Woven-design Specimen
+                        2. Printed-yarn    „    ]
+
+The tertiary shades are the most useful colours employed in textile
+design. They are generally used for the ground of the fabric, while
+the secondaries and primaries are utilized in enhancing the brightness
+of the pattern.
+
+11. _The Three Constants of Colour._--The three constants of colour
+are, _purity_, _luminosity_, and _hue_. If a piece of paper is painted
+vermilion and placed across the red end of the spectrum, it will be
+seen to be deficient in purity. Emerald-green and ultramarine blue
+papers, when compared with their respective sections of the spectrum,
+are found to be similarly defective. By mixing white light with the
+colours of the spectrum they may be so adulterated as to correspond
+with, or match, those obtained by the use of pigments. Artificial
+colours are never perfectly pure--they always contain some measure of
+foreign element, which can only be correctly determined by bringing
+them in contact with the colours of the spectrum. The second constant,
+_Luminosity_ or _Intensity_, depends on the degree of light a colour
+reflects. Yellow, orange, and red represent the most luminous, and
+green, blue, and violet the least luminous end of the spectrum. It
+will be evident that it is possible to have two or more colours of the
+same degree of purity, but of different degrees of brightness. Two
+scarlets might both contain the same proportionate quantities of colour
+and of white light, and yet be dissimilar, simply on account of one
+being more intense in hue than the other. To match the two colours,
+the more luminous one would require to be exposed to a dull light, or
+the less luminous to a bright light. The third constant, _Hue_, is
+that special property which is caused by a definite refrangibility of
+light, producing the colour proper. Green and red may be exactly of the
+same purity and brightness, but they are different in hue, each being
+produced by a distinct refrangibility of rays.
+
+12. _Temperature of Colours._--The temperature of the spectrum colours
+is not uniform. It augments from violet to red. Herschel, by exposing
+thermometers to the several tints of the solar spectrum, determined
+the temperature of each colour, and proved that, proceeding from the
+most refracted or violet end of the spectrum to the least refracted
+or red end, there is a successive increase of heat. Besides luminous
+rays, the sun emits a mass of invisible but potent calorific rays.
+Herschel, pushing his thermometers beyond the visible red and violet
+rays, discovered the presence in the spectrum of ultra red rays of
+intense heat, and ultra violet rays of a less heat. The solar spectrum
+may therefore be described as consisting of three distinct sections:
+First, of the ultra and invisible red rays; second, of the luminous
+rays, red, orange, yellow, green, blue, and violet; and third, of
+the ultra and invisible violet rays. Though it is thus evident that
+each spectral colour has a different temperature, yet it cannot be
+assumed on this basis that a red fabric will possess a greater degree
+of heat than a blue fabric composed of the same materials; because
+all rays penetrating a coloured body are not luminous, and yet,
+whether luminous or non-luminous, they possess properties of heat.
+Were the rays absorbed by a coloured surface only luminous, then
+it would be possible, by estimating the measure of absorption, to
+determine the colour temperature. But the bulk of radiation from any
+luminous body consists of invisible calorific rays, regarding which
+colour teaches absolutely nothing. A fact that has to be taken into
+consideration is, that a body may be highly susceptible to one class
+of rays, but insusceptible to other classes. As it is generally known
+that black garments are more effective retainers of solar heat than
+white garments, it may be pointed out why this is the case. White
+clothes absorb the invisible rays, but reflect the luminous rays which
+constitute solar light. Black or dark clothes, on the other hand, not
+only retain the dark rays which penetrate them, but also the visible
+rays; and hence they are that degree warmer than white fabrics of
+the same structure and material, as the difference in the influx of
+temperature due to the absorption of luminous as well as invisible
+rays. Tyndall explains that if a white cloth were spread over the snow,
+it would even act as a shield to the latter instead of assisting it
+to thaw. Snow, which is ice in a powdered form, absorbs the dark rays
+with greater avidity than a white fabric; and, as both the particles of
+snow and the threads of the texture reflect the luminous rays poured
+upon them, the snow would melt sooner without the cloth than with it.
+Indeed it would be found that in a short time the cloth would occupy
+quite a prominence--the snow not covered by it thawing more rapidly
+than that over which it is spread. Should a black fabric of similar
+material be next placed on sunned snow, it would produce the very
+opposite results. Absorbing the luminous as well as the dark rays, it
+retains more of the sun’s heat than the snow, which rapidly melts under
+it; while the surrounding and uncovered snow remains comparatively
+unthawed and icy. Both the white texture and the snow are powerless
+as regards the luminous rays emitted by the sun; the myriads of
+fibres composing the former receive no warmth from them, nor can the
+ice-like atoms of the latter be melted by them. They, in a word, can
+only be changed by the dark rays. As to the black-surfaced texture,
+there are different conditions to be taken into account. It is both an
+absorbent of the invisible and of the luminous rays, consequently dark
+materials not only attract but retain more of the sun’s heat than light
+materials. More than this cannot be stated with certainty about the
+warmth-yielding qualities of woven textures of various colours.
+
+
+FOOTNOTES:
+
+     [1] Mercerized cottons possess some of the qualities of
+         silk colourings.
+
+     [2] “Colour”: _Chambers’ Encyclopædia_.
+
+     [3] Abney’s _Colour Measurement and Mixture_.
+
+     [4] Wilkinson’s _Harmonious Colouring_.
+
+     [5] Paterson’s _Science of Colour Mixing_.
+
+     [6] Atkinson’s _Ganot’s Physics_; Tyndall’s _Fragments of
+         Science_.
+
+
+
+
+                               CHAPTER II.
+
+                         ATTRIBUTES OF COLOURS.
+
+     13. Utility of a Knowledge of the Qualities of Colours--14.
+     Qualifications of the Textile Colourist--15. Functions of
+     Pure Colours in Design--16. Red: its Characteristics--17.
+     Methods of Modifying Colours--18. Derivatives of Red: their
+     Qualities and their Province in Textiles--19. Blue: its
+     Properties and Uses--20. Derivatives of Blue and their
+     Application to Woven Textures--21. Shades and Tints of Blue
+     mixed with Shaded and Tinted Reds and Yellows--22. Methods
+     of obtaining Well-balanced Colourings--23. Uses of Blue
+     in Twist Yarns--24. Points in the Application of Blue and
+     Red to Textiles Summarized--25. Attributes of Yellow--26.
+     Province of Yellow in Woven Fabrics--27. Derivatives of
+     Yellow--28. Secondary Colours--29. Green: its Attributes
+     and Derivatives--30. Tints of Green--31. Orange: its Shades
+     and Tints--32. Purple.
+
+
+13. _Utility of a Knowledge of the Qualities of Colours._--In
+order to apply colours artistically to woven fabrics, one must be
+conversant with the attributes of the tints, tones, and hues of colour
+the technologist uses in his work. More is requisite than a mere
+acquaintance with the technical details which lie at the basis of the
+construction of useful and decorative fabrics: this knowledge must
+be supplemented by practice and training in the blending of pure and
+other shades, and in the origination of novel schemes of colouring.
+Exact knowledge of the quality and application of colours, and of the
+laws which determine harmony of colouring, is indispensable to the
+successful textile designer. The pattern originator must display in his
+work a reliable conception of the province of colour in woven style;
+this is as essential as it is to the manufacturer to have regard to the
+chemical composition, physical structure, and clothing qualities of
+the materials used. As in blending wools and other fibres, the nature
+and properties of each are taken into account, so in colouring woven
+manufactures, the attributes of the several shades and the method of
+arrangement require to be carefully considered.
+
+14. _Qualifications of the Textile Colourist._--One of the primary
+qualifications of a colourist is natural aptitude for his work. To
+“feel” or appreciate harmony and contrast of colour, the eye of
+the observer must convey to the mind an accurate impression of the
+_ensemble_ of shades visible. Two things are requisite--intuitive
+and acquired taste for colouring, combined with practice in textile
+designing. Yet these are insufficient. They may enable one to judge
+of the purity of colours, or of the degree in tone between two or
+more hues; but this faculty for matching of colours, or of colour
+discrimination, however acute, does not constitute that sense for
+harmony of colouring which would make it a transgression of nature
+for a designer to originate incongruous colour compounds. Another
+quality is needful. It may be said to be practically, if not wholly,
+an intuitive talent, for it may be displayed in the work of those who
+possess but slender knowledge of the laws and theories of colour.
+There must be taste or genius for colouring. Such is the perfection
+in which some designers have this natural faculty for colour blending
+and application, that they are a law in themselves. Natural talent is
+the source of inspiration. This faculty is invariably the better for
+culture. As a capacity for music may be developed by training, so a
+power for colouring may be augmented by studying harmony and contrast,
+and the general principles of the science as they relate to the
+development of patterns in the loom; consequently, though culture may
+not create that acuteness of conception exercised by those who have an
+intuitive bent for harmonious assortments of hues, yet it may result in
+producing a passable, if not a proficient colourist, and is, moreover,
+calculated to direct even the naturally talented to a judicious
+selection and use of materials.
+
+15. _Functions of Pure Colours in Design._--Before treating of the
+attributes of the primary and secondary colours, namely, red, blue,
+yellow, green, orange, and purple, it may be useful to allude to the
+application of these colours to the various types of woven decoration.
+Some designers so rarely use such hues, unless tempered with either
+white or black, that they seem to entertain an idea that they can
+only be made to yield strong and harsh contrasts. Certainly this is
+likely to occur if they are not combined with due regard to intensity
+and quantity of hue, the methods of distributing the several colours,
+and the relative effect they have on each other in the woven fabric.
+Bright colours should always be applied to textures for the purpose of
+imparting tone and character of pattern. Though, generally, they do
+not form the groundwork of the style, yet they should give additional
+lustre to the design. What such hues are in decorative and pictorial
+art, they are also in loom productions when skilfully employed.
+
+Showy styles in which the primaries or bright colours are present,
+result more from the system of combination practised than from
+excessive brightness. The Indian shawl--or the Paisley imitation--and
+the Turkey or Persian carpet, not infrequently consist of designs
+composed of the most brilliant shades producible in the dye vat.
+In the former, in addition to a play on certain figures, which are
+generally unique in arrangement and ingeniously grouped, there is a
+depth and fulness of tinting that seems to possess all but a permanent
+freshness. As to the Eastern carpet, it contains a large diversity of
+colours, and mostly of a bright tone, but still the general effect is
+pleasing and cheerful. To what are the congruity of tone and richness
+of colouring due in these textures? This law is observed in their
+composition: the quantity of each colour used, depends entirely on the
+position it occupies in the pattern and on its intensity and quality;
+while the several shades are so blended that when the carpet or shawl
+is viewed in its entirety the whole is harmonious in result. This is
+the general effect sought after in tweeds and all classes of fancy
+fabrics. If scarlet, blue, green, crimson, or orange were applied to a
+woven design,--though decidedly stronger in hue than the shades forming
+the bulk of the fabric--while tingeing the pattern with a freshness of
+tone, they should not be allowed to unduly attract the eye. The use
+of twist yarns very largely facilitates the production of congruous
+combinations, in which bright colours play a prominent part in the
+composition of the pattern. By employing these threads, the colours
+may be broken up, in which form they do not produce that continuity
+of effect which necessarily results from the use of self-coloured
+yarns. Success in effective colouring with pure hues lies, however, in
+a proper distribution of the shades combined, incongruity of effect
+being as largely due to defective balancing of colour as to injudicious
+and distasteful combinations; in a word, there is as much dependent on
+the arrangement, as on the selection and blending of shades in pattern
+origination.
+
+  [Illustration:
+                               Plate III
+
+                PRIMARY, SECONDARY AND TERTIARY COLOURS]
+
+In addition to thus acting as the brightening elements in woven
+design, these colours are also used in some classes of textures as
+ground shades. For instance, they are the principal colours employed
+in dress fabrics of a Scotch tartan class, certain kinds of shawls,
+silk neckties, handkerchiefs, and wraps; but generally, in worsted
+and woollen textures they are used sparingly, and for giving lustre
+to a sombre mixture of colours. Pure colours have therefore two
+distinct functions in textile patterns: first, they constitute a kind
+of supplementary colouring which imparts lustre and intensity of hue
+to the style to which they are applied; and, second, they may be the
+principal colours comprised in the design.
+
+16. _Red: its Characteristics._--Red (No. 1, Plate III.) is designated
+a simple or primary colour in both the light and pigment theories of
+colouring. Of all hues it is the most showy, brilliant, and gorgeous.
+Intense red is so powerful that when used in large quantities it
+neutralizes the effect of adjacent hues. On this account, its
+distribution in textiles should always be accomplished in accordance
+with the depth of the other colours entering into the style; that is
+to say, its intensity, as well as its quantity, must be varied in the
+same proportion as the general colouring of the pattern is diminished
+or augmented in tone. An otherwise satisfactorily coloured pattern may
+be destroyed by using a red too potent in hue, or by using this colour
+too profusely. Yet red is decidedly one of the most useful colours
+at the command of the decorative designer and the textile producer.
+Whether employed as a pure, or as an adulterated colour, it is of
+extensive utility in textile designing. When judiciously applied, it
+adds brightness and cheerfulness to woven effects. Its true sphere in
+textiles is to impart freshness. Red in these compositions is the
+brightening or toning hue. In applying red tints to worsted and woollen
+fabrics, they should seldom occur in patches or in continuous lines of
+a check arrangement, but they should be more or less intermittent in
+effect.[7] It should be borne in mind that in these fabrics it is not
+loudness or showiness, but neatness of style, that is sought after, yet
+the quality of brightness must not be lacking. In the form of twist
+yarns, reds and scarlets may be made to produce exactly the general
+toning required. This mode of applying this colour is particularly
+well adapted to textures of a cheviot and tweed description. Worsteds
+require different treatment. One method of introducing reds into these
+fabrics consists in using silk yarns, and simply bringing them on to
+the surface to form a bright spot or minute line of colour. In silk,
+cotton, and some kinds of linen textures, this primary is used in
+larger quantities, and more liberally displayed in patterns composed
+of these materials, than in the ordinary run of woollen and worsted
+fabrics.
+
+Being such a potent and bright colour, it is of utility in the blending
+process of manufacturing, when several shades of materials are combined
+to produce a mixture yarn. Some mixtures or blends of this class
+contain scarlet wools, which, in whatever form they occur give tone
+and quality to the combination of which they form a part. A variety of
+tints and shades results from mixing red in different quantities with
+black or white, and also an extensive range of hues from combining
+it with other colours. Still, pure red is not so liberally used in
+textile work as its derivatives: thus, it unites with yellow and blue
+in the production of orange and purple. Should a small quantity of
+yellow be added to red, it gives scarlet, while the addition of a small
+quantity of blue produces crimson. The richness and luminosity of the
+scarlet are determined by the proportion of yellow added; and the depth
+of the crimson by the amount of blue entering the mixtures. Both in
+scarlets and crimsons, a considerable diversity of hues is obtainable.
+Before either of these colours is produced, red undergoes a series
+of gradations of hue. In the rose, there is displayed to perfection
+the various modifications in tint and shade of which this colour is
+susceptive. Scarlets, crimsons, maroons, russets, and browns are all
+hues employed by the weaver that obtain their prevailing tint from this
+primary.
+
+17. _Methods of Modifying Colours._--All pure colours, such as red,
+blue, yellow, orange, green, and purple, may be subjected to three
+kinds of modification: first, they may be darkened in _tone_; second,
+lightened in _tint_; and third, changed in hue. If, for example, black
+is mixed with red in various proportions, it produces _tones_ or
+_shades_ of this colour, while an admixture of white with red yields
+different _tints_ of red. To alter the hue, it is necessary to blend it
+with some other colour, such as blue, when various shades of full-toned
+crimsons result. In blending, and also in the arrangement of colours
+in the warp and weft of the woven fabric, the phenomena underlying the
+changes producible in the tone and tint of a colour have to be taken
+into consideration. Black and red wools when scribbled together give a
+dark brown or reddish-brown mixture, according to the quantities of the
+respective shades entering into the combination; on the other hand, if
+white and red wools are blended, a mixture of a pinkish character is
+obtained. Hence it is clear that the same principles which determine
+the alteration in the shade, tint, or hue of a colour when pigments are
+combined, also regulate the results due to mixing several colours of
+textile fibres.
+
+Strictly speaking, white and black cannot be designated colours,
+being merely representative of the principles of light and darkness,
+and acting, in the multiplication of shades and tints, as the great
+modifiers of colour. Such is their province in the _rôle_ of colour
+production. In design, they are indispensable in mellowing certain
+combinations of hues, and in giving precision and clearness to specific
+sections of a pattern. As ground shades they are also useful. Light
+colours appear bright and distinct on black surfaces; while deep
+colours, such as blues, purples, and reds, appear intense and clear
+on white materials. So that by a proper use of these shades it is
+possible, in the first place, by the process of mixing them with bright
+colours, to produce a variety of hues; and, in the second place, by
+introducing them into the warp and weft of the pattern, to impart
+smartness and lustre to the colours employed.
+
+18. _Derivatives of Red: their Qualities and their Province in
+Textiles._--By the derivatives of a colour, are signified those
+shades and tints which result from mixing it with various quantities
+of white or black. Those obtained from red are both numerous and
+important, being specially useful in the production of woven effects.
+They comprise both ground and fancy hues. First, in the category of
+the derivatives of this primary, are those shades produced by toning
+it with black. A few typical specimens of these are given in Nos. 1,
+2, and 3, Plate IV. The brightest shade (No. 3) is compounded of three
+parts of red and of one part of black; the medium shade (No. 2) of
+equal quantities of red and black; while in the dark brown (No. 1)
+black preponderates, the proportions being one part of red to three
+parts of black. Such shades of brown may be used as ground colours, but
+the two latter are the most appropriate for this purpose. Shade 3 is,
+however, frequently employed with good results in dress fabrics for
+the foundation of the texture. Some excellent colourings ensue from
+their combination. The two extremes--Shades 1 and 3--when employed in
+the same style give a softly toned pattern. A less pronounced contrast
+ensues from a compound of Shades 1 and 2, or Shades 2 and 3. In
+combinations of this kind, there should usually be a larger quantity
+of one colour element than another. Another method of combining these
+shades consists in introducing the three into one pattern. For example,
+if twelve threads of Shade 1, eight threads of Shade 2, and four
+threads of Shade 3, were woven together and checked over in the weft
+by a similar arrangement of yarns, a neat design would be obtained. It
+might be changed by taking four threads of Shade 1 instead of twelve,
+and twelve threads of Shade 3 instead of four. In the former style
+the dark brown would preponderate, but in the latter the light brown,
+the quantity of the medium hue being the same in each instance. These
+illustrations demonstrate the utility of these shades and the systems
+on which they are amalgamated in pattern construction.
+
+The tints Nos. 4, 5, and 6, on Plate IV., are characterized by
+brilliance and intensity of tone, making them adapted for imparting
+lustre and richness to design. Like the colour from which they obtain
+their specific tint, they are ostentatious and potent in effect. While
+the shades given in Nos. 1, 2, and 3 are all darker in tone than the
+original red, these tints are lighter on account of the entrance of
+white into their composition. Thus they are made up as follows:--
+
+  Tint 4, Plate IV.--1 part of red and 3 parts of white.
+  Tint 5,   „    „ --2 parts of red and 2 parts of white.
+  Tint 6,   „    „ --3 parts of red and 1 part of white.
+
+Bright tints of this kind are extensively used in figured weaving,
+as in the manufacture of vestings, silk neckties, dress fabrics, and
+trimmings. Sometimes in the latter description of textures they form
+the pattern proper. In the ordinary run of woollen and worsted cloths
+they are, however, only sparingly employed, and that in the form of
+twist yarns. Amongst the varieties of twists which can be produced by
+combining two or more of these shades and tints of red, the following
+are selected as suggestive illustrations:--
+
+    I.--One thread of Shade 1 twisted with one thread of Tint 4,
+          Plate IV.
+   II.--One thread of Shade 1 twisted with one thread of Tint 6,
+          Plate IV.
+  III.--One thread of Shade 2 twisted with one thread of Tint 5,
+          Plate IV.
+   IV.--One thread of Shade 3 twisted with one thread of Tint 4,
+          Plate IV.
+    V.--One thread of Shade 1; one thread of Shade 3; and one
+          thread of Tint 4, Plate IV., twisted together.
+
+Each of these compound yarns, in worsted, woollen, or cotton materials,
+is capable, when judiciously applied, of contributing to the quality of
+woven pattern.
+
+Another section of manufacturing in which these derivatives are
+employed is in the blending process, or in the production of fancy
+mixture yarns.
+
+19. _Blue: its Properties and Uses._--Blue (No. 2, Plate III.) is
+one of the most valuable colours used by textile designers. In dark
+shades it is utilized for the ground of patterns; in medium shades
+it is employed for mellowing and toning purposes; while bright blues
+convey freshness and force of colouring; so that this primary has three
+distinct functions in textile designing. In each of these, it will be
+indicated what its properties are as a colour, and the relation it
+sustains to other shades with which it may be combined.
+
+Unlike red, which is decidedly a warm colour, the quality of blue is
+cold and retiring: this distinguishes it from yellow, orange, and red,
+which produce a sensation of warmth. Resembling violet and purple,
+it is indistinct and neutral in a declining light, but strong and
+brilliant in a bright light; hence, when applied to light grounds, it
+is not only pronounced in hue, but is quite distinct from other shades,
+while on a dark or black surface it is both mellow and lustrous in
+effect.
+
+Its property of “coldness” renders it a useful shade for subduing the
+redness of tone of some colourings; for it in some degree neutralizes
+the warm hue of the browns, maroons, russets, or other shades forming
+the pattern in which red is prevalent. This does not, however, indicate
+that red and blue harmonize; on the contrary, whenever these two
+colours are associated in large quantities, the resultant composition
+is somewhat incongruous; but that when combined with browns and
+russet olives, or shades in which the red tint is assimilated by the
+quantity of black they contain, blue can be made to yield excellent
+coloured effects. Pure blue, like pure red, is not so largely used as
+its derivatives, still it has a place in textile designing. This is
+principally as a fancy yarn, when it gives freshness and bloom to the
+pattern. It is also employed as a ground colour in the manufacture of
+fine silk fabrics, and as the figuring colour in certain makes of fancy
+worsteds.
+
+  [Illustration:
+                                Plate IV
+
+                   TONES AND TINTS OF THE “PRIMARIES”
+              1. 2. 3. Tones of Red     4. 5. 6. Tints of Red
+              7. 8. 9.   „   „  Blue    10. 11. 12. „   „ Blue
+              13. 14. 15 „   „  Yellow  16. 17. 18. „   „ Yellow]
+
+20. _Derivatives of Blue and their Application to Woven Textures._--If
+blue is mixed with black, shades of an indigo character result; but, if
+mixed with white, peacock blues, lavenders, and pale blues are formed.
+Some few examples in both these types of derivatives may be considered.
+From the series of dark or shaded blues three examples have been
+selected, namely, those in Nos. 7, 8, and 9, Plate IV. The first
+consists of one part blue and three parts black; the second (No. 8)
+of two parts blue and two parts black; and the third (No. 9) of three
+parts blue and one part black. Shade 1 (indigo) is a useful colour
+for piece-dye goods, as well as for the grounds of fancy fabrics. By
+studying this method of mixing, it will be observed how a pure and
+intense colour may be gradually darkened in shade, or--if white is
+added--gradually lightened in tint, until it closely resembles black or
+white, as the case may be. This system of varying the tone of a colour
+makes it feasible, by a proper assortment of hues, to produce stripes
+or checks in light or dark shades. Take, for example, the three blues
+given in Nos. 7, 8, and 9 on this Plate. If these are put together
+thus: eight threads of Shade 7, eight threads of Shade 8, and eight
+threads of Shade 9, a shaded blue check will result, which in worsted,
+woollen, or cotton yarns gives a satisfactory pattern. Let the warp
+thus arranged be crossed with similar quantities of the respective
+shades, and checks of the several blues will be formed in the fabric.
+This plan of colouring produces checks of equal proportions of the
+different shades; but, if needful, these might be easily got in various
+dimensions, say, for instance, the darkest check about three-quarters
+of an inch in size, and the remaining two checks half an inch.
+
+A few of the principal tints of blue, got by mixing this primary with
+white, in the same proportions as the shades just described were
+produced by mixing it with black, are Nos. 10, 11, and 12, Plate
+IV. The white has given them a softened and mellowed tone, having
+neutralized that forcible and striking attribute which characterizes
+pure blue. On comparing them with the original colour from which they
+result (No. 2, Plate III.), the degree to which white subdues and
+mellows bright hues with which it is blended will be evident. Tints
+of this class are used in various ways in designing. Some styles in
+silk handkerchiefs are producible by the exact depth of hues seen
+in the illustration--these weights of colours forming congruous and
+evenly-balanced patterns. They are also largely employed in cotton
+textures. One example of this type of combination is given in No. 1, on
+Plate VII. This is a sketch of a fabric made of cotton yarns. The warp
+is light blue--Tint 10, Plate IV.--and the weft a deeper blue, or Tint
+12. The neatness of this colouring is due to the soft contrast between
+the tints of the warp and weft yarns.
+
+21. _Shades and Tints of Blue mixed with Shaded and Tinted Red and
+Yellow._--In the styles in which blue is employed for ground purposes,
+indigo shades are invariably used. Blue, however, is not a foundation
+colour that admits of much diversity of tinting. To succeed in its
+application to the grounds of patterns, a good range of browns, olives,
+and greys is important. With shades of the olive class it gives the
+most marked contrasts. This is due to yellow being the prevailing tint
+of this compound hue. But it also mingles harmoniously with certain
+tints of grey and brown. Patterns in which these shades are arranged
+as in Tables V. and VI., in woollen, worsted, cotton, or silk yarns,
+illustrate the methods of combining blue effectively with different
+shades and tints of red and yellow. In Table I. the combinations of
+shades are included; but in Table II. will be found the tints of red,
+blue, and yellow. The colours are given in groups of six threads, and
+would, providing the arrangements appended were carried out in the
+weft, produce a series of clearly developed check effects.
+
+
+                                TABLE V.
+
+                 COMPOUNDS OF SHADES OR TONES OF COLOUR.
+
+  _(a) Shades of Blue and Red (Plate IV.)._
+
+                           Ex. 1. Dark shades.
+                          Black preponderating.
+                   6 threads of dark blue (Shade 7).
+                   6 threads of dark brown (Shade 1).
+
+                          Ex. 2. Medium shades.
+            Black and Blue, and Black and Red equally mixed.
+                   6 threads of medium blue (Shade 8).
+                   6 threads of medium brown (Shade 2).
+
+                         Ex. 3. Lightish shades.
+                      Blue and Red preponderating.
+                   6 threads of toned blue (Shade 9).
+                   6 threads of light brown (Shade 3).
+
+  _(b) Shades of Blue and Yellow (Plate IV.)._
+
+                           Ex. 1. Dark shades.
+                          Black preponderating.
+                   6 threads of dark blue (Shade 7).
+                   6 threads of dark olive (Shade 13).
+
+                          Ex. 2. Medium shades.
+           Black and Blue, and Black and Yellow equally mixed.
+                   6 threads of medium blue (Shade 8).
+                   6 threads of medium olive (Shade 14).
+
+                         Ex. 3. Lightish shades.
+                     Blue and Yellow preponderating.
+                   6 threads of toned blue (Shade 9).
+                   6 threads of toned olive (Shade 15).
+
+
+                                TABLE VI.
+
+                      COMPOUNDS OF TINTS OF COLOUR.
+
+  _(a) Tints of Blue and Red (Plate IV.)._
+
+                        Ex. 1. Very light tints.
+                          White preponderating.
+                   6 threads of pale lavender (Tint 10).
+                   6 threads of pale salmon (Tint 4).
+
+                           Ex. 2. Light tints.
+            Blue and White, and Red and White equally mixed.
+                   6 threads of lavender (Tint 11).
+                   6 threads of bright salmon (Tint 5).
+
+                           Ex. 3. Deep tints.
+                      Blue and Red preponderating.
+                   6 threads of tinted blue (Tint 12).
+                   6 threads of tinted red (Tint 6).
+
+  _(b) Tints of Blue and Yellow (Plate IV.)._
+
+                        Ex. 1. Very light tints.
+                          White preponderating.
+
+                   6 threads of very pale yellow (Tint 16).
+                   6 threads of pale lavender (Tint 10).
+
+                           Ex. 2. Light tints.
+           Blue and White, and Yellow and White equally mixed.
+                   6 threads of lavender (Tint 11).
+                   6 threads of pale yellow (Tint 17).
+
+                           Ex. 3. Deep tints.
+                     Blue and Yellow predominating.
+                   6 threads of tinted blue (Tint 12).
+                   6 threads of tinted yellow (Tint 18).
+
+22. _Methods of Obtaining Well-balanced Colourings._--From these
+Tables it will be evident that if the shade of blue is modified, that
+of the combining colour is also changed. Unless this rule is adhered
+to, the arrangement adopted will give incongruous results. Only a
+certain depth of blue harmonizes with a corresponding depth of brown
+and olive; if one predominates over the other, the colouring becomes
+deficient and displeasing to the eye. For example, if Shades 1 and 9
+and Tints 4 and 12 were blended, the result would not be so mellow as
+if Shades 1 and 7 and Tints 4 and 10, as in the Tables, were combined.
+The reason for this is that, in the first instance, a shade of red in
+which black preponderates is used with a shade of blue in which blue
+preponderates; while, in the second instance, a tint of red in which
+white preponderates is associated with a tint of blue in which blue
+preponderates; whereas, to produce a perfect balance of colour--that
+is, providing the quantities of the respective colours are equal--it is
+necessary for the shades or tints combined to contain exactly the same
+quantities of black and white, as in the combinations of Shades 1 and
+7, and Tints 4 and 10 of Plate IV.
+
+In no combination given in Tables V. and VI. is there a lack of
+harmony; indeed, considering the principle on which they have been
+obtained, this is almost impossible. Thus, take Ex. 1 in Table V. Here,
+dark shades of blue and brown are associated. In both colours black
+preponderates; that is to say, the former is composed of three parts
+of black and two parts of blue, and the latter of three parts of black
+and two parts of red. Providing the primaries blue and red (Nos. 1 and
+2, Plate III.) harmonize, these shades, which are their derivatives,
+will also mix well together. A test to which they can be submitted is
+to view them side by side. If slips of these shades are thus combined,
+they do not appear incongruous and harsh in tone, but possess a soft
+and mellow aspect, and in this consists the true characteristics of
+harmonious colourings. As the tints are worked out on the same system
+as the shades, they form useful compounds. In order that this important
+element of congruous colour effects may be clearly understood, let Ex.
+1 of Table VI. be also briefly examined. Such a combination can only
+yield an agreeable pattern. Whether these tints are blended in the wool
+or in the yarn, the resulting mixture is satisfactory. This arises from
+the weight or depth of colour of the respective tints being identical;
+in other terms, the intensity of the tinted red is precisely the same
+as that of the tinted blue. In dress stuffs, tennis flannels, fabrics
+for trimmings, silks, and extreme fancy textures, this blend of tints
+is invariably pleasing. Equally harmonious results may be arrived
+at by combining tinted red (No. 4) with tinted yellow (No. 16), or
+tinted blue (No. 10, Plate IV.) with tinted yellow. In each of these
+compounds, delicacy of tint and mellowness of hue are the prevailing
+qualities.
+
+23. _Uses of Blue in Twist Yarns._--Having now treated of blue as a
+ground colour, and also as a shade for blending with other hues to
+tone down a style or subdue its coloured aspect, it only remains to
+indicate its utility as a colour for twist yarns. It is a valuable
+shade for this purpose. As it is a bright but not a showy colour, it
+is particularly suitable for fancy two- or three-ply yarns. Twists in
+which red, yellow, or orange are used, have a tendency to overpower
+the general colouring of the pattern in which they appear, but this
+is not the case in fancy yarns in which blue is the principal colour.
+Such twists, while imparting lustre and freshness to the design, in
+no wise detract from its beauty of colouring, though that may be of a
+comparatively subdued character. The following are a few examples in
+two-ply yarns in which blue threads are employed: black and blue; white
+and blue; brown (No. 1) and tinted blue (No. 10); dark blue (No. 7) and
+tinted red (No. 4); blue and yellow; dark blue and shaded red (No. 3,
+Plate IV.); and medium blue and white.
+
+24. _Points in the Application of Blue and Red to Textiles
+Summarized._--The analyses which have been made of the use of blue and
+red in woven designs, have demonstrated that, whenever primary colours
+are applied to textile fabrics in their purity and natural intensity,
+it is in comparatively small quantities. Brilliance of hue causes
+the application of primaries in large patches to textile surfaces
+to be undesirable. In dress fabrics, bright blue, red, and yellow
+have an important place. Mantlings, shawls, wraps, and travelling
+rugs also provide scope for a liberal use of these shades; but in
+treating designs with colour for fabrics of the coating and trousering
+class, subdued and indefinite shades prove the most useful. Red and
+blue are valuable to impart tone and newness of character to the
+style. The groundwork of the pattern should first have attention--the
+intensity and strength of the bright colours depending on the mode
+of application. Should the ground colouring of a pattern be strong
+and harsh, the addition of green or blue will, in some cases, give
+it a mellow quality; or should it lack brightness, then red, orange,
+or yellow, if applied in small quantities and properly distributed,
+will relieve the heaviness of the colouring and impart the requisite
+freshness of aspect. Success in the use of pure colours is determined
+by the quantities in which they occur, and by the nature of the shades
+with which they are associated. Bright red, however sparingly employed,
+if applied to a mixture of brown or russet shades, cannot but form an
+incongruous colouring; but if applied to an assortment of shades in
+which soft-tinted blues and greens are conspicuous, both harmony and
+contrast of composition would result.
+
+  [Illustration:
+                                Plate V
+
+        PLAID IN WHICH YELLOW IS THE BRIGHT OVER CHECKING COLOUR
+
+  (5013)]
+
+25. _Attributes of Yellow._--This colour (No. 3, Plate III.) is
+generally understood to be emblematical of purity and brightness.
+It is the most luminous tint in the spectrum. Purple is its
+complementary and contrasting hue. Intense yellow--rich, bright, and
+cheerful--has the same relation to light or whiteness as blue has to
+darkness. It lacks the lustrous quality of red and the retiring, mellow
+characteristic of blue, but possesses vividness and lustre. Luminosity
+and brilliance of hue limit its application to textile design; yet it
+has a sphere which no other colour can occupy. Thus, in patterns in
+which white yarns and light or delicate shades are employed, it is
+one of the most important fancy colours it is possible to introduce
+into the fabric. Mingled with such shades, it loses a degree of that
+prominence and individuality of tint which characterizes it when
+applied to patterns possessing dark and sombre grounds.
+
+Another quality of this primary is vividness--no colour being
+comparable with it in this sense. Orange possesses this attribute,
+but not so largely as positive yellow. Its characteristic freshness,
+but comparative lightness of hue, imparts to it a clear and decided
+tone on black or dark surfaces. Hence it is found that when yellow is
+blended with light and medium greys and lavenders, its property of
+lustre suffers in intensity; whereas, if it is applied to dark blue,
+dark brown, or black materials, its vivid attributes are forcibly
+distinguished. When these modifications, which this and other bright
+colours undergo according to the qualities of the several shades with
+which they may be combined, are clearly understood, the possible effect
+of their application to any pre-arranged scheme of ground colours
+may be estimated. Obviously there are three factors to be carefully
+considered when employing primary hues: first, the nature of the
+contrast resultant when the colours are placed on light materials;
+second, on medium-toned grounds; and third, on textures composed of
+dark yarns. Yellow is somewhat lessened in distinctiveness on the
+first, but improves in intensity on the dark grounds, being only
+slightly changed when arranged side by side with shades of a medium
+depth.
+
+26. _Province of Yellow in Woven Fabrics._--Pure yellow is but
+sparingly used in textile designing. In tweeds and worsteds it is
+combined, to a limited extent, with other shades in the construction
+of fancy twist and mixture yarns. It is the principal colour in the
+following two- and three-ply yarns: black and yellow; blue and yellow;
+indigo blue and yellow; dark grey and yellow; black, purple, and
+yellow; black, medium grey, and yellow; and black, red, and yellow.
+When used in this form it may add lustre and freshness to an otherwise
+sombre style. It possibly gives the best results in tweeds, where
+the fibrous nature of the texture helps to minimize its excessive
+brightness. Yellow is also applied as a self-coloured yarn to certain
+styles of check patterns for woollen travelling mauds, shawls, and
+rugs. An example of a plaid pattern of this description is given in
+Plate V. There are contrasts of dark green and red, dark green and
+blue, black and red, and also yellow as an intermediate colour between
+green and red, and as a checking colour on the black. Yellow is thus
+used for two purposes: first, as a divisible hue; contrasting with
+the green, and harmonizing with the red; and second, as the strongest
+contrast possible on the black. It gives what may be termed the chief
+checking lines to the plaid, and produces freshness and lustre in the
+style. These lines are of sufficient width considering the brightness
+and vividness of the colour, which are two qualities to be taken into
+account when using colours in combination with other bright shades.
+
+27. _Derivatives of Yellow._--These are both numerous and important.
+When blended with blue, as previously explained, hues of green are
+formed, comprising myrtle green, sea green, emerald green, and grass
+green, all of which vary in tint according to the intensity of the
+bluish and yellowish elements entering into their composition. Yellow
+with red, on the other hand, yields an assortment of scarlet and orange
+hues. Yellow with white gives delicate tints of a straw, lemon, and
+primrose class (see Nos. 16, 17, and 18, Plate IV.); while with black
+it forms many shades of an olive character, such as those supplied
+in Nos. 13, 14, and 15 on the same Plate. If it should be mixed with
+grey, it produces various tints of drab; so that this primary is a
+very useful colour for blending with other hues in the production of
+compound shades.
+
+28. _Secondary Colours._--The attributes and functions of the
+primaries in textiles have now been defined. The secondaries--colours
+resulting from mixing two primaries--possess quite distinct properties
+from the hues of which they are composed. Compared with the primaries
+red, yellow, and blue, they lack intensity and strength of hue.
+Still, they are potent colours, and, as a consequence, only produce
+harmonious combinations when judiciously employed. As a rule, the
+stronger and the more intense a colour, the greater the skill required
+in its application to pattern or design. To use the secondaries in
+large quantities with success, some practice in textile colouring is
+essential.
+
+Of these compound shades, orange is the most ostentatious, being
+tinged with red; purple possesses depth and fulness of hue; and green
+is suggestive of freshness. Each colour is largely used in woven
+manufactures, the methods of application depending on the type of the
+texture. In silk ribbons and neckties, they are used as pure colours,
+and are also applied to cotton and flannel shirting styles, linen
+vestings, and fancy worsted shawls; but when employed in the ordinary
+types of woollens and worsteds, they are somewhat subdued by mixing
+with white or black, or they may form one of the threads in a fancy
+twist yarn. The qualities of each colour will be considered separately.
+
+29. _Green: its Attributes and Derivatives._--This is a useful
+secondary colour. In the Light Theory of Colouring, it is a primary
+hue; but it is already understood that, according to the Pigment
+Theory, green is not a simple, but a compound colour resulting from the
+admixture of the pigment yellow with the pigment blue. Greens may also
+be obtained by the same process in the dye vat. Thus the texture or
+material may primarily be treated with the blue colouring matter, such
+as indigo, and subsequently with the yellow dye-ware, such as weld or
+old fustic.
+
+In Nature, green is the most extensively distributed colour, but in
+the decorative arts, unless modified, it has not a wide application.
+As a colour it combines the qualities of its component hues--blue and
+yellow--for it is at once fresh, bright, and cheerful. When associated
+with the various shades and tints of red, harmonious and contrasting
+combinations ensue. Amongst the shades used in textiles derived from
+this secondary, are myrtle greens, olive greens, slate greens, and dark
+greens. Colours of this description are useful in textile work.
+
+The spectrum green is only applied to extreme fancies, and then chiefly
+as an extra, spotting, or figuring yarn; in tweeds and worsteds,
+however, it forms an appropriately coloured yarn for twisting with
+other threads of such shades as will neutralize a degree of its
+intensity and lustre. In fact, green is one of the most useful colours
+for twisting purposes employed in textile designing: such twists as
+black and green, scarlet and green, and white and green illustrating
+its utility in the production of fancy yarns for tweeds.
+
+Derivatives of green, due to its admixture with black, comprise a
+fair diversity of medium and dark shades which are employed as ground
+colours, and also for piece-dye textures. Three examples in such
+shades are Nos. 1, 2, and 3, Plate VI. In the first, black is the
+preponderating element, but in the third, green is the prevailing
+hue. With the red browns given in Nos. 1, 2, and 3 on Plate IV., they
+form perfect contrasts. The most pleasing combinations are those in
+which the greenish derivatives are blended in equal quantities with
+the reddish browns as follows: dark green (No. 1, Plate VI.) with dark
+brown (No. 1, Plate IV.); medium green (No. 2, Plate VI.) with medium
+brown (No. 2, Plate IV.); and toned green (No. 3, Plate VI.) with light
+brown (No. 3, Plate IV.). An endless variety of striped and checked
+patterns in woollen, worsted, and cotton materials is got by combining
+these shades on the lines just indicated. Some excellent ground twists
+result from combining dark brown (No. 1, Plate IV.) and toned green
+(No. 3, Plate VI.); dark green (No. 1, Plate VI.) and light brown (No.
+3, Plate IV.); and medium green (No. 2, Plate VI.) and medium brown
+(No. 2, Plate IV.).
+
+30. _Tints of Green._--The admixture of green with white results in
+the formation of tints of pea-green. (See Nos. 4, 5, and 6, Plate VI.)
+These blend harmoniously with the tinted reds given on Plate IV. For
+example, the pea-green, No. 4, Plate VI., when blended with the whitish
+pink, No. 4 of Plate IV., the pale green, No. 5, Plate VI., with the
+rose colour, No. 5, Plate IV., and the tinted green, No. 6, Plate VI.,
+with the tinted red, No. 6, Plate IV., all form satisfactory contrasts.
+As the tints of the respective couplets perfectly balance, being of the
+exact depth of hue, they constitute mellow and choice combinations.
+Though these tints are not extensively employed in fancy woollen and
+worsted fabrics, still there are some classes of these textures in
+which they are used for ground purposes. One illustration of this kind
+is pattern No. 2 on Plate VII. The twilled ground of the fabric is a
+similar tint to No. 4, Plate VI., while the spotting yarns are two-ply,
+namely, tan and white, and crimson and white twists. The white feature
+of the colouring serves a twofold purpose: first, it neutralizes and
+subdues the intensity of the crimson and tan threads; and, second, it
+imparts precision to the mottled figuring.
+
+31. _Orange: its Shades and Tints._--Next to red, orange (No. 5, Plate
+III.) is the most intense, showy, and potent colour. It is closely
+allied to both red and yellow, of which hues it is composed. Orange
+is more luminous, but less intense than pure red, and is warmer, but
+not so bright in hue as yellow. Its potency of hue causes it to suffer
+little impoverishment either in lustre or intensity from juxtaposition
+with certain shades. With colours of a reddish or yellowish hue, it
+undergoes the most marked degree of modification; with blues and
+greens, and also with their derivatives, its quality is not perceptibly
+diminished. Whether distributed on dark or light surfaces, it stands
+out with lustre and freshness, and hence is one of the most appropriate
+colours for imparting brightness, or for giving to any combination of
+shades, lacking these qualities, a rich appearance.
+
+Shades of orange (Nos. 7, 8, and 9, Plate VI.) are designated brownish
+olives, possessing warmer attributes than the shades derived from
+yellow, but wanting that strength and richness of hue characterizing
+the russet browns resulting from mixing red with black. As ground
+colours they are of utility to the textile colourist. With shades of
+green they form complementary combinations, as the following examples
+illustrate:--
+
+    I. Dark brownish olive (No. 7) with dark green (No 1, Plate VI.).
+   II. Medium brownish olive (No. 8) with toned green (No. 2, Plate
+         VI.).
+  III. Light brownish olive (No. 9) with medium green (No. 3, Plate
+         VI.).
+
+These shades also combine satisfactorily with the dark and deep blues
+given in Nos. 7, 8, and 9 of Plate IV.
+
+From the orange tints (Nos. 10, 11, and 12, Plate VI.) it will be
+noticed that by mixing white with this secondary, salmon and gold
+colours are obtained. They are useful in making twist threads, and
+are also employed, to a considerable extent, in silk yarns in the
+manufacture of vestings, spotted textures, neckties, and fancies.
+Satisfactory styles result from combining them with either tints of
+green or blue.
+
+32. _Purple._--There is no colour comparable with purple (No. 6,
+Plate III.) as regards depth of hue. Its characterizing qualities are
+softness, bloom, and richness of tone. It is a composition of the warm
+and the cold, and the showy and the quiet elements of the spectrum,
+namely, of red and blue.
+
+It only yields congruous combinations with a limited range of shades,
+and these generally belong to the derivatives of yellow. Purple and
+pure yellow form a very pronounced contrast--an example of which
+obtains in the common pansy. In this flower, the deep but lustrous
+tone of the purple opposes the luminous and pure hue of the yellow.
+From this natural combination of these tints, it is possible to
+learn with what class of colours purple will form the most effective
+contrasts. These are shades in which yellow preponderates, such as
+tans, light olives, and olive browns. To give bloom and richness of
+aspect to combinations of fawns, olives, and similar shades, purple,
+in conjunction with white, may be employed. Some excellent tapestries,
+bordered rugs, and travelling mauds are produced in which this hue is
+one of the principal colours.
+
+  [Illustration:
+                                Plate VI
+
+                  TONES AND TINTS OF THE “SECONDARIES”
+       1.  2.  3. Tones of Green       4.  5.  6. Tints of Green
+       7.  8.  9. Tones of Orange     10. 11. 12. Tints of Orange
+      13. 14. 15. Tones of Purple     16. 17. 18. Tints of Purple]
+
+The derivatives of purple are applied to dress fabrics, but are rarely
+used in textures for men’s wear, except for line striping and checking
+purposes. The examples given in the tints and shades of this colour, in
+Nos. 13 to 18, Plate VI., inclusive, show that its admixture with
+white produces hues of a lilac class, and with black, hues of a deep
+indigo blue character. Materials dyed alizarin blue possess a similar
+purplish bloom as these shades, being warmer and redder in tone than
+the pure indigoes they are dyed to imitate.
+
+Though purple and its derivatives are not largely employed along with
+other colours in the construction of fancy patterns, yet they are of
+utility in the blending department of a woollen factory.
+
+
+FOOTNOTES:
+
+     [7] Tartans are special forms of checks in the colouring of
+         which this principle is not observed.
+
+
+
+
+                              CHAPTER III.
+
+                          CONTRAST AND HARMONY.
+
+     33. Colours Affected by Adjacent Colours--34. How Colours
+     are Changed by Juxtaposition--35. Contrast--36. Examples
+     in Contrasts--37. Economic Contrasts--38. Two Kinds of
+     Contrasts--39. Poly-chromatic Contrasts--40. Mono-chromatic
+     Contrasts--41. Toned and Tinted Contrasts--42. Comparison
+     of Contrasts by Shade and Contrasts by Colour--43. Shaded
+     and tinted Compositions--44. Bright Colour Contrasts
+     Modified with Black and White--45. Successive and
+     Simultaneous Colour Effects--46. Methods of Neutralizing
+     the Effects of Strong Colour Contrasts--47. Harmony--48.
+     Principles of Harmony.
+
+
+33. _Colours Affected by Adjacent Colours._--The intensity, potency,
+and hue of a colour may apparently undergo change by placing it in
+juxtaposition with other colours. The process of colour modification
+has been considered, when it was indicated in what manner hues are
+subjective to change in proportion to the quantity of black, white,
+or a colour which forms part of their composition; but the behaviour
+of colours when in contact or close together remains to be explained.
+Change of hue and tone of colour originated by the laws of contiguity
+is both varied and subtle. Trained and practical colourists realize
+some difficulty in determining the precise nature of the alteration,
+but it is none the less evident. That the attributes of colours are
+somewhat modified when the hues with which they are blended are
+combined, is an essential principle of shade compounds. If, for
+example, a series of small scarlet spots were woven on black, grey, and
+white grounds in succession, the hue of the scarlet, when the several
+fabrics were compared, would prove to be different in appearance
+in each sample, though the same scarlet yarn were employed in the
+production of the respective textures. Cutting away the grounds and
+comparing the spots from each on a common surface would show that
+identically the same scarlet had been used in the three fabrics: yet so
+apparent is their dissimilarity of hue that a casual examination would
+pronounce them distinct shades. Thus, on the black surface the spots
+gain intensity and lustre; on the grey they appear murky and dingy;
+whereas on the white surface the spots are bright, but evidently pale
+and washy as compared with those on the black ground. On varying the
+colour of the spots a different set of modifications ensues. Taking
+blue as the spotting colour, the black ground neutralizes a degree of
+its bloom and brightness; on the grey it suffers in lustre, but retains
+its precision of colour, and increases in richness and fulness of tone
+on the white fabric. Continuing this idea: if a batch of red threads
+were interspersed in a white warp, a degree of the colour quality
+would be subdued by the white threads; but should similar yarns be
+introduced into a black warp, an augmentation in the intensity of the
+red would be observed, because of the contrast thus created between
+the sombreness of the black and the rich brightness of the red: a
+contrast which, if the quantity of the red be large, is sufficient to
+give a copper-coloured cast to the black threads with which the red is
+in immediate contact. A law of colours is, that if the fancy shade is
+lighter than the ground colour, it will increase in brightness of tone;
+but if, on the other hand, the “fancy” is darker than the coloured
+surface on which it is distributed, it will suffer in tone. Moreover,
+if two colours, such as light and dark olive, were arranged together in
+the same warp, the former would appear lighter and the latter darker
+than they really are. This illusory alteration is entirely attributable
+to contrast. Colours of contrasting qualities and tones undergo two
+modifications when juxtaposed; first, they alter in depth, and, second,
+in nature of hue. When yellow and blue yarns are woven together, each
+is subject to this twofold change produced by contrast; first, as to
+tone, the yellow becomes brighter and the blue deeper; second, as to
+hue, each is tinged with the complementary colour of the other.
+
+34. _How Colours are Changed by Juxtaposition._--It is a generally
+accepted principle of colours that when two surfaces of different
+shades are placed in contiguity, each is changed as though it had
+been mingled with the complementary of the other. Chevreul relates an
+incident, in his Treatise on Colours, which so clearly sets forth this
+important rule that it may be stated here. Certain merchants requested
+a firm of manufacturers to ornament red, violet blue, and blue woven
+stuffs with black spots or figures. When the goods were produced, the
+merchants complained that the spots were not black, as ordered, but
+that those on the red fabrics were tinged with green, on the violet
+with dark greenish yellow, while those developed on the blue were
+toned with a chocolate or coffee-coloured shade. Chevreul,[8] in order
+to prove that the spots were perfectly black, covered the separate
+grounds with white paper, when it was at once discovered that the
+changes in the colours of the spots were entirely due to the contrast
+ensuing between the black shades and the respective grounds on which
+the spots had been arranged. All this conclusively shows that colour
+is a modifier of colour, and hence those hues which possess bloom
+and richness of tone on one species of coloured surface may be quite
+different on another. It is a good plan to combine the shades in the
+precise order in which they are intended to occur on a black ground.
+Classification in this way enables the colourist to estimate at a
+glance, without putting the pattern into the loom, the general tone of
+the shades.
+
+A common law of Colouring is, that the general effect of combining
+colours is that they appear further apart in the chromatic scale. Thus,
+when orange and red are combined, the former does not become reddish
+or the latter orangish, but the red seems to approach purple and the
+orange to assume a greenish cast. Complementary colours--_i.e._ those
+farthest apart in hue--are the least affected by association, as is
+evidenced by the results of such contrasts as red and green, blue and
+orange, and yellow and purple. An illustration may elucidate this
+primary principle of colour combinations. If a striped fabric were
+composed of bands of rose (Tint 4, Plate IV.) and lavender (Tint 10,
+Plate IV.) colours, one hue would help to give prominence to the
+other, because they strongly contrast with each other. On the other
+hand, if the same rose tint were combined with straw or primrose (Tint
+16, Plate IV.), then the individuality of the separate colours would
+suffer, for, being similar in character, they would neutralize each
+other’s attributes, and would impinge upon one another. Hence, if in
+colouring textiles, it is required to preserve the intrinsic attributes
+of a shade, it should be combined with such colours as will differ most
+decidedly from it in hue and other qualities; whereas, if it is sought
+to change, by the law of contrast, any particular shade, it should be
+brought into contiguity with potent colours more or less allied to it
+in tone and hue.
+
+  [Illustration:
+                               Plate VII
+
+                            1. BLUE TEXTURE
+                     2. FANCY-TWIST YARN SPECIMEN]
+
+35. _Contrast._--What is termed “contrast” is that principle or quality
+of tints which produces a change in their lustre, depth, saturation,
+and hue, when in immediate contact with each other.
+
+Contrast may be explained by considering the effect of black and grey
+yarns in a woven style to which white is subsequently added. There is
+contrast in the pattern before the white is introduced, but it lacks
+precision and force. The addition of white imparts lustre to the grey,
+and fulness of tone to the black. Correctly speaking, neither the black
+nor the grey are changed by the white; they are, as it were, developed
+by it. White, in this instance, has the same function as in shaded
+drawings, in which clearness and boldness are given to form and outline
+by increasing the dark element of some parts and the light element of
+others. What may be designated a Tempered Contrast, originates when a
+quantity of grey intervenes in a mixture of black and white. In the
+shading of a round surface, this kind of contrast, in neutral tints, is
+developed to perfection, undue harshness of effect being neutralized by
+the gradual toning of black into white; but in the shading of angular
+objects, the sudden transitions from the extreme light to the extreme
+dark end of the scale of shades, produce good illustrations of the
+characteristics of Decided Contrasts. A pattern composed solely of
+black and white yarns is full of this kind of contrast, but by adding
+grey a toning element is introduced which forms a mellowed or tempered
+combination. Decided or “hard” contrasts, resulting from the use of
+positive (primary and secondary) colours, are exactly the reverse of
+graduated ones; they are inartistic, and deficient in softness which
+constitutes good colouring; on the other hand, toned contrasts possess
+richness and mellowness. Contrasts obtained by combining pure colours
+may be harsh and displeasing to the eye. Red and blue, for example,
+form a strong colour contrast, but this may be subdued by changing
+them to tones or tints. This will be seen by combining the following
+derivatives of these primaries: dark brown (Shade 1, Plate IV.) and
+dark blue (Shade 7, Plate IV.), and rose pink (Tint 5, Plate IV.) and
+blue lavender (Tint 11, Plate IV.). On account of the colours in these
+cases being either shades or tints, they produce mellow or tempered and
+not harsh or pronounced contrasts.
+
+36. _Examples in Contrasts._--On Plate VIII. and in Nos. 1 and 2, two
+illustrations in contrast are given. In No. 1 the two ground colours,
+pale blue and straw, form a passable contrast, but the small lines
+of orange impart harshness of effect to the stripe. The strength
+of hue of this colour is not suitable for the stripings on which
+it is placed. Providing only three colours were allowable in this
+composition, then to prevent the orange from being too pronounced, it
+should be softened or tempered as in the illustration, No. 2, Plate
+VIII. While in this latter example the pale blue and straw remain the
+same, yet the mellowing of the orange into a paler tint produces a
+strip of colouring in which each element, being of similar depth of
+tone, is equally prominent and effective. Comparing these illustrations
+further, it is obvious that in No. 1 the orange characteristic first
+strikes the eye. The slight hardness of tone does not arise from any
+want of beauty in the separate colours, but from the relative undue
+strength and vividness of the shade of orange. Providing this hue were
+replaced by green, an imperfect contrast would be formed; for green,
+while detracting from the lustre of the pale yellow or straw, would
+also harmonize indifferently with the lavender or tempered blue. From
+these illustrations it will be evident that in a satisfactory blend of
+colours all hues contribute to the attractiveness of the _ensemble_;
+but in an imperfect contrast one or more colours may subtract from the
+lustre of adjacent hues, and partially neutralize their effect.
+
+37. _Economic Contrasts._--Economic Contrasts comprise the production
+of the most effective styles with a minimum variety of hues. It does
+not follow because a pattern contains a diversity of shades that
+it will be attractive. Just as it frequently happens that the most
+permanently beautiful patterns result from the simple but unique
+methods of amalgamating forms, so by the artistic arrangement of a few
+choice colours excellent contrasts may be produced. To multiply the
+diversity of hues in any combination without marked increase of beauty
+is calculated to be more detrimental than beneficial to the style. An
+economic method of colouring consists in blending shades or tints of
+the same colour, and freshening or brightening the style by the use
+of “extras” or “fancies.” To practise economy in colour compounds,
+the first care should always be to obtain appropriate ground shades:
+if these produce harmony and possess a rich though subdued bloom, but
+few bright colours will be necessary to impart freshness and lustre to
+the style. On the other hand, an indifferent selection of foundation
+shades implies the employment of an increased range of fancies to tone,
+strengthen, and brighten the contrasts.
+
+38. _Two Kinds of Contrasts._--All types of colour compounds may be
+included under two heads: namely, Mono-chromatic and Poly-chromatic
+Contrasts. The former comprise all species of contrasts due to a
+diversity of tint or shade in one colour; the latter comprise all kinds
+of contrasts arising from combining two or more distinct colours.
+The strongest and most effective colourings occur in poly-chromatic
+contrasts; while soft, subdued, and graduated tonings are largely
+characteristic of analogous colour contrasts. Blends of scarlet and
+green, yellow and blue, and orange and purple are colour couplets which
+illustrate the principles of contrast due to a diversity of hues; but
+blends of two shades of brown, blue, or slate, form contrasts belonging
+to the mono-chromatic class. In textile designing both these types of
+colouring obtain. They are frequently present in the same pattern, for
+a style may contain contrasts in shade, as well as contrasts in hue.
+For example, if two shades of brown, forming the bulk of a pattern, are
+brightened by extra threads of scarlet and blue, its colour elements
+are a co-mixture of both kinds of contrasts defined above.
+
+39. _Poly-chromatic Contrasts._--A suggestive illustration of this
+species of colour arrangement is given on Plate VIII. in No. 3. It is a
+scrap of textile ornament, borrowed from a Japanese work on decorative
+fabrics found in a Buddhist temple. A more vigorous combination of
+colours, possessed of greater potency and lustre, it would be difficult
+to conceive. With such chromatic science have the various hues been
+associated that each retains, unaffected, its individual strength and
+vividness. Considering that this group of forms contains no fewer than
+seven colours, in addition to black and white, and that the ground
+shade is a deep purple, the lustre of the separate hues is exceptional
+and a forcible quality of the design. Purple, as a rule, is a shade
+that, in virtue of its potency, alters all colours with which it may
+be mingled that are in any way akin to it, such as greens, blues, and
+reds; but it forms strong and decided contrasts with yellow, orange,
+and their derivatives. It becomes, therefore, an interesting inquiry,
+why in this blend of hues, green and blue lose none of their freshness
+and saturation. The method of arranging the colours, or the plan of
+combination--comprising the couplets scarlet and orange, deep and pale
+greens, and deep and pale blues--supplemented by the ingenious touches
+of black and white, are elements at the base of the colour emphasis
+characterizing the entire pattern. For the purpose of making the
+sequent analysis as lucid and instructive as possible, one of the four
+triple-leaved conventional forms surrounding the central diamond figure
+may be isolated, and its colourings alone considered; for each of these
+not only comprises every kind of hue entering into the design, but
+also illustrates the system of colour-mingling adopted throughout the
+design. Starting with the minute spots of scarlet--they are contingent,
+on the one side, with the purple ground: and, on the other side, with
+the small curved strips of orange. If the eye is allowed to single out
+and rest upon these scarlet sections where they are in contiguity with
+the purple, it will be noticed that the scarlet gains a crimsonish
+hue; but the eye takes simultaneous cognizance of the whole series
+of hues--a feature of the pattern which markedly contributes to the
+freshness of the individual colours. As a result of the incompetency
+of the eye to view the colours separately, and also on account of the
+method of arranging the colours, green at once associates itself in
+the mind of the observer with scarlet, and orange with pale green and
+deep blue. The law of contrasts brings the complementary colours in
+affinity, and, as a consequence, develops strength and fulness of hue.
+Impingement of colours is by this means avoided. The white edging of
+the leaves prevents the purple ground from affecting the purity of the
+pale blue, and also imparts clearness of outline to the ornament in
+general.
+
+The lessons to be learnt from this colouring may be summarized as
+follows: First, pure complementary colours, when adjacent, do not
+neutralize, but develop the qualities of each other; second, that by an
+appropriate use of white and black, as agents for separating colours,
+kindred hues may be arranged to produce an attractive contrast; and
+third, a medium shade of green gives lustre to scarlet, and palish
+green and deepish blue are complementary to orange.
+
+Some useful ideas may be gleaned from this example in Colour Contrasts
+for textile purposes. Thus, the small figures composed of the tints,
+as arranged in one of the conventionalized leaves of this design,
+may be grouped on a sateen system in a style for fancy vestings. It
+is suggestive in other ways. Ideas for cotton stripes or checks of a
+flannelette class may, for example, be obtained from it. Stripes of the
+blue shades here given, placed on a white ground, and brightened with a
+few threads of the orange hue, would form harmonious colouring. Again,
+a fabric of a dress-stuff description, in which the same arrangement
+of tints is observed, but the colours softened or tempered with black,
+could be appropriately coloured on this system. In such an instance
+scarlet would be replaced by dark brown (Shade I, Plate IV.); orange by
+reddish olive (Shade 9, Plate VI.); medium green by deep green (Shade
+2, Plate VI.); pale green by toned green (Shade 3, Plate VI.); blue by
+dark blue (Shade 7, Plate IV.); and pale blue by toned blue (Shade
+9, Plate IV.). It is evident from this group of shades that such a
+brilliant blend of hues as that composing the design given in No. 3,
+Plate VIII., may be turned to useful account; for in this instance it
+has been made to form the base of a new scheme of combining a number
+of dark colours adapted to a dress-stuff style. Of course it will
+be noticed that the modified colours are related in hue to the pure
+colours of the specimen of colour contrast considered; hence it follows
+that if the original colouring is characterized by balance of tone and
+harmony, the resultant blend of shades must possess similar qualities
+mellowed and tempered in intensity.
+
+One further thought on this plan of colour-mingling should be alluded
+to. In the foregoing example in shade-deduction from a combination
+of bright hues, dark colours have been employed; but it is equally
+feasible to appropriate tints as follows: rose (Tint 6, Plate IV.)
+for scarlet; pinkish orange (Tint 11, Plate VI.) for orange; pale
+blue (Tint 11, Plate IV.) for blue; lavender (Tint 10, Plate IV.) for
+light blue; pale green (Tint 5, Plate VI.) for green; and very pale
+green (Tint 4, Plate VI.) for light green. This series of tints, when
+associated with suitable quantities of white, might be applied to
+textiles with satisfactory results, more especially if the system of
+grouping given in No. 3, Plate VIII., were adopted. Illustrations,
+based on this interesting specimen of colour amalgamation, have been
+multiplied because they indicate how useful “hints” in harmonious
+colouring may be gleaned from an apparently extravagant though elegant
+arrangement of hues.
+
+  [Illustration:
+                               Plate VIII
+
+                      EXAMPLES IN COLOUR CONTRASTS
+             1, 2. Stripes. 3. Figuring in Bright Colours.]
+
+40. _Mono-chromatic or Analogous Contrasts._--This kind of colour
+contrast is extensively applied to all classes of decorative work.
+Nature abounds with suggestive illustrations of the principles of
+these colourings, a few of which may be described. Amongst flowers and
+plant forms which exhibit contrasts in reddish hues, the rose and stem
+of a forced rhubarb are particularly good. Take the rose first. What
+a beautiful delicate series of red tints it contains, and how mellow
+and rich are its finely gradated tones! There is an entire absence of
+harshness or even tendency to hardness of tinting in its colour
+composition. Ruskin, writing on gradation of hues, observes: “The
+victorious beauty of the rose as compared with other flowers depends
+wholly on the delicacy and quantity of its colour-gradations, all other
+flowers being either less rich in gradation, not having so many folds
+of leaf, or less tender, being patched and veined instead of flushed.”
+A stem of rhubarb also contains an infinite variety of gradations of
+crimson. At the base, it commences with a saturated crimson which
+alters in intensity to a palish pink. Not only are examples in red
+contrasts discovered in natural forms, but also shadings and tintings
+of green, blue, and brown. In the flimsy, delicate petals of the
+harebell several gradations of blue occur, running from a deep to a
+palish tint. For browns, the foliage of autumn only need be referred
+to. The leaves teem with diversity of shade, yet all the colours are of
+a brownish cast, varying from bright tan to rich russet. Some species
+of sandstone and pebbles exhibit useful gradations of fawn, such as
+cool and warm colours, especially suitable for application to textile
+patterns.
+
+The chief characteristics of graduated contrasts--which compose a large
+variety of colourings in decorative design--are softness and mellowness
+of toning, combined with lustre and force of effect. Compared with
+hue contrasts, they may lack strength and precision of emphasis, but
+they possess a soft, saturated fulness which makes them useful in the
+production of fancy textures.
+
+41. _Toned and Tinted Contrasts._--Mono-chromatic compositions may be
+considered under two varieties, namely, Toned and Tinted Contrasts. The
+former comprise all associations of shades in which the colours have
+been toned or darkened by admixture with black; while the latter are
+composed solely of colours which have been tinted with white. These
+contrasts comprise the most valuable assortments of colours seen in
+fabrics produced for wearing purposes. Their quiet and mellow toning
+makes them of great utility in textile designing. Probably the largest
+proportion of fancy textures manufactured for men’s wear, results from
+this sort of colour composition.
+
+Illustrations in this type of colouring deserve to be carefully
+considered. The first example which will be alluded to is on Plate
+IX., No. 1. It is a toned contrast, being a mixture of the three
+browns, Shades 1, 2, and 3 on Plate IV. The style is suitable for
+either woollen or worsted materials, and is of a check description. The
+mode of sketching shows the effect due to the simple twilled weave used
+in its construction, as well as the peculiar form of check resulting
+from the plan of blending the shades. But it is the colour element of
+this fabric, with its gradated contrasts, that is at this stage most
+important. The three shades of brown have been combined thus in both
+warp and weft: 8 threads of dark brown, 8 threads of medium brown, 8
+threads of light brown, and 8 threads of medium brown. The medium shade
+thus alternates with the dark and light colours, maintaining one depth
+of contrast throughout the pattern. Blues (Shades 7, 8, and 9, Plate
+IV.), greens (Shades 1, 2. and 3, Plate VI.), or olives (Shades 7, 8,
+and 9, Plate VI.) might have been selected with similar results as the
+browns of this illustration. Three greys would also have shown the
+principle of this type of contrast, for compositions of dark, medium,
+and light greys form an endless diversity of textile patterns. But to
+return to this brown example. The contrast is of a mellow kind. There
+is no marked distinction between the shades, the three composing a
+softly-toned coloured effect. This characteristic of the style is of
+course attributable to the several shades being derivatives of the same
+hue--the red element predominating in each. Whatever kind of shaded or
+tinted contrasts are considered, they are characterized by the same
+tone of colouring seen in this pattern.
+
+In order to show the precise nature of this class of contrast in tints
+instead of shades, another illustration is that in No. 2 on Plate IX.,
+composed in this instance of three lilac tints similar to those given
+in Nos. 16, 17, and 18, on Plate VI. Again, the plan of the weave of
+the fabric is cassimere twill, but the system of colouring has been
+diversified; thus, it consists of 16 threads of the deep tint, 8
+threads of the medium tint, 16 threads of the light tint, and 8 threads
+of the medium tint. While this arrangement forms a somewhat more varied
+style than the preceding method of combination, the tints of which it
+is composed are distributed in equal quantities, producing a uniform
+colouring. Its quality of mellowness is even more pronounced than that
+of No. 1. Being a light pattern, it possesses a unique delicacy of
+toning. This applies to all compositions of tints, which, when properly
+graduated, constitute the most mellow type of colouring producible.
+
+These illustrations in Toned and Tinted Contrasts are typical of the
+general effects obtainable by combining colours of the same hue but
+of different degrees of lightness and shade; they show that while
+effective compositions may be acquired with shades or tints, yet they
+are usually deficient in that force of contrast characterizing patterns
+containing a variety of hues.
+
+42. _Comparison of Contrasts by Shade and Contrasts by
+Colour._--Relatively considered, contrasts in several colours are
+more definite and brilliant than contrasts in shades or tints; hence
+the former are applied to all classes of decorative fabrics, while
+the latter constitute the bulk of the colouring in textures made for
+wearing purposes. Of course, both systems of colouring largely overlap
+each other, making it impossible to limit the classes of fabrics in
+which each finds expression; still, in the general run of styles,
+tempered colours are the most appropriate for the ground or foundation
+of wearable textures; while, on the other hand, bright and positive
+colours impart the most telling precision to ornamental forms. Hence it
+may be affirmed to be a common law in textile colouring, that shades
+and tints compose a large proportion of styles intended for garments,
+whereas the special province of hue contrasts is in the development of
+figured designs. Tartan checks or plaids (see Plates V. and X.) are
+amongst the principal exceptions to this rule.
+
+43. _Shaded and Tinted Compositions._--These may either result from the
+use of one or more colours. First, suppose an instance in which blue
+shades are combined with blue tints, or in which the same hue prevails
+throughout the whole of the colouring. Thus, take the three shades
+given in Nos. 7, 8, and 9, and combine them to form a striped pattern
+with the three tints, Nos. 10, 11, and 12, on Plate IV. Providing they
+are arranged in the order here mapped out, they would constitute a
+perfectly toned shade of blue. The gradations would run from a deep
+shade to a light tint, or from an extreme dark to an extreme light
+blue. An idea of how shaded patterns are arrived at in woven textures,
+in one hue of colour, may be gleaned from this example, for it is
+evident from the elements of its arrangement that a shaded effect may
+be produced in all kinds of hues, such as brown, olive, and green, if
+they are capable of yielding a sufficient diversity of toning.
+
+But, in addition to this method of associating tints and shades,
+these colour derivatives are also combined in distinct hues, forming
+a varied assortment of colourings. A ground pattern, for example,
+consists solely of an arrangement of shades; but, in order to give
+brightness to the style, a few fancy threads of tints derived from
+other hues--possibly of opposite, or may be of complementary, qualities
+to those from which the shades have originated--may be called into
+requisition. This principle of colouring may be clearly demonstrated
+by referring to the brown check pattern given in No. 1, Plate IX. To
+impart a degree of freshness to this design, blue tinted threads might
+be employed, say about two between each shade. Exactly the same tint
+should not be introduced between the checks of the several shades.
+For the darkest shade the deepest tint should be used, for the medium
+shade the medium tint, and for the light shade the light tint; in
+other terms, whatever the nature of the shade, a corresponding tint is
+requisite. Balance of colouring and of contrast is only attainable by
+strict adherence to this rule. If the same tint were used for all the
+shades, it would appear stronger and more pronounced in some sections
+of the pattern than others. The blue tint which produces exactly the
+desired contrast when associated with the light brown of this pattern,
+would have a very different effect if placed on the dark brown: so
+that in applying tints to a good blend of shades, or shades to a good
+blend of tints, to secure diversity and freshness of pattern, combined
+with uniformity of contrast, care must be exercised in the selection
+and appropriation of these fancy or brightening elements, otherwise
+they are likely to prove more or less effective in some instances than
+calculated, and to destroy the harmony of the whole colouring.
+
+  [Illustration:
+                                Plate IX
+
+                        MONO-CHROMATIC CONTRASTS
+                         1. Contrasts in Tones
+                         2. Contrasts in Tints]
+
+The methods of acquiring Colour Contrasts by combining tints and shades
+may be summarized as below: I. Compositions of several Shades or
+Tones of the same Hue;[9] II. Compositions of several Tints of the same
+Hue;[9] III. Compositions of Shades of different Hues; IV. Compositions
+of Tints of different Hues; V. Compositions of Shades and Tints of the
+same Hue; and VI. Compositions of Shades and Tints of different Hues.
+
+44. _Bright Colour Contrasts Modified with Black and White._--Some
+elaborate check patterns for dress and other materials consist of
+bright colours. An example of this type of contrast is supplied on
+Plate X. The colouring is harmonious and choice; showing that the most
+potent colours may be used in textiles with satisfactory results.
+
+However this pattern is examined, it is lustrous and rich in
+composition. Possibly the black and white introduced into the texture
+mellow and soften the general colouring, for they undoubtedly subdue
+the strength of the contrast arising from three such positive hues
+being in immediate affinity with each other. It is already understood
+that these shades are of great utility as mellowing agents when
+combined with bright colours. They prevent the sharp contrast which
+sometimes ensues when several lustrous hues are in close proximity
+with each other. Blue and red in certain forms constitute a harmful
+contrast, the two producing anything but delicate harmony. Vigorous as
+the contrast is, in this instance it is not harsh or defective. There
+are several elements which are conducive to its harmony. First, there
+are the black and white threads just alluded to; second, the quantities
+in which the several colours are associated; and third, the peculiar
+effect due to the plan of interlacing the warp and weft threads in the
+construction of the texture. Weaving largely multiplies the effects due
+to a combination of colours, as is instanced by this pattern, which,
+though only comprising four distinct colours, and white and black,
+contains many varieties of colouring. These result from the different
+colours crossing and blending with each other in the formation of the
+check. At intervals, the scarlet weft covers the scarlet, blue, green,
+yellow, white and black warp yarns, producing a specific effect in
+every transition. Analysis shows the various effects to comprise solid
+checks of red, green, blue, yellow, black, and white; and mingled
+checks of the following shade couplets: blue and red; yellow and red;
+green and red; blue and yellow; blue and black; blue and white; red and
+black; red and white; yellow and black; yellow and white; and black
+and white. What a variety of lessons in colouring such a woven sample
+teaches! The black and white on the red adds mellowness to this bright
+colour, in addition to giving diversity of effect. The white in other
+sections in contiguity with the medium green, and crossing the yellow,
+has a like toning quality. The black against the yellow enhances its
+brightness, but in juxtaposition with the blue forms a soft shading,
+the latter making a clear definition of colour with the shaded green
+effect to which it is adjacent.
+
+The quantities or proportions in which these colours are distributed
+in the pattern should be observed. Any increase or even variation in
+the quantities of each colour would produce a different harmony of
+composition. Regard must, therefore, be paid to the nature and potency
+of colours in determining their scheme of association in textile design.
+
+45. _Successive and Simultaneous Colour Effects._--In the above
+pattern, both successive and simultaneous contrasts are found. A
+simultaneous contrast is a blend or group of colours in which the
+several hues are in proximity. The intermingled checks of red and blue,
+yellow and blue, etc., are all illustrative of this type of contrast.
+In successive contrasts, there may be the same colours, but instead of
+being in juxtaposition they are separated; and, consequently, do not
+act in perfect unison on the eye, but each independently.
+
+Comparison of the results of these contrasts shows, that colours
+suffer the most in lustre and purity of hue when in “simultaneous”
+association. Several examples of this kind occur in the pattern
+given. For instance, in those sections in which the red and green are
+intermingled in equal proportions, both colours undergo an apparent
+change in hue. In reality, it is simply the fundamental law of all
+colour contrasts asserting its influence on the colouring as a whole,
+whereby each hue is modified.
+
+Amongst some of the most salient principles of textile colouring
+emphasized by this design that should be specially noticed, are
+these: Colours are modified the most largely in hue when in actual
+contact; the stronger two or more colours, the less are they changed
+by simultaneous contrast; bright colours on a dark ground increase
+in luminosity, but are impoverished if applied to light grounds; and
+lastly, that intense colours gain in saturation on light grounds, but
+suffer in this quality on medium and dark surfaces.
+
+46. _Methods of Neutralizing the Effects of Strong Colour
+Contrasts._--It has been pointed out that when any positive colours
+are in immediate proximity, each suffers somewhat in purity of hue. To
+obviate, or partially neutralize, this sequence of colour association,
+some ingenious methods and technical devices are adopted. As already
+explained, colours change the most in hue by juxtaposition, so that
+the object to be attained is to separate them without bringing the
+divisional lines into prominence. It is not always feasible, in figured
+and fancy fabrics, to have the colours detached; they frequently
+intermingle, and it is at the points of actual contact where the
+skill of the colourist in obviating a defective contrast, due to the
+proximity of two or more brilliant hues, is exercised. No. 1, Plate
+XI., illustrates this feature of colouring. This pattern is composed
+of red and blue, and contains small quantities of a third hue which
+are of value to the harmony and contrast of the design. If the red had
+been allowed to actually touch the blue ground, the figuring would have
+lacked precision, and the colouring congruity of toning. Moreover,
+as green is the contrasting colour of scarlet, it has developed the
+figuring, and mellowed the effect of red on this deep blue ground.
+Minus this intermediate colour, the contrast would have been harsh, if
+not defective; but by its employment richness has been given to the red
+and softness of tone to the blue. Let it be supposed that red and blue
+were substituted in succession by green and tan (Shades 6, Plate VI.,
+and 3, Plate IV.); by olive and rose (Shade 15, and Tint 5, Plate IV.);
+and by lilac and primrose (Tint 16, Plate VI., and Tint 16, Plate IV.).
+Tan, rose, and primrose to compose the figuring, and green, olive,
+and lilac the ground in the new colourings. Now, in order to prevent
+impingement of hues, divisional colours to take the place of the green
+in the illustration should be selected, which, while contrasting with
+the several hues employed for the figuring, should also harmonize with
+the ground colours. For the first couplet, the pale blue (Tint 10,
+Plate IV.) may be used; for the olive and rose combination, pea-green
+(Tint 4, Plate VI.); while for the lilac and rose blend, the salmon in
+Tint 11, Plate VI., will be found useful. In each of these instances
+there is harmony and contrast of colours, which would prominently
+develop the figured sections of the design. To show these results,
+paint two pieces of paper similar in hue to Shades 6, Plate VI., and
+3, Plate IV. Having done this, place the tan sample--which should be
+smaller than its companion--on the green slip, and then surround it
+with a narrow slip of rose, Tint 4 of Plate IV. On adding this last
+colour, a tasteful contrast will be formed by the green spot and the
+rose edging; and also soft, mellow harmony produced by this tint
+and the tan groundwork. Should each of the colourings alluded to be
+similarly experimented with, they would constitute equally pleasing
+combinations. As important principles underlie this kind of colour
+arrangement, it is advisable that numerous experiments o£ this class
+should be made by the reader; for, in order to educate the eye for
+colour contrast and harmony, practice in the combination of hues is
+essential.
+
+47. _Harmony._--Some colourists have propounded theories of harmony
+which are quite untenable in practice. For example, one scheme is
+based on the supposition that if the primaries are blended in the
+proportions of 3 parts of red, 5 parts of yellow, and 8 parts of
+blue, harmony of composition ensues. There can be no doubt that the
+ratio of quantities materially affects the congruity of tone of all
+shade assortments; but in designing it is not feasible to work to any
+set of proportions. Colour harmonies are not to be acquired by rigid
+adherence to a mathematical system of arrangement. Theories of this
+kind cannot be said to be of much technical value. Acute and cultured
+discriminative power for colour is of more consequence in this art than
+theoretical directions; the acquirement of what Rood calls “a delicate
+colour emphasis” is difficult even when there is natural aptitude for
+colouring. Systematic study of the works of designers of acknowledged
+capacity, and of all accessible rare and well-coloured woven specimens
+in harmony of tinting, should be made. Adopting this course, the
+student will acquire a ready capacity for blending hues by such
+methods, as to compose choice and harmonious results.
+
+  [Illustration:
+                                Plate X
+
+                SPECIMEN OF BRIGHT COLOURING IN PLAIDS]
+
+48. _Principles of Harmony._--Though Colour Harmony is intricate, and
+more or less incapable of being reduced to rigid principles, yet its
+general qualities may be clearly defined. For instance, certain colours
+when amalgamated fail to produce congruous patterns; whereas other
+colours invariably constitute harmonious compositions.
+
+Harmony, moreover, is only attainable when the several colours are
+combined in such proportionate quantities, and on such principles
+of shade-association, that each hue employed will conduce to the
+mellowness of the whole pattern. Should any colour be conspicuous, it
+is sufficient to detract from the harmony of the entire colouring.
+Balance of hues is an important essential; and it is generally a
+feature dependent on the proportions in which the several colours are
+combined. Examine, for example, the blue-green and scarlet check on
+Plate XI., No. 2. Red is so much more potent than green, that when
+these two hues are associated in the same pattern, the former requires
+to be used less extensively than the latter. The common rule is that
+those colours which are the intensest and strongest in hue should be
+sparingly employed. When the various shades are of equal depth, the
+quantities may be more uniform, being only varied to such an extent as
+to impart precision to the leading features of the design.
+
+Apart from hints that may be given in harmonious colouring, and
+knowledge that may be acquired by study and experiment in blending
+hues, in order to excel in this art the designer must possess natural
+aptitude for the work.
+
+
+FOOTNOTES:
+
+     [8] Chevreul: _The Laws of Contrast of Colour_, p. 120.
+
+     [9] _Analogous Colours._
+
+
+
+
+                               CHAPTER IV.
+
+                         COLOUR STANDARDIZATION.
+
+     49. Objects of Standardization in Colouring--50. Systems
+     of Colour Standardization--51. Standardization by Selected
+     Colours--52. Analysis of Standardization Scheme, Plate
+     XII.--53. Use of Standards in Blending--54. Applications of
+     the Scheme.
+
+
+49. _Objects of Standardization in Colouring._--There are several
+difficulties in formulating a scheme of colour standardization
+applicable to any particular branch of woven design. This arises,
+firstly, from the tone of colouring which obtains in decorative, dress,
+suiting, and other fabrics. The manufacturer of each of these styles of
+textures should select standards of different degrees of brightness.
+In the second place, the colourist must have free scope--he should not
+on any account be fettered--in his work. Standardization may appear
+to impose restrictions. But on considering the several, branches of
+textiles, it is obvious that certain elemental ranges of shades are
+mainly used in the several departments of woven manufactures, as,
+for example, in fabrics for men’s wear, women’s wear, decorative and
+other purposes. This not only suggests the possibility, but renders
+it feasible--without placing limitation upon the originative faculty
+of the designer--of adopting in practice a standard set or series
+of selected colours from which other shades may, by the process of
+blending, be acquired.
+
+This may be done with the object of (1) economy of colour production,
+a limited set of colours yielding an unlimited set of distinct shades;
+(2) the substitution of uncertainty of “colour” or “shade” due to
+independent dyeings, by certainty of result due to mixing; and (3) the
+manufacture of yarns by blending from a set of fixed colours which may
+be stocked, producing new shades as varied and solid in appearance as
+those obtainable in dyeing.
+
+In the ordinary method of obtaining new shades by blending, there is an
+absence of a scale of fixed colours; neither in the blending is there a
+base of proportions, nor in the colours combined a standard scheme of
+colour gradation. But in standardization there is a distinct range of
+colours, each of which is toned or graded to the same degree.
+
+50. _Systems of Colour Standardization._--There are two systems
+on which Colour Standardization may be effected, namely, (1) the
+primaries, secondaries, and tertiaries may be adopted as the initial
+colours; and (2) a series of initial colours may be determined upon,
+each colour being graded from light to dark, and forming a number of
+intermediate shades between the two extremes.
+
+Defining the first system, the Primary and Secondary colours have each
+three distinctive hues, that is, the pure or spectrum hue, and the two
+obtained by modification.
+
+  Red, tinged with blue, forms crimson.
+  Red, tinged with yellow, „  scarlet.
+  Yellow, tinged with red, becomes slightly orange in tone.
+  Yellow, tinged with blue, becomes slightly green in tone.
+  Blue, tinged with red, becomes slightly purple in tone.
+  Blue, tinged with yellow, becomes slightly green in tone.
+
+thus changing the hue, but to such a small degree that the original
+colour predominates.
+
+The Secondaries and Tertiaries are subjective to similar changes
+without eliminating the definite or spectrum colour.[10]
+
+On this principle, eighteen base colours are obtained, all of which,
+by the addition of white in variable quantities, may form a series of
+tints, and by the addition of black, a series of tones; or they may be
+softened in brilliancy by the addition of neutral grey.
+
+In such a scheme, it would probably only be found desirable to modify
+the Tertiaries by mixing with black and white respectively.
+
+The question of the brilliance of the initial colours is one that has
+to be fixed according to the application of the scheme. To mix pure
+white with the colours described would give, in many instances, useful
+tints for the dress and decorative trades, and also, if mixed with
+black, suitable tones for the same fabrics; but for ordinary textile
+purposes the pure elemental colours are too bright. These would require
+to be dulled or subdued by adding neutral grey to a definite scale of
+gradation.
+
+51. _Standardization by Selected Colours._--The second method of
+Standardization consists, as stated, in selecting a series of
+recognized workable colours and graduating them to six or more degrees.
+The principal colours are blue, green, and brown, with the addition
+of blue green, olive, and heliotrope, or colours which, with their
+gradations, are generally found most appropriate in fabrics for wearing
+purposes. (See series A to J, Plate XII.)
+
+Having fixed upon the initial colour in each set, the question of
+toning or gradation is all-important. A uniform scale of gradation must
+be adhered to in each group. If this is departed from, mixing would
+result in a want of balance of gradation.
+
+The base for the standard series of tones and tints are neutral greys
+(see Plate XII.). Here the mixing of black and white may be made to
+give ten or twelve or more tones with similar degrees of difference. A
+scheme of gradation formed in this way is, applicable to any type of
+blend composed of a dark and a light shade, corresponding to black and
+white in the grey. Between the two extreme colours, several shades may
+be introduced, and yet uniform toning maintained; for whichever series
+of colours is selected, it will be seen that the movement from a dark
+shade to a lighter, in any part of the series, is correct as to depth
+and tone. This must be an absolute law in mixing the same number of
+colours in any series, or any group, providing that the scale of tones
+has been accurately produced in each kind of colour.
+
+52. _Analysis of Standardization Scheme, Plate XII._--The chart
+contains in specimens 1 to 6, series A to J, the simple or dyed colours
+which have been selected as the base or scale standards. These are
+varied in two ways, the specimens 7 and 8 being tinted with white, and
+9 and 10 toned with black in the following proportions:--
+
+  Tint No. 7,  5 per cent., Standard No. 1.
+              95    „       White.
+  Tint No. 8, 60    „       Standard No. 1.
+              40    „       White.
+  Tone No. 9, 40    „       Standard No. 6.
+              60    „       Black.
+  Tone No. 10, 5    „       Standard No. 6.
+              95    „       Black.
+
+These tints and tones could be carried out to six in each, when
+suitable proportions would be as follows:--
+
+  Tints   ⎧Colour    5   20   40   60   80   95
+          ⎩White    95   80   60   40   20    5
+
+  Tones   ⎧Colour    95   80   60   40  20    5
+          ⎩Black      5   20   40   60  80   95
+
+In the second method, the colours are blended crossways in equal
+proportions. No. 1, Series A, and No. 1, Series B, give No. 1, X_a_,
+X_b_, etc. Similarly, No. 1, Series B, and No. 1, Series C, equal No.
+1, X_b_, so that whether blending shades in each series, 1 A, 2 A,
+etc., or blending two shades in adjacent series, 1 A, 1 B, etc., that
+is two shades of the same colour in the former, and two shades of
+contiguous colours in the latter, for practical purposes, solid shades
+would be acquired.
+
+The chromatic scale is compiled as follows:--
+
+  A. Blue.
+  B. Green blue.
+  C. Blue green.
+  D. Green.
+  E. Yellow green.
+  F. Yellow brown.
+  G. Brown.
+  H. Red brown.
+  I. Purple.
+  J. Red blue.
+
+It will be observed that there is no such decided change in hue or tone
+between any two adjacent colours as to produce, when mingled in equal
+quantities, an apparent mixture. This is an important elemental feature
+of any scheme of Colour Standardization--the several colours must be
+accurately graded. If, for example, any two shades are too far apart
+in the chromatic scale, the blending of them would produce a mixture
+effect. In other words, if the difference in tone or the difference in
+hue is pronounced, mixtures and not solid shades are formed.
+
+53. _Use of Standards in Blending._--In both the Woollen and Worsted
+trades, blending is an important department of yarn manufacture. Solid
+shades are obtainable in piece-dyes, but mixtures have to be acquired
+by the blending of coloured materials. The designer and colourist has
+resource to the combination of colour units in the blending of fibres
+in the production of shades and mixtures possessing novelty of tone. In
+this task he has two considerations: (1) the choice of the separate or
+distinct colours which, prior to blending, must form, in juxtaposition,
+harmony and contrast; and (2) the proportionate quantities in which
+they are to be combined. The latter, as every colourist has proved,
+may destroy the value of the former. Much of the success of colouring,
+whether in the material or the yarn, depends upon the relative weight,
+intensity, and proportions in which the colours are united. Now,
+when a scheme of standardization has been formed, and is used, the
+proportionate parts or quantities are according to a fixed mathematical
+scale, but the discovery of the correct colours to blend according to
+any series of these proportions is left to the trained faculty of the
+designer or expert, who must have regard to the fabrics and style of
+design to which they are to be applied.
+
+The proportionate scale which is used does not affect the latitude
+for the exercise of the faculty for colour combination, but rather
+presents conditions which are so varied and yet definable, as to give
+a certainty of result as to depth and nature of colouring due to the
+process of blending.
+
+There are two great principles on which the art of Colour Blending in
+the raw materials is accomplished, namely--
+
+  (1) The origination of blends or mixtures in which tone gradation
+        is practised.
+
+  (2) The origination of mixtures composed of several Colours to
+        produce different hues or shades, but these to be of the same
+        weight or tone.
+
+In both, it is a problem of how the colour modification is to be
+attained. From the explanation given, it is obvious that in the first
+principle of blending, a fixed scale of proportions may be practised,
+so that the real essence of the work consists in selecting colours
+which harmonize with each other and coincide with the proportions
+adopted; or, in other words, the relative contrasts of colour must
+be in accordance with the relative proportions. That is to say, if a
+bright colour, though harmonizing with other colours in the mixture,
+is used in too large a measure, the mixture will be unsatisfactory.
+
+  [Illustration:
+                                Plate XI
+
+                     RED, GREEN AND BLUE COLOURING
+                           1. Figured Pattern
+                           2. Check      „   ]
+
+54. _Applications of the Scheme._--In this scheme there is ample scope
+for the colouring of many classes of woven fabrics. Bright or brilliant
+hues would be added as required. The scheme is, however, sufficiently
+complete for the ordinary styles of woollen, worsted, and other classes
+of fabrics. For costumes, vestings, cottons, and silks, richer colours
+would be desirable. If, for example, the principle of colouring was in
+relation to cottons and silks, then the “tints” of the standards would
+be found chiefly applicable, white and light grounds being mainly used;
+on the other hand, for fabrics with dark or medium grounds, the “tones”
+of the standards would be selected.
+
+This standard scheme of colours, systematically toned, forms a
+practical workable base of colouring, one which, in the first place,
+in the use of the pure colours, makes it feasible, in the production
+of patterns, to obtain (_a_) ranges in which the contrast of colour in
+each pattern is absolutely uniform, and (_b_) ranges in which there may
+be perfect gradation from the dark to a light shade, and yet the same
+quality of contrast of colour in each pattern in the range.
+
+In the second place, the scheme provides, by the mixture with black,
+grey, and white in succession, a means of acquiring a wide range of
+mixtures, each series of which runs by natural and constant degrees
+from a comparatively light to a dark result.
+
+Third, it is possible by this system, in blending two or more colours,
+to acquire (_a_) graded series of mixtures of exactly corresponding
+depths of tone; and (_b_) varieties of mixtures in light, medium, and
+dark shades of similar depth of tone, but of different hues.
+
+And lastly, the system is applicable to the production of distinct
+colours, such as would possess similar qualities to colours dyed in the
+wool, yarn, or piece.
+
+
+FOOTNOTES:
+
+     [10] See also Pars. 8 and 9.
+
+
+
+
+                               CHAPTER V.
+
+                               MIXTURES.
+
+     55. Varieties of Mixture Patterns--56. Elements of Mixture
+     Colouring--57. Importance of Pure Materials--58. Several
+     Classes of Mixtures Compared--59. Simple Blends--60.
+     Blends of Wools and Pigments Compared--61. Modes of
+     Testing Compositions of Colours--62. Mixtures composed of
+     Two Shades--63. Compounds of Two Colours in which White
+     is used--64. Illustrations in Mixtures composed of White
+     and a Second Colour--65. Mixtures composed of Black and
+     another Colour--66. Grey Mixtures--67. Bloomed Greys--68.
+     Coloured Greys--69. Two-Coloured Mixtures--70. Multi-Shade
+     Mixtures--71. Twist-Yarn Mixtures--72. Marls--73. Weave
+     Mixtures.
+
+
+55. _Varieties of Mixture Patterns._--There are five methods of
+making mixture patterns, namely, (_a_) by carding several colours
+of fibrous materials together, producing _mixture woollen_ yarns;
+(_b_) by combining in the process of _drawing_ two or more slivers
+of different colours, producing _mixture worsted_ yarns; (_c_) by
+combining in the process of _roving_ two or more slivers of different
+colours, producing “_marl_” _worsted_ yarns; (_d_) by using fancy
+yarns; and (_e_) by mixing two or more classes of threads in the
+weaving process. Each system is extensively practised; but the most
+intermingled effects ensue from blending the various coloured elements
+in the fibrous form. This system of producing mixtures yields a yarn in
+which the separate particles of colour, however diverse, are uniformly
+distributed throughout its length. Carding affords every facility
+for obtaining a softly toned blend, or one in which the filaments of
+distinct colours are perfectly mixed and intermingled. The shades are,
+as it were, united in this instance in the powdered or most minute
+particled form possible in textile compositions; whereas the methods
+of combining twist yarns, and of weaving shades of distinct colours
+together to compose mixture effects, consist of blending comparatively
+larger particles of colours. Perfect promiscuity, as a consequence,
+characterizes mixtures produced in the willowing and carding processes.
+These compositions are also distinguished by softness and mellowness of
+tone, entirely foreign to corresponding effects got by other methods.
+So completely are the elements associated on this system, that if
+blue and yellow wools were compounded they would constitute a green
+mixture, not so pure, however, as if pigments were amalgamated, for
+reasons alluded to in the sequel, but still they form a suggestion of
+this process of combination. If the same colours were united in the
+yarn state, even in the form of twist threads, they would still appear
+as separate hues; in other words, the yellow would remain yellow, and
+the blue would remain blue. To borrow an illustration, these methods
+of compounding fragments of colours in the manufacture of so-called
+mixture patterns may be compared with chemical and mechanical mixtures
+of substances; for just as in the former the bodies unite to compose
+a third substance, and in the latter they are mixed but not changed,
+so in blending colours in the fibre the mixing may be so complete as
+to yield an additional shade, but in blending them in the thread each
+hue retains its individuality. Twist-yarn mixtures possess a motley
+appearance of a broader character than those of blends in the wool
+or material, but still the richness of intermingling of tints is not
+wanting. In self-coloured yarn patterns of a mixture class the patchy
+character and detachment of individual colours are increased, while the
+mellowness and toned softness of the composition are diminished.
+
+56. _Elements of Mixture Colouring._--All mixtures require mellow
+treatment as to colour constituents. Patterns of this order should not
+be characterized by a patchy, but by a tinted appearance; every hue
+employed should be useful in composing an indefinite series of minute
+and closely mingled colour effects. To produce such styles no single
+hue should be allowed to obtain greater distinction or more prominence
+than other adjacent colours. Bright colours like red, crimson, blue,
+and yellow, seldom require to be used in large quantities. Black
+and white, browns, tans, medium blues, medium greens, olives, and
+other toned and tinted colours, form the main colouring of mixture
+compositions: the more potent hues find a province in enriching and
+imparting lustre into these patterns.
+
+The principal colours should generally be of a tempered type; still, it
+is important to use bright and decided hues. Murky, dull, and insipid
+shades should be avoided, as they are only capable of yielding dingy
+effects. The fragmentary nature of mixture colourings largely affects
+the lustre of the pattern resultant. Two colours which, when combined
+in large quantities, may possess congruous attributes, on being broken
+up into particles and intermingled lose lustre. In blending colours in
+the natural state, the separate hues are distinguishable after carding,
+for each, in the carded sliver, helps to constitute quite a new and
+additional shade. If, for example, claret, fawn, and bright orange
+wools, in quantities of four parts of claret and one part of fawn and
+one part of the orange were scribbled together, neither the orange,
+fawn, nor claret would in the resulting “blend” possess precisely its
+original hue. Traces of each would be noticeable, but a species of
+indefinite drabbish-brown mixture, streaked with filaments of orange,
+would be the composition obtained.
+
+57. _Importance of Pure Materials._--Bright and lustrous mixtures can
+only be secured by using pure wools. Such colourings are not feasible
+in the low materials used in making some classes of woven goods. Scotch
+mixtures will always excel in brilliant tinting so long as fibres
+of a mungo, shoddy, and extract class are rejected by manufacturers
+north of the Tweed. Having a good foundation to work upon--a fibre
+that will not only take a vivid colour but retain it--Scotch textures,
+notably Bannockburn and heather mixtures, are unsurpassed in lustre
+and mellowness of toning. Mixtures made in centres of the low woollen
+industry are not comparable with them as regards freshness of
+colouring. Of course, a passable imitation of the pure wool production
+is made, but the fabric lacks not only bloom and fulness of colouring,
+but quality and softness of handle. How is it feasible to get these
+elements of good mixtures developed to the same degree in these
+inferior articles, made of materials which in some instances have
+been utilized time after time in made up garments, and as frequently
+ground up or reduced to filaments, scribbled, spun into yarn, and
+woven into a marketable fabric, as are obtainable in the genuine
+woollen texture? If mixtures bright in colouring are to be acquired,
+resource must be had to wools of a sound quality. Stress is laid upon
+these points because they lie at the basis of good colouring in mixture
+styles; and also on account of the necessarily futile attempts made by
+some manufacturers to secure corresponding richness of composition in
+a mungo, or partially mungo production, as characterizes an all-wool
+article, which it is important to understand is totally impossible, for
+the simple fact that the better the raw material, the more lustrous the
+coloured effects secured.
+
+  [Illustration:
+
+         Plate XII. CHART Of SCHEME OF COLOUR STANDARDIZATION.
+      Originated and Compiled by the Author and Mr. Thomas Hollis]
+
+58. _Several Classes of Mixtures Compared._--The diversity of mixtures,
+acquired by blending several shades of fibres, is very large,
+comprising an infinite range of light, medium, and dark effects, in
+both woollen and worsted fabrics. There is, however, one quality
+characteristic of every species of this type of mixtures, namely, a
+rich, mottled aspect of colouring. Whether considered in the fibrous
+state or in the woven fabric, this mingled but continuous poly-tinted
+appearance is noticeable. Where the separate hues occur, and are lost
+to view, or how numerous they are, it is only possible to determine
+after careful examination. All the hues are scattered equally
+throughout the mixture, hence the blend in every part possesses similar
+qualities of bloom and diversity of tinting. These mixtures may be
+distinguished from those obtained by other processes, by the manner in
+which the various colourings are intermingled.
+
+If a mixture fabric made on this system were compared, by analysis,
+with one got by using twist yarns, or by threads of divers colours in
+both warp and weft, some interesting results would be obtained. To
+dissect a mixture fabric produced by “blending,” the yarns of which
+the texture is composed would require to be reduced to the original
+filaments. The proportions in which the colours are combined, are far
+more difficult to arrive at than the nature of their hues. Having
+by this method secured the exact colour elements, some data has
+been discovered upon which to base experiments, which, if properly
+conducted, will lead to the determination of the quantities in which
+the colours have been combined in the production of the composition.
+Ordinary twist-yarn mixtures do not offer so many difficulties to
+the analyzer. First, as to their colour constitution: this is easy to
+discover if the different kinds of threads are classified, which can be
+done by unravelling the texture. Next, ascertain the colour composition
+of each by untwining the twists or separating the threads used in their
+construction. By adopting this system,of analysis, both the exact hue
+of the colours and the quantities in which they have been combined may
+be obtained. The reason why the routine of dissection is, in this case,
+comparatively simple, is because the coloured factors of the fabric
+may be feasibly separated, whereas in the preceding class of mixtures
+the isolation of the various hues of the filaments employed is more
+difficult to effect. To discover the composition of a mixture in which
+self-coloured yarns have been used, it is only necessary to ascertain
+the methods of warping and wefting, or the plan of combining the yarns
+in the production of the fabric. Evidently, in these two last styles of
+mixtures, exact analysis of the colourings, both as to quantities and
+hues, is quite feasible, but in the first kind the proportions, as well
+as the precise colours, are difficult to acquire.
+
+59. _Simple Blends._--The most economical species of mixtures belonging
+to this class is that obtained by combining any one colour with
+white. Mixtures of this kind may be defined as tinted wools, for the
+process of production exactly coincides with that of forming tints
+with pigments. They differ, however, from the latter in appearance.
+A tint obtained by mixing red with white, for example, constitutes
+quite an even surface of pink; but mix white and red wools in similar
+quantities, and something more than a rose compound is produced,
+namely, a mottled, intermingled colouring, whether seen in the
+material, yarn, or piece. Equal quantities of blue and white, green
+and white, and orange and white wools, all form colourings streaked
+with their composing hues. It will be evident that this class of colour
+amalgamation opens up a wide field for investigation. First, there is
+the range of colours with which white may be associated, comprising
+both positive and tempered hues of a primary, secondary, and tertiary
+character. Second, there is the considerable diversity of proportions
+in which the elements forming the mixtures may be combined; for either
+the white or colour may preponderate, or the two shades may be equally
+mixed. In addition to these mixtures, which are of the most elementary
+class, there are those resulting from blending black with other
+colours, and from compounding materials of two or more colours. The two
+former kinds are utilized in the manufacture of yarns for serge dress
+textures, for which fabrics they are particularly well adapted. The
+tints and shades on Plates IV. and VI. illustrate the results obtained
+by this scheme of blending. In combining wools, however, or other
+materials, though the same proportionate quantities of tinting and
+toning elements were used as in forming these examples, still compounds
+of a somewhat different character would ensue, arising from the colour
+factors being of a fibrous character.
+
+60. _Blends of Wools and Pigments Compared._--It is important that the
+dissimilarity between wool and pigment mixtures should be thoroughly
+understood; for it will be quite evident from the nature of these
+substances that, though in each the same quantities of similar colours
+were blended, yet the resulting compositions would be characterized
+by many features of difference. To these reference will next be made.
+When two or more shades of wools are amalgamated, each colour--however
+well the materials are grouped and intermingled in scribbling, carding,
+and spinning--retains its individuality of hue, which, of course, is
+opposed to the law of pigment combinations, in which all traces of the
+original colours, as separate hues, disappear by admixture. Still, when
+fibrous materials are associated, a sort of new shade, streaked more or
+less with its composing elements, is obtained. For example, a species
+of bluish-fawn mixture would result from blending wools as follows:--
+
+  9 parts of dark brown.  6 parts of fawn.
+  4   „   „  pale blue.   4   „   „ green.
+
+But while the resultant composition in this example might be designated
+a kind of fawn, yet, if it should be closely examined, the brown, pale
+blue, and green would be discovered, which give bloom and saturation
+of tone to the whole shade. Providing the same elements were mixed
+in pigments, they would yield quite a different result. In only one
+particular would it correspond to its wool contemporary--it would be a
+fawn shade; more murky and dingy, however, and scarcely recognizable
+as being composed of exactly the same colours in like proportions.
+When paints are mixed, all colours, as individual hues, are totally
+obliterated, hence a shade is formed in this instance in which the
+green and blue can hardly be distinguished, the brown and fawn with
+which they are associated largely neutralizing their effect.
+
+Of course their presence is perceivable, but not to the same degree as
+in wool mixtures, for the simple reason that, whereas in this latter
+instance, the fibres of blue and green are mixed and grouped with
+those of brown and fawn, and the four colours in association form a
+brownish-fawn mixture, tinted with each of its colour elements, in
+the case of pigments the particles of various colourings entirely
+disappear, and combine to constitute a perfectly new shade of somewhat
+indescribable qualities. It follows that, in one sense, fibrous blends
+of colours are more effective than those of pigments, for they not only
+possess the nature of new shades, but the several hues of which they
+are composed are kept unchanged, enhancing the beauty and intensity
+of the whole combination. Each colour of filament remains, and is
+traceable in the mixture as a separate hue, and thus a pleasing and
+attractive compound is obtained; one, moreover, only producible by
+blending different colours of fibrous materials. These effects are
+alone seen in woven textures, and in that class of fabrics in which
+the colours have been blended prior to weaving or in the carding
+operations. Should twist yarns be employed instead of various hues
+of fibres, a more patchy colouring results (see Pattern 2, Plate
+VII.); one, indeed, in which the colour factors are more prominently
+separated, and hence devoid of those qualities of neatness and softness
+invariably associated with mixtures produced in the processes of
+scribbling, carding, and spinning. Passing to mixtures got in the loom
+by self-coloured yarns, a still further divergence from a one-shade
+mixture, resulting from blending several colours, is obtained; for
+here the several tints employed remain quite detached and distinct.
+Undoubtedly, in woven fabrics, the most elegant style of mixture is
+that secured by combining the colours in the material form, or in
+mixing them in the production of the thread; which method produces
+a promiscuous shade, tinted, freshened, and brightened with every
+element of colour entering into its composition; and which constitutes,
+moreover, quite an evenly-balanced colouring.
+
+61. _Modes of Testing Compositions of Colours._--Two methods of testing
+the effect of combining different shades may be practised. First, the
+most handy system consists in mixing various colours of pigments.
+Although it is barely possible to represent in this manner the precise
+result any compound of shades would have in textile materials when
+scribbled, carded, and spun into yarn, still a fairly accurate idea of
+the tone and general aspect of a mixture of tints may thus be arrived
+at. Tests of this kind also serve another purpose--they foster a
+taste for colouring, and develop the faculty of judging the depth and
+brilliance of the tone and tint of mixtures in general. This method of
+testing new sets of colours for mixtures is important. The pigments
+should be used in solution, which, for convenience, may be kept in
+small bottles, so that, in mixing, the minutest quantities can be
+readily and accurately measured off. When thus working with liquid
+colours, in order to properly test any group of shades, a surface
+should first be prepared of the principal colour in the mixture. Should
+this be black, brown, or any other dark colour, it will be necessary to
+mix the bright colours with white. After the body of the mixture--that
+is, in this instance, the black or dark brown--has been obtained, the
+whole should be completed by stippling on to it the other colours in
+succession, care being exercised not to apply a new colour before
+that previously used has become perfectly dry. Let an illustration be
+considered. A mixture of colours which it is required to put through
+this test is compounded thus:--
+
+  4 parts of black.   2 parts of medium green.
+  3   „   „ scarlet.  1 part of white.
+
+The first process would be to prepare the black surface, employing for
+the purpose four parts from the bottle containing this pigment in the
+liquid form. After this has been done, the scarlet, which requires to
+be first mixed with white, would be stippled over the black, leaving
+intervals or small patches of the black ground uncoloured. The scarlet
+dried, two parts of green would be similarly added, and lastly one
+part of white. In each addition of colour minute spaces should be
+left of black, and when the last tint has been applied, there should
+be distinct streaks of the several colours, the black, of course,
+largely preponderating. If this routine is carefully observed, almost
+any variety and proportions of colours may be represented. Necessarily
+there is an absence in the blend thus acquired of that mingled
+colouring so characteristic of wool mixtures, but still the result is
+sufficiently accurate to enable the colourist to form a just conception
+of the value of any shade composition.
+
+Now for the second method of experimenting with colour elements in the
+origination of new mixtures. Here, wools are used; small hand cards
+being constructed for the purpose. This is obviously the best system
+when the exact shades of wools can be acquired, but this is often both
+difficult and expensive. Where the spinning of mixture yarns is a
+speciality, it is, however, advantageous to have a small stock of wools
+in as many shades as possible, which the colourist can have access to
+and blend in any proportion his ingenuity may suggest.[11] In adopting
+this practical system of experimenting, the several colours selected
+for combination ought first to be compared on a convenient surface,
+preferably black, and then the quantities of the separate tints
+determined upon. This accomplished, mixing would follow, which consists
+of placing the various samples on the wire of two hand cards, and then
+passing the teeth of one card between those of its companion till the
+filaments have become as perfectly mingled as if the work of mixing
+had been effected by the scribbling and carding operation. Assuming,
+for the purpose of illustration, the colours selected to be brown,
+blue, fawn, and sage-green, and the proportions as follows: 3 parts of
+brown to 1 part of each of the remaining shades, then, providing the
+quantities have been weighed off, the several shades would be combined
+and mixed by the process just described. Care must be exercised not to
+overload the cards, or blending will only be imperfectly accomplished.
+Concluding that “carding” has been satisfactorily effected, a compound
+shade of a slatish or smokish class will be the result, which will
+contain visible traces of all the colour elements of its composition,
+namely, of brown, blue, fawn, and sage-green.
+
+Both the “pigment” and the “fibrous” systems of experimenting with
+colour for blending purposes should be extensively practised. The
+former may be adopted with success when wools are not accessible, while
+the latter gives a result identical in every respect to that acquired
+in manufacturing operations.
+
+62. _Mixtures composed of Two Shades._--These are of three kinds;
+first, those in which white is a factor; second, those in which black
+is used; and third, those in which two fancy colours, other than black
+or white, are combined, as brown and lavender, purple and gold, and tan
+and drab. Mixtures of this kind may not only be economically produced,
+but are simple and neat in composition. Many of them are largely used
+in the production of both woollen and worsted yarns, and are produced
+in light, medium, and dark shades. In textures where a neat effect is
+requisite, they make most satisfactory combinations. Still, they lack
+diversity of tint; and, as compared with blends containing a larger
+assortment of colours, they are characterized by tameness. Of course
+their degree of freshness and lustre is proportionate to the brightness
+of the hues amalgamated. If these are washy and murky, the resulting
+combination will be unsatisfactory. While it is impossible to enumerate
+all the colours suitable for this species of blending, yet it may be
+remarked that one of the hues should, at any rate, possess bloom and
+force of tone; not necessarily harshness of hue, but fulness of tint
+and definite emphasis of shade, in order that it may be capable of
+affording colour character to the mixture in which it is used. Such
+colours as claret, maroon, deep purple, russet, chocolate, tan, warm
+olive, full-toned drab, blue, and green drab, are appropriate for this
+purpose.
+
+63. _Compounds of Two Colours in which White is used._--Blends of
+this class are both numerous and important. They are of many tones,
+depths, and intensities. Three illustrations are given on Plate XIII.,
+comprising light and medium compositions. The first specimen (No. 1)
+results from mixing 3 parts of white with 1 of brown; the second (No.
+2) is composed of 3 parts of fawn and 2 of white; and the third (No.
+3) consists of 3 parts of reddish purple and 1 of white. In the first
+and last of these mixtures the proportions are the same, but in the
+former, white is the prevailing, and brown the subordinate tint, while
+in the latter, lavender is the main element, and white simply the
+secondary factor of the blend. This leads to the consideration that
+in forming such mixtures it is imperative to determine, in the first
+place, whether white or the colour element, whatever that may be, is
+to preponderate in the mixture about to be produced. Having decided
+upon this point, some calculation should be made as to the extent in
+which one element is to be overpowered by the other. The illustrations
+will assist us in the solution of this problem. Starting with the brown
+and white combination, it is quite apparent that, in this instance, it
+has been sought to acquire an effect of a light character, one, in a
+word, just tinged or toned with a brownish element. As a consequence,
+white should preponderate, but the point arises to what degree. If the
+proportions were four parts of brown to one part of white, the mixture
+would be too pale; if three parts of white and two parts of brown were
+combined, the mixture would assume a dark cast, for the brown element
+would be too potent; hence the proportions from which the illustration
+has been obtained are the most appropriate for producing a light-shaded
+compound. Results of this kind can only be arrived at by experiment.
+Theory merely expounds the principles of the art, practice alone can
+illustrate and verify them. With pigments, the reader may acquire much
+useful and reliable knowledge of these combinations; or by dyeing
+for himself in a small vessel a number of different shades, which is
+no difficult task, and using the hand cards alluded to in a previous
+paragraph, he may become a competent and skilful combiner of fancy
+shades for mixture yarns.
+
+  [Illustration:
+                               Plate XIII
+
+                       BLENDS OF COLOURED WOOLS]
+
+64. _Illustrations in Mixtures composed of White and a Second
+Colour._--Mixture 3, Plate XIII., is compounded of reddish purple and
+white. It is suitable for either worsted or woollen yarns intended
+for dress goods made in the plain weave or in the simple twill. It
+also forms a yarn capable of giving good results when blended with
+Mixture 1 of the same Plate. Stripes and check patterns formed of
+these two mixtures, make very neat and attractive styles. The pinky
+aspect of Mixture 3 causes it to be applicable to textures for ladies’
+costumes, in which brightness and warmth of colouring are often a
+valuable acquisition to the fabric. The white beautifully softens the
+red purple, the two shades in union, and in the proportions rendered,
+forming a satisfactory mixture.
+
+The remaining sample in these mixtures (No. 2, Plate XIII.) is the most
+suitable for tweeds, yet considered. As a compound shade, it possesses
+many excellent features for both summer and autumn styles. Here, as
+already stated, white is the minor element of the composition. While
+in the two preceding examples it predominates, here it simply acts as
+a tinting factor which gives softness and mellowness to the green drab
+forming the bulk of the mixture. The utility of white for this purpose
+is thus clearly seen.
+
+Below are furnished some additional examples in this description of
+mixtures:--
+
+            I.
+  3 parts of light bluish drab.
+  1 part of white.
+
+            II.
+  3 parts of tan.
+  1 part of white.
+
+            III.
+  3 parts of olive brown.
+  1 part of white.
+
+            IV.
+  3 parts of slatish fawn.
+  1 part of white.
+
+            V.
+  2 parts of deep chocolate brown.
+  2 parts of white.
+
+            VI.
+  4 parts of chocolate.
+  1 part of white.
+
+            VII.
+  6 parts of white.
+  4 parts of deep slatish blue.
+
+            VIII.
+  3 parts of white.
+  2 parts of fawn.
+
+Nos. I., II., and III. are specially suitable for yarns employed
+in the manufacture of dress and other thin fabrics of a bright and
+cheerful tone. No. IV. is an interesting compound after the nature of
+No. 2, Plate XIII., but deeper and stronger in cast. Such mixtures
+are most useful in the production of fancy tweeds and woollen and
+worsted textures intended for men’s wear. Blends V. and VI. are also
+appropriate for tweed goods. They are both of a brownish character, but
+the latter is the darker and more pronounced in tone. No. VII. might
+be defined as a slatish blue mixture. It makes a good fancy yarn, and,
+in fine worsted, a thread suitable for thin fabrics for costumes. The
+last of these combinations possesses a very mellow appearance. The fawn
+is a shade between olive and brown, approaching a species of tan. By
+altering the proportions to three parts of fawn and one part of white,
+an excellent mixture results, which might be used in combination with
+No. VIII. in the production of checks and stripes and a large diversity
+of other patterns.
+
+65. _Mixtures composed of Black and another Colour._--These, if
+anything, have a more extensive application than the mixtures just
+alluded to, and are probably more diversified in composition and
+colouring. They are largely employed in the production of yarns for
+dark and medium-shaded goods. As the illustrations furnished on Plate
+XIII. indicate, many useful combinations may be obtained on this
+method. The first example (No. 4, Plate XIII.) that may be considered,
+is a russet-brown mixture. Probably, the russet is a degree too warm,
+but, for some purposes, the blend is all that could be desired.
+Bloom, mellowness of cast, and rich fulness of tint are its chief
+characteristics. As a tweed mixture produced by using two colour
+factors, it is invaluable. It contrasts with the following mixture,
+No. 5 of the same Plate, which results from blending one part of black
+with one part of light olive. The olive used is more drab than orange,
+and in association with the black assumes a greenish cast. By combining
+yarns made of this mixture with yarns made of the preceding mixture,
+some good patterns might be produced, simple, but neat in composition;
+the streaks of russet in the one harmonizing and contrasting with the
+filaments of olive in the other. The qualities of bloom and warmth
+lacked by this latter example are possessed by the russet blend, while
+the mellow characteristic of the olive mixture, when associated with
+the russet, yields a compound colouring of tasteful properties.
+
+But one further illustration, No. 6, Plate XIII., in this species of
+blend calls for description, namely, a black and fawn combination in
+which fawn is the principal hue. It is illustrative of the diversity
+of effect that may be acquired by mixing two colour elements. As the
+fawn composes the bulk of the blend, it possesses, when viewed at some
+distance, a brownish tone, but on closer examination the small flakes
+of fawn colouring assume a rich bloom as well as a soft, mellow aspect.
+
+Other examples in this style of mixture, not illustrated, may be
+briefly described, the colourings of which are:--
+
+            I.
+  5 parts of black.
+  2   „      tan.
+
+            II.
+  1 part of black.
+  1   „     tan.
+
+            III.
+  6 parts of black.
+  3   „      bluish green.
+
+            IV.
+  4 parts of black.
+  5   „      dark purple.
+
+            V.
+  3 parts of black.
+  2   „      sage green.
+
+            VI.
+  4 parts of black.
+  3   „      drabbish fawn.
+
+            VII.
+  4 parts of black.
+  1 part of lilac  (medium shade).
+
+            VIII.
+  6 parts of black.
+  1 part of rose pink.
+
+Combinations I. and II. are quite dark. The former is a warmish, and
+the latter a somewhat cool colouring. Yarns from these two mixtures
+harmonize well when associated in the same pattern. The tan used in
+No. I. is similar to No. 3, Plate IV., and the bluish green to No.
+2, Plate VI., but rather more blue in tone. Mixture II. is a medium
+colouring, suitable for suitings and the general run of fancy tweeds.
+Warmth, freshness, and lustre are its main and characterizing elements.
+No. IV. is a unique colouring. It forms an admirable dark thread. A
+fabric in which the warp is composed of yarns made of this mixture and
+woven with yarn from Blend I. is an excellent combination of tints.
+Mixtures V. and VI. are both of a medium tone. No. V. is rather dull in
+tone as compared with No. VI., but both are useful colourings. Blends
+VII. and VIII. are of a different character. In these examples the
+colour element is small, but comparatively light and lustrous in tint.
+The object has been to obtain a black composition just streaked with
+filaments of a bright shade. The quantity of lilac in No. VII. is just
+sufficient to change the tone of the black, and to produce a compound
+approaching a species of grey, but bright and fresh in colouring.
+No. VIII., though very dark, is cheerful in quality, being suitable
+for a fancy yarn, or for thin textures for robes and costumes. It is
+unnecessary to multiply examples of mixtures in this class, as those
+furnished are typical of the endless variety of combinations which in
+practice are required by this scheme of colouring.
+
+66. _Grey Mixtures._--Amongst the most useful mixtures resulting from
+combining two shades are those known as greys. These are sometimes
+bloomed or enriched with purple or full-toned blue, but they are more
+frequently constituted of black and white simply. Ranges of fancy
+woollen and worsted patterns are rarely made without their use. For
+ground shades, and also for fancy colours in check and stripe patterns,
+they are of great utility. Some of the most important and common
+proportions are as follows[12]:--
+
+            I.
+  6 parts of black.
+  1 part of white.
+
+            II.
+  5 parts of black.
+  1 part of white.
+
+            III.
+  4 parts of black.
+  1 part of white.
+
+            IV.
+  3 parts of black.
+  1 part of white.
+
+            V.
+  2 parts of black.
+  1 part of white.
+
+            VI.
+  1 part of black.
+  1   „     white.
+
+            VII.
+  2 parts of white.
+  1 part of black.
+
+            VIII.
+  3 parts of white.
+  1 part of black.
+
+            IX.
+  4 parts of white.
+  1 part of black.
+
+            X.
+  5 parts of white.
+  1 part of black.
+
+            XI.
+  6 parts of white.
+  1 part of black.
+
+The most useful of these combinations are Nos. V., VI., and VII., which
+are in many instances the only ones used. No. V. is called dark, No.
+VI. medium, and No. VII. light grey.
+
+To produce a perfectly gradated shade it is necessary to use some five
+or seven greys, but in ordinary styles, for both woollen and worsted
+textures, it is not customary to employ a larger number than the three
+mixtures just named. The following is an arrangement for a shaded
+pattern in five greys:--
+
+  5 or any appropriate number of threads of No. IV.
+  5        „       „          „          „      V.
+  5        „       „          „          „      VI.
+  5        „       „          „          „      VII.
+  5        „       „          „          „      VIII.
+  5        „       „          „          „      VII.
+  5        „       „          „          „      VI.
+  5        „       „          „          „      V.
+
+Mixtures I., II., and III., form very dark shades; and Mixtures XI.,
+X., and IX., form very light shades; and are only employed in the
+production of extreme fancies.
+
+67. _Bloomed Greys._--These, as already explained, are greys tinted
+with some bright hue. The colours generally used for this purpose are
+very deep purple, rich blue, and red purple. The quantities of such
+hues are small, but sufficient to impart freshness of tone or lustre
+to the mixture. Blue is used chiefly in brightening light greys.
+For example, a much fresher light grey is formed by the following
+proportions than if black and white were alone used: 6 parts of white,
+4 parts of black, and 1 part of blue. Though the blue only constitutes
+one-eleventh of the mixture, still it imparts freshness. An excellent
+medium grey, warmed with reddish purple, can be secured thus: 8 parts
+of black, 4 parts of white, and 3 parts of red purple. Deep purple is
+one of the most suitable hues for dark greys, as it possesses both the
+qualities of warmth and lustre, and is a most potent hue. Two examples
+follow in which it is used with satisfactory results:--
+
+            I.
+  6 parts of black.
+  2   „  deep purple.
+  1 part of white.
+
+            II.
+  3 parts of black.
+  3   „  white.
+  2   „  deep purple.
+
+Both these mixtures possess richness and depth of tone, and are
+preferable to the common greys insomuch as they are fuller, more
+lustrous, and mellower in composition; No. I. is a dark, and No. II. a
+medium shade.
+
+68. _Coloured Greys._--Mixtures of this kind are mainly compounded of
+black and white, but the colouring element introduced may be so potent
+in hue as to impart quite a tinted aspect to the shade. It will be
+sufficient for the purposes of illustration, to treat of mixtures of
+this class in which red, blue, yellow, orange, green, and purple, or
+the primary and secondary hues, are used as the tinting factors. It is
+very rarely that more than one colour is employed in the same blend, as
+the examples given will show. Four standard coloured greys, in which
+red is the tinting element, are as follows:--
+
+          I.
+  1 part of black.
+  1   „  white.
+  1   „  red.
+
+          II.
+  2 parts of black.
+  1 part of white.
+  1   „  red.
+
+          III.
+  2 parts of white.
+  1 part of black.
+  1   „  red.
+
+          IV.
+  2 parts of red.
+  1 part of black.
+  1   „  white.
+
+These proportions, giving typical results, will be adopted throughout
+the exposition of these mixtures; that is to say, when the tinting
+element is changed to blue or orange, the same quantities will be
+combined as in those furnished in the above examples.
+
+In No. 1 the shades are blended in equal proportions, hence there is
+no tint preponderating in the resultant mixture, which is a species
+of brownish grey, neat in composition, and one that is useful in
+textile designing. Black predominates in Mixture II., resulting in the
+production of a more appropriate shade than that formed by No. I. for
+autumn and winter cloths. Referring to No. III.--white is the chief
+element, hence a medium compound shade is acquired: somewhat pinky in
+appearance, owing to the entrance of white and scarlet into the blend,
+but still the whole is toned and increased in depth of composition
+by the admixture of black. It is, on account of its richness, more
+suitable for yarns for dress fabrics than for heavy goods for men’s
+wear. The same remark applies to Mixture No. IV., in which red is the
+preponderating hue. But this is a bright and cheerful colouring, and
+one that makes an excellent fancy yarn. These reddish-grey mixtures all
+form valuable shades for winter styles, as they are decidedly cheerful
+and warm in aspect, and produce a kind of pattern both bright and
+comfortable in character.
+
+Grey, in conjunction with yellow, forms a species of drab mixture,
+which finds appropriate use in the manufacture of summer textures.
+Taking the same order of mixing as furnished in the red greys, the
+following results are obtained:--
+
+          V.
+  1 part of black.
+  1   „  white.
+  1   „  yellow.
+
+          VI.
+  2 parts of black.
+  1 part of white.
+  1   „  yellow.
+
+          VII.
+  2 parts of white.
+  1 part of black.
+  1   „  yellow.
+
+          VIII.
+  2 parts of yellow.
+  1 part of black.
+  1   „  white.
+
+The equal quantities constitute quite a drab blend. In this example
+there is first the association of the black and white elements
+constituting mid grey, which receives additional lustre from co-mixture
+with yellow, which tinges the whole composition a drabbish olive. An
+agreeable variation may be made by employing a bright tan in the place
+of yellow. On allowing the black element to preponderate, as in No. VI.
+blend, a much darker result is attained, one, however, in which the
+olive cast is preserved, though the bulk of the composition is dark
+grey. A pleasing mixture ensues when white (No. VII. blend) is made the
+maximum element. It is soft and bright in colouring, and of extensive
+utility in the production of fancy yarns and fine worsted textures.
+Perhaps when yellow is the main shade (No. VIII. blend) the cast of the
+mixture assumes a too ochre-like aspect, but the yarn resulting from
+this composition has nevertheless its specific province in woven design.
+
+Black and white mixed with blue form a valuable series of mixtures,
+more or less applicable to all classes of fancy goods. When the
+quantities of the several shades are equal (1 part black, 1 white, 1
+blue), the mixture formed is of a peacock blue tone, streaked with
+grey. This mixture may be applied both as a fancy and as a ground
+shade, according to the texture being produced. Increasing the black
+(2 parts of black, 1 white, and 1 blue) results in the formation of a
+dark bluish grey, applicable to a large variety of fabrics. By giving
+preponderance to the white (2 parts of white, 1 black, and 1 blue), a
+slatish blue grey is obtained, which, in combination with certain brown
+mixtures, is capable of forming elegantly coloured patterns. When the
+blue element is the principal hue (2 parts of blue, 1 black, and 1
+white), the mid grey, constituting one-half of the compound, assumes
+a mellow, quiet blue tone, making a mixture specially appropriate for
+goods, in which cheerful but soft colouring is an important feature of
+the design.
+
+It is evident, from these examples, that a wide field of colouring is
+opened up in the admixture of black and white with the primary colours.
+In the illustrations considered, only four sets of proportions have
+been dealt with, but by multiplying these it will be obvious that an
+endless diversity of results, even with these five shades--black,
+white, red, yellow, and blue--can feasibly be acquired. But when it
+is taken into account that other hues besides those named are used
+in combination with black and white, it will at once be seen that the
+possibilities of this preliminary method of combining colours for
+textile work are largely increased. The subject cannot be followed
+further than the secondary colours at this stage: these, in conjunction
+with the primary combinations just described, will give a fairly
+comprehensive view of the styles of compound shades obtained in
+practice by this system.
+
+In the first place, allusion may be made to the admixture of orange
+with black and white. Should the quantities be equal (1 part black, 1
+white, and 1 orange), a drabbish grey is produced, a degree warmer in
+hue than if yellow were the colouring factor. On doubling the quantity
+of the black element (2 parts black, 1 white, and 1 orange) a greyish
+olive mixture tinged with a reddish tone is formed; while a light fawn
+mixture is produced if the white preponderates (2 white, 1 black, and 1
+orange). A tannish grey composition, suitable for fancy yarns, results
+from the proportionate quantities being 2 parts of orange, 1 part of
+black, and 1 part of white.
+
+Green, when associated with black and white on this system, does not
+constitute mixtures well adapted for yarns for fabrics of a heavy
+description, but yields compounds useful in the decoration of dress
+and other thin textures. These blends partake of a species of mellow,
+mingled, greenish grey. Such blends are more pleasing to the eye in
+woven fabrics than solid green, possessing a softer, quieter, and
+a more satisfactory tone. Beginning with white, black, and green,
+equally compounded, a mixture is obtained that may be appropriately
+described as a slatish green, the grey element imparting to the blend
+a rich mellow cast. By increasing the black factor (2 black, 1 white,
+and 1 green), the slatish tone is augmented, because it is due to the
+association of this shade with the green element of the blend. As black
+is, in this instance, the principal shade, the mixture, while mellow
+and greenish, is decidedly deep and full in tone. The employment of
+white as the leading shade (2 parts of white, 1 black, and 1 green)
+yields an interesting combination between a pea and a slate green.
+If the yarn made from this mixture, were associated in the same
+pattern with that resulting from blend No. III. of the red series, an
+exquisite assortment of tints would be obtained. It is by blending the
+yarn product of one combination with that of others that attractive
+colourings are arrived at. When the proportions are 2 parts of green,
+1 part of black, and 1 part of white, the compound has too greenish a
+cast to be of extensive use in textile designing, hence this mixture is
+chiefly used in the form of a fancy or lively thread.
+
+Allusion has now only to be made to the purple-grey combinations.
+First, when the proportions are 1 part of black, 1 part of white, and
+1 part of purple, a distinctly purple grey is produced, owing to the
+extraordinary potency and diffusiveness of this secondary. Making
+black the predominant factor, a more useful compound from a textile
+standpoint is acquired; perhaps slatish in cast, but, nevertheless,
+warm and cheerful in tint. Should white preponderate, a pure slatish
+grey, just tinged with the warm, lustrous hue of purple, ensues. These
+two last combinations, in addition to the mixture resulting from
+compounding 2 parts of purple, 1 part of black, and 1 part of white,
+are chiefly useful in the form of fancy threads. If purple is employed
+in grey mixtures, for tweeds, and other medium and heavy textures, it
+must be in lesser proportions than here given, indeed on the principle
+indicated in the examples supplied in Paragraph 66.
+
+Many other colours besides the primaries and the secondaries are
+blended with black and white in the production of mixture yarns,
+but the illustrations that have been treated of, will enable the
+reader to arrive at methods of combining other tints or shades, than
+those supplied in these mixtures--the most useful of all compound
+shades--namely, light, medium, and dark greys.
+
+69. _Two-Colour Mixtures._--Next to the series of blends obtained by
+combining black or white with another colour, mixtures resulting from
+associating two colour elements are the most commonly produced. In
+addition to being the least costly of all fancy mixtures, into which
+black and white are not imported, they are neat, simple, and elegant
+in composition. Examples are given in Nos. 7, 8, and 9, Plate XIII.
+The first is compounded of 3 parts of bright brown and 2 parts of
+lavender; the second of 4 parts of claret and 1 part of gold; and
+the third of 3 parts of tan and 1 part of drab. In mixtures of this
+class, one shade should always be chosen for constituting the bulk
+of the compound; and this, of course, should be of such a character
+as to be suitable for application to fabrics intended for wearing
+purposes. Turning to these examples, it will be seen that shades of
+this kind have been adopted as the principal factors, for in one
+instance, dark brown is the body colour, in another claret, and in
+the third instance, tan. So that this law of using a comparatively
+mellow and unostentatious colour for the bulk of the combination has,
+in this type of mixtures, almost universal application. Alluding
+specially to the brown-and-lavender blend, the object here has been
+to secure an intermingled shade of rather more than medium depth.
+Both colours are prominent, yet they constitute quite a new shade of
+recognized utility in textile manufacturing. In the claret-and-gold
+mixture, claret largely predominates, and imparts depth and body of
+tone to the resulting compound. The function of the gold-coloured
+fibres is essentially to brighten and freshen the whole. The last
+example is quite a distinct species, having no common elements with
+the two preceding, beyond the fact that it only contains two factors
+of colouring, tan and drab. As these shades are more or less allied
+in hue, the mixture acquired by combining them is slightly wanting in
+diversity of tinting; yet it is a style of blend admirably adapted for
+producing fancy yarns for light goods in woollen materials. Two shades
+of brown, blue and slate, and olive and drab, similarly blended, would
+all form creditable mixtures. Some of the Bannockburn blends only
+contain two colours, though apparently full of variety of tinting. The
+peculiar nature of the wool fibre substantially contributes to the
+richness and elegance of these two-colour compounds.
+
+70. _Multi-Shade Mixtures._--The general principles of the art of
+blending have now been explained, and it is not needful to treat
+extensively of the remaining kinds of mixtures. By the aid of further
+illustrations, the methods of combining any reasonable number of
+colours in the constitution of “stock” for fancy yarns, may be
+indicated. First, consider the claret-brown blend given in No. 10,
+Plate XIII., and composed of 4 parts of claret, 1 part of drab, and
+1 part of gold. The colours combined not only harmonize when mixed,
+but also when separated. If any one of the colours were removed, the
+combination would be incomplete, showing the perfect union of the
+tints selected. Should four colours be blended, increased freshness
+and lustre of combination may be acquired, as is instanced by No. 11,
+which consists of 4 parts of black, 2 parts of drab, 1 part of scarlet,
+and 1 part of white. As in the previous example, a dark shade is here
+employed for the bulk of the mixture, the other tints combining to
+impart brightness to the whole colouring. The touch of scarlet is very
+appropriate, giving warmth and tone; the drab is useful as a filling-in
+factor, while the black and the white give that general mellowness
+which characterizes the whole blend. Another example, No. 12, of a dark
+description is a compound of three colours, blended thus:--
+
+  2 parts of purple.
+  1 part of orange.
+  ½ a part of warm slate or smoke colour.
+
+The orange should be verging on scarlet, and the purple possess a
+claret-like hue. A pleasing mixture is thus acquired, one in which the
+distinguishing features are mellowness and beauty of tone, combined
+with warmth and richness of composition. Purple and smoke colour are
+utilized in furnishing that peculiar varied tinting that constitutes
+the main element of the mixture, while the orange introduced affords
+brilliance, bloom, and warmth of hue. Other combinations are as
+follows:--
+
+          DARK BLENDS.
+
+          I.
+  4 parts of brown.
+  2   „      light brown.
+  1 part of lavender.
+
+          II.
+  4 parts of brown.
+  1 part of sage.
+  1   „     scarlet.
+
+          III.
+  6 parts of maroon.
+  1 part of medium green.
+  1   „     scarlet.
+  1   „     bright blue.
+
+          MEDIUM BLENDS.
+
+          I.
+  4 parts of brown.
+  2   „      light olive.
+  2   „      white.
+
+          II.
+  4 parts of claret.
+  3   „      white.
+  1 part of gold colour.
+
+          III.
+  8 parts of black.
+  2   „      white.
+  3   „      orange.
+
+          LIGHT BLENDS.
+
+          I.
+  4 parts mid brown.
+  1 part of drab.
+  1   „     white.
+
+          II.
+  2 parts of brown.
+  2   „      white.
+  1 part of fawn.
+
+          III.
+  4 parts of chocolate.
+  5   „      white.
+  2   „      orange.
+
+71. _Twist-Yarn Mixtures._--Recurring to the three great classes of
+mixtures defined at the beginning of this chapter, twist-yarn mixtures
+were included in the second group. For many reasons they are not so
+extensively produced as raw-material mixtures: thus, they are more
+costly; they do not generally yield such elegant effects; and they
+lack that brilliance of colouring so universally characteristic of
+the latter description of mixtures. The twist used for this purpose
+includes two-, three-, and four-ply yarns, and curl, knop, cloud,
+and other fancy threads. Black and white twist mixtures in woollen,
+worsted, and cotton goods are extremely common. A more marked, and
+perhaps more streaky class of effects, is obtained by using these
+yarns than by employing mixture threads. If the twists were of the
+cloud kind, real spangles, more or less elongated, of black and white
+shades would be formed in the woven fabric; whereas if curl twists were
+adopted, loops of black and white would be irregularly spread over
+the surface of the cloth. Generally, the most elementary weaves are
+used in the construction of these goods, such as the plain make, and
+the common four-end and six-end twills. In worsteds, large quantities
+of these mixtures are made, the finest of these threads yielding a
+satisfactory species of intermingled colouring.
+
+72. _Marls._--A series of grey and coloured mixtures obtained by
+the second method of blending (Class C, Par. 55) is illustrated in
+Plate XIV. These yarns show the principle of obtaining a marl mixture
+worsted thread, after combing and drawing, or in the operation of
+roving. An intermediate style of mixture is thus produced between that
+due to blending coloured slivers in drawing, and that due to folding
+or twisting two or more coloured yarns into a compound thread. The
+blending of the coloured elements is not, on this system, so complete
+as by the first method; nor yet are the specks of colour so distinct
+as in mixture yarns obtained in twisting. “Marls” made in this way
+are combined in stripe and check patterns with similar mixture yarns
+developed by doubling or folding.
+
+The proportionate quantities of black and white in Series A and A′, and
+of black and a colour in Series B, B′ are as follows:--
+
+                               PLATE XIV.
+
+                         MARLS, SERIES A AND B.
+  Specimen
+     I. = 1 black thread twisted with 1 marl thread = 25% white
+            or colour and 75% black.
+    II. = 1 black thread twisted with 1 marl thread = 50% white
+            or colour and 50% black.
+   III. = 1 black thread twisted with 1 marl thread = 75% white
+            or colour and 25% black.
+    IV. = 1 marl = white or colour 25% and black 75%; twisted with
+            1 marl thread = 25%white or colour and 75% black.
+     V. = 1 white thread twisted with 1 marl thread = 25% white
+            or colour and 75% black.
+    VI. = 1 white thread twisted with 1 marl thread = 50% white
+            or colour and 50% black.
+
+                        MARLS, SERIES A1 AND B1.
+  Specimen
+     I. = 1 marl thread = white 25%, black 75%;
+            twisted with 1 marl thread = white 25%, black 75%.
+    II. = 1 marl thread = white 50%, black 50%;
+            twisted with 1 marl thread = white 25%, black 75%.
+   III. = 1 marl thread = white 50%, black 50%;
+            twisted with 1 marl thread = white 50%, black 50%.
+    IV. = 1 marl thread = white 75%, black 25%;
+            twisted with 1 marl thread = white 50%, black 50%.
+     V. = 1 marl thread = white 75%, black 25%;
+            twisted with 1 marl thread = white 75%, black 25%.
+    VI. = 1 white thread twisted with 1 marl thread =
+            white 75%, black 25%.
+
+In Nos. I. to V., Series A′ and B′, each yarn is composed of two marl
+threads twisted together, but No. VI. consists of a white thread
+twisted with a marl; and in Series A and B, Nos. I., II., and III. are
+composed of a marl and black: No. IV. of two marls, and Nos. V. and VI.
+of a marl and white.
+
+  [Illustration:
+                               Plate XIV
+
+                       SPECIMENS OF “MARL” YARNS]
+
+73. _Weave Mixtures._--These are least manufactured of any of the three
+classes of mixtures. They result from intermingling self-coloured yarns
+in the loom. Plain and other elementary weaves are alone suitable for
+producing these effects. It is usual to have the warp of one colour,
+such as grey, and the weft of two or more colours; or the warp of two
+or more colours, and the weft of one. In neither of the two foregoing
+classes of mixtures could anything approaching a repetition of effect
+be traced in the woven sample, whose surface is invariably one mass
+of mottled tinting. For an analysis of the principles on which these
+patterns are acquired, the reader is referred to _Woollen and Worsted
+Cloth Manufacture_.
+
+
+FOOTNOTES:
+
+     [11] In the Standardization Colour Scheme these initial
+          colours, as the principal in the blend, are stocked.
+          Bright or fancy colours might be dyed, in addition,
+          for toning purposes.
+
+     [12] See also Par. 52 and Plate XII.
+
+
+
+
+                               CHAPTER VI.
+
+                 ELEMENTS OF TEXTILE COLOURING--STRIPES.
+
+     74. Colours applied to Textiles on Various Systems--75.
+     Types of Woven Colouring--76. Single Weave Colourings--77.
+     Colour-in relation to Backed, Double, and Compound
+     Cloths--78. Colour applied to Single-make Figured
+     Fabrics--79. Fancy Shades applied to Backed and Double
+     Weave Combination Designs--80. Colour in Designs in
+     which the Figures are produced by the Weft Yarns--81.
+     Figured Effects obtained by Warp Colouring--82. Colour in
+     Textiles Figured by both Warp and Weft Yarns--83. Pattern
+     Design--84. Styles due to Colouring only--85. Stripes--86.
+     Checks--87. Mixtures--88. Figures--89. Classes of Striped
+     Patterns--90. Hairlines--91. Compound Hairlines--92.
+     Stripes composed of Longitudinal and Transverse Lines--93.
+     Stripes composed of Two Colours--94. Stripes composed of
+     Three or more Colours--95. Irregular Stripes composed of
+     Black and White Yarns--96. Irregular and Indefinite Stripes
+     in Two Colours--97. Irregular Stripes--Shades in Two
+     Colours--98. Shaded Stripes in Two Colours--99. Irregular
+     Stripes containing several Colours--100. Shaded Stripes in
+     several Colours.
+
+
+74. _Colours applied to Textiles on Various Systems._--There are
+numerous methods of introducing colours and fancy shades into woven
+patterns. According to the kind of fabric being produced, the nature
+of the materials composing it, and its structural arrangement, the
+scheme of colouring practised varies. Suitings, trouserings, mantlings,
+dresses, vestings, shawls, rugs, carpets, and other important typical
+textures, are all coloured on distinct principles. Worsteds are not
+treated in a colour sense precisely on the same system as woollens, nor
+silks as cottons. Simple weaves allow of more varied colouring than
+diagonals and other intricate crossings; figured designs of a floral
+or geometrical character, than those resulting from combining several
+small weaves; single-make than double- and treble-make patterns;
+ordinary decorative fabrics, than plushes and lenos, and so on. Yet
+there are some principles of textile colouring common to all species of
+woven design. Certain methods of grouping yarns in elementary plans
+of interlacing warp and weft yield, under all conditions, the same
+style of effects. As a well-known combination of lines makes the key
+pattern, so in textile designing there are methods of classifying and
+uniting shades which cannot but produce one form of pattern. While in
+subsequent chapters it will be needful to specialize and indicate the
+complex modes of colouring practised by the weaver, here the general
+principles of the art will be simply expounded.
+
+75. _Types of Woven Colourings._--All varieties of textile colourings
+may be classified under two great heads, which are capable of
+subdivision, as in the Table appended.
+
+
+                               TABLE VII.
+
+               ILLUSTRATING THE TYPES OF WOVEN COLOURINGS.
+
+                  I. COLOUR IN SIMPLE AND FANCY WEAVES.
+
+(_A_) _Single-make Cloths._--Woollen, worsted, cotton, linen, and silk
+textures, in plain, twilled, mat, sateen, corkscrew, leno, diaper, and
+other weaves.
+
+(_B_) _Backed, Double, and Compound Cloths._--Effects produced
+principally for men’s wear, in both woollen and worsted yarns; also
+rugs, travelling maudes, winter mantlings, and blankets.
+
+                II. COLOUR IN FANCY AND FIGURED PATTERNS.
+
+(_A_) _Single Fabrics._--Stripes, checks, and drafted patterns for
+dresses, mantlings, ulsterings, blouses, and other textures.
+
+(_B_) _Backed, Double, and Combination Patterns._--Woollen and worsted
+patterns for men’s garments; shawls, mantlings, rugs, “Kidder,” Scotch,
+and other carpets; also damasks and decorative fabrics.
+
+(_C_) _Figured Patterns Coloured in the Weft._--Vestings, dresses,
+matelasses, and cords.
+
+(_D_) _Figured Patterns Coloured in the Warp._--Spotted and figured
+styles of various descriptions in simple and complex makes, fancy dress
+patterns, mantles, plushes, velvets, astrachans, and carpets.
+
+(_E_) _Patterns in which the Figure is developed by both Warp and
+Weft Colouring._--Silk and worsted robes, and elaborately ornamented
+patterns in an endless diversity of textures and materials.
+
+76. _Single-Weave Colourings._--The single-make cloths, named in Group
+A of the first class of coloured effects, are textures not only single
+in structure, _i.e._, not backed, but composed of one weave of a simple
+character. Here some of the most elementary types of textile colouring
+occur. Many of the patterns produced in these weaves are due to the
+arrangement of the shades of the warp and weft. They form a species of
+woven design which is purely technical in construction. The artistic
+knowledge requisite to their origination is exercised in the selection
+and combination of colours. As regards the elements which give the
+pattern its form or outline, these are solely of a technical nature,
+and relate to dexterity and ingenuity in the invention of novel plans
+of cloth construction, and of applying to such makes those schemes
+of colouring which will most effectively develop their structural
+composition. This class of textile pattern may be described as Woven
+Colour Design, for it is one in which the all-important principle
+consists in devising new systems of shade arrangement and distribution.
+When considering pattern as obtained in simple weaves, this feature
+of design is the most prominent for examination. Scotch tweeds, as
+well as various classes of fancy woollens for suitings, trouserings,
+and flannels, some styles of cotton fabrics, and a considerable
+diversity of worsted, silk, and linen fabrics, are examples in this
+style of pattern. The more or less complex nature of these textiles
+is determined by the intricacy of the weave employed, and the plan of
+grouping the shades. Irregular makes or crossings, such as diagonals,
+fancy twills, diamond and broken weaves, are more difficult to treat
+with colour than simple twills and hopsacks. The comprehensiveness of
+this type of textile colouring will be evident when it is mentioned
+that in the plain weave, and the cassimere twill, there is practically
+no limit to the variety of patterns obtainable in stripes, checks,
+diagonals, small figures, mixtures, spotted, and other styles.
+
+77. _Colour in relation to Backed, Double, and Compound Cloths._--The
+fabrics named in Section B of Part I. of Table VII. are much more
+intricate in structure than those alluded to in the previous paragraph,
+and hence require greater technical skill in colour treatment. As these
+cloths are multi-ply in the weft, in the warp, or in both warp and
+weft, they can only be economically and advantageously coloured when
+their build or structure is thoroughly understood. The yarns employed
+in the composition of the face pattern have to be kept distinct from
+those forming the back of the fabric, and _vice versâ_. Frequently, the
+colouring of the face forms a different style from that on the back, in
+which case a combination of at least two principles of colouring takes
+place.
+
+The range of patterns in these makes is very diversified, but it is
+confined to a somewhat limited class of goods, as indicated in the
+Table. Winter fabrics for men’s and women’s wear are the principal
+goods to which these weaves are applied, so that for climatic reasons
+light and fancy patterns are only exceptionally in demand, a fact
+which somewhat simplifies the application of colour to these styles.
+Some heavy tartan travelling rugs and wraps are also constructed in
+this type of weave. In the ordinary backed textures composed of one
+make on the face, the patterns are mostly of a simple stripe or check
+arrangement, but in rugs and heavy cloths elaborate and complex blends
+of shades obtain.
+
+78. _Colour applied to Single-make Figured Fabrics._--These form the A
+Group of textures given in Part II. of the Table. In addition to the
+effect in this instance due to association of colours, there is design
+or pattern produced by a combination of weaves differing in structure
+or build, and moreover in appearance in the woven fabric. The weaves
+may be arranged to form stripes, checks, and figures. The classes
+of goods to which these designs are applied are numerous, including
+trouserings and coatings in woollen and worsted yarns, fancy dress
+goods, mohair, silk, and other classes of mantlings, ulsterings, silk
+handkerchiefs, cotton textures, and decorative fabrics. The principles
+involved in this type of textile designing comprise the application of
+colour in the development of simple weave effects, and its introduction
+into designs composed of several weave elements to give precision and
+smartness of figuring. Before colour can be suitably applied here, its
+effect on the elementary crossings must be clearly apprehended. The
+designs containing various makes, such arrangements of fancy shades
+have to be used as will emphasize exactly the several parts of the
+whole style, and not result in the suppression of some sections and
+in too bold a development of others. The larger the number of weaves
+entering into any single design, the greater the intricacy of colour
+application. When colour, in relation to the _A_ Group of fabrics
+in the first section of the Table, is understood theoretically and
+practically, its functions and scope in this branch of designing may be
+readily mastered.
+
+79. _Fancy Shades applied to Backed and Double Weave Combination
+Designs._--Winter goods of a figured order for apparel are included
+in Group _B_ of the Figured Patterns. This class of textiles also
+comprises some styles of shawls, mantlings, and rugs. Many types of
+striped trouserings, in which two double makes occur, come within
+the scope of this useful group of textiles. Generally, if the method
+of colouring is simple, the combination of weaves is diversified;
+but should the latter only comprise a few elements of weaving,
+more complex schemes of colouring are requisitioned. This order of
+patterns, moreover, includes certain species of textile effect not
+producible by having recourse to any other principle of weaving, but
+those appertaining to double-cloth combinations. Regarding the style
+of figuring feasible, it may be either elementary or elaborate in
+arrangement. Every description of ornamentation can be developed, from
+the simplest rectangular pattern to the most fantastic and complex
+blend of floral and other forms. It is this feature of this principle
+of design and colouring which makes it useful in the production of
+various kinds of reversible fabrics--textures figured and wearable on
+both sides, such as shawls, Austrian blankets or rugs, and carpets.
+Yet while the application of colour to these designs may yield these
+elaborate loom productions, the same scheme of colouring applied to
+the identical type of weave designs, may give such patterns as obtain
+in fancy trouserings, suitings, mantlings, and ulsterings of infinite
+variety of style. The structure and weave composition of these fabrics,
+and modes of gaining effects in them by colour, will be explained in
+detail later.
+
+80. _Colour in Designs in which the Figures are produced by the Weft
+Yarns._--In Group _C_ the Textiles mentioned are vestings, dresses,
+matelasses, and curl fabrics. This is an interesting type of weave
+design in which colour is of great utility in developing the integral
+parts of the figures composing the pattern. Warp yarns in these goods
+are only of secondary importance, the figured elements of the styles
+being solely the product of the weft yarns. These are, therefore, of
+various shades, while the warp is generally, although not necessarily,
+of one colour. Strictly speaking, these fabrics may be several fold in
+the weft, but they are invariably single in the warp. The extreme fancy
+character of the textures to which this principle of designing and
+colouring is applicable, is indicative of its scope. It is specially
+useful in fancy vesting styles, and is absolutely essential to the
+construction of one important class of matelasses, and also invaluable
+in the weaving of some kinds of curl cloths made for mantlings.
+
+81. _Figured Effects obtained by Warp Colouring._--This is the
+reverse of the preceding principle of intertexture. All the fabrics
+enumerated in Class _D_ are constructed on this system. They have one
+weft and several warps, the number of the latter varying according to
+the multiplicity of colours forming the pattern. Warp colouring is
+applicable to an extensive variety of fabrics. Commencing with the
+simplest type first, this system of colouring plays an important part
+in spotted designs, or patterns in which the distinguishing feature is
+a series of spots or minute specks of bright colours. These effects
+appear in suitings, mantlings, dresses, and cotton goods, including
+fabrics for small-ware purposes. Very elaborate dress styles are also
+figured by several sets of warp colourings. Here the weft is a sort of
+binding agent, uniting into one compact and firm fabric the various
+elements of warp colouring. Velvets and figured plushes, comprising
+astrachans and pile goods made in imitation of animal skins, in
+addition to Brussels, Axminster, and velvet-pile carpets, owe their
+design composition to the employment of two or more layers of warp
+threads.
+
+82. _Colour in Textiles Figured by both Warp and Weft Yarns._--This is
+the most comprehensive of all classes of textiles to which colour is
+related. The most elaborate patterns made in the loom, and the most
+costly, are the product of combining both warp and weft colouring. It
+is quite evident, on consulting Table VII. of the different types of
+textile colouring, that, in theory, the _E_ Group of fabrics results
+from combining the systems of weaving included in Groups _C_ and _D_,
+but, in practice, as subsequent analysis will demonstrate, other
+details of designing and colouring are involved in the execution of
+this class of fabrics than those here comprised. As this species of
+colouring finds expression in all the types of figured woven effects
+specialized in the above mentioned styles of fabrics, it is useless to
+attempt further classification. These styles are intricate in build and
+unique in principles of intertexture. Usually, they are neither purely
+double, nor yet purely single in construction, but embrace schemes of
+designing and colouring, such as may only be mastered by those who
+previously study the former fabrics to which colour is applied, and
+which are named in Table VII.
+
+[Illustration: FIG. 5.--_A_, _B_, _C_.]
+
+[Illustration: FIG. 5.--_D_, _E_, _F_.]
+
+83. _Pattern Design._--This style of pattern results solely from the
+methods of grouping fancy warp or weft yarns, or both these elements
+of textile fabrics. It may be appropriately designated “Colour” to
+distinguish it from “Weave” design; for, if the colours are removed
+from such patterns, all effect is destroyed. Colour here yields both
+the form of the design and the beauty of the style. No type of textile
+designing is more extensively utilized than this, for the styles
+resultant are characterized by neatness and by great utility. Pattern
+design relates not only to the artistic grouping or blending of shades,
+but to their arrangement. The latter is a factor which has to be suited
+to the build of the weave. The same plans of colours are capable of
+yielding quite distinct effects in two different weaves. Fig. 5, _A_,
+_B_, and _C_, and Fig. 5, _D_, _E_, and _F_, demonstrate this important
+principle of textile colouring. The weaves (marked ⊡’s for weft) are
+plain in Fig. 5, _A_, _B_, _C_, and [2\2] or cassimere twill in Fig. 5,
+_D_, _E_, _F_. The effects of different marks in the sketches, and also
+the methods of warping and wefting, or the order of colouring, are
+stated in the following Table:--
+
+                               TABLE VIII.
+
+  ILLUSTRATING THE EFFECTS ON THE PLAIN AND [2\2] TWILL WEAVES OF THE
+        CHANGING OF THE ORDER OF WARPING AND WEFTING.
+
+  ---------+-------------+-----------+---------------------------------+
+   Section.|    Warp.    |  Weft.    |    Effect in Sketches.          |
+  ---------+-------------+-----------+---------------------------------+
+  _A_ and ⎧|             |           |◻’s = white warp over white      |
+   _D_    ⎪|1 thread grey|White      |        weft.                    |
+  Fig. 5  ⎨|1   „   white|           |▥’s = grey warp over white weft  |
+          ⎪|             |           |⊡ = white weft over grey and     |
+          ⎩|             |           |       white warps.              |
+  ---------+-------------+-----------+---------------------------------+
+  _B_ and ⎧|   White     |1 pick grey|◻’s = white warp over grey and   |
+   _E_    ⎪|             |           |        white wefts.             |
+  Fig. 5  ⎨|             |1  „  white|▦’s = grey weft over white warp. |
+          ⎩|             |           |⊡’s = white weft over white warp.|
+  ---------+-------------+-----------+---------------------------------+
+    _C_   ⎧|1 thread grey|1 pick grey|◻’s = white warp over grey weft. |
+  Fig. 5  ⎨|1  „  white  |1  „  white|▥’s = grey warp over white weft. |
+          ⎪|             |           |⊡’s = white weft over white warp.|
+          ⎩|             |           |▦’s = grey weft over grey warp.  |
+  ---------+-------------+-----------+---------------------------------+
+          ⎧|1 thread grey|1 pick grey|◻’s = white warp over grey and   |
+    _F_   ⎪|             |           |        white wefts.             |
+  Fig. 5  ⎨|1   „ white  |1  „ white |▥’s = grey warp over grey and    |
+          ⎪|             |           |        white wefts.             |
+          ⎪|             |           |⊡’s = white weft over grey and   |
+          ⎪|             |           |        white warps.             |
+          ⎪|             |           |▤’s = grey weft over grey and    |
+          ⎩|             |           |        white warps.             |
+ ----------+-------------+-----------+---------------------------------+
+
+The arrangement of the yarns in the examples is the same, but the weave
+structures are dissimilar. The plain make so determines the crossing
+of the warp and weft yarns, that the white picks always float under the
+grey threads and over the white threads, while the grey picks always
+float under the white and over the grey threads, hence the solidity of
+the respective lines of colour is uninterrupted, and a pattern produced
+of a simple stripe order. Coming to the twill weave, it distributes the
+colours differently. Each pick floats over and under two threads at a
+time, so that the picks at every interlacing cover, or are covered,
+by both a grey and a white thread. Let it now be shown what is the
+result of this. Supposing the first thread and pick to be grey (Fig.
+5, _F_) and the second thread and pick white, then, if the effect of
+the interweaving of the first pick is traced, it will be obvious how
+it forms part of the minute diagonal pattern sketched in Fig. 5, _F_.
+This pick floats over a grey and a white, and then under a grey and a
+white thread, so that a small transverse line of grey is formed equal
+in length, not to a float over _two_, but _three_ threads, for although
+the extent of the weft float is two, yet the grey thread adjoining it
+enlarges it in effect to three. Next take the second pick. It floats
+over the second and third threads, and, being white, makes a transverse
+line of this shade of similar dimensions to the preceding pick,
+because the fourth thread in the warp is white, and in the texture is
+added to the two-weft float. If picks three and four are examined, it
+will be noticed that they give like results, only the positions of
+the small lines of colours are moved one thread in each case to the
+right, causing the diagonal effect in the fabric to move to the right.
+Analyzing the first and second threads, it will be seen that they make
+short vertical lines, equal in length to flushing over three picks in
+succession. Take the first thread, which is grey: it is depressed on
+the first pick, being covered by the grey pick, then up twice; the
+second thread is also down on the first pick, then down on the second
+pick, being covered by the white weft, and afterwards elevated over
+picks three and four, forming a float of white of the same size as if
+the thread had flushed over three succeeding picks.
+
+These illustrations show how the structure of the weave modifies the
+effect of the colours. This relation of weave to colour, as regards
+systems of arranging fancy shades, is one of the technical elements
+of textile colouring. Weaving principles cannot be ignored; they must
+always be considered, as they are capable both of destroying or of
+beautifying a set of colours.
+
+Pattern design also relates to the invention of novel methods of
+grouping fancy threads, or to the assortment and distribution of the
+several colours in both warp and weft. Independent of the somewhat
+subtle question of harmony of tints which has to be considered here,
+such schemes of blending warp and weft threads of appropriate colours
+have to be devised as will give various styles in the same order
+of colourings and the same weave. By a modification of the plan of
+combining the yarns great variety of pattern may be obtained. Even when
+limited to this mode of producing pattern in the loom, novelty and
+force of style is feasible. The simplest alteration in the grouping
+of the threads frequently gives quite a new cast to the design. There
+are three features of Pattern Design that are intimately associated
+with the character of the pattern originated: I. the selection of
+appropriate shades; II. their classification and arrangement as to
+quantity; and III. the invention of such a plan of combining these
+colours in the fabric as will be in accordance with the construction of
+the weave or design composing the cloth.
+
+84. _Styles due to Colouring only._--The patterns produced wholly by
+varying the plan of associating colours in textiles may in a general
+sense be grouped under four heads, viz., Stripes, Checks, Mixtures, and
+small Figured Effects. These designs obtain in a large variety in all
+kinds of materials.
+
+85. _Stripes._--Treating of each description of style analytically,
+stripe patterns may be primarily examined. They consist of bands or
+lines of different shades, varying in width, running lengthways of
+the fabric, that is, in the direction of the warp. The distinctive
+characteristic of a stripe is its line-like composition. All patterns
+of this order are nothing more than a blend of lines of divers shades
+and of various dimensions, extending from end to end of the piece. For
+trouserings, suitings, and some styles of dress and mantling cloths,
+no form of pattern is better adapted. The prominence of the several
+bands of colour, their solidity and distinctness, or their intermittent
+character and subdued or toned aspect, are all qualities depending on
+the structure of the fabric and its weave composition, which will be
+subsequently noticed. If the pattern in striped styles is principally a
+warp product, the weft is only a supplementary feature of the design,
+being employed, firstly, to bind the warp ends together and thus
+form a wearable fabric; and, secondly, to constitute an appropriate
+groundwork on which the warp colourings may be correctly developed.
+Proper emphasis of the colours composing the stripes is acquired by
+employing a suitable shade of weft, and by adopting that system of
+crossing or weaving which will, in addition to yielding the requisite
+strength and firmness of fabric, sufficiently interfere with the
+continuity of the fancy shades introduced into the warp. Stripes are
+of various dimensions and arrangements. Some are mere lines, and no
+wider than the diameter of the threads employed; others are many inches
+broad. One colour may be so introduced as to form bands of different
+widths. Thus, if brown and black were the colours at command, they
+could be so combined as to give styles of several descriptions in which
+the bands of the respective shades would always be of corresponding
+widths; or they might be combined on such a principle as to form sets
+of stripes of variable sizes. To a considerable extent, the character
+of these patterns is governed by the class of texture in which they
+appear. Instances of this occur in the various fabrics produced in the
+loom. Generally, for example, stripes for trouserings are not wide,
+but of small and medium sizes, and soft and neatly toned in colouring.
+For ulsterings, dresses, and mantlings, much broader effects, more
+elaborate in arrangement, and of greater force of colouring, are
+required. In cotton blouses, small styles are the most valuable, but in
+cotton fancies for dresses there are no definite limits to the width of
+the stripes and to the intricacy of the plan of colouring.
+
+86. _Checks._--These may be considered as forming the second great
+class of patterns in which colour is the all-important element. Of
+course reference is only made at this time to that type of check
+in which the weave is a simple factor. No allusion is made to, or
+consideration taken of, weave compounds which of themselves will form
+a species of check. The checks now being examined are those resulting
+from adopting the same or a similar order of weft as warp colouring.
+In other words, if the arrangement of warp yarns were 10 threads of
+black and 2 threads of white, the weft would be the same, forming a
+solid square of black, surrounded by a skeleton square of white. The
+term “check” is suggestive of the appearance of these styles and of the
+scheme of their construction. The warp colourings, however complicated
+in arrangement and diverse in composition, to produce a perfect check
+must be crossed or “checked,” as the operation is technically called,
+in precisely the same manner and by exactly the same shades in the
+weft. The plaids on Plates V. and X. are typical examples of the
+principles of checking. Here it is evident that each set of colours in
+the warp when woven with corresponding shades of weft forms a square
+of colour perfectly solid. The blue threads of warp and weft make blue
+checks; the green, squares of this colour; and the black and yellow
+also checks of these shades. The size of the check is determined by
+the mode of grouping the yarns, the coarseness of the texture, and the
+thickness of the yarns of which it is composed. Many of the principles
+of woven colouring applicable to stripes also apply to checks, which
+strictly speaking are patterns striped both in transverse and lineal
+directions.
+
+87. _Mixtures._--The mixtures implied here may be defined as small
+all-over effects in which the various colours used are so fully
+co-mingled that the particular part played by any one colour is not
+observable. They require the most mellow treatment of all coloured
+styles. Nothing of a loud character succeeds, nor appears attractive
+in these textures. Mellow, smart, and choice combinations are desired.
+The pattern should present not so much a patchy, as a rich and tinted
+appearance--every colour utilized in its formation associating with
+its neighbours to compose one indefinite blend of minute effects. To
+produce styles of this order no single colour should be distinct and
+louder than the rest, nor be allowed to intrude on the eye more than
+another--complete harmony of colouring and uniformity of tone are
+absolutely essential. But one shade more pronounced in tint or more
+powerful in hue--being of a deeper intensity than its associates--is
+sufficient to destroy the beauty of the whole combination. This being
+the case, the system of mixing the several shades must be such that
+all colours will be equally emphasized; for evidently lack of equality
+in the prominence of the various colour elements amalgamated, destroys
+the essential character of these useful and valuable styles.
+
+Mixtures obtain principally in woollen yarns, whose fibrous surfaces
+are well adapted for mixing the hues combined thoroughly, and without
+producing a fabric in which the colours form patches or spangles of
+variable sizes and shapes. All mixture effects are minute in character,
+and are produced for suitings, dress fabrics, etc. In softness and
+mellowness of tinting, these are not comparable with similar styles
+resulting from using mixture yarns, but they form such an important
+description of woven pattern as to deserve specific analysis.
+
+In Donegal (Pattern 1, Plate XXVI.) and other extreme fancy mixtures,
+specks of bright colour are obtained in the yarn, which give richness
+of character without that complete mixing of fibres which is the
+ordinary style of blend.
+
+88. _Figures._--Necessarily these are very minute in dimensions and
+limited in form. Perhaps they might be also appropriately designated
+spotted patterns, but as the figures are of definable shapes, and are
+arranged on various bases, the former term appears the more suitable.
+This species of colouring is applied to cotton and woollen and
+worsted fabrics. Invariably the weaves are of an elementary grade. In
+these, neat and minutely figured styles are developed in considerable
+variety. Thus in the plain weave alone, several distinct patterns are
+obtainable; while in the celtic, or mat, and in the cassimere and
+six-end twills somewhat more broken-up figuring is acquired, which for
+some makes of cloths is preferable to designs consisting of pronounced
+and decided forms.
+
+  [Illustration:
+                                Plate XV
+
+                            REGULAR STRIPES
+                      1. and 2. Two-Colour Patterns
+                         3. Four-Colour Pattern]
+
+89. _Classes of Striped Patterns._--All kinds of striped patterns may
+be comprised in two classes, namely, Regular and Irregular styles.
+In the former (Fig. 11, _A_, and Fig. 12, _A_) the bands of colours,
+however numerous they may be, are of equal widths, but in the latter
+(Figs. 11 and 12, _B_, _C_, _D_, etc.) they vary to an indefinite
+extent. The several species of stripes resulting from blending colours
+will be treated of as follows:--
+
+                              I. REGULAR STRIPES.
+
+  (_a_) Hairlines.
+  (_b_) Stripes of two colours.
+  (_c_) Stripes of three or more colours.
+
+                            II. IRREGULAR STRIPES.
+
+  (_d_) Patterns of two colours.
+  (_e_) Patterns of three or more colours.
+  (_f_) Shaded patterns composed of several colours.
+
+[Illustration: FIG. 6.]
+
+[Illustration: FIG. 7.]
+
+90. _Hairlines._--These are the smallest striped patterns produced.
+The real hairline is composed of two colours, and is made extensively
+in woollen and worsted materials, but is also produced in cotton and
+other yarns. Standard hairlines are produced in the plain weave,
+prunelle, [3/1] twill, and the five-end sateen: also in mat and
+specially-constructed weaves. In the prunelle, three-line, in the [3/1]
+twill, four-line, and in the five-end sateen, five-line, or five-colour
+patterns are producible.
+
+91. _Compound Hairlines._--These consist (1) of two or more widths of
+lines with each grouped in series, of which Figs. 6 and 7, and Figs.
+8 and 9 are types; (2) of hairline stripes combined with fancy, and
+irregular effects. Figs. 6 and 7 are both woven in the broken [3/1]
+twill, the former being coloured two-and-two in section _A_, 2 black,
+2 twist in section _B_, and one-and-one in section _C_, the broad line
+of white being formed by grouping three white threads together. Fig.
+7 is a compound of one-and-one and two-and-two warping, making the
+respective stripes _A_ and _B_, which might be of any width and grouped
+together in various forms.
+
+[Illustration: FIG. 8.]
+
+[Illustration: FIG. 9.]
+
+Fig. 8 is developed in mat weaves, arranged to produce two-and-two and
+four-and-four stripings, grouped as sketched. Fig. 9 is a compound of
+hairline effect, one-and-one warping in the broken [3/1] twill, section
+_A_, and of two-and-two warping in the [2/2] twill, section _B_, with a
+fancy twist stripe, _C_, on the latter.
+
+92. _Stripes composed of Longitudinal and Transverse Lines._--This
+pattern--sketched in Fig. 10--is a derivative of the common
+single-cloth hairline. It is due to changing the positions of the
+colours in relation to the intersections of the weave. Analysis of the
+fabric shows that in Sections _A_ the light threads float _over_ the
+light picks and the dark threads _over_ the dark picks; whereas in
+Parts _B_ the opposite rule obtains, viz., the light threads float
+_under_ the light picks and the dark threads _under_ the dark picks. As
+a consequence, the lines of colours in _A_ are vertical, while those in
+_B_ are horizontal. This arrangement of pattern is entirely due to the
+system of warp colouring, which is as follows:--
+
+          1 thread of grey.⎫ _A._
+          1   „  white.    ⎭
+          1   „  white.    ⎫ _B._
+          1   „  grey.     ⎭
+
+The weft is 1 pick of white and 1 pick of grey throughout the pattern.
+Now as the plain weave has been employed, and is arranged to allow the
+white and grey threads in _B_ to be crossed or covered by corresponding
+picks, it causes the same threads in _A_ to float over the respective
+picks, producing this useful form of stripe, which is applicable to
+similar goods as those for which particulars are supplied in the
+preceding paragraph.
+
+[Illustration: FIG. 10.]
+
+93. _Stripes composed of Two Colours._--These are included in the
+elementary colour effects. A minimum amount of technical skill is
+requisite to their construction. The art of producing patterns of this
+description is confined to the selection and adjustment of appropriate
+shades. An illustration in the Regular order of stripes is given in No.
+1, Plate XV. It is an Oxford shirting, the order of colouring being
+thus:--
+
+               _Warp._                     _Weft._
+          16 threads of white.            All white.
+          16   „  blue.
+
+Such shades and tints as the following would form good patterns: No. 6,
+Plate IV., and white; No. 10, Plate IV., and white; and Nos. 12 and 16,
+Plate VI., and white. In each case white should be used for weft.
+
+[Illustration:  FIG. 11.--Stripe Patterns in Two Shades.]
+
+This class of pattern is largely applied to woollen and worsted
+textures. No. 2 on Plate XV. is an example. This style has been
+produced in the five-end doeskin and has a dress-face finish. The
+arrangement of colours is:--
+
+                      _Warp._
+          10 threads of 20 skeins olive.
+          10   „       „      „  light olive.
+
+                      _Weft._
+          20 skeins olive.
+
+Without multiplying illustrations, it will be evident how considerable
+diversity of styles is attainable on this system by varying the width
+of the stripes and the colours employed.
+
+Specimens of Irregular stripes in two shades are given in Fig. 11,
+_B_, _C_, _D_, _E_, _F_, consisting of lines of different sizes in
+two shades. It will be seen from these that the method of grouping
+the lines, as well as the dimensions, determine the form of pattern
+produced.
+
+[Illustration: Fig. 12.--Stripe Patterns in Three Shades.]
+
+94. _Stripes composed of Three or More Colours_ (Fig. 12, _B_, _C_,
+_D_, and _E_).--As a larger number of shade elements enters into this
+kind of stripe than that just described, it follows that the patterns
+are somewhat more intricate in composition. Yet, as the weaves used
+are invariably of the simplest type, and the widths of the stripes of
+different shades in the patterns may be the same, little technical
+complication occurs in their production. One illustration will
+sufficiently indicate the nature of this type (Regular stripes) of
+woven colouring, No. 3 on Plate XV. Four shades are present in this
+fabric--blue, tan, slate, and crimson. The dark blue runs against
+all the shades and in this way an appropriate ground is produced on
+which the various shades may be developed. If slate were made the
+ground colour a totally different pattern would result; by changing the
+positions of the shades in this manner, a considerable range of styles
+is producible. These coloured examples and the forms of pattern in Fig.
+12, show that this principle of colouring admits of extensive diversity
+of composition.
+
+[Illustration: FIG. 13.]
+
+95. _Irregular Stripes composed of Black and White Yarns._--These
+patterns are far more diversified in construction than regular styles.
+Even when limited to the use of these shades, a great variety of design
+arrangement may be practised. The line stripe effects (Fig. 13) are
+woven in warp-face weaves, such as the ten-heald buckskin (Fig. 13A)
+and weaves of the cord and corkscrew type. The warp colouring for the
+upper pattern is--
+
+  38 threads of 2-fold 60’s black worsted,
+   2     „      fine white silk, or worsted and silk twist,
+
+the weft being a dark shade. Of course, any other two shades might be
+employed, _e.g._, Nos. 1 and 3, Plate IV., and No. 13 and No. 15, Plate
+VI.
+
+[Illustration: FIG. 13A.]
+
+As illustrative of the different effects that may be obtained in the
+same shades, Fig. 14 may be compared with the previous styles. It is a
+pattern over an inch in width, and composed of bands of three sizes.
+There are, first, bands _A_, containing twelve threads each; then bands
+_b_, containing six threads each; and, lastly, the small lines of white
+of two threads each. There are twelve white stripes: eleven stripes
+_b_, and one stripe of _A_, in each repeat of the pattern. Both this
+style, and those in Fig. 13, are of a decided character.
+
+[Illustration: FIG. 14.]
+
+Another type is that given in Fig. 14A. The dark grey, the grey,
+and the check lines of grey and white, all vary in size. There are,
+therefore, three types of effect; the centre stripe _A_ has a dark
+line on each side adjoining the check stripe _B_; then follow stripes
+of grey and dark grey, gradually decreasing in size to line _C_, this
+being the order adopted on either side of the centre or leading stripe
+_A_. In one sense, this pattern is on the graduated principle of
+combining lines of different widths, and working in two colours at each
+change. Stripes in three shades may also be formed on the same base.
+
+[Illustration: FIG. 14A.]
+
+96. _Irregular and Indefinite Stripes in Two Colours._--No. 1, Plate
+XVI., is, in one particular, constructed on a similar principle to the
+last illustration, for it contains a series of small stripes, nine in
+number, which in combination form one broad band; and then follows
+a small band of brown, each repetition of which determines the size
+of the pattern. It is a style adapted to lawn tennis trouserings,
+flannels, and cotton fabrics. Though there is a marked contrast in the
+shades, yet the design is somewhat mellow and subdued. The arrangement
+of the warp colours is--
+
+  6 threads of white.  ⎫
+  1 thread of brown.   ⎬ For 36 threads.
+  1    „      white.   ⎪
+  1    „      brown.   ⎭
+  6 threads of white.
+  3   „       brown.
+
+The occurrence of the three threads of brown after each forty-two
+threads causes the pattern to appear nearly an inch wide. If the centre
+end of these three threads were changed to white, the whole pattern
+would be like the part bracketed _A_; showing what a small item may
+modify the character of such styles. The white thread between the
+browns imparts the indefinite cast to the stripe. If this were removed
+the design would be pronounced and decided in arrangement. Indefinite
+stripes invariably result from distributing the colours in minute
+quantities in the fabric.
+
+  [Illustration:
+                               Plate XVI
+
+                       FORMS OF IRREGULAR STRIPES
+                    1. Tennis Stripe
+                    2. Shaded Stripe
+                    3. Compound of Ordinary and Shaded Stripes]
+
+97. _Irregular Stripes--Shades in Two Colours._--The principle of
+shading by colour yields a very useful range of woven patterns. These
+obtain in fancy dress fabrics, ulsterings, cottons, and, in small
+styles, in trouserings; just as shades are acquired in black and white
+in sketching, they may be produced in fabrics in any two colours by
+softly gradating one into the other. Generally an ordinary twilled
+weave is employed, and two colours of warp yarns, one of which must
+be dark and the other of a light shade. Thus, a shaded stripe of
+blue may be produced in the Venetian twill by grouping blue and white
+threads together, according to the plan given below:--
+
+  4 threads of blue cotton.
+  1 thread of white   „
+  3 threads of blue   „
+  2    „       white  „
+  2    „       blue   „
+  3    „       white  „
+  1 thread of blue cotton.
+  4 threads of white  „
+  2    „       blue   „
+  3    „       white  „
+  3    „       blue   „
+  2    „       white  „
+
+This forms a lightened shade of blue. If black were used, a darkened
+shade of this colour would ensue. Any two colours of the same hue, but
+of different intensities, such as dark brown and medium brown, drab and
+light drab, when arranged on this principle, produce effective patterns.
+
+98. _Shaded Stripes in Two Colours._--Two excellent styles shaded
+on this system are supplied in Nos. 2 and 3, Plate XVI. The former
+consists of broad bands of fawn, and small bands of scarlet and white,
+and blue and white shades. The order of warping being--
+
+  4 threads of colour (red or blue).
+  1 thread of white.
+  3 threads of colour.
+  1 thread of white.
+  3 threads of colour.
+  1 thread of white.
+  2 threads of colour.
+  1 thread of white.
+  2 threads of colour.
+  1 thread of white.
+  1   „       colour.
+  1   „       white.
+  4 threads of colour.
+  1 thread of white.
+  1   „       colour.
+  1   „       white.
+  2 threads of colour.
+  1 thread of white.
+  2 threads of colour.
+  1 thread of white.
+  3 threads of colour.
+  1 thread of white.
+  3 threads of colour.
+  1 thread of white.
+  1¼ inches of fawn.
+
+Next, consider No. 3, Plate XVI., a style containing a shaded stripe of
+more than an inch in width. While the principle of construction is the
+same as in the preceding example, it is more intricate in arrangement,
+and comprises a larger group of threads. It is as follows:--
+
+Blue and white stripe, Section _B_ of No. 3, Plate XVI.
+
+          8 threads of blue. ⎫  For 56 threads.
+          8   „        white.⎭
+
+Shade of red, Section _A_ of No. 3, Plate XVI.
+
+          5 threads of white.
+          1 thread of red.
+          4 threads of white.
+          1 thread of red.
+          4 threads of white.
+          1 thread of red.
+          3 threads of white. ⎫  For 16 threads.
+          1 thread of red.    ⎭
+          2 threads of white.  ⎫  For 12 threads.
+          1 thread of red.     ⎭
+          1   „       white.
+          1   „       red.
+          1   „       white.
+          1   „       red.
+          1   „       white.
+          2 threads of red.  ⎫ For 12 threads ↠ _C_
+          1 thread of white. ⎭
+          3 threads of red.   ⎫ For 16 threads.
+          1 thread of white,  ⎭
+          4 threads of red.
+          1 thread of white.
+          4 threads of red.
+          1 thread of white.
+          4 threads of red.
+          1 thread of white.
+          5 threads of red. ↠ _D_
+          1 thread of white.
+          4 threads of red.
+          1 thread of white.
+          4 threads of red.
+          1 thread of white.
+          3 threads of red.   ⎫  For 16 threads.
+          1 thread of white.  ⎭
+          2 threads of red.    ⎫  For 12 threads.
+          1 thread of white.   ⎭
+          1   „       red.
+          1   „       white.
+          1   „       red.
+          1   „       white.
+          1   „       red.    ⎫ For 12 threads ↠ _E_
+          2 threads of white. ⎭
+          1 thread of red.     ⎫ For 16 threads.
+          3 threads of white.  ⎭
+          1 thread of red.
+          4 threads of white.
+          1 thread of red.
+          4 threads of white.
+          1 thread of red.
+          5 threads of white.
+
+Section _B_ of No. 3, Plate XVI.
+
+          8 threads of blue.  ⎫ For 56 threads.
+          8   „        white. ⎭
+          1¼ inches of drab.
+
+By this arrangement an elaborate shade is formed in two colours in
+Section _A_. It commences with a maximum degree of white, which
+gradually diminishes until a maximum quantity of red is acquired, when
+a similar decrease of red and an increase of white occurs, until the
+maximum white quantity is again reached. An analysis of the plan of
+colouring may explain how the softly-toned result has been produced.
+This commences with a 5 of white, then follows a 4 of white, and
+subsequently 3, 2, and 1 of white. Meantime the red has remained
+unaltered. At _C_ a change takes place. Now the red begins to augment
+in quantity, while the white factor is invariable, consisting of one
+thread only. The red starts at this point _C_ with 2, then 3, 4, and
+5 in succession. Here the maximum intensity of this hue is reached.
+(See _D_ in the order of colours.) From _D_ to _E_ the red factor of
+the shade decreases, and from _E_ to the end of the pattern the white
+increases. While the gradation of tinting in this pattern is complete,
+both sides of the shade are exactly symmetrical.
+
+This style of striping might be adopted in fine cotton, silk, and
+worsted fabrics; other colours than those appearing in the illustration
+being of course employed.
+
+99. _Irregular Stripes containing Several Colours._--In this class of
+stripe are included many of the neatest patterns woven. Such stripes
+are generally mellow in colouring, and ingeniously diversified in
+arrangement. A number of shades may be combined, but the patterns
+should always be characterized by softness of tone.
+
+This scheme of textile colouring is so important that further
+illustrations will be considered, two styles in dark, and two in
+light colours. Patterns 1 and 2, Plate XVII., show subdued stripings
+applicable to tweeds and similar fabrics, and in which there is
+diversity of line and of colour. No. 1 has a broad stripe _A_, on
+which there are lines of red, with the bulk of the stripe consisting
+of one-and-one colouring, and a second stripe _B_, of light olive. The
+warping and wefting are--
+
+                            _Warp._
+
+              White 1 ⎫  26 ⎧  1  1  1  1  1  1 ⎫ 24
+              Black 1 ⎭     ⎩  -  1  1  1  -  1 ⎭
+              Red        -     1  -  -  -  1  -
+              Olive      -     -  -  -  -  -  4
+
+                            _Weft._
+              Black 38  7
+              Red    1  1
+
+from which it will be seen that there are four colours with three types
+of stripes, the large stripe, the single-thread stripes in red, and the
+small stripe in light olive.
+
+Pattern 2 is more diversified, and consists of the following warping
+and wefting:--
+
+                                    _Warp._
+
+  Green and white twist  1 1 1 1 1 1 1 1 1 - - 1 1 1 1 1 1 1 1 1 - -
+  White                  1 1 1 - - - - - - - - 1 1 1 - - - - - - - -
+  Slate                  - - - 1 1 1 - - - - - - - - - - 1 - - - - -
+  Silk                   - - - - - - 1 1 1 - - - - - - - - 1 1 1 - -
+  Orange and white twist - - - - - - - - 1 1 1 - - - - - - - - 1 1 1
+  Fawn                   - - - - - - - - 1 1 1 - - - - - - - - 1 1 1
+  Red                    - - - - - - - - - - - - - - 1 1 - - - - - -
+                        \~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~/
+                               Twice.
+
+                                    _Weft._
+
+  Black      98  1
+  Red         1  1
+
+In the warp alone there are no less than seven colours, grouped to give
+harmony, as well as richness of style. Red, orange, and green twist are
+used, but no one colour has greater prominence than another; though the
+white silk threads form a feature of the pattern, the other colours
+blend and tone into each other. There is intermingling of colouring and
+of shades blending together, but the stripe characteristic is prevalent.
+
+No. 2, Plate XVIII., is a style in silk in which five varieties of
+lines are combined, the ground being white, stripe _A_, with two widths
+of lines of heliotrope, _B_ and _C_; lines in green, _D_, and in pink,
+_E_. The diversity of lines adds to the richness of the pattern. Had
+they been equal in size, there would have been stiffness of form and
+want of harmony of colour. The green and the pink would have been too
+pronounced in tone, but by adapting the width of the stripe to the
+brightness of colour, harmony and contrast are maintained.
+
+No. 1, Plate XVIII., is still richer in colouring and in variety of
+stripe. There is, first, the simple striping of crimson and white in
+a series of lines, section _A_, with edging colour of gold of similar
+width. This is one pattern in itself, but in order to combine it with
+the second stripe _B_, without colour impinging upon colour, there is
+down either side dividing lines in white. Stripe _B_ consists of four
+sizes of lines in addition to the white, in pale blue, pink, gold, and
+sage green. Again, there is variety of line with diversity of hue, the
+sizes of the stripes having been well worked out in proportion to the
+brightness of hue.
+
+In such examples as Nos. 1 and 2, the style of striping has two
+applications: first, in other colours of the same depth and degree of
+contrast as those in the patterns, and second, in lesser or larger
+quantities of each colour, maintaining the same relative proportionate
+sizes of the lines.
+
+100. _Shaded Stripes in Several Colours._--Another system of shading,
+besides that already illustrated, consists in employing several shades
+of yarns of the same hue. For instance, to form a brown shade by this
+method, at least three or five tones--the larger the number the better,
+and the more complete the gradation--of this colour would be required,
+such as very dark, dark, medium, light, and very light brown. Each
+shade should be continued for a suitable number of threads, taking
+them in succession, and running from dark to light, and _vice versâ_.
+But to obtain diversity of colouring in shaded styles economically,
+other methods are adopted besides this. An illustration in which the
+two methods are combined is given in No. 3, Plate XVIII. This is a
+compound of colours which gives shading in two varieties: first, that
+formed in the broad band _A_, in which there is a gradation from fine
+pink and deep maroon lines at the edges to lines increasing in width to
+the centre; and, second, the shaded stripe in green with fawn edges.
+The style is similar in principle to Pattern 3, Plate XVI., with the
+shading in section _B_ more graduated, the green warp running from a
+pale green at the edges to a deep green in the centre. In section _A_
+the shading is due to the change in the grouping of the colours, and in
+_B_ to the use of several tints of colour. The colour contrasts are in
+tone in stripe _A_, and also in _B_, and in hue between _A_ and _B_,
+the whole pattern possessing harmony of colouring.
+
+
+
+
+                                 CHAPTER VII.
+
+                                CHECK PATTERNS.
+
+     101. Utility of Check Styles--102. Principles of
+     Checking--103. Several Styles of Checks. CHECKS COMPOSED
+     OF TWO COLOURS--104. Forms of Checking in Two Shades--105.
+     Common Check--106. Modification of Common Check--107. Check
+     consisting of Two Sizes of Squares--108. Pattern composed
+     of Solid Squares and of an Over-check--109. Counter-change
+     Check--110. Compound Checking--111. Gradated Check--112.
+     Broken Check in Two Colours--113. Basket Check. CHECKS
+     COMPOSED OF THREE OR MORE COLOURS--114. Principle of
+     Checking with Three Colours--115. Ordinary Three-shade
+     Check--116. Set Check--117. Compound Checking in Three
+     Shades--118. Counter-change Check in Three Shades--119.
+     Interchanging Check--120. Counter-change with Over-check.
+     SHADED AND IRREGULAR CHECKS--121. Shaded Check in Black and
+     White in Cassimere Twill--122. Shaded Check in Two Colours
+     due to using Designs composed of Various Weaves--123.
+     Irregular and Mixture Checks--124. Fancy Broken Check--125.
+     Examples in the Colouring of Tartans--126. Types of
+     Tartans--127. Two-colour Plaids--128. Three-colour
+     Plaids--129. Four-colour Plaids--130. Five-, Six-, and
+     Seven-colour Plaids.
+
+
+101. _Utility of Check Styles._--Checks form one of the commonest types
+of patterns developed in woven goods. They obtain in all species of
+colouring, such as subdued and tempered shades, and bright and lustrous
+tints. They are characterized by diversification of arrangement,
+outline, and dimensions. As a rule, the check styles appearing in
+cotton, silk, and worsted yarns are clearer in pattern than those
+produced in woollen fabrics, which are frequently more or less
+indistinct and intermingled in composition. Possibly no form of design
+or method of grouping shades is more extensively worked than that of
+checking. It affords scope for novelty of pattern construction. Figured
+goods occasionally possess a checked surface of mellow colouring, on
+which the floral or geometrical design is distributed. Not infrequently
+this check groundwork enhances the fabric and pattern in which it
+occurs, giving diversity of surface to the former, and developing with
+suitable precision the integral parts of the latter. But in addition
+to this principle of textile design being utilized in figured fabrics
+according to the system indicated, it is adopted in the construction
+of a wide series of styles. Shawls, mantlings, shirtings, flannels,
+suitings, coatings, dress fabrics, and other classes of textiles
+are coloured with this description of pattern. For dress materials
+and shawls, tartan and plaid checks are produced in a great variety
+of shades and systems of blending; in tweeds, ulsterings, and Irish
+homespuns, somewhat loud and broad checkings are applied, generally
+soft in colouring. When suitings and coatings are considered, the
+checks are usually small in size and neat in colour.
+
+Checks vary in size and form from minute squares to patterns consisting
+of solid squares of colour several inches in a repeat; and from compact
+rectangular spaces of colour to intermingled line patterns, but which
+still form a decided square or check design.
+
+102. _Principles of Checking._--There are many systems of checking,
+yet there are some principles of construction common to every class
+of check pattern. For example, whatever plan of colourings obtains in
+the warp, in order to make a perfect check the same set of colourings
+must be employed in the weft. This is the ordinary method of checking;
+it is the crossing of the warp shades with corresponding weft shades
+which constitutes the square or check divisions. All checks are formed
+of rectangular spaces of colours. Such designs may be defined as
+compositions of squares of various sizes, of distinct shades fitting
+into each other to form a complete pattern. When producing these
+styles, the first work to be accomplished is the arrangement of the
+warp threads, which will determine the plan of the check. Supposing
+this to be, for instance, the pattern given in Fig. 14 on page 111,
+then, in order to convert it into a check, the same order of wefting
+as warping would require to be adopted, which would yield a large
+check of black--formed by the eight ends of this shade in the warp and
+weft--filled in with a series of outline checks of white surrounding
+solid squares of black; or consider the tartan plaid given on Plate
+X. It is a plaid comprising in each repeat several sets of checks
+or square divisions. First, there are the line checks of yellow,
+lavender, dark green, and white; second, the squares of blue; third,
+the squares of scarlet; and fourth, the main checks of green. These
+various squares are so combined as to make a perfect pattern, or one
+in which each rectangular space neatly fits into the squares of colour
+with which it interchanges. In producing such a fabric, the system of
+colouring the warp is primarily determined as indicated, the wefting
+being a counterpart of it; though not necessarily so, because the idea
+is rather to maintain the clear squares of colour than precisely the
+same number of shots or picks as threads per inch.
+
+  [Illustration:
+                               Plate XVII
+                             FANCY TWEEDS]
+
+It will be obvious that on this principle any form of check may be
+acquired; for by colouring, say, the shaded stripes given on Plate
+XVI. in the weft as in the warp, shaded checks would result. There is,
+however, one technicality to be considered, which adds to the intricacy
+of this kind of pattern construction, namely, the weave of the fabric.
+So long as the weaves employed, float the warp and weft equally and
+regularly on the respective sides of the fabric, the same balance of
+colouring is acquired in both the direction of the warp and weft; but
+should the weave bring more warp than weft, or more weft than warp, on
+to the face, then whichever factor predominates, it will be impossible
+to obtain a check style in which both the warp and the weft colouring
+will be equally pronounced. If, for instance, Fig. 13 were changed
+into a check, in order to obtain the same precision of white colouring
+across as lengthways of the piece, some alteration in the structure of
+the weave would be necessary. This will be evident on consulting Fig.
+13A, the plan of the weave of this striped fabric. It will be observed
+that this weave floats ⅘ths of the warp to ⅕th of the weft on the
+face; hence, if it should be used as here given, and the same order of
+colouring practised in the weft as in the warp, the white lines in the
+weft would be less distinct on the face than on the back of the cloth,
+for they only cover one thread out of five. To get a similar prominence
+of white in the weft as is seen in the warp of the fabric, the weave
+would have to be extended to twenty threads and picks, and the 19th and
+20th picks modified in such a manner as to bring ⅘ths of the weft ⅕th
+of the warp on the face of the texture. When, as in common twills and
+other simple weaves, there are equal quantities of warp and weft yarns
+appearing on both sides of the fabric, no difficulties of this kind
+arise in converting a stripe into a check pattern.
+
+There are various kinds of “broken” checks in which the combination
+of warp shades is made to appear like a check by weaving it with some
+order of weft colouring which, while forming a series of transverse
+lines of colour, will develop the fancy yarns in the warp which
+constitute the main element of such patterns. These, as well as other
+recognized types of checking, which are particularly effective in the
+woven fabric, and illustrative of the general principles of this class
+of textile colouring, will now be described.
+
+103. _Several Styles of Checks._--Check patterns may be classified
+under three heads, as follows:--
+
+    I. Checks composed of Two Colours.
+   II. Checks composed of Three or more Colours.
+  III. Shaded and Irregular Checks.
+
+A considerable range of patterns is obtained in two shades; if the
+principles of checking with two shades are fully mastered, the more
+advanced species of check designs in which a large variety of colours
+obtains, will be readily understood. Indeed, it may be said that checks
+of three or more colours are elaborations of two-shade patterns. When
+a diversity of colours is employed, it does not follow that large
+quantities of each shade are used, but as a rule two shades compose
+the general cast of the pattern, while the additional hues are so
+many brightening factors. The art of checking consists in the skilful
+application of two or more shades, so that several useful schemes of
+grouping the threads in such patterns may be considered separately.
+
+Intermingled and irregular checks are composed of square spaces of
+colour lacking clearness of character, and are useful for tweeds and
+certain classes of worsted goods.
+
+
+                        CHECKS COMPOSED OF TWO COLOURS.
+
+104. _Forms of Checking in Two Shades._--These are illustrated in Figs.
+15 to 23 inclusive. The illustrations furnished are typical of the
+different systems of combining two shades in making check patterns.
+The forms of checking are, strictly speaking, unlimited. Beginning with
+the smallest check, consisting of two ends of a dark and two ends of a
+light shade alternately, the forms increase in intricacy and dimensions
+until patterns of several inches in size, and comprising several types
+of checking, are acquired.
+
+105. _Common Check._--The commonest form of check is given in Fig. 15.
+It results from arranging the warp and weft threads as follows:--
+
+          8 or any number of threads of black.
+          8     „     „          „      white.
+
+Of course the number of threads of each colour, as well as the shades,
+may be varied. This style of check is worked in shepherd plaids and in
+other patterns, and in all kinds of materials. The weaves generally
+employed are plain, cassimere twill, and mat, each make giving suitable
+clearness to the colours.
+
+[Illustration: FIG. 15.]
+
+[Illustration: FIG. 16.]
+
+106. _Modification of Common Check._--Fig. 16 shows how, by a simple
+variation in the order of colouring the common check, it may be changed
+in character. This modification destroys the stiffness of the pattern.
+The plan of colouring in this example is as follows:--
+
+  8 threads of black.      8 threads of white.
+  2     „      white.      2     „      black.
+  8     „      black.      8     „      white.
+
+An outline check of black is thus arranged to divide the squares of
+white into four sections, and an outline check of white to similarly
+divide the squares of black. It is a neat and useful form of pattern.
+Though only consisting of two shades, it comprises five effects,
+namely, solid squares of black, white, and squares of black and white
+equally mixed; and also of outline checks of black and white. Other
+colours besides those in which it is sketched are used in great
+variety, and it is a style applied with satisfactory results to rugs,
+shawls, dresses, cottons, woollens, and worsteds, being altered in size
+in the several fabrics according to the degree of loudness required.
+
+[Illustration: FIG. 17.]
+
+[Illustration: FIG. 18.]
+
+107. _Check consisting of Two Sizes of Squares._--Another valuable form
+of check, and one that is extensively utilized, is that in Fig. 17. It
+is a combination of two sets of squares of different sizes; it is given
+in the most elementary form, the plan of colouring being twelve threads
+of black and six threads of white, but it is rarely employed without
+being subjected to various modifications. Some of these modifications
+may be alluded to. In the first example, the large checks of black, and
+also of white, are bisected. This is done without increasing the shade,
+as follows (Fig. 18):--
+
+          5 threads of black.      2 threads of white.
+          2     „      white.      2     „      black.
+          5     „      black.      2     „      white.
+
+In this way, the stiffness of the pattern is removed and a check
+obtained on the same base, but containing fuller variation of
+construction. Secondly, the square of black might be warped and
+woven thread and thread, while the square of white should remain
+solid, making a pattern suitable for flannel shirtings. One further
+modification to which this style is subjective, consists in bisecting
+the square of black or of white, but preferably the former, because it
+contains the largest number of threads.
+
+[Illustration: FIG. 19.]
+
+[Illustration: FIG. 20.]
+
+108. _Pattern composed of Solid Squares and of an Overcheck._--An
+over-check is a small line of colour forming a skeleton square, filled
+in with solid squares of several shades. This base--illustrated in
+Fig. 19--is employed in dress fabrics, shawls, and ulsterings, and, in
+small effects, in suitings and mantlings. The yarns are arranged--4
+threads of black, 2 threads of white, 4 threads of black, 10 threads of
+white, 10 threads of black, and 10 threads of white. The characteristic
+feature here is that only every alternate square of black is bisected,
+causing the small line of white which divides it to form an over-check
+equal in size to four of the black or white squares. This outline or
+skeleton check contains one solid square of black, four squares of
+white, and four squares of black and white twilled. It is a plan of
+checking well adapted for plaids produced in two shades, and in such
+colours as blue and white, black and red, tan and medium blue (Nos. 2
+and 7, Plate IV.), and lavender (No. 10, Plate IV.), and lilac (No. 16,
+Plate VI.). Fig. 19 is but a modification of the common check supplied
+in Fig. 15; for if the over-check were removed it would be reduced to
+precisely the same pattern. To obtain a change in this style, one of
+the squares of white is bisected with fine lines of black, leaving one
+black and one white check perfectly solid, but dividing one of the
+white checks into four equal sections. The order of colouring in such
+an instance would be thus (Fig. 20):--
+
+       10 threads of white.        4 threads of white.
+       10      „     black.        4      „     black.
+        4      „     white.        2      „     white.
+        2      „     black.        4      „     black.
+
+This modified arrangement of Fig. 19 is one that is adopted in making
+this description of check in larger numbers of threads than here given,
+say twenty threads instead of the tens, and the other numbers similarly
+doubled. Patterns of these dimensions are mostly produced in bright or
+delicate colours for fabrics in fine worsted and cotton yarns.
+
+[Illustration: FIG. 21.]
+
+[Illustration: FIG. 22.]
+
+109. _Counter-change Check._--A counter-change check is a pattern in
+which the several sets of squares are exactly reversed; thus, in Fig.
+21, the checks included in the bracket 1 are just the opposite in
+shade, but of the same size, as those grouped in bracket 2. It will be
+noticed that the principal square of black has one square of white at
+each corner, while the principal square of white has one small square
+of black at each corner, forming the counter-change which gives this
+species of checking its designation. The arrangement as here given,
+obtains development in various materials. It is modified in size
+according to the fabric to which it is applied. The colourings may be
+grouped as below:--
+
+        8 threads of black.        8 threads of white.
+        8     „      white.        8     „      black.
+       16     „      black.       16     „      white.
+
+The style lends itself to numerous schemes of modification, but two or
+three can only be named. Firstly, bisect the large squares of black
+with small lines of white, and the large squares of white with fine
+lines of black; secondly, divide the small squares of the respective
+shades with black and white lines; and thirdly, combine these two
+systems of alteration.
+
+  [Illustration:
+                              Plate XVIII
+
+                 COMPOUND STRIPINGS IN BRIGHT COLOURS]
+
+110. _Compound Checking._--This is one of the most useful schemes
+of checking. The example given--Fig. 22--only contains two sizes of
+checks, but such designs may be composed of a much larger series of
+different-sized squares. Here the plan of grouping is also elementary,
+including a set of eighteen small squares of black and white separated
+by similar-sized checks of white and black twilled, and also a number
+of large checks of black and white. The colourings are arranged as
+appended:--
+
+          4 threads of black. ⎫  For 24 threads.
+          4     „      white. ⎭
+          8     „      black.
+          8     „      white.
+          8     „      black.
+          4     „      white.
+
+In light shades and colours forming a mellow contrast, it makes a
+good style, being a check capable of development, and one that may
+be altered in several ways. Thus the single large square of white
+is divisible by two ends of black, which produce an over-check that
+considerably improves the whole pattern. Next, each of the squares of
+black should be divided with small lines of white, and lastly, both
+alterations should be combined.
+
+[Illustration: FIG. 23.]
+
+111. _Gradated Check._--This style--Fig. 23--is not so largely employed
+as those described, but it gives an attractive pattern. The object of
+the arrangement is to graduate from a series of small to a series of
+large checks. In the fabric, the respective checks appear to run into
+each other. No less than eight sizes of squares occur in this example,
+varying from a check of two to sixteen threads, the order of colouring
+being thus:--
+
+           2 threads of white.
+           4     „     black.
+           6     „     white.
+           8     „     black.
+          10     „     white.
+          12     „     black.
+          14     „     white.
+          16     „     black.
+
+When using fine materials and high counts of yarns the series of
+gradations is largely extended, continuing to checks containing as many
+as forty-eight and even sixty-four threads. Occasionally, the check
+is graduated from a maximum to a minimum size on both sides of the
+extreme large square, and not simply shaded off on one side as in the
+illustration.
+
+112. _Broken Check in Two Colours._--A species of irregular check in
+two colours is given in No. 1 on Plate XIX. The order of the threads is
+not intricate, being 8 threads of maroon, 8 threads of green, 2 threads
+of maroon, and 2 threads of green, and forms a mellow check style.
+This arises, first, from the corresponding strength of the two shades
+used; second, from the system of blending practised; and third, from
+the manner in which the weave distributes the threads. This pattern
+illustrates what neat effects may be acquired in two shades by an
+appropriate method of combining colours which contrast and harmonize.
+The style under consideration is composed of the contrasting colours
+green and maroon, which, when of corresponding intensities, as in
+this illustration, produce harmony. This is evident by the sense of
+completeness which characterizes the style when it is examined. It does
+not require any additional hue to brighten or freshen it, for it is
+apparently rich and mellow in colour composition.
+
+The plan of grouping the shades causes the full checks of maroon and
+green to be in contact with each other, while the two threads of the
+respective hues give a shaded tone to the pattern--the colours seeming
+to vanish into each other. When making checks in which softness rather
+than loudness of effect is desirable, this toning of one colour into
+another is a very requisite element.
+
+113. _Basket Check in Two Colours._--Basket checks are obtained in two
+shades, and comprise two sizes of checking. They are produced in both
+four-and six-shaft twills, and also in fine yarns in the eight-end
+make. They contain four varieties of work, due to the manner in which
+the several sets of threads interlace with each other. A reference to
+No. 2, Plate XIX., will make it evident what is the nature of these
+effects. This is a basket check which has been woven in the cassimere
+twill, and in the order of threads which follows:--
+
+          For 64 threads. ⎧ 4 threads of slate.
+                          ⎩ 4   „   white.
+
+          For 48 threads. ⎧ 2   „   slate.
+                          ⎩ 2   „   white.
+
+The four-and-four grouping gives the shepherd-plaid effect bracketed
+A, and the two-and-two grouping the fine and minute checking bracketed
+B. The remaining effects in the pattern are due to the four-and-four
+wefting crossing the two-and-two warping--part C,--and the two-and-two
+wefting crossing the four-and-four warping in section D. In woollen,
+worsted, and other yarns this style of check is largely developed. In
+the illustration the sizes of the respective checks are not the same,
+the large plaid effect extending over 64 and the small plaids over 48
+threads; but in some patterns they are exactly of the same dimensions.
+When the six-end twill is used, the shades are not grouped in fours and
+twos, but in sixes and threes, as in the example:--
+
+  For 48 threads. ⎧ 6 threads of white.
+                  ⎩ 6    „  fawn or brown and white twist.
+
+  For 48 threads. ⎧ 3   „  white.
+                  ⎩ 3   „  fawn or brown and white twist.
+
+One feature in colouring these checks is that no strong contrast of
+shades is suitable. Seeing that the system of grouping the shades is
+enough to produce ample diversity of style, loudness of colouring is
+unnecessary. From the illustration given, it will be seen that there is
+no marked distinction of hue in the colours combined. Such shades as
+white, and slate and white twist; white, and brown and white twist; and
+white, and blue and white twist, all yield patterns of the requisite
+depth of contrast. These examples are in light shades, but this type of
+checking also obtains an important place in dark patterns for ulstering
+and mantling fabrics.
+
+
+                       CHECKS OF THREE OR MORE COLOURS.
+
+114. _Principle of Checking with Three Colours._--The principles of
+design and colouring involved in making check styles in three shades
+are more intricate than those relating to checking with two colours.
+More ingenious patterns, fuller of detail and more diversified in
+composition, are producible with three than two shades. The third
+colour is important and valuable in toning and mellowing the check
+arrangement. Thus, supposing a light and dark shade formed the
+principal sections of a check composition, then by introducing into it
+a third and intermediate colour, increased softness of effect could be
+acquired and harshness of contrast obviated. Check arrangements of this
+class are employed in many types of woven goods, and are particularly
+useful in designing for some species of suitings, mantlings, cotton and
+silk fabrics. They are not so formal in cast as two-shade patterns, the
+square spaces of colour being better toned. Some of the most generally
+adopted systems of grouping the shades in these styles are represented
+in Figs. 24 to 32 inclusive. By comparing them with the checks obtained
+in two colours given in Figs. 15 to 23, it will at once be evident that
+they contain a more complete range of effects and are more diversified
+in outline than the preceding examples. The function of the third
+shade and its utility in improving the aspect of the patterns will
+also be observed. Fig. 25, for instance, though a simple arrangement,
+possesses a mellower character than any of the checks developed in
+two shades. The grey factor not only increases the multiplicity of
+effects appearing in the patterns, but enhances the value of the
+respective checkings by giving a softly-toned cast to them. Amongst
+the forms of check combinations illustrated in these figures are the
+common three-shade pattern, the set check, the compound base, the
+counter-change base, the interchanging base, and counter-change with
+over-check base.
+
+[Illustration: FIG. 24.]
+
+115. _Ordinary Three-shade Check._--The commonest and most elementary
+form of three-coloured checking is that in which the squares of colour
+are equal in size, _e.g._, 10 black, 10 grey, and 10 white. When the
+squares of each colour are large, the check is satisfactory; but if
+they are minute, say about four threads each, and composed of neat
+colourings, it is improved in character. Should the colours be dark,
+medium, and light, or black, grey, and white, a shaded check is
+formed of limited gradation. In greys, blues, browns, or slates, this
+arrangement makes a very useful form of pattern, and one that may be
+modified in various ways. It might, for example, be shaded off on both
+sides by allowing the intermediate shade to alternate with the dark and
+light colours. Another change may be effected by bisecting one of the
+squares of colour, say the black, with two ends of a lighter shade, in
+which instance one outline check would be obtained in each repeat of
+the pattern, which would give quite a new aspect to the style. If this
+idea of dividing the checks is further worked, a considerable range of
+appropriate modifications of this base may be acquired. Let one example
+be considered. Alter this form by arranging the shades as below (Fig.
+24):--
+
+      4 threads of black.
+      2    „       medium grey.
+      4    „       black.
+      4    „       medium grey.
+      2    „       black.
+      4    „       medium grey.
+      4    „       white.
+      2    „       medium grey.
+      4    „       white.
+
+According to this scheme the check would be completely changed, though
+the base remains unaltered. Each square of colour is here divided into
+four sections. The black checks are divided with an outline check of
+grey, the grey with an outline check of black, and the white with an
+outline check of grey. It will be clear from this method of modifying
+the simple order of colouring, that it is an elementary principle of
+grouping three shades to form a check which may be utilized in the
+development of fancy patterns.
+
+116. _Set Check._--A check pattern in which certain squares--namely,
+black in the illustration--form the main feature of the design, and
+are set at corresponding distances apart, with the respective shades
+alternately intervening, is supplied in Fig. 25. It is designated a
+“set” check, on account of the manner in which the large spaces of the
+leading shade in the pattern are arranged, these repeating on such a
+principle as to give a stiff and “set” appearance to the pattern.
+
+It is made in various dimensions, according to the style of fabric
+being manufactured. The size of the black check in lining and shawl
+textures ranges from eight to forty-eight threads, but in suitings and
+other materials it is frequently not more than six or four threads, and
+the spaces of grey and white proportionately reduced.
+
+[Illustration: FIG. 25.]
+
+[Illustration: FIG. 26.]
+
+Taking the order of the shades to be 16 threads of black, 8 threads of
+white, 16 threads of black, and 8 threads of grey, then one method of
+modifying this base practised with good results is (Fig. 26)--
+
+          6 threads of black. ⎫
+          4    „       grey   ⎬ = 16 black.
+          6    „       black. ⎭
+
+          2    „       grey.  ⎫
+          4    „       white. ⎬ = 8 white.
+          2    „       grey.  ⎭
+
+          6    „       black. ⎫
+          4    „       grey.  ⎬ = 16 black.
+          6    „       black. ⎭
+
+          2    „       white. ⎫
+          4    „       grey.  ⎬ = 8 grey.
+          2    „       white. ⎭
+
+The centre of each of the squares of black would, by this means, be
+occupied with a square of four threads of grey, while the square of
+white would be outlined with skeleton checks of grey, and that of grey
+with skeleton checks of white. When this system of alteration is
+adopted, a pattern fairly diversified in construction is the result.
+
+[Illustration: FIG. 27.]
+
+[Illustration: FIG. 28.]
+
+117. _Compound Checking in Three Shades._--Fig. 27 forms a neat
+principle of checking in three shades in which several series of small
+squares of colour are combined. The manner in which the small checks
+are grouped, obviates the stiff cast which characterizes some forms of
+checking. It will be observed that the several shades do not occur in
+uniform quantities. White is the main element, alternating with both
+black and grey; then comes black, of which there are three sets of
+checks, but only two sets of grey. To produce the pattern, the yarns
+are grouped as indicated below:--
+
+       8 threads of black.
+       8    „       white.
+       8    „       black.
+       8    „       white.
+       8    „       black.
+      16    „       white.
+       8    „       grey.
+       8    „       white.
+       8    „       grey.
+      16    „       white.
+
+The white not only produces minute checks, but also four large squares
+in each repeat of the design.
+
+This base may be varied. One alteration consists in, dividing the
+large squares of white with fine lines of black; another modification
+practised changes the single square of white, intervening the checks
+of grey, into black; while a third system of alteration bisects each
+of the checks of black with outline squares of white; then a fourth
+principle (Fig. 28) combines these several methods of utilizing this
+form, making a pattern constituted thus:--
+
+      3 threads of black.  ⎫
+      2   „   white.       ⎬ Repeat.
+      3   „   black.       ⎪
+      8   „   white.       ⎭
+      3   „   black.
+      2   „   white.
+      3   „   black.
+      6   „   white.
+      4   „   black.
+      6   „   white.
+      8   „   grey.
+      8   „   black.
+      8   „   grey.
+      6   „   white.
+      4   „   black.
+      6   „   white.
+
+If this last scheme is employed, the cast of the pattern undergoes
+considerable change, and is characterized by much variation of checking
+and intermingling of shades. By adopting three tones or tints of one
+colour, such as brown, olive green, or slate, this mode of checking is
+capable of being used in the construction of effective patterns for
+mantling, dress, and other fancy fabrics.
+
+[Illustration: FIG. 29.]
+
+[Illustration: FIG. 30.]
+
+118. _Counter-change Check in Three Shades._--The succeeding example
+(Fig. 29) is made up of equal quantities of black and grey and of a
+smaller portion of white. The checks of white are so introduced as to
+separate the four squares of black and also the four squares of grey,
+so that the white yarns form a comparatively large over-check. Both the
+black and grey threads, on the other hand, each compose two sets of
+checks working within one another. It is a base developed in cotton,
+worsted, and woollen yarns. One suitable plan of blending the shades
+is--8 threads of black, 8 threads of white, 8 threads of black, 8
+threads of grey, 8 threads of white, and 8 threads of grey.
+
+  [Illustration:
+
+                               Plate XIX
+
+                              CHECK STYLES
+                   1. Pattern in Maroon and Green
+                   2. Compound Check
+                   3. Small Interchanging check (Fancy Yarns)]
+
+The style is susceptive of considerable elaboration. For example, the
+white check may be embellished with an over-check of black, the
+black squares with outlinings of white, and the s grey with skeleton
+checkings of black or white.
+
+119. _Interchanging Check._--Three-shade checks on this base are
+illustrated in Fig. 30 and No. 3, Plate XIX. On examining Fig. 30,
+it will be seen that a group of small squares of black surround four
+similarly-sized checks of grey and nine of white. The grey and black
+checks interlace with each other. The principal shade in this pattern,
+white, is so arranged as to yield both small and large checks. It is
+a style which may range from a pattern of a fraction of an inch in
+suitings to six or eight inches in dress materials and shawl textures.
+When the following quantities are used, the base may be modified:--
+
+      12 threads of white.
+       6    „       black.
+       6    „       white.
+       6    „       grey.
+       6    „       white.
+       6    „       grey.
+       6    „       white.
+       6    „       black.
+
+Various systems may be practised in dividing up the twelve threads of
+white. To begin with, this group of ends may be changed to 2 threads of
+grey, 8 threads of white, and 2 threads of grey; or the four threads
+in the centre of the twelve may consist of 2 grey and 2 black; while a
+third variation would change the white square into 4 threads of white,
+4 threads of black or grey, and 4 threads of white. If other changes
+of this base are required, the small squares of white should each be
+bisected with two threads of black, the checks of grey with two threads
+of white, and the checks of black with two threads of grey.
+
+An application of this principle to costume fabrics is given in No.
+3, Plate XIX. Three colours are used, light brown or fawn, green, and
+blue, the blue and green interchanging with each other. The brown is an
+intermediate shade, checking with both the green and blue. The warping
+and wefting are as follows:--
+
+          Light brown or fawn    4  2
+          Green                  -  2
+          Blue                   2  -
+
+If the number of threads of each colour were doubled, some
+modifications could be applied: the eight threads of brown could be
+bisected with an additional colour, and some further alteration made in
+developing both the green and blue sections.
+
+120. _Counter-change with Over-check._--Fig. 31 is a pronounced
+check form. It is mostly used in tartan patterns for cotton, fine
+worsted, and woollen-yarn dress fabrics. More variety of effect may be
+introduced into it by subdividing the main squares of black and white.
+Each of the spaces of white is in this instance split up by minute
+squares of black and lines of grey; and the squares of black by minute
+squares of white in addition to the lines of grey in the illustration.
+This form of check is often made in very large patterns, some four or
+five inches in size, and in strongly contrasting colours, for which it
+is, by arrangement, well adapted.
+
+[Illustration: FIG. 31.]
+
+It ought to be observed that all the examples described may be
+subjected to numerous modifications in sectional parts of the
+colouring, besides those quoted and analyzed. With a view of making
+it evident how the schemes of checking alluded to, are elaborated in
+practice, it has been shown to what an extent patterns of a check
+description are susceptive of variation in the loom. The principles
+of constructing these have been elucidated, and the chief forms of
+checking have been treated of.
+
+
+                         SHADED AND IRREGULAR CHECKS.
+
+121. _Shaded Check in Black and White in the Cassimere Twill._--In
+the construction of shaded checks either two or more colours may be
+employed. With these, and a proper method of grouping the yarns, a
+pattern may be produced of a shaded character. The weave used, if
+the order of shade arrangement is diversified, must be of a simple
+type. An example will demonstrate the principle of developing this
+useful description of woven design. It is given in Fig. 32, and is a
+shade in black and white, the cassimere twill being the weave used in
+constructing the fabric. There are several features of this pattern
+which may be considered. Obviously it is a compound check, combining
+both the ordinary and shaded schemes of checking. A set of common
+checks of a shepherd plaid type surround the shaded check proper.
+The shaded effect consists of three factors, which may be separately
+examined. In the square spaces, in which white is the main element, a
+light shade is acquired by gradually decreasing the quantity of black
+and increasing the quantity of white yarns until a perfect edging of
+white is acquired. Next there are lines of a deeper shade, due to the
+threads used in the composition of the principal check crossing those
+which occur in the shaded white checkings; and lastly, there is the
+broken square of black, which decreases by degrees in intensity from
+the centre to its respective edges. Though the shading as a whole is
+not uniformly continued, for there is a somewhat sudden change from
+dark to light shading, yet at this juncture the effect obtained is
+softly toned. Mellowness of gradation is an important element of the
+pattern.
+
+[Illustration: FIG. 32.]
+
+The irregular manner in which the white and black yarns appear, like
+specks on the surface of the fabric, arises from the employment of a
+print thread in which these shades alternate in lengths of about ⅜ths
+of an inch. Solid black and white threads alone would not yield the
+intermingled effect so prominent in this style. They would produce a
+much stiffer and more uniform result. If this system of checking should
+be applied to woollen and worsted or cotton goods, twist yarns may be
+employed in place of the printed threads. These, in all species of
+designing, give more intermingled patterns than self-coloured yarns,
+and for this reason are useful in the production of shaded effects.
+
+The plan of colouring this example is rather complicated, running as
+follows:--
+
+    4 threads of black.      ⎫ For 36 threads.
+    4   „    white.          ⎭
+
+    6 threads of white.      ⎫ Repeat. _A._
+    1 thread of print yarn.  ⎭
+
+    5 threads of white.      ⎫ Repeat.
+    1 thread of print yarn.  ⎭
+
+    4 threads of white.      ⎫ Repeat.
+    1 thread of print yarn.  ⎭
+
+    3 threads of white.      ⎫ Repeat.
+    1 thread of print yarn.  ⎭
+
+    2 threads of white.      ⎫ Repeat.
+    1 thread of print yarn.  ⎭
+
+    1   „    white.          ⎫ Repeat.
+    1   „  print yarn.       ⎭
+
+    8 threads of print yarn. ↠ _B._
+
+    1 thread of black.       ⎫ For 6 threads. _C._
+    1   „   print yarn.      ⎭
+
+    2 threads of black.      ⎫ Repeat.
+    1 thread of print yarn.  ⎭
+
+    3 threads of black.      ⎫ Repeat.
+    1 thread of print yarn.  ⎭
+
+    6 threads of black.  ↠ _D._
+
+    1 thread of print yarn.  ⎫ Repeat.
+    3 threads of black.      ⎭
+
+    1 thread of print yarn.  ⎫ Repeat.
+    2 threads of black.      ⎭
+
+    1 thread of print yarn.  ⎫ For 6 threads.
+    1   „  black.            ⎭
+
+    8 threads of print yarn. _E._
+
+    1 thread of white.       ⎫ Repeat.
+    1   „  print yarn.       ⎭
+
+    2 threads of white.      ⎫ Repeat.
+    1 thread of print yarn.  ⎭
+
+    3 threads of white.      ⎫ Repeat.
+    1 thread of print yarn.  ⎭
+
+    4 threads of white.      ⎫ Repeat.
+    1 thread of print yarn.  ⎭
+
+    5 threads of white.      ⎫ Repeat.
+    1 thread of print yarn.  ⎭
+
+    6 threads of white.      ⎫ Repeat. _E._
+    1 thread of print yarn.  ⎭
+
+The light shade, which composes the squares consisting mainly of white,
+is formed by the threads included within _A_ and _B_. This will be
+seen on examining the plan of colouring. At _A_ there are six parts of
+white to one part of black and white print yarn; but at _B_ there is
+a small quantity of print yarn only--the toning from extreme white to
+a complete mixture of black and white having been gradually effected
+by the intervening groups of shades. From _C_ to _D_ the dark shade is
+produced. Not containing as many changes as the light shade, it is more
+decided in composition. Practically this shade commences at _B_, which
+connects it with the adjoining gradated square of white and black. At
+_C_, however, the first move to black begins, for here black and print
+yarns are equally mixed. The number of black threads now increases
+until Section _D_ is reached, when it begins to diminish, ultimately
+shading off to a group of print threads as indicated at _E_. From this
+stage the white shade is renewed, and continues to the end of the
+pattern.
+
+Apart from its value as a principle of shading, this style is extremely
+suggestive of what may be accomplished by grouping two shades in woven
+fabrics of a simple or common twill class.
+
+[Illustration: FIG. 33.]
+
+122. _Shaded Checks in Two Colours due to using Designs Composed of
+Various Weaves._--These patterns are in some respects simpler to
+produce than the preceding class of check. There is no diversity
+of shade arrangement in such styles, the warp and weft being solid
+colours throughout. Now in an ordinary twill such colouring would not
+give any form of check, so that this is quite a distinct principle of
+checking. It is one that is applied to worsted, silk, and cotton, but
+not to woollen textures to any large extent. The combination of weaves
+necessary is not so well adapted for development in woollen, as in the
+other classes of threads named. Colouring being simple, the design is
+correspondingly intricate. If this is well constructed it will yield
+a shaded pattern, though the warp and weft yarns be of precisely the
+same colour, size, and quality. When this sort of shade is formed, a
+better effect is produced in such yarns as worsted and silk. Cotton or
+woollen threads would not give the same effect in designs arranged on
+the principle of a gradual movement from a maximum warp to a minimum
+weft flush, and inversely, as in Figs. 33 and 34. The essential of
+shading consists in diversity of tinting. A brown, or any other shade,
+is producible if several colours of brown of variable depths are
+combined, but not otherwise. What in this instance is impracticable
+from a colour standpoint, is feasible by a suitable arrangement of
+weaves. The shade that may thus be produced is not, of course, so clear
+and pronounced as that due to a diversity of colouring, for it simply
+results from the difference in effect of the flushes of warp and weft
+yarns composing the pattern. As there is some visible distinction in
+the brightness of the floats of warp and weft respectively, if the
+weaves constituting the design are arranged on such a principle as
+to tone one into the other, they produce an effect of a shaded type.
+According to the example furnished, one set of weaves which combines
+admirably on this method is that derived from a sateen base. But these
+are not the only weaves used, many varieties of twills being employed
+for similar purposes; but sateens give the most uniform shades of any
+class of weaves that can be utilized. On referring to Figs. 33 and
+34, it will be seen that the weaves differ from each other in the
+extent to which they flush the warp and weft yarns on the face of the
+texture. To construct a shaded pattern of this kind, commence with the
+extreme warp-flush weave, adjoining which place the weave most closely
+approaching it in structure; the diminution in warp and the increase in
+weft flush continuing from one weave to another, until the extreme or
+maximum weft flush is attained. In such a scale of shades, the extreme
+warp- and weft-flush weaves represent opposite ends of the shade, the
+weaves intervening completing the gradation or toning of the pattern.
+The form or outline of the check is first decided upon, and then the
+weaves combined according to the dark or light effect required in the
+various parts of the design.
+
+[Illustration: FIG. 34.]
+
+This style of checking is determined by the system of arranging the
+weaves used, and not, as in the previous examples, by changing the
+scheme of colouring; hence this species of shaded check is extremely
+simple to produce, so far as the blending of colours is concerned.
+
+[Illustration: FIG. 35.]
+
+A further application of this principle of weave shading in combination
+with a difference in the depths of colouring in the warp and weft is
+that developed in figured fabrics, of which Fig. 35 is an example and
+Fig. 35A a section of the complete design. There are other weaves
+forming sections of the figuring, but they would give a pronounced
+warp or weft colour effect: that is to say, should the warp be a
+light or pale heliotrope, and the weft dark heliotrope, there would
+be perfect shading from the dark to light in the floral parts, but in
+other sections, marked in ⊡’s and ◻’s, either a solid warp or weft
+colour would appear on the face of the fabric. The principle imparts
+definition to the colours used, and also to the integral parts of the
+design.
+
+[Illustration: FIG. 35A.]
+
+123. _Irregular and Mixture Checks._--The styles of this checking,
+on account of their neat and subdued character, are produced in many
+classes of woollen and worsted fabrics. Two typical examples will be
+considered--Nos. 1 and 3, Plate XX. No. 1 is an intermingled check in
+five colours, and possesses a black ground, the order of warp colouring
+being:--
+
+          3 threads of black.
+          1 thread of black and scarlet twist.
+          2 threads of black.
+          1 thread of black and green twist.
+          2 threads of black.
+          1 thread of black and scarlet twist.
+          3 threads of black.
+          2 threads of olive green.
+          3 threads of black.
+          1 thread of black and scarlet twist.
+          2 threads of black.
+          1 thread of black and green twist.
+          2 threads of black.
+          1 thread of black and scarlet twist.
+          2 threads of black.
+          3 threads of olive brown.
+
+The method of wefting is much simpler than that of warping, consisting
+of 12 picks of black, 2 picks of olive brown, 12 picks of black, and 2
+picks of olive green. The pattern is a combination of outline checks,
+enhanced with spotting threads of scarlet and black, and green and
+black twists. There is a skeleton check of olive green interlacing with
+a similar check of olive brown. The intensity of the two leading fancy
+colours ought in such patterns to be the same, as they should both be
+equally prominent in the texture.
+
+Next, as to the twist yarn or mixture check--No. 3, Plate XX. Here
+the pattern is composed of green and olive twist. On the intermingled
+mixture ground formed by these threads, is a small check of maroon.
+This hue forms a mellow contrast with the general colouring of the
+fabric. Twist yarns are chiefly suitable for yielding the rich and
+mellow indistinctness of effect seen in this example. The maroon is a
+solid colour and gives character to the pattern. For costume fabrics
+this scheme of checking, in both woollen and worsted fabrics, is well
+adapted, as it combines softness of colouring with neatness of pattern.
+
+  [Illustration:
+                                Plate XX
+
+                              CHECK STYLES
+                     1 and 3. Intermingled Effects
+                            2. Broken Check]
+
+124. _Fancy Broken Check._--This is a species of check in which the
+plan of wefting differs from that of grouping the warp colours, the
+object being to produce a check-like effect more or less irregular in
+composition. No. 2, Plate XX., is one form of this sort of checking.
+A pattern composed of small checks is here obtained, analysis of the
+colourings showing the warp and weft to consist of different shades.
+Thus, while the order of warping is 5 threads of light fawn, 1 thread
+of green, 4 threads of slate, 5 threads of light fawn, and 5 threads
+of slate; the weft is 4 picks of black, 1 pick of scarlet, 5 picks of
+bluish grey, 5 picks of black, and 5 picks of bluish grey. The contrast
+between the warp and weft shades defines the weave, which, if the
+warp and weft colourings had been alike, would, in some parts of the
+pattern, have been indistinct.
+
+The point to be observed in this type of colouring, is to employ shades
+of similar intensities in both warp and weft; thus, in this example,
+the slate is almost as prominent in the woven fabric as the black, the
+light fawn as the bluish grey, and the green as the scarlet. It is
+only by securing this balance of hues that harmonious colourings are
+producible in broken check patterns. Should any particular colour be
+stronger in character than others, it destroys some of the elements
+of the pattern. This principle of cross checking is also applied
+to various classes of striped fabrics, in which it is desirable to
+partially subdue the continuity of the warp colourings.
+
+125. _Examples in the Colouring of Tartans._--These may be defined as
+squares of colour varying in size and arrangement, and are, strictly,
+an elaborate scheme of check design entirely in colouring. One
+interesting feature of these plaids is that the colours are usually of
+the same depth or degree of intensity, as illustrated by the Erskine
+plaid, a compound of bright scarlet and green. These two contrasting
+and complementary hues form a good checking. It is not, however, always
+the case that complementary colours are blended; for instance, the
+Montgomery tartan is composed of green and blue, two colours which,
+if not of the proper hue and intensity, would produce an incongruous
+pattern. Hence, here, as in many other plaids, it is a question of
+using the correct depth and hue of colour.
+
+Tartans illustrate the hues which combine harmoniously, and also the
+quantities or areas in which bright colours unite in a satisfactory
+manner.
+
+As illustrations of this, the Macdonald and Hunting Menzies may be
+compared. In both, exactly the same colours are used, with entirely
+different effects. The Macdonald, in consequence of the large quantity
+of scarlet entering into its composition, is a bright plaid; whereas
+the Menzies is much softer and mellower in appearance. The larger the
+variety of colours, the more interesting the result in the pattern. If,
+for instance, the Duke of Rothesay, a three-colour tartan, is compared
+with the Hay, a five-colour one, the value of the larger number of hues
+in multiplying the diversity of colouring will be understood. Both are
+satisfactory compounds of coloured yarns, but the superior richness
+of the Hay is apparent. In each, red, green, and white are used, with
+the addition of black and yellow in the Hay. The Rothesay has a large
+square of red, divided with stripes of white, whereas in the Hay a
+similar space of red is subdivided with stripes of white, black, and
+green. In the Rothesay the green sections are crossed with lines of
+red; but in the Hay, with lines of yellow and red, forming a check rich
+in colouring.
+
+126. _Types of Tartans._--Tartans may be classified as follows:--
+
+          1. Plaids in two colours.
+          2. Plaids in three colours.
+          3. Plaids in four colours.
+          4. Plaids in five colours.
+          5. Plaids in six and seven colours.
+
+It is difficult, on account of the varied colouring, to classify them
+according to hue; but the above subdivision comprises all the tartans,
+and makes it feasible to deal with them in a natural order, or in
+accordance with their colour composition.
+
+127. _Two-Colour Plaids._--Amongst the most important of the two-colour
+tartans are the Menzies, Douglas, Montgomery, Macdonald, and the
+Erskine. The Menzies is produced in red and white, red and black, black
+and white, and red and green, the last being termed the Hunting Menzies.
+
+The black and white Menzies, in its original form, is illustrated in
+Fig. 36, the order of shades in both warp and weft being as follows:--
+
+      Black      96 12 24  6 6 24 12
+      White      16 16  8 36 8 16 16
+
+It is a forcible scheme of checking which may be developed on various
+lines. Two changes which affect the appearance of the check are given.
+In the first (Fig. 37) the largest quantity of one colour--the 96 of
+black--has been modified:--
+
+       4 black. ⎫ For 16.            4 white. ⎫ For 16.
+       4 white. ⎭                    4 black. ⎭
+      64 black.
+
+[Illustration: FIG. 36.]
+
+[Illustration: FIG. 37.]
+
+This slightly subdues the form of the check, which would be more
+apparent if the lines added were of a different colour from the rest of
+the pattern. The second change to form an overchecking is applied to
+the 12 threads of black in the centre of the squares of white:--
+
+      1 black. ⎫ For 4.      1 white. ⎫ For 4.
+      1 white. ⎭             1 black. ⎭
+      4 black.
+
+Again, by having the odd threads in a bright colour, the tone of the
+pattern would be improved.
+
+Another example, namely, the Montgomery (Fig. 38), with the derivations
+obtainable on this base, may be considered. It is composed of a
+peculiar hue of grass green and blue. The blue, however, by its
+softness and warmth of hue, arising from its purplish tone, makes
+a subdued contrast with the green. The colours being about equal in
+intensity, are combined in similar quantities. In a smaller checking,
+with the blue slightly predominating, this plaid would make a good
+lining style, especially in mantles where the face of the cloth may be
+a warm colour, such as deep fawn. The warping and wefting for Fig. 38
+are:--
+
+          Green (black)      144 16 16
+          Blue (grey)         48 48 48
+
+[Illustration: FIG. 38.]
+
+[Illustration: FIG. 39.]
+
+In Figs. 39 and 40, two simple changes, showing how the pattern may be
+altered in appearance, are given. In the former, the centre 48 threads
+of blue have been subdivided into
+
+          20 threads of blue (grey),
+           8     „      green (black),
+          20     „      blue (grey),
+
+whilst in the latter, the 16 threads have been changed to
+
+           6 threads of green (black),
+           4     „      blue (grey),
+           6     „      green (black).
+
+The check should be further modified in the large square of 144 threads
+of green, working either from the edges to the centre, or _vice versâ_,
+one scheme being as follows:--
+
+          Green (black)    24 16  8 16 24
+          Blue (grey)       8 20 20  8  -
+
+[Illustration: FIG. 40.]
+
+[Illustration: FIG. 41.]
+
+The Grey Douglas is an effective pattern in black and grey yarns. As a
+basis of checking, it is simple in arrangement, and of such a character
+as to be capable of numerous modifications. In fine yarns and close
+setting, it might be used for dress materials, in worsted yarns for
+linings, and in woollen yarns for rugs and shawls: in thick and soft
+spun yarns, it would be also suitable for travelling rugs. A standard
+form of this tartan is sketched in Fig. 41, the warp and weft being:--
+
+        Black      - 4  4 16 4 32 4 16
+        Grey      36 8 36  4 4  4 4  -
+
+[Illustration: FIG. 42.]
+
+[Illustration: FIG. 43.]
+
+Figs. 42 and 43 give some idea of the diversity of style obtainable by
+extending the colouring. The form of this check makes it desirable, in
+combining other colours than black and grey, that there should only
+be a small degree of contrast between the shades, the best patterns
+resulting when the colours are of the same hue.
+
+[Illustration: FIG. 44.]
+
+When the plaid is developed on the lines illustrated in Figs. 42
+and 43, it suffers somewhat in simplicity of character, but still
+makes an excellent pattern for linings, and in fine yarns for dress
+materials. The broken-up effects in these two checkings admit of more
+pronounced colour contrasts than are feasible in colouring Fig. 41. The
+sub-division of the various sections of 36 threads of grey has been
+acquired thus:--
+
+       8 threads of grey.
+       4     „      black.
+       8     „      grey.
+       4     „      black.
+      12     „      grey.
+
+Fig. 43 results from dividing the 32 threads of black:--
+
+      8 black.
+      1 grey.  ⎫ For 16.
+      1 black. ⎭
+      8 black.
+
+By changing the weave from 4- to 6-end twill, a very different colour
+effect is obtained, as shown in Fig. 44.
+
+128. _Three-Colour Tartans._--These form an important variety, and
+may be considered under two heads,--the bright plaids, of which the
+Gow, MacLeod, Duke of Rothesay, Cuninghame, Brodie, Wallace, MacQueen,
+Crawford, Hamilton, Ross, Macintosh, Maxwell, Dunbar, Skene, and
+Mathieson are examples; and the dark plaids, including the Clergy,
+Hunting Mathieson, Keith, Hunting MacLean, MacArthur, and Elliot.
+
+The following are the orders of colouring for the MacQueen, the
+Hamilton, and the Maxwell:--
+
+                 MACQUEEN (Fig. 45).
+          Black (black)     8  8  8 64 64
+          Red (grey)       28 28 28  - 28
+          Yellow (white)    -  -  -  6  -
+
+[Illustration: FIG. 45.]
+
+Two modifications of this tartan are given in Figs. 46 and 47, and show
+how the base is adapted for detailed checking.
+
+                 HAMILTON (Fig. 48).
+          Scarlet (medium grey)    60 60 16 16
+          White (white)            12  -  -  -
+          Blue (black)              - 36 36 36
+
+                 MAXWELL (Fig. 49).
+          Scarlet (medium grey)   54  8 54 12 12 12
+          Green (light grey)       4  4  - 28 28  -
+          Indigo blue (black)      -  - 12  -  - 12
+
+These tartans are examples of colouring in which red or scarlet is the
+most important colour employed.
+
+[Illustration: FIG. 46.]
+
+[Illustration: FIG. 47.]
+
+Fig. 50, the Elliot, is not of this class, for it is composed of
+blue, brown, and a small band of scarlet, the red being used to give
+cheerfulness of tone. The order of colouring is:--
+
+          Blue (grey)        216 32 32
+          Brown (black)       64  - 64
+          Scarlet (white)      - 12  -
+
+It is a simple check, yet is exactly of that type which is capable of
+interesting development by modification.
+
+[Illustration: FIG. 48.]
+
+[Illustration: FIG. 49.]
+
+129. _Four-Colour Plaids._--Three of the most interesting tartans of
+this class, whether produced in neutral shades or in the original
+colourings, are the MacKinnon, Dundas, and Fraser. They have few
+elements in common, as comparisons of Figs. 51, 54, and 57--the plaids
+in the unmodified forms--distinctly show. The MacKinnon in particular
+is characterized by simplicity of form and scheme of colouring; the
+Dundas is a heavier base; and the Fraser full of details and of shade
+contrasts. They are also dissimilar in colour qualities. The MacKinnon
+and Dundas are both dark plaids, the former being composed of brown,
+green, scarlet, and white, and the latter of black, green, scarlet, and
+blue. The Fraser is an admirable compound of scarlet, black, green, and
+white. The following are the orders of colouring for the respective
+tartans, with their modifications:--
+
+                   THE MACKINNON (Fig. 51).
+          Brown = black         64 64  - 64 64  -
+          Green = medium grey   12 64 64  - 64 64
+          Scarlet = light grey   -  8  -  -  8  -
+          White = white          -  -  -  8  -  -
+
+[Illustration: FIG. 50.]
+
+[Illustration: FIG. 51.]
+
+                   MACKINNON--FIRST MODIFICATION (Fig. 52).
+
+                 24       30
+                 ⏞        ⏞
+    Medium grey - -   -  - -  12⎫        64 64⎫        -⎫        64 64
+    Light grey  - -   -  - -  - ⎬ Repeat  8  -⎬ Repeat -⎬ Repeat  8  -
+    Black       6 2  10  6 2  - ⎪   A     -  -⎪   A    -⎪   A     -  -
+    White       2 2   -  2 2  - ⎭         -  -⎭        8⎭         -  -
+               \~~~~~~~~~~~/
+                    A
+
+               MACKINNON--SECOND MODIFICATION (Fig. 53).
+
+                24       30
+                ⏞        ⏞
+  Medium grey  - -   -  - - 12⎫        12  4  4  4  4  4 12  -
+  Light grey   - -   -  - -  -⎬ Repeat  -  -  -  -  -  -  -  8
+  Black        6 2  10  6 2  -⎪   A     -  -  2  2  -  -  -  -
+  White        2 2   -  2 2  -⎭         4  4  -  -  4  4  -  -
+               \~~~~~~~~~~~/             \~~~~~~~~~~~~~~~~/
+                     A                             B
+
+[TN: Table continues:]
+
+  Medium grey ⎫               -⎫               -⎫
+  Light grey  ⎬ Repeat Repeat -⎬ Repeat Repeat 8⎬ Repeat
+  Black       ⎪    B      A   -⎪   A      B    -⎪   B
+  White       ⎭               8⎭               -⎭
+
+
+Both these changes result in the formation of excellent plaids for
+travelling rugs. The check given in Fig. 53 would be difficult to
+improve upon by combining four shades.
+
+                             THE DUNDAS (Fig. 54).
+
+          Black = black        40   8  40   -   8   -
+          Blue  = medium grey  40  40   -   -   -   -
+          Green = light grey    -   -  64   8   8  64
+          Scarlet = white       -   -  12   -  12   -
+
+[Illustration: FIG. 52.]
+
+[Illustration: FIG. 53.]
+
+[Illustration: FIG. 54.]
+
+[Illustration: FIG. 55.]
+
+                     DUNDAS--FIRST MODIFICATION (Fig. 55).
+
+  Black      4  4  -  4  4  -  8 ⎫          -  -  8  -
+  White      4  4  4  4  -  -  - ⎬  Repeat  - 12  - 12
+  Med. grey  -  8  -  -  - 40 40 ⎪    A     -  -  -  -
+  Light grey -  -  -  -  -  -  - ⎭         64  8  8 64
+             \~~~~~~~~~~/
+                   A
+
+                    DUNDAS--SECOND MODIFICATION (Fig. 56).
+
+  Black      4  4 - 4 4  -  8 ⎫        -  2 - -  -  2  - 8  - ⎫
+  White      4  4 4 4 -  -  - ⎬ Repeat -  - 4 4  4  - 12 - 12 ⎬ Repeat
+  Med. grey  -  8 - - - 40 40 ⎪   A    -  - - -  -  -  - -  - ⎪   B
+  Light grey -  - - - -  -  - ⎭       10 10 4 4 10 10  8 8  - ⎭
+             \~~~~~~~~/               \~~~~~~~~~~~~~/
+                 A                            B
+
+                             THE FRASER (Fig. 57).
+
+          Green = mid grey       24   -   -  24   -
+          Scarlet = light grey   12  12  12  48  48
+          Blue = black           24  24   -   -   -
+          White = white           -   -   -  12   -
+
+[Illustration: FIG. 56.]
+
+[Illustration: FIG. 57]
+
+                     FRASER--FIRST MODIFICATION (Fig. 58).
+
+          Light grey    8  6  6 8  - ⎫        - 12 12 12
+          Black         4  -  4 -  - ⎬ Repeat - 24 24  -
+          White         - 12  - - 12 ⎪   A    -  -  -  -
+          Mid grey      -  -  - -  - ⎭       24  -  - 24
+                       \~~~~~~~~~/
+                            A
+
+                    FRASER--SECOND MODIFICATION (Fig. 59).
+
+  Light grey    8  6  6  8  - ⎫        - - - 12 12 12   ⎫
+  Black         4  -  4  -  - ⎬ Repeat - - - - 24 24  - ⎬ Repeat
+  White         - 12  -  - 12 ⎪  A     - 4 4 4  -  -  - ⎪   A
+  Mid grey      -  -  -  -  - ⎭        4 4 4 -  -  -  - ⎭
+                \~~~~~~~~/             \~~~~/
+                    A                     B
+
+130. _Five, Six, and Seven-Colour Plaids._--These are much more limited
+in variety, but the following may be given as examples:--
+
+                   CLAN ALPIN (FIVE-COLOUR).
+
+          Black          - - 32 32  -  -  6 - -
+          Indigo blue   32 -  -  - 32  8  - 8 -
+          Green          - -  6  -  8 36 36 - 8
+          Yellow         - 6  -  -  -  -  - - -
+          White          - -  -  6  -  -  - - -
+
+[Illustration: FIG. 58.]
+
+[Illustration: FIG. 59.]
+
+                          ROYAL STUART (SIX-COLOUR).
+
+    Black    - 20 - 10 - 10  -  - 8 - - - 8  -  - 10 - 10 - 20  -   -
+    Blue    16  - -  - -  -  -  - - - - - -  -  -  - -  - -  - 16   -
+    Green    -  - -  - -  - 40  - - - - - -  - 40  - -  - -  -  -   -
+    Scarlet  -  - -  - -  -  - 20 - 8 - 8 - 20  -  - -  - -  -  - 220
+    Yellow   -  - 8  - -  -  -  - - - - - -  -  -  - -  - 8  -  -   -
+    White    -  - -  - 8  -  -  - - - 8 - -  -  - -  8  - -  -  -   -
+
+                            MACLEAN (SEVEN-COLOUR).
+
+      Black     - 6 - 6 - 12 -  - - 12 - 6 - 6  -  - - - 6 - -  -
+      Indigo    - - - - -  - - 24 -  - - - - -  -  - - - - - -  -
+      Green    36 - - - -  - -  - -  - - - - - 36  - - - - - -  -
+      Scarlet   - - - - -  - -  - -  - - - - -  - 56 - 8 - 8 - 56
+      Yellow    - - - - 4  - -  - -  - 4 - - -  -  - - - - - -  -
+      White     - - 6 - -  - - -  -  - - - 6 -  -  - - - - - -  -
+      Lavender  - - - - -  - 6 -  6  - - - - -  -  - 6 - - - 6  -
+
+In the exposition of tartans given, it has been shown that this scheme
+of colouring is not only useful in the production of the original
+plaids, but that it may be subjected to almost an endless series of
+modifications. Many of these, as well as the plaids themselves, when
+developed in subdued colourings, are suitable for styles in dress
+and mantle fabrics. In recent years they have also been developed
+in the foundation of plush and other textures. They are specially
+suitable for such textures, inasmuch as the contiguity of the figuring
+formed in velvet or loop pile destroys any stiffness of character
+which lines of colour, cutting each other at right angles--as in all
+check patterns--must more or less possess. To the student of colour
+contrast and harmony these patterns are interesting and suggestive.
+They are illustrative, not only of how bright colours may be blended
+without yielding patterns in which the contrasts are displeasing, but
+also of the quantities of the colours which give the most harmonious
+composition. As they are distinctly textile colourings, and are the
+product of weaving, they possess qualities which are not to be found in
+any other type of colouring. The field which has been covered has by no
+means been fully explored. There are many possibilities in this branch
+of textile work which can only be analyzed by systematic experiments
+conducted in the loom.
+
+
+
+
+                                 CHAPTER VIII.
+
+                              SIMPLE COLOURINGS.
+
+     131. Simple and Compound Colourings--132. Regular Simple
+     Colourings--133. One-and-One and Two-and-Two Systems--134.
+     Figured Styles in Common Weaves and One-and-One Colouring--135.
+     Utility of the One-and-One Principle in Figured Textiles--136:
+     One-and-One and Two-and-Two Colourings in Fancy Weaves--137.
+     Three-and-Three Colouring--138. Four-and-Four Arrangement--139.
+     Four-and-Four Method applied to Fancy Weaves--140. Six-and-Six
+     and Eight-and-Eight Schemes--141. Six-and-Six Colouring in
+     Various Crossings--142. Three-Odd-Thread Arrangement--143.
+     Various Three-Shade Patterns--144. Simple Colourings composed
+     of Four Shades--145. Irregular Simple Colourings--146.
+     Irregular Simple Patterns in Two Shades--147. “Irregulars”
+     composed of Three Shades--148. “Irregulars” composed of Four
+     Shades--149. Cross-weftings.
+
+
+131. _Simple and Compound Colourings._--As in Weave Design there are
+two important types of pattern--such as effects resulting from the use
+of one crossing, and effects due to combining several crossings--so the
+styles obtained by blending fancy shades are also of two kinds, and
+may be designated Simples and Compounds. Both classes are divisible
+into Regular and Irregular orders of colourings. In the Regular order
+of Simple colourings, the colour elements are of equal quantities and
+systematically alternate; but in Compounds, the shades may occur in
+various quantities and be irregularly distributed. If, for example, a
+pattern were arranged--
+
+        2 threads of black,        2 threads of blue,
+        2     „      brown,        2     „      slate,
+
+it would be a Simple colouring, because it is composed of similar
+numbers of each sort of yarns, and the respective shades regularly
+succeed each other. The same shades could be made to form an Irregular
+Simple pattern in two ways: first, by diversifying the plan of
+the colours in such a manner as to allow any one or more shades to
+intervene the other shades, as follows:--
+
+          2 threads of black,          2 threads of blue,
+          2     „      brown,          2     „      brown,
+          2     „      black,          2     „      slate;
+
+and second, by retaining the original order of succession of shades,
+but by varying the quantities in which they occur, as illustrated
+below:--
+
+          8 threads of black,          4 threads of blue,
+          6     „      brown,          2     „      slate.
+
+Here are two types of Irregular and Simple colourings, viz., those
+in which the shades are grouped in similar quantities but are
+irregularly combined, and those in which the shades obtain in different
+proportions, though following in regular order.
+
+To convert the same group of shades into a Compound colouring, it is
+only necessary to combine two or more systems of blending the yarns, as
+follows:--
+
+          For 16 threads. ⎧ 4 threads of black.
+                          ⎩ 4     „      brown.
+
+          For 16 threads. ⎧ 2 threads of blue.
+                          ⎩12     „      slate.
+
+From this example it will be observed, that in making a Regular
+Compound at least two systems of elementary colouring are combined:
+in this instance, the four-and-four and the two-and-two methods have
+been selected. Compounds necessarily give more diversified styles of
+pattern than Simples; but unless the effects of the latter have been
+studied, the arrangement and composition of Compounds cannot be fully
+understood. Simple colourings are the elements of all Compounds. In
+order to obtain well-balanced effects in designs consisting of various
+weaves, the construction and woven result of each weave have to be
+considered, and only such makes united as will yield symmetrical
+patterns and regularly-built fabrics; and similar laws determine the
+association of shades as determine the combination of weaves.
+
+132. _Regular Simple Colourings._--The principal forms of Elementary
+Simple Colourings are comprised in the three classes given in the table
+appended:--
+
+                                   TABLE IX.
+
+                          REGULAR SIMPLE COLOURINGS.
+
+                       CLASS A.--COMPOSED OF TWO SHADES.
+
+                              _I. Scheme._
+                          1 thread of black.
+                          1     „     white.
+
+                             _II. Scheme._
+                          2 threads of black.
+                          2     „      white.
+
+                             _III. Scheme._
+                          3 threads of black.
+                          3     „      white.
+
+                             _IV. Scheme._
+                          4 threads of black.
+                          4     „      white.
+
+                      CLASS B.--COMPOSED OF THREE SHADES.
+
+                              _I. Scheme._
+                           1 thread of black.
+                           1     „     grey.
+                           1     „     white.
+
+                             _II. Scheme._
+                           2 threads of black.
+                           2     „      grey.
+                           2     „      white.
+
+                             _III. Scheme._
+                           3 threads of black.
+                           3     „      grey.
+                           3     „      white.
+
+                             _IV. Scheme._
+                           4 threads of black.
+                           4     „      grey.
+                           4     „      white.
+
+                      CLASS C.--COMPOSED OF FOUR SHADES.
+
+                              _I. Scheme._
+                           1 thread of black.
+                           1     „     medium grey.
+                           1     „     light grey.
+                           1     „     white.
+
+                             _II. Scheme._
+                           2 threads of black.
+                           2     „      medium grey.
+                           2     „      light grey.
+                           2     „      white.
+
+                             _III. Scheme._
+                           3 threads of black.
+                           3     „      medium grey.
+                           3     „      light grey.
+                           3     „      white.
+
+                             _IV. Scheme._
+                           4 threads of black.
+                           4     „      medium grey.
+                           4     „      light grey,
+                           4     „      white.
+
+It is not needful to increase the number of these examples, for it will
+be observed that in each scheme of the several classes given, the
+order of colouring is identical, but that the quantities of the shades
+are systematically enlarged. In fine fabrics, the number of threads
+of each colour might be increased; but in these examples, the bases
+of all styles of Elementary and Compound Colourings are enumerated.
+On this account they will be considered separately, and the effects
+of the various systems in the woven fabric will be fully analyzed and
+described.
+
+[Illustration: FIG. 60.]
+
+[Illustration: FIG. 60A.]
+
+[Illustration: FIG. 61.]
+
+[Illustration: FIG. 61A.]
+
+133. _One-and-One and Two-and-Two Colourings._--These are the most
+elementary arrangements of shades. They give different effects,
+according to the weave in which they are developed. The one-and-one
+system is applied chiefly to plain and twilled weaves, in which it
+constitutes two styles of patterns very extensively produced in
+ordinary fancies. First, in the plain make, it forms the hairline
+stripe sketched in Fig. 5C; and in the cassimere twill, the
+step-diagonal effect sketched in Fig. 5F. Both are useful textural
+styles. In cottons, silks, and fancy woollens and worsteds, this
+order of threads can be made to produce patterns of some intricacy of
+composition by simply employing in one instance the two plain makes
+given in Figs. 60 and 60A, and in the other instance the two twills
+given in Figs. 61 and 61A. Should the plain weaves be combined, say,
+in such a manner as to make a stripe, and this design woven in the
+one-and-one system of colouring, the woven result would consist of a
+band of lines of the respective colours running longitudinally in the
+fabric, and of a band of transverse lines of the same shades. This is
+a principle which is capable of being utilized in the construction of
+elaborately figured designs.
+
+When the weaves supplied in Figs. 61 and 61A are combined, and the
+resultant design woven in this order of shades, in such sections of
+the fabric as Fig. 61A occurs, the pattern produced consists of small
+step effects twilling to the right, but in the sections composed of
+Fig. 61, of similar effects twilling to the left; hence, by combining
+these in the form of stripes, checks, or figures, woven patterns are
+obtainable diversified in aspect and arrangement.
+
+Next, as to the two-and-two system (Class A, Scheme II., of Simple
+Colourings) of combining shades. This is another plan of grouping
+colours for certain elementary crossings. Its effects in the [2/2]
+twill and the mat or celtic are typical of the general style of pattern
+obtainable.
+
+The results produced in the twill are those in Figs. 62, 62A, and 62B.
+The different effects are due to the employment of distinct wefts.
+Thus, in Fig. 62 the weft is grey, in Fig. 62A white, and in Fig. 62B
+the same as the warp, or two picks of grey and two picks of white.
+When the grey weft is used, a stripe of grey adjoining an intermittent
+stripe of white is obtained; when white forms the weft, a small line of
+white adjoins a broken line of grey and white; but when a corresponding
+method of wefting is adopted as warping, a small broken check effect is
+acquired.
+
+[Illustration: FIG. 62.]
+
+[Illustration: FIG. 62A.]
+
+[Illustration: FIG. 62B.]
+
+Changing the weave to hopsack or mat alters the patterns resultant.
+If the weft be black in this two-and-two colouring, and the weave
+four-end celtic, a style is constructed similar to that given in Fig.
+63, or a pattern with a black ground on which squares of solid white
+are regularly distributed at uniform distances apart. Substituting
+white for the black weft, a texture with a white foundation and a black
+square spot, just the reverse of Fig. 63, is produced; whereas if the
+weft is the same as the warp, a style composed of solid lines of black
+and white, or a pattern of a hairline description, results.
+
+These examples clearly set forth the principles of weaving in relation
+to methods of colouring. Here the same order of threads--though
+extremely simple--in two different crossings of an elementary
+structure, forms quite distinct effects. In the cassimere twill more
+intermingled, and hence less severe patterns, are formed than in the
+mat or hopsack. They consist of small indefinite stripes and of a
+minute and irregular check. But in the mat, the same warp colouring
+gives a well-defined check composition, even when the wefts are all one
+colour, and instead of a broken check in the fabric when the weft is
+similar to the warp, as in the twill, a stripe of a decided arrangement
+is got.
+
+[Illustration: FIG. 63]
+
+134. _Figured Styles in Common Weaves in One-and-One Colouring._--The
+principles of woven effect, just elucidated, whereby a combination of
+plain or twilled weaves may, in the simplest arrangement of colours,
+be made to produce in the texture two dissimilar patterns, may be
+utilized in the development of figured designs. Usually these figured
+fabrics necessitate the adoption of various schemes of weaving and
+colouring in their manufacture; whereas in this type of design there
+is no elaboration either of weave or colour. These are particulars of
+construction peculiar to patterns acquired on this system.
+
+A feature of designs of this class consists in the uniform appearance
+and sound wearing qualities they impart to the woven fabric. Some
+kinds of figured textiles are more or less loose on the surface and
+in structure, owing to the diversity of weave floats requisite to
+develop the objects or figures composing the designs. No arrangement
+of this sort, involving intricacy of cloth structure, is needed in
+gaining patterns by this scheme of weaving. The fabrics, though in some
+instances elaborately figured, are plain or twill throughout, according
+to the makes employed--hence the textures are even, firm, and neat
+in both appearance and construction. Effects of this order are more
+subdued in tone and possess a mellower aspect than figured styles due
+to combining various principles of weaving and colouring.
+
+[Illustration: FIG. 64.]
+
+Reference to Figs. 64 and 65 will indicate, first, how the designs
+are constructed; and, second, how the textural results are acquired.
+Fig. 64 is a small spotted design composed of two plain makes. In
+constructing these designs, the form of the figuring is primarily
+sketched out on point paper, and the weaves subsequently added. When
+the two makes are in contact, there must not be more than a float of
+three. Having worked out the design on point paper, the next matter to
+be arranged is the development of the ground sections in vertical, and
+the figured parts in transverse lines of colour, as in Fig. 65, which
+is a sketch of the textural effect produced by this design. In all
+designs constructed on this base, it is a rule that the fancy shades
+in the warp and weft shall, in conjunction, be arranged to form the
+striped effects described. When the design given in Fig. 64 is warped
+and woven 1 thread black and 1 thread white, these two shades form
+stripes lengthways of the piece in the ground portion of the fabric,
+for the black picks cover the black threads _only_, and the white picks
+the white threads _only_, while the small figures are developed in
+short transverse stripes; because, in such sections, the weave in the
+design causes the black picks to float over the white threads and the
+white picks to float over the black threads.
+
+[Illustration: FIG. 65.]
+
+Now consider the effect of the same order of shades in the design
+composed of cassimere twills given on Plate XXI. This style illustrates
+the process by which the sketch furnished in Fig. 66 is transferred
+on to point paper and prepared for the loom. Designs for these
+fabrics are worked out on the same system as the preceding example.
+A comparison of Fig. 65 with Fig. 66 brings out several points of
+dissimilarity. These do not arise from any variation of the plan of
+colouring, but of the plan of interlacing the threads in constructing
+the fabric. The vertical and transverse lines of Fig. 65 are
+substituted by neat diagonal effects, and a pattern of more diversified
+outline and arrangement obtained. It has been pointed out that the
+thread-and-thread scheme of shades yields, in the cassimere twill, the
+two effects seen in Fig. 66. When the weave runs to the right, the
+black and white diagonal effect runs to the left, and _vice versâ_;
+so that in preparing the designs for the loom it has, in the first
+place, to be decided whether the ground or the figured sections shall
+be developed in the minute diagonals of shades moving to the right.
+Generally, it will be found that this effect is most suitable for the
+ground.
+
+  [Illustration:
+                               Plate XXI
+
+                       FIGURING IN SIMPLE TWILLS]
+
+135. _Utility of the One-and-One Principle in Figured Textiles._--The
+scheme of textile colouring and designing analyzed in the previous
+paragraph is applicable to a large diversity of goods, including
+cotton, silk, worsted, and woollen fabrics. Styles for dress stuffs
+and mantlings may be produced in this manner. Cotton yarns in these
+designs produce very effective patterns. The compact structure of these
+threads develops both series of effects with a clearness and prominence
+that are absent from cloths composed of woollen materials. Whether the
+designs are employed in one set of yarns or the other, schemes of
+colouring such as the following may be employed:--
+
+                    I.
+          1 thread of dark brown
+            (Shade 1, Plate IV.).
+          1 thread of medium brown
+            (Shade 3, Plate IV.).
+
+                   II.
+          1 thread of dark grey.
+          1   „      light  „
+
+                   III.
+          1 thread of medium grey.
+          1   „       white.
+
+                   IV.
+          1 thread of lilac (Tint 17, Plate VI.).
+          1 thread of white.
+
+[Illustration: FIG. 66.]
+
+Colours slightly contrasting in hue, or merely in shade, may be used
+in worsted yarns; but in woollens, where the effect is not so clear
+or pronounced, owing to the structure of the yarn, more contrast of
+colouring is requisite to emphasize the figuring. Woollen fabrics
+coloured on this principle may be either “clear” finished or covered
+with fibre. It depends entirely on the type of fabric produced. If
+a dress texture, the best results may be obtained by developing the
+effect of the colours as much as possible in the finishing processes;
+but if a mantling, a soft, fibrous surface enhances the mellowness and
+attractiveness of the patterns formed.
+
+[Illustration: FIG. 67.]
+
+Of course the methods of figuring obtained by this thread-and-thread
+colouring are combined with other schemes of colours in making more
+elaborate patterns. For example, a band of figuring, such as is given
+in Fig. 66, may be arranged to adjoin a bold stripe of entirely
+distinct colouring, and thus a pattern produced containing much
+diversity of composition.
+
+[Illustration: FIG. 67A.]
+
+Pattern is acquired in these and similar designs economically in the
+loom. No complication, either of weave or of colour, arises in their
+origination. By the employment of two shades and one weave--used in
+such a manner as to yield two varieties of style--any form of figuring
+is on this system producible.
+
+[Illustration: FIG. 68.]
+
+[Illustration: FIG. 68A.]
+
+[Illustration: FIG. 69A.]
+
+[Illustration: FIG. 69.]
+
+136. _One-and-One and Two-and-Two Colourings in Fancy Weaves._--Some
+applications of this scheme of colouring to other weaves than the plain
+and twill are shown in Figs. 67, 68, 69, the plans being Figs. 67A,
+68A, and 69A. The only alteration in the colouring is the use, as seen,
+of fancy thick yarns for striping or checking. The contrast in the
+weaves should be noticed, and also in the woven patterns. The weaves
+comprise (Fig. 67A) a fancy twill composed of [3/1] and [1/3] twills;
+Fig. 68A, twill and mat; and Fig. 69A, check in broken [3/1] and [1/3]
+twills. The line characteristic is noticeable in Figs. 67 and 69, being
+more pronounced in the latter. Fig. 68 is the most regular in style,
+due to the weave being composed of twill and mat.
+
+[Illustration: FIG. 70.]
+
+[Illustration: FIG. 70A.]
+
+Figured styles in two-and-two colouring are producible in the designs
+made on the principles given in Paragraphs 134 and 135, and also in
+other simple weaves similarly combined. One example (Fig. 70) may be
+taken, woven in the [2/2] mat, the sectional design being given in Fig.
+70A. The order of colouring in both warp and weft is:--
+
+          Black   2⎫ For 36.
+          White   2⎭
+
+          White   2⎫ For 36.
+          Black   2⎭
+
+By the change in the positions of the colouring, the key pattern is
+inverted and made more diversified in character.
+
+137. _Three-and-Three Colouring._--This method of grouping shades of
+warp and weft (Class A, Scheme III.) is employed in the six-end twill
+and its derivatives, also in twelve-shaft and other weaves.
+
+An example of the effects in the [3/3] twill in the fabric, due to
+three-and-three warping and various weftings practised, is sketched
+in Figs. 71, 71A, and 71B. The first of these illustrations has a grey
+weft; Fig. 71A is woven with white, and Fig. 71B with three picks of
+grey and three picks of white.
+
+[Illustration: FIG. 71.]
+
+[Illustration: FIG. 71A.]
+
+[Illustration: FIG. 71B.]
+
+[Illustration: FIG. 72.]
+
+[Illustration: FIG. 72A.]
+
+[Illustration: FIG. 72B.]
+
+138. _Four-and-Four Arrangement._--Twill, hopsack, and other common
+weaves are used in producing styles in this order of colours, which is
+supplied in Scheme IV. of Class A of the Regular Simple Colourings.
+Black and white shepherd plaids are made on this base, a useful form
+and size of check resulting from its employment. Some of the effects
+got in the cassimere twill by warping four threads of grey and four
+threads of white, and wefting with white and grey, and with the same
+order of shades as in the warp, are sketched in Figs. 72, 72A, 72B.
+The check style here is particularly neat. It is produced in a variety
+of colours for almost all kinds of fabrics. When the four-end mat
+weave is used, a species of star check is formed, as seen in Fig. 73.
+A considerable range of patterns ensues from adopting this order of
+colours and combining the cassimere and mat weaves in the construction
+of stripe, check, and diagonal designs. Thus, supposing the last type
+of weave-combination were employed, then in such parts of the diagonal
+where the twill occurred, the shepherd plaid effect would result, but
+the hopsack sections would yield the star check style, so that diagonal
+bands of these respective patterns, regularly alternating, would extend
+across the fabric.
+
+[Illustration: FIG. 73.]
+
+[Illustration: FIG. 74.]
+
+[Illustration: FIG. 74A.]
+
+139. _Four-and-Four Method applied to Fancy Weaves._--There are various
+patterns obtained in this order of threads by using other weaves than
+the twill or mat. As an illustration in these effects, Fig. 74, which
+has been produced in the weave given in Fig. 74A, may be examined. It
+is a small spotted design; the minute crosses of white, surrounded by
+rectangles of black, are determined in shape and dimensions by the
+arrangement of warp and weft flushes composing the crossing. The weft
+yarn of this pattern is all black. Comparing this style with that
+sketched in Fig. 72, which is composed of the same order of threads,
+it will be observed that any modification of weave alters the pattern
+resultant. In the weave furnished in Fig. 74A, the white threads only
+show on the face of the texture where the blank spaces occur; whereas,
+in the cassimere twill employed in the construction of the sample shown
+in Fig. 72B, the white warp threads float on the face of the fabric
+on the same system as the black picks. The pattern given in Fig. 74
+indicates how, by resorting to novel schemes of weaving, the simplest
+methods of colouring may be made to produce distinct patterns.
+
+Employment of other weaves than the twill and mat give equally
+satisfactory results. Such makes are, of course, multiplied in
+proportion to the ingenuity of the designer. The example considered
+is but a type of the numerous styles obtainable in this four-and-four
+colouring by having recourse to designs of this type.
+
+140. _Six-and-Six and Eight-and-Eight Schemes._--These are not given in
+the plan of Regular Simple orders of shades, being but extensions of
+Schemes III. and IV.; but they are important in practice, and must be
+considered as distinct principles of grouping colours. They are mainly
+employed when well-pronounced patterns are required in fine yarns, in
+which instances they yield far more effective styles than the schemes
+of shades from which they are derived. In both worsted and cotton dress
+textures and tweed mantlings, they are largely used.
+
+Both systems are illustrated. The six-and-six plan, and the styles it
+gives in the six-end twill, are furnished in Figs. 75, 75A, and 75B.
+The same methods of weft colouring have been practised as in other
+sketches, showing the changes resulting from varying the weft from
+light to dark, and from having it exactly like the warp. Fig. 76 has
+been produced in the eight-shaft twill, and is composed of 8 threads of
+black and 8 threads of white in both warp and weft. Should such shades
+as the following be used in the six-end twill, more toned patterns
+result than those supplied in the illustrations:--
+
+                   I.
+          6 threads of slate.
+          6   „  slate and white twist.
+
+                  II.
+          6 threads of light fawn.
+          6   „  light  fawn and white twist.
+
+                  III.
+          6 threads of blue.
+          6   „  brown.
+
+                  IV.
+          6 threads of No. 2 mixture, Plate XIII.
+          6 threads of No. 8 mixture, Plate XIII.
+
+The I. and II. Schemes are for light textures. They illustrate an
+important method of combining shades, inasmuch as the same shade
+occurs in both the first and second group of six threads in each
+example. Thus, in Scheme I. the second group of ends consists of slate
+and white twist--the slate being exactly of the same hue as that
+used in the first six threads. This arrangement gives neatly-toned
+patterns, and is suited for Simple Colourings in which the respective
+shades are combined in these qualities. The third group of shades
+is for a dark pattern. Here the contrast should not be strong; the
+mellower the better. It only requires to be sufficiently pronounced
+to develop the outlines of the checkings and the effects due to the
+plan of interlacing the threads. A mixture-yarn example is also given
+in the fourth scheme of shades. Yarns of this class are useful in
+the manufacture of both worsteds and tweeds. The black and white
+shades which have been used in these illustrations--75, 75A, 75B, and
+76--bring out the character of the pattern due to the structure of the
+weave.
+
+[Illustration: FIG. 75.]
+
+[Illustration: FIG. 75A.]
+
+[Illustration: FIG. 75B.]
+
+[Illustration: FIG. 76.]
+
+141. _Six-and-Six Colourings in Various Crossings._--Two examples may
+be examined in which weave has been advantageously employed in these
+schemes of colouring. The first, Fig. 77, is a species of check, the
+patches of the two shades being differently shaped from what they are
+in Fig. 75B, which is a composition of the same order of shades. This
+arises from the structure of the weave employed. It is given in Fig.
+77A, and is a combination of warp and weft cords. The _warp_ cord
+causes the spaces of black and white to practically run into each other
+in the direction of the warp, and the _weft_ cord makes them continuous
+in the line of the weft.
+
+[Illustration: FIG. 77.]
+
+[Illustration: FIG. 77A.]
+
+[Illustration: FIG. 78.]
+
+[Illustration: FIG. 78A.]
+
+The next illustration, Fig. 78, is commonly termed the star check. It
+somewhat resembles Fig. 73, but the effects are more prominent and
+better developed. The weave used in this case is the six-end twill
+angled, Fig. 78A. In making the pattern, the first six picks should be
+black, otherwise they would not meet the interlacings in the weave on
+the system requisite to give this effect.
+
+[Illustration: FIG. 79.]
+
+142. _Three-Odd-Thread Arrangement._--For the plain weave, prunelle,
+and six-end twills, this is one of the useful schemes of colouring.
+In the plain it forms, when woven with the same order of weft as warp
+threads, the neat style sketched in Fig. 79. When the shades are black,
+grey, and white, as in Scheme I.,--Class B, of the Regular Simple
+Colourings,--small vertical and transverse lines of these shades are
+formed, meeting each other at right angles. Thus, in Fig. 79, the
+vertical lines of black oppose the transverse lines of black, and the
+same arrangement obtains in regard to the grey and white lines.
+
+Check patterns are producible in this scheme of shades by colouring as
+follows:--
+
+                    ⎧ 1 thread of russet (No. 7, Plate III.).
+   For 18 threads.  ⎨ 1     „     citron (No. 8, Plate III.).
+                    ⎩ 1     „     olive  (No. 9, Plate III.).
+
+                    ⎧ 1 thread of russet.
+   For 18 threads.  ⎨ 1     „     citron.
+                    ⎩ 1     „     blue.
+
+In the first eighteen threads, the effects formed are of russet,
+citron, and olive; but in the last eighteen, blue takes the place of
+the olive, so that when the style is woven with the same series of weft
+as warp colourings, it makes a mellow check design.
+
+Another method of adding to the utility of this form of pattern
+consists in introducing into its composition an over-check of fancy
+shades, which may be obtained thus:--
+
+                   ⎧ 1 thread of black.
+   For 19 threads. ⎨ 1     „     brown.
+                   ⎩ 1     „     black and white twist.
+                     1 thread of black and blue twist.
+                     1     „     black and scarlet twist.
+
+There results from this method of grouping shades, a pattern consisting
+of a rectangular space of nineteen ends and picks of small effects,
+similar to those seen in Fig. 79, but consisting of black, brown,
+and black-and-white twist, instead of black, grey, and white. In the
+prunelle twill, this colouring produces hairline patterns in three
+shades. Other stripe and check designs result from combining the warp
+and weft weaves, and developing in the same colouring.
+
+[Illustration: FIG. 80.]
+
+[Illustration: FIG. 80A.]
+
+The effects obtained from using this colouring in the six-end twill
+are more diversified in character than those producible in the plain
+make. They are of three distinct styles. The style of pattern now
+acquired depends on the method in which the respective shades meet each
+other in the weave. The several effects obtained, when the [3/3] twill
+is used, are shown in Fig. 80. This has been developed in the weave
+given in Fig. 80A, which is a small check design composed of six-end
+twill, running in two directions. Let the sections of the woven pattern
+acquired in Fig. 80 be analyzed separately. It must be understood that
+the order of shades is the same throughout, namely, that in Scheme I.
+of Class B of the Regular Simple Colourings. Hence the diversification
+of style here noticed is a resultant of weave and not of colour
+combinations. The different effects acquired in Sections _A_, _B_, and
+_D_, show that makes of various constructions have been employed. A
+distinct style obtains, for instance, in Part _A_ from Part _B_. In the
+former, lines of black are set at right angles to other lines of this
+shade, while the grey and white yarns form diagonals; but in _B_ all
+the three shades run diagonally. Section _C_ is practically the same as
+_B_, while _D_ is also similar, only twilling to the left. The parts
+lettered _A_, _B_, _C_, and _D_ in the design, Fig. 80A, correspond
+to those just described. One other effect may be got in the six-end
+twill besides those considered in this order of threads, namely, that
+in which two diagonals, grey and white, twill to the left, or the
+opposite to what they do in _A_, and small transverse lines of black
+be set across similar vertical lines. If the positions of the shades
+were altered, the grey or the white yarns might be made to form the
+disconnected spots.
+
+[Illustration: FIG. 81.]
+
+[Illustration: FIG. 82.]
+
+A further principle of colouring suggested by this illustration is,
+that the same plan of shades and method of weaving are capable of
+yielding different woven results according to the system on which they
+are combined. Thus, as has just been indicated, without modifying
+the scheme of colours, the check design in the six-shaft twill gives
+the effects sketched in Fig. 80. Parts _A_ and _D_ are formed by one
+weave running to the right, yet how different they are in character!
+To what is the difference due? The design shows that the black threads
+and picks do not meet each other in the same way, for while in Part
+_A_ of Fig. 80A the first pick is two threads down, three up, three
+down, three up, and one down; in Part _D_ it is three up and three
+down, so that in reality the first pick in _A_ corresponds to the
+fifth pick in _D_. Still, though the order of the threads is the same
+in both sections, the methods on which the colours are crossed in the
+respective parts of the texture are dissimilar, hence corresponding
+results cannot possibly ensue. This difference of effect, arising
+from commencing colouring on certain threads and picks of the weave,
+increases the variety of styles obtainable in the same order of threads
+and principle of intertexture.
+
+143. _Various Three-shade Patterns._--Amongst other Simple orders of
+colouring composed of three shades are those given in Schemes II.,
+III., and IV. of Class B. Each system may be developed in the six-end
+twill--the last system, which may be termed the three-4’s, also
+produces standards in four-shaft weaves. Only two of these principles
+are illustrated, namely, the three-2’s and the three-3’s. It will be
+evident from the sketches, Figs. 81 and 82, that these patterns belong
+to a useful class of effects. Fig. 81 is a neat form of intermingled
+check. Such compounds of shades as the following may be applied:--
+
+                               I.
+          3 threads of citron (No. 9, Plate III.).
+          3     „      olive (No. 1, Plate III.).
+          3     „      russet (No. 7, Plate III.).
+
+                              II.
+          3 threads of dark blue (No. 7, Plate IV.).
+          3     „      dark olive (No. 13, Plate IV.).
+          3     „      dark brown (No. 1, Plate IV.).
+
+                             III.
+          3 threads of light olive (No. 9, Plate VI.).
+          3     „      lilac (No. 17, Plate VI.).
+          3     „      fawn (No. 10, Plate VI.).
+
+The I. and III. of these colourings are suitable for dress fabrics, but
+the II. is adapted for tweed suitings. This form of pattern should also
+be developed in mixture and twist yarns in woollen, worsted, and cotton
+materials.
+
+As a result of employing this scheme of shades, three sets of checks,
+each formed within the other, are obtained in the fabric. By examining
+Fig. 81, it will be observed there is first the check of black; second,
+the check of grey; and third, the check of white. The character of the
+style due to the weave is apparent in this illustration. There is also
+perfect balance of shades. This feature, which mainly results from
+the twill employed in the construction of the pattern, contributes to
+the general character of the style. Still, it will be noticed that the
+manner in which the black threads interlace produces a different check
+from that resulting from the grey or white yarns.
+
+Fig. 82 gives a more irregular style than Fig. 81, on account of the
+weave being repeated three times, and the order of the shades twice,
+before one complete pattern is acquired. This arises from there being
+nine threads in the plan of shades--3 of black, 3 of grey, and 3 of
+white--and six threads in the weave. The pattern sketched in Fig. 82 in
+one particular resembles the preceding style, for the shades combined
+form three broken checks, but in other characteristics it is quite
+different. The element of black is exactly proportionate to that of
+grey or white, and each shade constitutes a well-defined series of
+minute effects, which, by repetition, bring out the check character of
+the style. It is a base that is improved by diversity of colouring.
+In combination with Fig. 81, wefted either three-2’s or three-3’s, it
+yields stripe and check designs of a broad character.
+
+[Illustration: FIG. 83.]
+
+144. _Simple Colourings composed of Four Shades._--Each of the four
+arrangements in Class C of Simple Colourings is illustrated. Scheme
+I. is given in Fig. 83. It forms a hairline stripe of four colours if
+produced in the swansdown weave, when the order of the wefting is 1
+pick black, 1 pick dark grey, 1 pick white, and 1 pick medium grey.
+This style is applied to fancy woollens, and also to worsteds. It is a
+standard colour-base for trouserings and fabrics in which a fine line
+pattern is required. The same arrangement of shades in the plain weave
+makes a mixture effect, and in the common twill the colourings form a
+minute broken check.
+
+Fig. 84 results from the II. Scheme of Colouring given in Class C. The
+weave is cassimere twill, but the celtic or mat, and other weaves of
+a regular construction on four and eight shafts, are also used. Here
+are four more or less disconnected checkings of colours forming an
+intermingled pattern, choice in outline and soft in tone.
+
+A more pronounced style is got when the quantities of the several
+shades are increased, and a weave selected of an open structure. These
+points are brought out in Fig. 85, in which the same arrangement of
+shades obtains as in Fig. 84, only the quantity of each colour is
+increased one-third, and the six-shaft twill substituted for the
+four-shaft twill. Broader effects are therefore the result. Were this
+sketch repeated, to show the outline of the pattern more clearly, it
+would be observable that the black, dark grey, medium grey, and white
+shades all form checkings, which, in the fabric, are quite distinct
+from each other. As the order of shades here contains twelve threads,
+the six-shaft twill is one of the best weaves that can be employed for
+regularly and equally distributing the shades.
+
+[Illustration: FIG. 84.]
+
+[Illustration: FIG. 85.]
+
+Eight-shaft makes being repeated three times before they meet the plan
+of colours, give more irregular and mingled effects.
+
+The last example in Simple Colourings obtained by combining four
+shades is given in Fig. 86. It has been produced in the Mayo weave,
+in Fig. 86A. In common twills of more uniform interlacings, it gives
+a pattern of more decided markings. The Mayo weave has broken up the
+groups of fours into which the colours are divided. As a consequence,
+the resultant style is characterized by softness and intermingled
+colouring. The weave effect is an important feature. Either sets of
+hues of different colours of the same depth, or sets of shades in one
+colour, may be employed in this scheme.
+
+All the examples described in Regular Simple Colourings are of a
+typical character, and in practice are diversified in colouring and in
+weave.
+
+[Illustration: FIG. 86.]
+
+[Illustration: FIG. 86A.]
+
+145. _Irregular Simple Colourings._--These are patterns in which the
+quantities of the different shades used, or the plans of colouring as
+to succession of colours, are not uniform. They are not so numerous as
+the “Regular Colourings” already considered, but they are important in
+pattern designing. The principal of these combinations are furnished in
+the Table below:--
+
+                                   TABLE X.
+
+                         IRREGULAR SIMPLE COLOURINGS.
+
+                       CLASS A.--COMPOSED OF TWO SHADES.
+
+                              _I. Scheme._
+                          2 threads of black.
+                          1 thread of white.
+
+                             _II. Scheme._
+                          4 threads of black.
+                          1 thread of white.
+
+                             _III. Scheme._
+                          4 threads of black.
+                          2      „     white.
+
+                             _IV. Scheme._
+                          4 threads of black.
+                          2      „     white.
+                          2      „     black.
+                          2      „     white.
+
+                      CLASS B.--COMPOSED OF THREE SHADES.
+
+                              _I. Scheme._
+                          2 threads of black.
+                          2     „      grey.
+                          1  thread of white.
+
+                             _II. Scheme._
+                          3 threads of black.
+                          2      „     grey.
+                          1 thread of white.
+
+                             _III. Scheme._
+                          6 threads of black.
+                          4     „      medium grey.
+                          2     „      white.
+
+                             _IV. Scheme._
+                          6 threads of white.
+                          2      „     grey.
+                          2      „     black.
+                          2      „     grey.
+
+                      CLASS C.--COMPOSED OF FOUR SHADES.
+
+                              _I. Scheme._
+                          3 threads of black.
+                          2     „      dark grey.
+                          2     „      medium grey.
+                          1  thread of white.
+
+                             _II. Scheme._
+                          4 threads of black.
+                          3     „      dark grey.
+                          3     „      medium grey.
+                          2     „      white.
+
+                             _III. Scheme._
+                          4  threads of black.
+                          2       „     medium grey.
+                          4       „     light grey.
+                          2       „     white.
+
+                             _IV. Scheme._
+                          4 threads of black.
+                          2      „     medium grey.
+                          2      „     light grey.
+                          4      „     white.
+                          2      „     light grey.
+                          2      „     medium grey.
+
+146. _Irregular Simple Patterns of Two Shades._--In this class of
+colouring are found some useful bases for fancy textures composed of
+simple twills and other elementary crossings. They may be considered
+in the order named in the Table. The first scheme is most generally
+used in the prunelle twill, in which weave it gives lines lengthways
+or across the texture, according to whether the make is warp or weft
+flushed. These two twills combined in figured designs, and this order
+of colouring adopted, produce a style of pattern resembling that got
+by blending two plain makes, only one line of colour is twice the
+thickness of the other.
+
+The II. Scheme finds application to five-shaft weaves. Thus, in
+twill, Fig. 87A, it makes the neat check style seen in Fig. 87. The
+same scheme is applied to cottons and fancy woollens. Some effective
+patterns ensue from colouring--
+
+          For 25 threads. ⎧4 threads of black.
+                          ⎩1 thread of white.
+
+          For 25 threads. ⎧4 threads of white.
+                          ⎩1 thread of black.
+
+The form of the pattern resultant from this arrangement comprises a
+series of effects similar to Fig. 87, and then a series of effects with
+a white ground and black spotting.
+
+[Illustration: FIG. 87.]
+
+[Illustration: FIG. 87A.]
+
+[Illustration: FIG. 87B.]
+
+The extent to which one thread and a slight change in the weave may
+alter the nature of a woven pattern is illustrated by Fig. 87B,
+obtained in the four-end celtic and the III. Scheme of shades in Class
+A. The weave and the colours are combined on such a principle, that the
+shade used in the smallest quantity forms short vertical and transverse
+lines on the surface of the texture. This, like the preceding example,
+is an order of colouring that is frequently varied by transposing the
+shades thus:--
+
+          For 24 threads. ⎧4 threads of black.
+                          ⎩2     „      white.
+
+          For 24 threads. ⎧4 threads of white.
+                          ⎩2     „      black.
+
+Providing the weft is the same as the warp, a square is first formed in
+which the lines or spots are white, and arranged on a black ground, and
+then a check of black lines on a white ground. When the shades do not
+form strong contrasts, this base is capable of being utilized in the
+production of a large variety of fancy fabrics.
+
+A more irregular effect, Fig. 88, results from employing Scheme IV.,
+than either Schemes II. or III. The weave, Fig. 87A, produces the
+mingled cast of the pattern. Shades may be employed here that give
+well-emphasized contrasts.
+
+There are several other forms of these colourings, such as the
+following:--
+
+                                 (_a_)
+                          5 threads of black.
+                          2    „       white.
+
+                                 (_b_)
+                          6 threads of black.
+                          2     „      white.
+
+                                 (_c_)
+                          8 threads of black.
+                          3     „      white.
+                          2     „      black.
+                          3     „      white.
+
+[Illustration: FIG. 88.]
+
+[Illustration: FIG. 89A.]
+
+[Illustration: FIG. 89.]
+
+The first of these is applicable to seven- and fourteen-shaft weaves,
+in which it may be made to produce some characteristic effects. The
+second of these additional irregular two-shade colourings is mostly
+employed in eight-end makes of special construction. Two patterns
+in which it has been used are sketched in Figs. 89 and 90. It is
+the structure of the respective weaves that is the cause of one
+pattern--Fig. 89--being a minute check of a clear outline, and of the
+other pattern--Fig. 90--being a bird’s-eye spot. In Fig. 89, the weave
+is a fancy mat, Fig. 89A. The white threads in both warp and weft fall
+on the 7th and 8th threads and picks in the weave. To these threads
+and picks, the check character of the pattern is due. They cause the
+black yarns to be grouped together in the form of a minute irregular
+rectangle, and the white yarns to give the skeleton check effect. In
+Fig. 90A, the same threads and picks again determine the specific
+effect of the pattern. They so control the grouping of the yarns that
+the white threads produce the small spot or star. These illustrations
+demonstrate the principle of originating plans of weaving, which will
+change the pattern produced by a given set of colours in such manner as
+to compose distinct styles.
+
+[Illustration: FIG. 90.]
+
+[Illustration: FIG. 90A.]
+
+The effect of the third arrangement given above is to form the pattern
+seen in Fig. 91. It is a base that frequently finds an important
+place in tweeds, flannels, dresses, and worsted suitings. It is a
+neatly-marked check. The weave employed in its construction is Fig.
+91A. This scheme is developed in light, medium, and dark shades, and in
+self, compound, and mixture yarns. Considering that only two shades are
+used in its construction, it is a pattern having diversity of outline.
+
+[Illustration: FIG. 91.]
+
+[Illustration: FIG. 91A.]
+
+[Illustration: FIG. 92.]
+
+147. _Irregular Simples, composed of Three Shades._--Brief descriptions
+need only be given of these. A small check is obtainable by the first
+of these schemes. It is best adapted for weaves occupying five threads.
+The weave employed in making this pattern--Fig. 92--is Fig. 87A.
+
+[Illustration: FIG. 93.]
+
+[Illustration: FIG. 94.]
+
+The II. Scheme is workable in the six-end twill, in which it yields
+an ordinary suiting style (Fig. 93). The shades used in the largest
+proportions in this pattern should be the most subdued in tone,
+while the colour for the single thread should be the brightest. This
+arrangement has been adhered to in the illustration.
+
+[Illustration: FIG. 95.]
+
+[Illustration: FIG. 96.]
+
+Schemes III. and IV. may be analyzed together. The former, Fig. 94,
+has been developed in the six-end twill, and the latter, Fig. 95, in
+the mat or celtic. They are two typical patterns. The latter pattern
+appears to combine both check and figured effects, the small detached
+lines of black producing the figured appearance, and the grey shade,
+in combination with the black and white, yielding the toned check
+characteristic. It is applicable to all classes of simple fancies. It
+does not possess that distinct check cast which is so apparent in Fig.
+94. This style is really constructed on a similar principle to Fig.
+93, for the respective shades gradually decrease in quantity from the
+beginning to the end of the pattern. All such arrangements admit of two
+methods of colouring. In the first place, the darkest shade may be made
+the principal factor, and in the second place, the lightest shade. The
+intermediate colour--in this instance grey--is invariably placed in the
+centre in this style of colouring.
+
+[Illustration: FIG. 97.]
+
+[Illustration: FIG. 98.]
+
+148. _“Irregulars” composed of Four Shades._--The first of these
+schemes gives an effect somewhat similar to that which results from
+Fig. 93, only here the cassimere twill may be employed, and probably
+a neater pattern acquired. In certain weaves, such as Fig. 96, the
+Second Scheme, Class C, produces an excellent type of suiting. It is
+illustrated in Fig. 97. If clearer effects are needed, common twills
+should be used, such as the six-end weave, which forms the pattern in
+Fig. 98. The III. Scheme yields in the Mayo a very effective pattern,
+as is seen in Fig. 99. Here the black yarns produce a broken line,
+while the other colours constitute intermingled checkings. This is a
+base, capable of being employed in the manufacture of various classes
+of fancy textures. Scheme IV., Fig. 100, is a neat method of grouping
+shades for fancy checks. The pattern sketched has been produced in
+the sixteen-shaft diagonal (Fig. 100A), but it might also be worked
+in common twill and mat weaves. Such a diagonal adds, however, to the
+attractiveness of the intermixture of shades. The characteristics of
+this example are due to the system on which the threads of warp and
+weft interlace. The pattern is a species of shaded check. From the
+tinted white to the black there is a graduated shade of greys, and
+in the following sets of colourings the same mellow toning would be
+observed.
+
+[Illustration: FIG. 99.]
+
+[Illustration: FIG. 100.]
+
+[Illustration: FIG. 100A.]
+
+                                   I.
+                          4 threads of black.
+                          2     „      dark brown.
+                          2     „      olive  „
+                          4     „      light  „
+                          2     „      olive  „
+                          2     „      dark   „
+
+                                  II.
+                          4 threads of black.
+                          2     „      dark grey.
+                          2     „      light  „
+                          4     „      white.
+                          2     „      light grey.
+                          2     „      dark  „
+
+                                  III.
+              4 threads of dark blue and dark grey twist.
+              2       „           „      medium grey twist.
+              2       „           „      light grey twist.
+              4       „           „      white twist.
+              2       „           „      light grey twist.
+              2       „           „      medium grey twist.
+
+This colour-base may be applied to cotton textures and light fabrics,
+when the colourings should be considerably brighter than those
+enumerated. For variety of effect, it is one of the most important
+colourings included in the ordinary series of irregular elementary
+styles.
+
+[Illustration: FIG. 101.]
+
+149. _Cross-Weftings._--This term is applied to weft colouring which
+does not correspond with the warp colouring as to order of shades.
+All the Simple, and many of the Compound special Schemes of Colouring
+may be cross-wefted. As a result, another form of coloured pattern is
+obtained from that due to applying the same order of wefting as warping.
+
+The following scheme (Fig. 101) is typical:--
+
+                                _Warp._
+                     3 black.              3 white.
+
+                                _Wefts._
+            (_a_) 1 black. ⎫
+                1  white.  ⎪
+            (_b_) 2 black. ⎬ Woven in the [2/2] twill.
+                2  white.  ⎪
+            (_c_) 4 black. ⎪
+                4  white.  ⎭
+
+            (_d_) 1 black. ⎫ In the [3/3] twill.
+                1  white.  ⎭
+
+            (_e_) 2 black. ⎫ In the [2/2]mat.
+                2  white.  ⎭
+
+  [Illustration:
+                               Plate XXII
+
+               STYLES DUE TO SIMPLE ORDERS OF COLOURING]
+
+On Plate XXII., some further examples of the effects of cross-wefting
+are illustrated. The orders of warping and wefting are as follows:--
+
+          _Warping._                        _Wefting._
+
+          _Series A to A3._                 _Series I._
+          2 dark.               Same as warp for Series _A_ to _A3_.
+          2 light.
+
+          _Series B to B3._                 _Series II._
+          3 dark.               Same as warp for Series _B_ to _B3_.
+          3 light.
+
+          _Series C to C3._                 _Series III._
+          6 dark.               Same as warp for Series _C_ to _C3_.
+          6 light.
+
+          _Series D to D3._                 _Series IV._
+          4 dark.               Same as warp for Series _D_ to _D3_.
+          4 light.
+          2 dark.
+          2 light.
+
+Patterns _A_, _B1_, _C2_, and _D3_ are woven as warped, but other
+specimens are cross-wefted. Of the latter, the following are regular
+styles and correct pattern bases:--_A1_, _A2_, _B_, _C_, _C1_, _C3_,
+_D_, _D1_, and _D2_. Examples _A2_, _D2_, and _D3_ are striped or
+lined across, showing that in extreme differences between the warping
+and wefting, irregular forms of pattern or effect result: _e.g._ _A2_
+warped 2-and-2, and wefted 6-and-6; and _D2_ and _D3_ warped 3-and-3,
+and woven 6-and-6, and 4, 4, 2, 2 respectively.
+
+
+
+
+                                  CHAPTER IX.
+
+                             COMPOUND COLOURINGS.
+
+     150. Compounds--151. Compounds composed of Three Types
+     of Elementary Colouring--152. Results of combining
+     Simple Colourings--153. Compounds and Weave Combinations
+     compared--154. Utility of a Practical Knowledge of the
+     Woven Effects of Simple Colourings--155. Compound Patterns
+     subjective to the Nature of the Fabrics Manufactured--156.
+     Types of Compounds--157. Compounds composed of Two Simple
+     Types--158. Patterns composed of Two Types and Three
+     Shades--159. Styles of Four Shades containing Two Simple
+     Types--160. Styles composed of Three Simple Types--161.
+     Irregular Compounds.
+
+[Illustration: FIG. 102.]
+
+150. _Compounds._--As these are composed of several elementary
+schemes of colouring, they are generally patterns of some intricacy
+of composition. With only two shades it is possible to obtain varied
+effects in this style of woven colouring. When three or more shades
+are used, and several simple methods of grouping shades practised,
+though the weave may be of a common twill or mat description, Compound
+patterns may be quite elaborate in arrangement. The elaborateness of
+the style resultant is determined by several factors, such as the
+character of the types, number of the Simple Colourings combined,
+and the diversity of the shades employed. The simpler the schemes
+of colours selected, the fewer the elements of the compound, the
+more ordinary in cast and aspect is the pattern acquired. Still, the
+commonest groupings of shades, even when combined on the simplest
+system, form woven styles of considerable richness of composition. One
+example, Fig. 102, is suggestive of the characteristics of this species
+of textile colouring. It is the most elementary type of compound,
+resulting from combining Methods I. and II., supplied in Table IX.,
+and consisting of black and white. But it is a pattern which comprises
+several styles of minute effects. It is divided into four rectangular
+spaces, _A_, _B_, _C_, and _D_: Each square is formed of a different
+kind of textural design. Thus, in Section _A_, which is composed of two
+threads of black and two threads of white in both warp and weft, it
+will be noticed there are small irregular checkings forming vertical
+lines; in _B_, where the one-and-one order of warp colouring is crossed
+by the two-and-two order of wefting, minute figures, or spots of white,
+separately surrounded with black, occur; in Section _C_ the same
+figures obtain as in _B_, only they are inverted, owing to the warp and
+weft colourings meeting each other in the reverse way to what they do
+in _B_; Section _D_ consists of small step-twill effects. So there are
+thus, in this pattern, four textural results so associated as to form a
+neat check design, which is producible in woollen, worsted, silk, and
+cotton yarns. It may be diminished or increased in size, and modified
+in various ways. For example, Checks _A_ and _C_ may be double the size
+of _B_ and _D_; or several striped patterns may be acquired by using
+Sections _C_ and _D_ together and Sections _A_ and _B_--the spaces of
+each effect being determined by the class of fabric in which the style
+is produced. For trouserings they must be comparatively small, but for
+dress textures and mantlings they may be some inches in width. In such
+shades and tints as are appended, both the original pattern and the
+modifications named may be developed:--
+
+                                   I.
+
+          For 24 threads. ⎧ 1 thread of Shade 2, Pl. IV.
+                          ⎩ 1     „      „    8,   „
+
+          For 24 threads. ⎧ 2 threads of Shade 2, Pl. IV.
+                          ⎩ 2     „       „    8,    „
+
+                                  II.
+
+          For 24 threads. ⎧ 1 thread of Shade 7, Pl. VI.
+                          ⎩ 1   „        „   13,  „
+
+          For 24 threads. ⎧ 2 threads of Shade 7, Pl. VI.
+                          ⎩ 2    „        „   13,    „
+
+                                  III.
+
+          For 24 threads. ⎧ 1 thread of Tint 4, Pl. IV.
+                          ⎩ 1   „        „   4,  „  VI.
+
+          For 24 threads. ⎧ 2 threads of Tint 4, Pl. IV.
+                          ⎩ 2   „        „    4,  „  VI.
+
+                                  IV.
+
+          For 24 threads. ⎧  1 thread of Tint 10, Pl. VI.
+                          ⎩  1   „        „   16,    „
+
+          For 24 threads. ⎧ 2 threads of Tint 10, Pl. VI.
+                          ⎩ 2   „         „    16,   „
+
+These colourings, with the exception of No. 1, are more suitable for
+dress and fancy fabrics than for trousering and coating textures. They
+are too bright for the latter types of loom products, but are of the
+correct depth of colour for fancy dress and mantling fabrics.
+
+151. _Compounds composed of Three Types of Elementary Colouring._--In
+the above example in Compounds, only two schemes of colouring obtain;
+but in Fig. 103 three elementary systems of grouping shades have
+been combined, yielding a style rich in diversity of small types of
+design. The schemes of shades employed in this construction are the
+I., II., and IV. Methods in Class A of the Simple Colourings. They
+constitute, in the fabric, nine distinct effects. These must be closely
+examined, in order that the principles of pattern design involved in
+the formation of the Compound style may be understood. Commence with
+the three effects succeeding each other in Bracket _A_. First, there
+is a square of similar minute figuring to that noticed in _C_ of Fig.
+102; second, a rectangle of vertical stripes composed of neat markings;
+and third, a repetition of the effect seen in _D_, Fig. 102. Next,
+consider the types included in Bracket _B_. The first space here is
+a composition of the small checks referred to in Section _A_ of the
+former pattern; this adjoins a square filled in with vertical stripes;
+and then follows a space of similar dimensions, and of the same species
+of effects, as characterizes _B_ of the preceding style. Both the
+_A_ and _B_ series of the effects comprise two types of pattern like
+those composing Fig. 102, but in the _C_ and _E_ groups five entirely
+distinct types of textural work are developed. Two of these--the
+two vertical stripes--have been alluded to. The horizontal stripes,
+comprised in Bracket _C_ have not been described. They are similar to
+the stripes seen in Bracket _E_, only they are formed across instead
+of lengthways of the fabric. Between the rectangular spaces of these
+effects there is a square of black and white plaid. It may be useful to
+indicate how the several effects forming this compound may be utilized
+on other systems than that illustrated. The space of black and white
+checkings may be enlarged. But it is not simply in the form of checks
+these sets of colourings are combinable, for they may be associated
+on such principles as to yield an extensive range of stripe designs.
+Take, for example, the series of effects included in Bracket _A_. These
+of themselves make a neat stripe, especially if choice colourings are
+selected. Parts _D_, _E_, and _F_ may be varied in dimensions according
+to the class of texture being manufactured. About half an inch of _D_,
+an inch of _E_, and half an inch of _F_ makes a useful base. In the
+shades and tints furnished for the preceding example--Fig. 102--this
+form of stripe produces attractive styles.
+
+[Illustration: FIG. 103.]
+
+The group of types in _B_ should be similarly employed as that
+constituting _A_. After _B_ sections have been separated from the rest
+of the pattern they may be used thus for a dress fabric:--A band of two
+inches of the effect given over _F_, and bands of one inch in width of
+the two adjacent types. If the style is applied to trouserings, smaller
+quantities of each type should be employed, and some fancy twist yarns
+added to the shades forming the bulk of the pattern, to give freshness
+and diversity of colouring.
+
+The series of broken or irregular types included in Bracket _C_ may
+also be worked into stripes for mantlings. In woollen yarns and mellow
+colourings, these broad effects in bands of about an inch in width
+yield effective patterns. Toned browns, slates, drabs, light greys,
+light olives, and lavenders are appropriate colours for this kind of
+textiles. Mixture yarns, of which several illustrations are given
+below, are also applicable.
+
+                                      I.
+
+                  [13] ⎧1 thread of No. 1, Plate XIII.
+                       ⎩1   „       No. 2, Plate XIII.
+
+                  [13] ⎧2 threads of No. 1, Plate XIII.
+                       ⎩2    „       No. 2, Plate XIII.
+
+                  [13] ⎧4   „        No. 1, Plate XIII.
+                       ⎩4  „         No. 2, Plate XIII.
+
+                                      II.
+
+                  [13] ⎧1 thread of No. 6, Plate XIII.
+                       ⎩1   „       No. 8, Plate XIII.
+
+                  [13] ⎧2 threads of No. 6, Plate XIII.
+                       ⎩2    „       No. 8, Plate XIII.
+
+                  [13] ⎧4   „        No. 6, Plate XIII.
+                       ⎩4   „        No. 8, Plate XIII.
+
+                                     III.
+
+                  [13] ⎧1 thread of No. 5, Plate XIII.
+                       ⎩1    „      No. 7, Plate XIII.
+
+                  [13] ⎧2 threads of No. 5, Plate XIII.
+                       ⎩2    „       No. 7, Plate XIII.
+
+                  [13] ⎧4    „       No. 5, Plate XIII.
+                       ⎩4    „       No. 7, Plate XIII.
+
+152. _Results of Combining Simple Colourings._--It will be obvious from
+these illustrations--Figs. 102 and 103--that, by combining several
+schemes of Simple Colouring, patterns are obtained rich in diversity
+of types of textural design, though the number of shades combined may
+be limited. This is not usually the case in Simple Colourings. If the
+shades in such arrangements are not numerous, the resultant effect
+is invariably plain; whereas, it is obvious that in Compounds, even
+should one weave only be employed and two shades combined, styles full
+of detail and minute textural patterns are producible. They represent
+an economical method of developing design in woven goods, for they are
+neither complicated in weave structure nor colour composition.
+
+153. _Compounds and Weave Combinations compared._--Patterns of a
+Compound class, being composed of two or more Simple schemes of
+colouring, may be compared to designs resulting from combining several
+small weaves or crossings. Compound colourings bear the same relation
+to the general classes of coloured patterns, as combined weave designs
+bear to the effects obtainable by diversifying the systems of crossing
+warp and weft yarns. Thus, the former are the resultants of combining
+elementary schemes of colouring, and the latter the resultants of
+uniting elements of weaving. Moreover, the complexity of weave
+compounds is proportionate to the variety of weaves combined, and the
+class of the elementary schemes of intertexture employed. The complex
+arrangement and fulness of detail of Compound Colourings are determined
+by the number of “Simple Orders of Colouring” entering into their
+composition, and by the character of the methods of colouring utilized.
+
+When constructing weave combinations, only those weaves should be used
+which fit with each other correctly, and which yield a fabric regular
+in structure; and when forming compounds, those schemes of elementary
+colouring should only be combined which produce a properly balanced
+style.
+
+154. _Utility of a Practical Knowledge of the Woven Effects of Simple
+Colourings._--Before attempting to combine simple methods of arranging
+shades, in the construction of Compound patterns, the textural results
+of the various elementary systems of grouping colours already described
+should have been ascertained, if possible, by loom experiments. For
+the purpose of facilitating the combination of Simple Colourings, it
+will be found advantageous to make a collection of the woven patterns
+resulting from the adoption of the Schemes given in Paragraph 149
+(see Plate XXII.). The utility of such a series of woven specimens may
+be indicated. Supposing, for example, a pattern were required in the
+cassimere twill in which the two-and-two and the one-and-one schemes
+of colouring were to appear. Then, by consulting the woven results of
+these two principles of grouping yarns, some calculation could be made
+of the actual aspect of the pattern to be originated. This, of course,
+is an advantage in designing. The most effective styles are those which
+the designer, by the aid of his technical knowledge, has been able to
+partially imagine the woven effect of, when the patterns were in the
+theoretical form.
+
+155. _Compound Patterns Subjective to the Nature of the Fabric
+Manufactured._--Another factor which affects the selection of “Simple
+Colourings” in the construction of Compounds, is the class or
+description of fabric being produced. In some species of cotton and
+dress textures, bold and broad effects are required, necessitating
+the use of the larger types of elementary colourings; but in ordinary
+fabrics the neatest and smallest types are suitable. This may be
+regarded as a general rule, but the degree of colour contrast, and the
+fineness of the structure of the fabric, in some measure also modify
+the type of shade-arrangements most appropriate for any specific
+class of fabrics. It is chiefly a question of the size of the pattern
+required, which governs the dimensions of the various effects combined
+in its construction. So that, granting the class of fabric has been
+selected, and that its structure is known, then those Simple Colourings
+may be applied which will give a compound style of requisite textural
+composition, form, and size.
+
+156. _Types of Compounds._--Compounds, like Simple Colourings, may
+be divided into Regulars and Irregulars, which may be subdivided
+thus: Compounds composed of two elementary schemes of colouring, and
+Compounds composed of three or more elementary schemes of colouring.
+Each of these subdivisions includes styles of two, three, or four
+shades. Examples in these several classes of Compounds are supplied in
+the Table given below:--
+
+                                   TABLE XI.
+
+                             COMPOUND COLOURINGS.
+
+  REGULAR COMPOUNDS--
+
+               CLASS A.--COMPOUNDS COMPOSED OF TWO SIMPLE TYPES.
+
+                          _I.--Styles in Two Shades._
+
+                              _I. Scheme._
+                         1 thread of black. ⎫ _A._
+                         1     „     white. ⎭
+
+                         2 threads of black. ⎫ _B._
+                         2     „      white. ⎭
+
+                             _II. Scheme._
+                         2 threads of black. ⎫ _A._
+                         2     „      white. ⎭
+
+                         4 threads of black. ⎫ _B._
+                         4     „      white. ⎭
+
+                             _III. Scheme._
+                         3 threads of black. ⎫ _A._
+                         3     „      white. ⎭
+
+                         6 threads of black. ⎫ _B._
+                         6     „      white. ⎭
+
+                             _IV. Scheme._
+                         4 threads of black. ⎫ _A._
+                         4     „      white. ⎭
+
+                         8 threads of black. ⎫ _B._
+                         8     „      white. ⎭
+
+
+                        _II.--Styles in Three Shades._
+
+                              _I. Scheme._
+                         1 thread of black. ⎫
+                         1     „     grey.  ⎬ _A._
+                         1     „     white. ⎭
+
+                         2 threads of black. ⎫
+                         2     „      grey.  ⎬ _B._
+                         2     „      white. ⎭
+
+                             _II. Scheme._
+                         2 threads of black. ⎫
+                         2     „      grey.  ⎬ _A._
+                         2     „      white. ⎭
+
+                         4 threads of black. ⎫
+                         4     „      grey.  ⎬ _B._
+                         4     „      white. ⎭
+
+                             _III. Scheme._
+                         3 threads of black. ⎫
+                         3     „      grey.  ⎬ _A._
+                         3     „      white. ⎭
+
+                         6 threads of black. ⎫
+                         6     „      grey.  ⎬ _B._
+                         6     „      white. ⎭
+
+                             _IV. Scheme._
+                         4 threads of black. ⎫
+                         4     „      grey.  ⎬ _A._
+                         4     „      white. ⎭
+
+                         8 threads of black. ⎫
+                         8     „      grey.  ⎬ _B._
+                         8     „      white. ⎭
+
+
+                     _III.--Styles in Four Shades._
+
+                              _I. Scheme._
+                       1 thread of black.     ⎫
+                       1     „     dark grey. ⎬ _A._
+                       1     „     grey.      ⎪
+                       1     „     white.     ⎭
+
+                       2 threads of black.    ⎫
+                       2     „      dark grey.⎬ _B._
+                       2     „      grey.     ⎪
+                       2     „      white.    ⎭
+
+                             _II. Scheme._
+                       2 threads of black.    ⎫
+                       2     „      dark grey.⎬ _A._
+                       2     „      grey.     ⎪
+                       2     „      white.    ⎭
+
+                       4 threads of black.    ⎫
+                       4     „      dark grey.⎬ _B._
+                       4     „      grey.     ⎪
+                       4     „      white.    ⎭
+
+                             _III. Scheme._
+                       3 threads of black.    ⎫
+                       3     „      dark grey.⎬ _A._
+                       3     „      grey.     ⎪
+                       3     „      white.    ⎭
+
+                       6 threads of black.    ⎫
+                       6     „      dark grey.⎬ _B._
+                       6     „      grey.     ⎪
+                       6     „      white.    ⎭
+
+                             _IV. Scheme._
+                       4 threads of black.    ⎫
+                       4     „      dark grey.⎬ _A._
+                       4     „      grey.     ⎪
+                       4     „      white.    ⎭
+
+                       8 threads of black.    ⎫
+                       8     „      dark grey.⎬ _B._
+                       8     „      grey.     ⎪
+                       8     „      white.    ⎭
+
+
+              CLASS B.--COMPOUNDS COMPOSED OF THREE SIMPLE TYPES.
+
+                              _I. Scheme._
+                        Composed of Two Shades.
+                          1 thread of black. ⎫ _A._
+                          1     „     white. ⎭
+
+                          2 threads of black. ⎫ _B._
+                          2     „      white. ⎭
+
+                          4 threads of black. ⎫ _C._
+                          4     „      white. ⎭
+
+                             _II. Scheme._
+                       Composed of Three Shades.
+                         1 thread of black. ⎫
+                         1     „     grey.  ⎬ _A._
+                         1     „     white. ⎭
+
+                         2 threads of black. ⎫
+                         2     „      grey.  ⎬ _B._
+                         2     „      white. ⎭
+
+                         4 threads of black. ⎫
+                         4     „      grey.  ⎬ _C._
+                         4     „      white. ⎭
+
+                             _III. Scheme._
+                       Composed of Three Shades.
+                         1 thread of black. ⎫
+                         1     „     grey.  ⎬ _A._
+                         1     „     white. ⎭
+
+                         3 threads of black. ⎫
+                         3     „      grey.  ⎬ _B._
+                         3     „      white. ⎭
+
+                         6 threads of black. ⎫
+                         6     „      grey.  ⎬ _C._
+                         6     „      white. ⎭
+
+                             _IV. Scheme._
+                       Composed of Three Shades.
+                         2 threads of black. ⎫
+                         2     „      grey.  ⎬ _A._
+                         2     „      white. ⎭
+
+                         4 threads of black. ⎫
+                         4     „      grey.  ⎬ _B._
+                         4     „      white. ⎭
+
+                         8 threads of black. ⎫
+                         8     „      grey.  ⎬ _C._
+                         8     „      white. ⎭
+
+
+  IRREGULAR COMPOUNDS--
+
+                              _I. Scheme._
+                        Composed of Two Colours.
+                         2 threads of black. ⎫ _A._
+                         1 thread of white.  ⎭
+
+                         4 threads of black. ⎫ _B._
+                         2     „      white. ⎭
+
+                             _II. Scheme._
+                        Composed of Two Colours.
+                         1 thread of black. ⎫ _A._
+                         1     „     white. ⎭
+
+                         3 threads of black. ⎫ _B._
+                         1 thread of white.  ⎭
+
+                             _III. Scheme._
+                        Composed of Two Shades.
+                         1 thread of black. ⎫
+                         1     „     grey.  ⎬ _A._
+                         1     „     black. ⎭
+
+                         1 thread of grey.  ⎫
+                         1     „     black. ⎬ _B._
+                         1     „     grey.  ⎭
+
+                             _IV. Scheme._
+                       Composed of Three Colours.
+                         6 threads of black. ⎫
+                         4     „      grey.  ⎬ _A._
+                         2     „      white. ⎭
+
+                         3 threads of black. ⎫ _B._
+                         3     „      white. ⎭
+
+  NOTE.--Groups _A_, _B_, and _C_ may be repeated to any number of
+        threads of which they form a multiple.
+
+157. _Compounds composed of Two Simple Types._--Four examples in this
+class of Compounds are given in Class A of the Table. Three of them
+have been examined--namely, Schemes I., II., and III. The I. Scheme
+is analyzed in Paragraph 150, the II. Scheme produces a common check
+pattern, and the III. Scheme the basket check. Scheme II. is used in
+worsted designing for both suiting and dress fabrics, and also in
+cotton yarns. Both this and the III. Scheme are worked in the mat or
+hopsack, as well as in the four- and six-end twills. These forms of
+pattern also obtain in stripes and checks. No great contrast of colours
+is needed, as they are effective in a textural sense. The difference
+between the effects of the two-and-two and the four-and-four, and
+the three-and-three and the six-and-six orders of colouring, is so
+pronounced as to make decided shade composition unnecessary. Colours
+of the same hue, but of various depths, are appropriate. Another
+useful type of colour compound for these schemes of grouping shades is
+illustrated below:--
+
+                                   I.
+           _A._ ⎧ 2 threads of brown.
+                ⎩ 2     „      brown and light brown twist.
+
+           _B._ ⎧ 4 threads of brown.
+                ⎩ 4     „      brown and light brown twist.
+
+                                  II.
+           _A._ ⎧ 2 threads of light grey.
+                ⎩ 2     „      light grey and white twist.
+
+           _B._ ⎧ 4 threads of light grey.
+                ⎩ 4     „      light grey and white twist.
+
+Parts _A_ and _B_ may be repeated two, four, or six times, according to
+the size of pattern required. A very mellow sort of style results from
+this system of colouring. The surface of the texture is one uniform
+tint, slightly diversified with the twist yarns, which develop the
+details of the pattern, due to the method of grouping the threads. This
+species of colouring is soft in tone and artistic in composition, being
+equally applicable to woollen, worsted, and cotton fabrics. In cottons,
+more pronounced colouring may be adopted, such shades as follow being
+useful: brown and slate, pink and white, and deep blue and pale
+lavender.
+
+The woven effects of Scheme IV. are given in Figs. 104, 105, and
+106. The weave employed in the production of these patterns is an
+eight-shaft twill. Whatever twill were used, providing it flushed the
+warp and weft equally, the general aspect of the patterns would be
+as here illustrated. In order to afford as clear an insight into the
+principles of Compound Colourings as possible, the effect of changing
+the weft on the pattern resultant, when the system of warping is not
+varied, is also shown in these examples. All the three patterns have
+the same arrangement of warp yarns, but in Fig. 104 the weft is white;
+Fig. 105, black; and in Fig. 106 it is like the warp. If the weft
+contrasted in hue with both the shades of warp yarns, quite a new type
+of effect would be acquired. Supposing, for illustration, it were
+blue. Such an alteration would completely change the appearance of the
+fabric. Neither the black nor the white stripes would be solid, but the
+former would be half black and half blue, and the latter half white and
+half blue. However the weft might be varied; the form of the pattern
+would remain the same--that is to say, it would always consist in the
+stripes (Figs. 104 and 105) of four broad lines and two narrow lines,
+and in the check (Fig. 106) of sixteen large and sixteen small squares.
+
+[Illustration: FIG. 104.]
+
+[Illustration: FIG. 105.]
+
+Considering that only two shades are used, the patterns are full of
+textural detail. The series of effects given are useful in textile
+designing. The stripes possess diversity of composition, and are
+characterized by neatness and clearness of arrangement. Seeing that the
+shades used are black and white, the absence of bold and stiff outlines
+is an interesting feature, and one that suggests the utility of the
+base in the development of fancy fabrics. In the check there is much
+variety of work. In addition to the solid squares of black and white of
+two sizes, there are rectangles composed of twills of black and white
+blended, of several dimensions and shapes.
+
+[Illustration: FIG. 106.]
+
+[Illustration: FIG. 107.]
+
+[Illustration: FIG. 108.]
+
+158. _Patterns composed of Two Types and Three Shades._--Scheme
+I. of Class A of the Regular Compounds, in the styles composed
+of three colours and of two Simple types, gives somewhat mellow
+and subdued effects. The patterns sketched in Figs. 107 and 108
+illustrate the style of design arrangement resultant when this method
+of colour-grouping is adopted. The stripe pattern has a mingled
+appearance. Parts _A_ of both the check and the stripe are composed
+of minute work, which neatly contrasts with the broader and more
+distinctly pronounced effects comprised in Section _B_. The patterns
+have a softer aspect and tone than if only two shades had been
+employed, the third shade adding diversity of colouring and freshness
+of the style. Fig. 107 is woven with a white weft, and Fig. 108 with
+exactly the same order of weft as warp shades. The two Simple schemes,
+forming this Compound, combine satisfactorily. The three-odd-thread
+grouping, constituting the _A_ sections of the fabric, yields a
+species of textural effect which affords prominence to the small
+spaces of black, grey, and white composing parts _B_. There is, in
+these samples, congruity of effects. This is one of the main elements
+of a well-arranged compound. It is a feature of all descriptions of
+designing that the styles amalgamated should suitably develop each
+other, and yield a well-balanced and effective scheme of ornamentation.
+Even in the smallest textural effects, resulting from combining various
+systems of shade-arrangement, this principle of design has to be
+taken into account. For example, the check style given in Fig. 111
+would not form a satisfactory pattern if combined with the check in
+Fig. 108; although both styles are composed of similar arrangements
+of shades, and have precisely the same colour features. The character
+of the respective checkings is, however, very different. In Fig.
+111 the patches of colours are so grouped as to yield a broad and
+clearly-pronounced series of effects, whereas Fig. 108 is a compound of
+various minute types of woven design; hence the incongruity which would
+ensue from their amalgamation. The elements of Figs. 107 and 108 are,
+on the other hand, suitable for this purpose. The stripe is a style
+that may be utilized in various ways. Should, for instance, bands _A_
+and _B_ be varied in width, a range of useful patterns for dress and
+mantling textures may be produced. Thus, stripes averaging from two to
+four inches in width, in mellow shades of twist or self-coloured yarns
+arranged on this system, are developed largely in worsted, woollen, and
+cotton materials.
+
+In the check, Fig. 108, the development of this Compound scheme of
+colouring is shown. It is made up of the two types lettered _A_ and
+_B_. Several groups of shades are given below illustrative of the type
+of colouring appropriate for the respective textures named.
+
+                                 I. CLOAKINGS.
+
+                                 _Example A._
+                              ⎧ 1 thread of fawn.
+              For 12 threads. ⎨ 1     „     light brown.
+                              ⎩ 1     „     brown.
+
+                              ⎧ 2 threads of fawn.
+              For 24 threads. ⎨ 2     „      light brown.
+                              ⎩ 2     „      brown.
+
+                                 _Example B._
+                              ⎧ 1 thread of light olive.
+              For 12 threads. ⎨ 1     „     slate.
+                              ⎩ 1     „     medium blue.
+
+                              ⎧ 2 threads of light olive.
+              For 12 threads. ⎨ 2     „      slate.
+                              ⎩ 2     „      medium blue.
+
+                                 II. DRESSES.
+
+                                 _Example C._
+                          ⎧ 1 thread of white.
+          For 24 threads. ⎨ 1     „     lilac (Tint 16, Plate VI.).
+                          ⎩ 1     „     olive (Shade 9, Plate VI.).
+
+                          ⎧ 2 threads of white.
+          For 48 threads. ⎨ 2     „      lilac (Tint 16, Plate VI.).
+                          ⎩ 2     „      olive (Shade 9, Plate VI.).
+
+                                 _Example D._
+                       ⎧ 1 thread of yellow olive (Tint 10, Plate VI.).
+       For 24 threads. ⎨ 1     „     light blue (Tint 11, Plate IV.).
+                       ⎩ 1     „     olive (Shade 8. Plate III.).
+
+                       ⎧ 2 threads of yellow olive (Tint 10, Plate VI.).
+       For 48 threads. ⎨ 2     „      light blue (Tint 11, Plate IV.).
+                       ⎩ 2     „      olive (Shade 8, Plate III.).
+
+                                 _Example E._
+                       ⎧ 1 thread of light brown (No. 3, Plate IV.).
+       For 6 threads.  ⎨ 1     „     medium brown (No. 2, Plate IV.).
+                       ⎩ 1     „     dark brown (No. 1, Plate IV.).
+
+                       ⎧ 2 threads of light brown (No. 3, Plate IV.).
+       For 12 threads. ⎨ 2     „      medium brown (No. 2, Plate IV.).
+                       ⎩ 2     „      dark brown (No. 1, Plate IV.).
+
+                                 _Example F._
+                       ⎧ 1 thread of brown and white twist (No. 3,
+                       ⎪     Plate IV.).
+        For 6 threads. ⎨ 1 thread of blue and white twist (No. 9,
+                       ⎪     Plate IV.).
+                       ⎩ 1 thread of olive and white twist (No. 15,
+                             Plate IV.).
+
+                       ⎧ 2 threads of brown and white twist.
+       For 12 threads. ⎨ 2     „      blue and white twist.
+                       ⎩ 2     „      olive green and white twist.
+
+The II. and IV. Schemes of the styles in three shades of Class A (see
+Table of Compounds) are not illustrated. The former style is most
+frequently worked in six-shaft weaves, and the latter in four-and
+eight-shaft weaves. On account of the colours being grouped in larger
+quantities than in Scheme I., they give patterns of a broader and more
+effective character. They are used for similar classes of textiles as
+those to which Scheme I. is applicable, being selected when styles
+composed of well-emphasized types of textural work are required.
+Should thick yarns be used, they give an excellent form of pattern for
+travelling rugs, shawls, and wraps.
+
+[Illustration: FIG. 109.]
+
+[Illustration: FIG. 110.]
+
+The III. Scheme of these styles, consisting of three shades and of two
+simple types, is illustrated in the three patterns in Figs. 109, 110,
+and 111. The patterns are twice the size of Scheme III., that is to
+say, they contain fifty-four instead of twenty-seven threads, as given
+in the Table of Compounds, for Sections _A_ and _B_ in producing the
+fabrics have both been repeated. Types _A_ and _B_ here combined work
+well together, and form a species of pattern which may be dissected.
+Contrast the effect obtained in Fig. 109 with the effect obtained in
+Fig. 110. The arrangement of shades in the warp is the same as supplied
+in the Table in both styles; but in the former the weft is black and
+in the latter white. Had a blue shade of weft yarn been employed, or
+any colour which would have formed an equal weight of contrast with
+the black, grey, and white elements of the patterns, a species of
+design comprising increased effects would have resulted; or, had fancy
+colours instead of neutral shades been combined, a more elaborate type
+of colouring would have been produced. But to revert to the contrast
+of style due to changing the weft. It illustrates the importance of
+employing the proper shade of weft for developing the various elements
+of coloured styles. Each example is applicable to the dress and
+mantling branches of weaving, while in certain shades producing subdued
+and toned effects, they are used in trousering patterns. For dress
+textures, Sections _A_ and _B_ require to be increased in width in
+order to give more character and breadth of effect to the colourings.
+
+[Illustration: FIG. 111.]
+
+Fig. 111, which is composed of the same warp yarns as the two preceding
+examples, and woven with a similar order of weft as warp colouring,
+is an effective plan of arranging shades. In Fig. 109, the black
+lines in parts _A_ and _B_ are quite solid, and the white and grey
+effects broken, being crossed with black; in Fig. 110 the white lines
+are clear, and the grey and black mingle with white; but in Fig. 111
+Sections _A_ and _B_ each contain rectangular spaces of various sizes
+and shapes of black, grey, and white yarns. These blend and interlace
+with each other. Part _A_ of this style, being composed of the
+three-threes system of grouping colours, consists of a smaller series
+of effects than Part _B_, which results from the three-sixes plan of
+combining shades. The dimensions of each section of the pattern are
+varied according to the description of fabric in which it is developed.
+
+[Illustration: FIG. 112.]
+
+[Illustration: FIG. 113.]
+
+159. _Styles of Four Shades containing Two Simple Types._--Four
+examples are given in these styles in Table XI. They do not form
+patterns so rich in mingled effects as the preceding compounds.
+This arises from their occupying an even number of threads, and
+constituting, as a consequence, a more regular and set description
+of pattern. Schemes I., II., and IV. are not illustrated, but they
+produce a similar species of style to that resulting from Scheme III.
+in Figs. 112, 113, and 114. These types resemble each other in outline
+and textural detail. The only difference consists in the sizes of the
+effects produced. This is not the case in Schemes I. and II. of the
+styles in Three Shades, in which Parts _A_ are composed of an odd and
+Parts _B_ of an even number of ends. When the composition of the two
+types combined is thus dissimilar, the resultant compound is fuller of
+effects than if the two Simple Colourings both comprised an even number
+of threads. By, however, resorting to the use of fancy weaves, the
+textural appearance of the patterns referred to may be considerably
+diversified.
+
+[Illustration: FIG. 114.]
+
+Figs. 112, 113, and 114 have been acquired in the cassimere twill by
+repeating _A_ and _B_ of Scheme III. of the styles of Four Shades in
+Class A. In Fig. 112 the weft yarn is black; in Fig. 113, white; and
+in Fig. 114, the same as the warp. By using grey and light grey wefts,
+other stripes may be obtained. A contrasting shade of weft also forms
+a useful class of effects. Both Figs. 112 and 113 are bases employed
+in various kinds of woollen, worsted, and cotton textures. In Fig.
+114, the black weft destroys the effect of the warp shades, hence
+brown, blue, or olive would be more suitable. The check is regular in
+arrangement. It is a common base, and is employed in larger or smaller
+forms in the construction of dress and other fabrics.
+
+[Illustration: FIG. 115.]
+
+[Illustration: FIG. 116.]
+
+[Illustration: FIG. 117.]
+
+160. _Styles composed of Three Simple Types_ (see Table of
+Compounds).--As pointed out in reference to Fig. 103, which results
+from the adoption of Scheme I. of Class B (see page 200), when three
+elements of Simple Colourings are combined, a pattern is acquired
+rich in diversity of textural work. This is apparent in the example.
+Composed of black and white yarns, it is a specimen of the diversity
+of style obtainable with two shades in compound patterns. It follows
+that if the number of the shades employed is increased, designs richer
+in character are producible. If Figs. 115, 116, and 117, which have
+been woven from the arrangement of shades supplied in Scheme II. of
+Class B, are examined, it will be noticed that though the number of
+effects corresponds with that of Fig. 103, yet the addition of the
+grey tint has produced quite a different form of style. Figs. 115 and
+116 have been woven with white and black weft respectively. They are
+composed of three types of work, comprising minute effects in _A_,
+somewhat larger effects in _B_, and still broader details in _C_. The
+patterns are partially shaded, and as bases of colouring they are
+excellent. The three effects each contains, may be combined in various
+ways, giving stripes of suitable proportions for dresses, mantlings,
+and trouserings, according to the class of materials employed. A few
+examples in colouring this base are given. Any of the three shades of
+which they are severally composed may be used for weft.
+
+                                 _I. Example._
+                          ⎧1 thread of brown (No. 1, Plate IV.).
+           For 6 threads. ⎨1    „      blue (No. 7, Plate IV.).
+                          ⎩1    „      olive (No. 13, Plate IV.).
+
+                          ⎧2 threads of brown.
+          For 12 threads. ⎨2     „      blue.
+                          ⎩2     „      olive.
+
+                          ⎧3 threads of brown.
+          For 18 threads. ⎨3     „      blue.
+                          ⎩3     „      olive.
+
+                                _II. Example._
+                  ⎧1 thread of olive (No. 9, Plate VI.) and white twist.
+   For 6 threads. ⎨1     „     blue (No. 9, Plate IV.) and white twist.
+                  ⎩1     „     slate and white twist.
+
+                  ⎧2 threads of olive and white twist.
+  For 12 threads. ⎨2     „      blue and white twist.
+                  ⎩2     „      slate and white twist.
+
+                  ⎧3 threads of olive and white twist.
+  For 18 threads. ⎨3     „      blue and white twist.
+                  ⎩3     „      slate and white twist.
+
+                                _III. Example._
+                          ⎧1 thread of light blue (No. 10, Plate IV.).
+          For 12 threads. ⎨1    „      rose (No. 4, Plate IV.).
+                          ⎩1    „      white.
+
+                          ⎧2 threads of light blue.
+          For 12 threads. ⎨2     „      rose.
+                          ⎩2     „      white.
+
+                          ⎧3 threads of light blue.
+          For 36 threads. ⎨3     „      rose.
+                          ⎩3     „      white.
+
+                                _IV. Example._
+                       ⎧1 thread of russet (No. 7, Plate III.).
+       For 12 threads. ⎨1    „      olive (No. 8, Plate III.).
+                       ⎩1    „      slatish purple (No, 14, Plate VI.)
+
+                       ⎧2 threads of russet.
+       For 12 threads. ⎨2     „      olive.
+                       ⎩2     „      slatish purple.
+
+                       ⎧3 threads of russet.
+       For 18 threads. ⎨3     „      olive.
+                       ⎩3     „      slatish purple.
+
+The I. and II. Examples are for suitings--one for dark and the other
+for light fabrics. These may be produced in either woollen or worsted
+yarns. Example III. is for dress fabrics. The two smaller types of work
+of which it is composed form the same size of section in the texture;
+but the arrangement of the three 3’s yields a section half as large
+again as that formed by the other elements of the style. A bold and
+clearly-defined pattern is thus produced by this order of colouring.
+
+[Illustration: FIG. 117A.]
+
+Example IV. is intended for cloakings, and is composed of shades of a
+medium depth and intensity.
+
+The checks, Fig. 117, in [2/2] twill, and Fig. 117A, in the [2/2] mat,
+contain nine species of work, well grouped and arranged. The two types
+_A_ and _B_ are just sufficiently emphasized to contribute to the
+neatness of the style, while the series of effects comprised in Bracket
+_C_ give a distinctness of outline. These checks are workable in the
+colourings supplied for the stripes.
+
+It is unnecessary to illustrate Schemes III. and IV. of Class B of the
+Table, which give similar patterns to those described, though there is
+considerable dissimilarity in the types of effect making the respective
+patterns.
+
+161. _Irregular Compounds_ (see Table XI.).--Styles of this class are
+generally quite mingled in colouring. They consist of such methods
+of grouping threads as comprise various quantities of the different
+colours used. Thus, in Scheme I. of the Irregular Compounds there
+are twice as many threads of black as white in both sections _A_ and
+_B_; in Scheme II. the black again predominates; while in Scheme IV.
+the several shades occur in different quantities. This is the colour
+feature which causes the dissimilarity between Irregular and Regular
+Compounds. In Part _A_, Scheme III., there is an excess of black, but
+in Part _B_ an excess of grey. This species of pattern is therefore
+obtained by taking a simple base, in which one shade is in excess,
+and repeating it for a suitable number of threads, and then reversing
+the positions of the shades. The following examples of this system
+of compounding elementary schemes of colouring may be considered in
+addition to that supplied in Scheme III. of the Table:--
+
+                                 _Example I._
+              _A._ For 18 threads. ⎧4 threads of black.
+                                   ⎩2     „      brown.
+
+              _B._ For 18 threads. ⎧2 threads of black.
+                                   ⎩4     „      brown.
+
+                                 _Example II._
+                                   ⎧4 threads of brown.
+              _A._ For 16 threads. ⎨2     „      slate.
+                                   ⎩2     „      blue.
+
+                                   ⎧4 threads of slate.
+              _B._ For 16 threads. ⎨2     „      blue.
+                                   ⎩2     „      brown.
+
+                                   ⎧4 threads of blue.
+              _C._ For 16 threads. ⎨2     „      brown.
+                                   ⎩2     „      slate.
+
+[Illustration: FIG. 118.]
+
+In the _A_ section of Example I. black is the principal and brown the
+secondary shade, but in the _B_ section the positions of the colours
+are reversed. Such a method of colouring frequently yields attractive
+styles. This scheme in the four-shaft mat produces a twofold effect.
+Section _A_, when this colouring is worked in the mat, forms a black
+ground on which small lines of brown are set at right angles to each
+other, but Section _B_ gives a brown ground with a similar series of
+black lines. The style is produced in both wool and cotton materials in
+the plain, twill, and mat weaves.
+
+[Illustration: FIG. 119.]
+
+Example II. illustrates the method of changing the positions of the
+shades when three colours are employed in this class of compounds.
+No perfect style can be obtained on this system unless each colour
+occupies every possible position in the repeat of the pattern.
+Reference to this example will make this point evident. Here three
+colours--brown, slate, and blue--are combined. In Part _A_ the brown
+leads, in Part _B_ the slate leads, and in Part _C_ the blue. Even
+distribution of colouring is thus secured, and the production of a
+pattern in which uniformity of effects is paramount is effected. The
+principle of the compounds illustrated by these examples affords
+considerable scope for ingenious arrangement of colours.
+
+[Illustration: FIG. 120.]
+
+Two of the Irregular Compounds given are illustrated by sketches of
+woven samples, namely, Schemes I. and IV. Figs. 118 and 119 have been
+produced by Scheme I.,--Section _A_ being repeated to 18, and Section
+_B_ to 18 threads. As this style is only composed of two shades, the
+textural result is somewhat wanting in variety of effect. Still, it is
+a useful base. Both the stripe and check arrangements are developed in
+woollen and worsted yarns. The check pattern is a compound of three
+effects, consisting of the spaces of vertical lines of black and white,
+of the parts of intermingled colouring, and of the sections of minute
+twilled work. In such couplets of shades as brown and fawn, blue and
+slate, and olive and slate and white twist, neater patterns may be
+obtained by this base than are producible in black and white.
+
+[Illustration: FIG. 121.]
+
+[Illustration: FIG. 122.]
+
+[Illustration: FIG. 123.]
+
+Scheme II. gives even more mingled styles than those resulting from
+Scheme I. It is a composition of a Regular and of an Irregular
+type; for grouping _A_ is the simplest scheme of textile colouring,
+but grouping _B_, containing three elements of black to one element
+of white, is an Irregular base. This arrangement is extended and
+worked out in a considerable diversity of weaves. Scheme IV. is also
+constructed on this system. Part _B_, in this instance, is composed of
+the Regular elementary type, and Part _A_ of the Irregular type. The
+class of patterns it yields is illustrated in Figs. 120 and 121. The
+former of these styles has been woven with black weft, and the latter
+with the same shades of weft as warp. Part _A_ has been repeated to
+twenty-four, and Part _B_ to twenty-four threads. More decided patterns
+generally result from combining Irregular and Regular types, than from
+combining two or more systems of each of these representative schemes
+of textile colouring. In the check pattern, Fig. 121, the Irregular
+type, constitutes broad rectangular spaces of white, grey, and black,
+which surround a series of small black and white checks. A diversity
+of shades and tints may be practised here, and the base modified and
+utilized in the construction of fancy fabrics of various descriptions.
+
+[Illustration: FIG. 124.]
+
+Figs. 122, 123, and 124 are other examples of compounds, the
+arrangement of the colours being as follows:--
+
+                                  _Fig. 122._
+                               3 black. ⎫ For 72.
+                               3 white. ⎭
+                               4 black. ⎫ For 30.
+                               2 white. ⎭
+
+                                  _Fig. 123._
+                               3 black. ⎫ For 54.
+                               3 white. ⎭
+                               2 black. ⎫
+                               1 white. ⎬ For 36.
+                               1 black. ⎪
+                               2 white. ⎭
+
+                                 _Fig. 124._
+                               3 black. ⎫ For 24.
+                               3 white. ⎭
+                               2 black.
+                               1 white.
+                               2 white.
+                               3 black. ⎫ For 24.
+                               3 white. ⎭
+                               2 black. ⎫
+                               1 white. ⎬ For 36.
+                               1 black. ⎪
+                               2 white. ⎭
+
+They show how the simple grouping of colours may be effectively
+modified. In Fig. 122, the modification results in a compound of
+3-and-3 and 4-and-2 colouring; the latter, causing the check to appear
+shaded on account of the 4-and-2 colouring, has one-sixth more black
+yarn than the 3-and-3. Fig. 123 consists of 3-and-3 colouring combined
+with 2, 1, 1, 2; and Fig. 124 of the same colourings differently
+grouped together.
+
+
+  FOOTNOTES:
+
+     [13] For any suitable number of threads and picks.
+
+
+
+
+                                  CHAPTER X.
+
+                   FANCY SHADES APPLIED TO SPECIAL DESIGNS.
+
+     162. Colour applied to Special Makes--163. Colouring of
+     Corkscrews--164. Modified Corkscrews--165. Fancy Woollen
+     Weaves--166. Granite Effects--167. Diagonals--168.
+     Diagonals composed of Plain and Double Plain Makes--169.
+     Stripe and Check Colourings on Diagonals--170. Methods of
+     Colouring Fancy Weaves for Cottons or Silks--171. Gauze
+     Textures--172. Systems of Colouring Gauzes--173. Imitation
+     or Mock Gauzes--174. Colour in relation to Rib or Cord
+     Styles.
+
+
+162. _Colour applied to Special Makes of Cloth._--Having examined
+the various schemes of grouping shades in relation to the elementary
+order of weaves, and also the methods of combining colours in both
+warp and weft, analysis may next be made of the principles of textile
+colouring for the development of specific woven effects. Here it may be
+an adaptation or an origination of a scheme of shades--the structure
+of the weave being the principal modifying factor. It is not now a
+matter of the application of a system of colouring, irrespective of any
+particular type of weave, but a question of employing that assortment
+of colours which will prove most effective in a certain design. The
+build of the fabric, the method of intertexture, and the weave, are
+fixed factors; and it becomes a problem of what grouping of threads
+will yield the most satisfactory style and best emphasize the design
+elements. All weaves employed in developing colour effects in simple
+fabrics belong to one of the orders of crossings given below:--
+
+        I. Weaves in which there is a preponderance of warp.
+       II. Weaves in which there is a preponderance of weft.
+      III. Weaves in which the warp and weft effects are equally
+             pronounced.
+
+The I. class of weaves, which may be termed warp effects, includes
+corkscrews, sateens, buckskins, certain species of diagonals and
+twilled mats; the II. class--weft weaves--is not so comprehensive,
+being composed mainly of ribs or cords, twills and small diagonals. A
+very extensive series of fancy makes of various types is found in the
+III. class.
+
+But in addition to these important orders of intertexture, practised
+in the construction of single-make fabrics requiring special plans
+of colouring, there are some kinds of backed and double weaves that
+are so unique in build as to need exceptional treatment in a colour
+sense. This, however, is not so largely the case in backed as in
+double-make cloths. Backed, and also some types of double textures,
+such as trouserings, coatings, and simple effects in mantlings, are
+practically coloured on the same principles as single cloths. The under
+surface of these builds of woven styles is occasionally distinctive
+in shade-arrangement, but the face generally corresponds in scheme
+of colouring to single-make textures. In the combinations of double
+weaves, the exceptions to this method occur. Double-plain fabrics,
+for example, are coloured on quite distinct principles from some
+other descriptions of pattern. The double-plain weave is adapted to
+the development of a specific range of style, due to the utility of a
+formula of colouring only applicable to its structure. Some other types
+of double weaves have also their peculiar orders of shades.
+
+163. _Colouring of Corkscrews._--As corkscrews form one of the
+principal types of warp weaves, the application of colours to their
+construction may be primarily considered. The methods of colouring
+adopted here, relate collaterally to other weaves in which the warp
+effect is the most clearly developed on the face of the fabric.
+Corkscrews are adapted for several orders of warp colouring. Fancy
+shades are specially distinct when introduced into the warp of
+textures in which such weaves are used, making strong contrasts and
+high colourings in the warp unnecessary. But while these weaves thus
+afford ample provision for various methods of tinting in the warp, they
+neutralize the effects of weft colouring. This might be changed from
+black to dark blue in the common corkscrew without the character of the
+face of the fabric undergoing any perceptible modification in hue. If,
+for example, the warp and weft were, in such a weave, twelve threads
+of brown and twelve threads of blue, a stripe, and not a check, pattern
+would result. Of course in a common twill this colouring would yield
+a decided check. There are two reasons why in corkscrews, warp cords,
+and similar weaves, such a scheme of shades forms a stripe--first,
+because textures composed of this class of weaves possess a warp
+face; and second, because they, if properly made, contain a larger
+proportion of warp than weft threads to the inch; hence the weft
+yarns are almost entirely concealed by the warp. On these grounds it
+will be obvious that variety of pattern in these weaves, when due to
+colouring, is a product of the warp. To the typical methods, therefore,
+of grouping fancy shades in the warp for corkscrew and kindred weaves,
+attention has mainly to be directed. In such instances, the weft is
+the factor which binds the threads together, and produces or builds,
+in conjunction with the warp yarns, the fabric; and hence it only to a
+small degree affects the style of the pattern, and consequently is a
+minor consideration in producing the design.
+
+[Illustration: FIG. 125.]
+
+Patterns illustrative of the ordinary methods of colouring applied to
+corkscrew weaves are given in Figs. 125, 126, and 127. The style in
+Fig. 125 is a combination of three effects, viz., of the bands of solid
+colour, of the stripes _A_, and of the stripes _B_. The textural types,
+seen in the lettered sections, are due to two distinct but simple
+schemes of grouping shades, namely, the one-and-one and the two-and-one
+systems. They frequently occur in this weave, giving neat effects. The
+plan of warp colouring is as appended:--
+
+                                18 threads of black worsted.
+           _A._ For 9 threads. ⎧ 1 thread of white silk.
+                               ⎩ 1     „     black worsted.
+                                17 threads of black   „
+           _B._ For 10 threads.⎧ 1 thread of white    „
+                               ⎩ 2 threads of blue    „
+
+Should part _A_ be modified thus:--1 thread of white and 1 thread of
+black for six threads; 1 thread of white and 1 thread of crimson for
+three threads; and 1 thread of white and 1 thread of black for six
+threads--a very different style would ensue. Section _A_ would, in
+this arrangement, consist of two small stripes of twills of black and
+white separated by a minute band of fine twills of crimson and white.
+Another alteration of this base, which is also frequently adopted, is
+as follows:--
+
+                              9 threads of black.
+                              9   „  brown.
+                              9   „  black.
+       _A._ For 27 threads. ⎧ 1 thread of brown.
+                            ⎩ 1   „  black.
+                              9 threads of black.
+
+       _B._  For 6 threads. ⎧ 1 thread of tan silk.
+                            ⎩ 1   „  black.
+
+       _C._  For 6 threads. ⎧ 1 thread of slate silk.
+                            ⎩ 1   „  black.
+
+       _D._  For 6 threads. ⎧ 1 thread of tan silk.
+                            ⎩ 1   „  black.
+
+On analyzing this group of shades it will be evident that it comprises
+several elements. First, there are the three nine-thread stripes, viz.,
+black, brown, and black. These are succeeded by stripe _A_, composed
+of twills of black and brown. Between this part and Sections _B_, _C_,
+and _D_ there is another series of nine threads of black. Coming to
+the last three groups, the black yarns alternate with both the tan
+and slate silk in succession--an arrangement which tends to mellow
+the effect of the bright hues here employed. Of course the number of
+threads in the several sections of this pattern of warp may be varied
+according to the dimensions of the style required.
+
+Two further examples developed in warp corkscrew are those in Figs. 126
+and 127, the colourings being:--
+
+For Fig. 126:--
+
+          For 4. ⎧1 thread of lavender.
+                 ⎩1   „  black.
+                  1   „  lavender.
+          For 4. ⎧1   „  lavender silk.
+                 ⎩1   „  black.
+                  1  „  lavender silk.
+          For 4. ⎧1 thread of lavender.
+                 ⎩1     „     black.
+                  1     „     lavender.
+         For 30. ⎧1     „     lavender.
+                 ⎩1     „     slate.
+                  1     „     lavender silk.
+                  1     „     slate.
+                  1     „     brown silk.
+                  1     „     slate.
+                  1     „     lavender silk.
+         For 30. ⎧1     „     slate.
+                 ⎩1     „     lavender.
+
+                                _Weft._
+                             All one shade.
+
+[Illustration: FIG. 126.]
+
+[Illustration: FIG. 127.]
+
+For Fig. 127:--
+
+         For 108. ⎧1   .   .   . Shade 1.
+                  ⎩1   .   .   .   „   2.
+           For 6. ⎧1   .   .   .   „   1.
+                  ⎩1   .   .   .   „   3.
+           For 6. ⎧1   .   .   .   „   1.
+                  ⎩1   .   .   .   „   2.
+           For 6. ⎧1   .   .   .   „   1.
+                  ⎩1   .   .   .   „   3.
+
+                                _Weft._
+                             All one shade.
+
+164. _Modified Corkscrews._--In order to obtain a weft effect in
+corkscrews, the weaves are altered in the principles of construction.
+Take an example. The weave supplied in Fig. 128 is in reality a
+corkscrew, for should the ⊠’s be erased and the ◼’s be added, the
+weave, though occupying twenty-four threads,--which is not a number
+on which this type of weave is usually constructed,--would possess
+the main features of this description of twill. But the weave must
+now be considered as being composed of the ⊡’s and ⊠’s only--the ◼’s
+corresponding to the ◻’s. The thread-and-thread scheme of warping in
+this modified corkscrew has a different effect from what it has in the
+common type of this weave. Taking the shades to be brown and slate,
+and the weft blue, a pattern containing four species of work results.
+First, there are the two fine twills of the respective shades of warp
+yarn; and, second, a furrow of intermingled colouring, due to the solid
+floats of warp in the design. These effects are purely warp products.
+In addition to these, a fine diagonal of blue, resulting from the
+flushes of weft, is also formed, so that an alteration of this kind in
+the corkscrew system of twilling considerably increases the diversity
+of work producible by a simple arrangement of shades.
+
+[Illustration: FIG. 128.]
+
+[Illustration: FIG. 129.]
+
+Another very useful style might be developed in this crossing (Fig.
+128) by warping nine threads of a dark and three threads of a light
+shade of yarn, and weaving with a medium colour of weft. Supposing
+the shades to be black and white for warp, and grey for weft, then a
+pattern consisting of a series of furrows of black interrupted by small
+effects of white, arranged on a grey surface, would result.
+
+In Fig. 129 is given the effect of twilling this weave, Fig. 128, to
+the right and left alternately, when the thread-and-thread system
+of warping is adopted, and when the weft is all one colour. If the
+ordinary build of corkscrew had been employed, the diagonal of: black
+and white would only have been produced. The grey twills are distinctly
+a weft development, and result from the ⊠’s in the weave. This and the
+preceding examples are but types of the styles producible, by modifying
+this useful weave, in worsted fabrics.
+
+[Illustration: FIG. 130.]
+
+[Illustration: FIG. 131.]
+
+165. _Fancy Woollen Weaves._--There is not a large diversity of weaves
+employed in the construction of woollen fabrics; still there are some
+crossings used in these textures which require specific colouring.
+Patterns are produced by using weaves which are tinted on principles
+harmonizing with the scheme of interlacing. Such an example is given
+in the upper section of Fig. 130. A neat combination of textural
+effects has here been obtained by the employment of an uncommon weave.
+(See Fig. 131.) The scheme of colouring for this style belongs to the
+elementary class, being as follows in both warp and weft:--
+
+          _A._  For 24 threads. ⎧ 1 thread of black.
+                                ⎨ 1   „       grey.
+                                ⎩ 1   „       black.
+
+          _B._  For 24 threads. ⎧ 1 thread of grey.
+                                ⎨ 1   „       black.
+                                ⎩ 1   „       grey.
+
+Hence it is the weave which has given the novelty of cast to the
+pattern. In a simple twill it would yield an ordinary style, but in
+this weave (Fig. 131) it forms a series of minute effects. The weave
+is of a check type, and is workable on twelve shafts. In the sections
+marked ▨ and ⌻, the weft floats on the surface of the texture, while in
+the sections marked ◻, the warp effect is clearly emphasized. Both warp
+and weft are equally prominent. But as the method of floating these
+threads, groups the weft effects and the warp effects alternately,
+the result is a pattern possessing minute markings of an interesting
+character. These are the products of three shades. If a twill or mat
+had been used, this diversity of pattern composition by three colours
+and simple plan of shade-arrangement would not have been possible;
+so that it is obvious that new systems of weaving on a small and
+regular base may be employed in woollen textures to advantage, if
+novel patterns are required. The intermingled check characteristic of
+the style is due to the system of grouping the shades. Thus the plan
+of colouring is in two parts; in _A_ black is the principal, and grey
+the secondary shade; and in _B vice versâ_. By this means, in some
+parts of the fabric a dark or black groundwork is figured with grey,
+and in others a grey ground with black. The scheme of colouring here
+illustrated is also applicable to worsted and cotton as well as to the
+woollen textures.
+
+A different style is supplied in Nos. 1 and 2, in Plate XXIII., to
+that described. Its novelty is, however, due to the use of an uncommon
+weave; this is of a fancy twill order, being arranged on the base of
+the following plan of interlacing, which is the first pick of the
+design:-- [3\1][3\2][2\2][1\3][1\2][2\2] .
+
+Had, for instance, the six-end twill been used, the patterns would
+have lacked that richness of style and newness of colour by which they
+are characterized. It may therefore be understood that in woollens of
+a suiting and costume class, the weave may be arranged to add to the
+freshness of the styles obtainable from given methods of colouring.
+The scheme of shade-grouping in these samples is:--
+
+        _Pattern 1_ (Plate XXIII.).
+          4 threads of fawn.
+          2     „      olive brown.
+          2     „      brown.
+          4     „      dark brown.
+          2     „      brown.
+          2     „      olive brown.
+
+       _Pattern 2_ (Plate XXIII.).
+          4 threads of grey.
+          2     „      olive green.
+          2     „      dark brown.
+          4     „      blue.
+          2     „      dark brown.
+          2     „      olive green.
+
+The order of the weft colouring for Pattern 1 is the same as the warp;
+but in Pattern 2 slate takes the place of olive green. By varying the
+weftings, modifications of these effects may be acquired. One rule
+should be observed in this work--the warp colourings should slightly
+preponderate. They should in no case be subordinated to the scheme of
+wefting, which is rather a subsidiary, than a primary element, of this
+class of patterns.
+
+[Illustration: FIG. 132.]
+
+The diagonal utilized here being a combination of twills, each of which
+floats the warp and weft to a different degree on the face of the
+fabric, yields a style composed of various effects.
+
+  [Illustration:
+                              Plate XXIII
+
+                       CHECK AND STRIPE PATTERNS
+                            1. and 2. Checks
+                            3. Gauze Stripe
+                            4. 5. Cord or Rib Stripes]
+
+_166. Granite Effects._--These are produced in woollen yarns, the
+nature of which is adapted to the construction of blended and
+intermingled styles. Patterns of this class may be due to the
+employment of special kinds of fancy yarns, or to the use of a peculiar
+type of weave in combination with a given order of threads. With these
+effects, as producible by coloured yarns, there is no need to deal,
+as they have been treated of with the ordinary class of mixtures.
+Reference may therefore be made to the function of weaves in the
+production of granite and other blended styles. The pattern supplied in
+the lower section of Fig. 130 is an example of this species of weaving.
+Its mottled effect is mainly due to the construction of the design used
+and the order of colouring practised. The weave is given in Fig. 132.
+It is a compound of several crossings, warp and weft cords, and warp
+and weft prunelle twills. The order of colouring for both warping and
+wefting is thus:--
+
+          For 24 threads. ⎧1 thread of black.
+                          ⎩1     „     slatish lavender.
+                           2 threads of black.
+
+           For 6 threads. ⎧1 thread of black.
+                          ⎩1     „     slatish lavender.
+                           2 threads of black.
+
+          For 10 threads. ⎧1 thread of black.
+                          ⎩1     „     slatish lavender.
+                           2 threads of black.
+
+           For 6 threads. ⎧1 thread of black.
+                          ⎩1     „     slatish lavender.
+                           2 threads of black.
+
+          For 26 threads. ⎧1 thread of black.
+                          ⎩1     „     slatish lavender.
+
+This scheme of warping and wefting, conjointly with the weave to which
+it is applied, cannot fail to give an intermingled pattern. Even if
+the weave were of a common class, the result of this series of shades
+would be a broken, irregular style; but the design is arranged on a
+base to give a mixed distribution of colouring. The warp and weft cords
+in the plan are useful weaves for mingling fancy shades, and so are the
+twilled weaves combined. Add to these characteristics the arrangement
+of the design, which groups the several weaves into small figures of
+different forms. The style is workable in worsted, woollen, and cotton
+yarns, and in twists as well as self-colours. This assortment of weaves
+is appropriate for patterns in which mingled colouring, combined with a
+definite species of marking or textural form of effect, is required.
+
+[Illustration: FIG. 133.]
+
+167. _Diagonals._--As a rule, diagonals are but plainly coloured. Being
+complex in weave-construction, they do not require elaborate colouring;
+moreover, they are frequently of such a character as to yield intricate
+and textural patterns in the simplest arrangements and contrasts
+of shades; there are, however, some exceptions. Certain important
+types can only be satisfactorily developed when specific colouring
+is practised. Some illustrations in these may be considered. First,
+suppose two corkscrews--flushing the warp and weft respectively--were
+combined in a diagonal pattern of medium size. This arrangement of
+weaves, if the yarns were grouped on the one-and-one method in both
+warp and weft, would form a style in which one section of the diagonal
+would be developed in the warp and the other in the weft. By arranging
+the bands of the diagonal to run at a different angle from the twills
+of either the warp or weft corkscrew of which it is composed, an
+additional effect is obtained, than would have been the case if they
+had moved in a line with the twills. Regarding the application of this
+principle of pattern development, it relates to all diagonals composed
+of two or more simple weaves. One of the methods of applying colour
+to such designs is to adopt a simple scheme of shade-grouping, which
+develops neat but contrasting effects in the several makes combined.
+
+[Illustration: FIG. 134.]
+
+_168. Diagonal composed of Plain and Double Plain Makes._--In Fig.
+133 is furnished an example of how simple schemes of colouring may be
+made to produce quite a diversity of effects running diagonally in the
+fabric. This style has been developed by arranging the colours one
+thread of white and one thread of black, in the warping and wefting
+alike, and constructing the design on the base of the sixteen picks
+given in Fig. 134. It is unnecessary to explain here how the several
+effects have resulted, as the principles involved in producing the
+types _A_ and _B_, which are composed of plain weave, are already
+understood; while the varieties of patterns obtainable in the
+double-plain makes, forming Sections _C_ and _D_, will be considered in
+a subsequent chapter. Still, it may be observed that in solid shades
+such a grouping of weaves would give but an indefinite pattern, one
+lacking character and precision of outline. The weaves employed in this
+example, are the only ones which can be made to develop effects of this
+order, though in some types of simple, double, or compound weaves, such
+figured designs are producible by dissimilar schemes of colouring.
+There are certain restrictions to the methods of combination. Figuring,
+requiring large spaces of the double-plain makes, is not feasible;
+these crossings are necessarily looser and more open in structure than
+the single weaves, and may therefore only be used in comparatively
+small quantities; moreover, the weaves may not be grouped in the stripe
+form, or the texture will not be satisfactory as to firmness and
+soundness, nor will it weave regularly. The fact that the weaves in the
+example run diagonally, equalizes the interlacing of the warp and weft
+and ensures the construction of a uniformly-built fabric.
+
+169. _Stripe and Check Colourings on Diagonals._--Other methods of
+colouring weaves of a diagonal construction comprise the development of
+stripe and check effects, in neatly-toned shades. Coatings, dresses,
+and vestings comprise patterns of this order. It is necessary, in order
+to have the same weight of colouring in both warp and weft of such
+styles, to modify the design on those threads and picks on which the
+fancies occur. Unless this is done, the effect produced is irregular
+and imperfect. By, however, altering the design where these bright
+striping or checking shades are added, complete balance of colouring is
+acquired both across and lengthways of the fabric.
+
+170. _Methods of Colouring Fancy Weaves for Cottons or
+Silks._--Generally, these require brighter and more cheerful
+combinations of shades than woollen or worsted fabrics, but the weaves,
+when of a similar construction to those used in the production of these
+textures, are coloured on similar principles. It is in the selection of
+the shades where specific treatment is required. There are, however,
+some specially-constructed weaves employed in the manufacture of fancy
+cottons, and these have to be coloured according to their principles of
+arrangement and the type of pattern they are required to form.
+
+Amongst these weaves are small fancy effects, such as those illustrated
+in Figs. 135 and 136, and leno and gauze combinations. Reference may,
+in the first place, be made to Figs. 135 and 136. The former is a
+striped pattern composed of two sateen weaves. The alternate bands have
+warp- and weft-flushed grounds. On the weft-flushed surface a warp spot
+is formed, and on the warp-flushed surface a weft spot. A marked and
+well-emphasized contrast of effects is thus secured. The arrangement
+is an excellent one, and capable of many modifications. Section _B_
+might, for example, be repeated several times, or the whole design
+might be enlarged with good results. A third variation is possible by
+converting the pattern into a check. A light warp and a medium shade
+of weft should be used. Supposing, for instance, the warp were light
+blue and the weft medium blue, then stripe _A_ would consist of light
+blue ornamented with small spots of medium blue, whereas stripe _B_
+would consist of medium blue mainly, with light blue spotting. This
+method of colouring is useful where the designs are arranged on a base
+of this character. Another plan of introducing fancy shades in such
+weaves involves the use of two shades in the warp--one for stripe _A_
+and another for stripe _B_.
+
+One further method of varying styles of this kind may be mentioned.
+Add to the design as here given a band of fancy twill, which might be
+coloured with bright yarns in the warp, and the sateen sections plainly
+coloured, allowing of clear and distinct development of the spotting.
+
+[Illustration: FIG. 135.]
+
+[Illustration: FIG. 136.]
+
+The next weave, Fig. 136, may be more diversified in colouring. In the
+woven texture, it forms a species of serpentine pattern filled in with
+small figures of plain make. The warp and weft flushes compose similar
+figuring. Analysis of its composition shows that it comprises three
+varieties of crossings. First, there are the plain weave parts; second,
+the solid warp-flush figuring; and lastly, the wave effect formed by
+the solid floats of weft. If the thread-and-thread system of colouring
+were adopted, an interesting woven effect results. Thus, assuming the
+colourings to be pale blue and light olive, the plain sections would
+consist of longitudinal stripes of these colours; the blank spaces in
+the weave would give warp floats of the same shades; and the solid
+floats of weft transverse but very diminutive lines of olive and blue.
+Should one colour of warp yarn be used--such as light fawn, and a
+second colour for weft, tannish brown, for instance--quite a different
+species of style would be obtained. In this example, a wave figure of
+light fawn would be adjacent to a similar figure of tannish brown, and
+the oblong figures composed of plain weave in mixed colouring.
+
+These styles, Figs. 135 and 136, when coloured on the lines indicated,
+are suitable for silk and mixed materials, as well as cotton textures,
+for which they have been arranged.
+
+[Illustration: FIG. 137.]
+
+[Illustration: FIG. 138.]
+
+[Illustration: FIG. 139.]
+
+[Illustration: FIG. 140.]
+
+[Illustration: FIG. 141.]
+
+171. _Gauze Textures._--Gauze or leno effects are different in
+structure and appearance from ordinary woven fabrics. When combined
+with the common methods of weaving, a variety of useful designs may
+be obtained. Compared with ordinary woven results they are what may
+be defined as porous or transparent in composition, or, more strictly
+speaking, they consist of compact and open spaces which regularly
+alternate. The dimensions of the perforations, and the intervals at
+which they occur, are determined by the weave used and the method
+of healding adopted. On examining a sample of these textures, the
+threads appear to be drawn together in some sections and in others to
+be separated and apart. Section _A_ of Fig. 137 affords some idea of
+the mode in which the yarns twirl round, over, and under each other.
+Note, for example, the crossings of threads I and 2 with 3 and 4. The
+two former rise alternately on the right and left of the two latter.
+Further analysis shows that some of the threads--namely, those lettered
+_s_--are not drawn out of their positions. They preserve uniform
+fixedness of position, being always under the picks of weft and twined
+round by the whip yarns 1 and 2, and 5 and 6, etc. If one of these
+yarns is removed, the whole structure of the fabric is decomposed.
+Fig. 138 is a photo-micrograph of a cotton warp and silk weft gauze
+fabric showing distinctly the twisting of the double warp threads
+round the soft floss weft. In the sample of fancy gauze, Fig. 137,
+two whip threads rise on the left and on the right of the threads _s_
+simultaneously, forming a wavy texture. The picks are introduced at
+such intervals as to be bound together in pairs, first by ends 1 and 2,
+_D_ and _E_, _F_ and _G_, etc.; and, second, by ends 5 and 7, _E_ and
+_F_, _G_ and _D_, etc. The bending of the picks is due to the method
+of coupling them together. In producing such a style, first arrange
+for a band or stripe, of about one inch in width, of the gauze effect
+_A_, and then for a band of 1½ to 2 inches in width of the plain,
+like the sections lettered _B_. The weaving plan of this pattern is
+Fig. 139, and the healding draft Fig. 140. A word or two of explanation
+is necessary on the latter. Shafts 1 and 2 are the doupe heddles. In
+healding, the whip threads are first entered into shafts 3 or 4, then
+into shafts 1 or 2, as the case may be. It is necessary that these
+should be drawn underneath the stationary ends. When the doupe heddles
+rise, the whip ends are lifted on the right of the fixed threads, but
+when shafts 3 and 4 rise they are lifted on the left. The weave given
+in Fig. 141 is a modification of this structure. This weave, in the
+same draft, gives the stripes of plain unaltered, but those of leno are
+more pronounced in waviness, for four picks are in this case grouped
+together at each change of the whip threads. Numerous variations might
+also be wrought in the same method of healding, and by the same plan,
+by simply altering the dimensions of the respective stripes.
+
+[Illustration: FIG. 142.]
+
+The style given in Fig. 142 is of a different class from that sketched
+in Fig. 137. For some sixteen picks the gauze yarns interweave
+regularly, and then pass round four threads, being thereby drawn
+together by the picks, and at the same time made to prevent them
+from being forced into contact with each other. It is thus that the
+porous features of the pattern are originated. Between each series of
+gauze effects there is a band of twelve threads of fine cotton, not
+including the side threads which, conjointly with the whip yarns, form
+the interstices at intervals. In healding for this style, the douping
+threads pass under four ends in succession, so that five threads are
+sleyed together in the gauze sections. In the plain parts, however,
+only four threads are entered into each reed, while a vacant split is
+allowed between the different sets of these yarns. This sample, like
+the preceding one, and that given in No. 3 on Plate XXIII., illustrates
+the diversity of textural arrangement feasible in gauze fabrics.
+
+172. _Systems of Colouring Gauzes._--The methods of colouring these
+patterns may be grouped under three heads, as follows:--
+
+I. Gauze patterns in which colour is applied to those sections composed
+of the ordinary principles of intertexture only.
+
+II. Gauze patterns in which colour is applied to the gauze parts only.
+
+III. Gauze patterns coloured in both the ordinary and gauze sections.
+
+Examples in each class may be considered. Primarily, then, it is
+feasible to apply colour to these styles on such a system that the
+gauze sections will be developed in one shade, while the adjoining
+effects may be coloured on any system applicable to single-make designs
+composed of simple weaves. Thus, taking Fig. 137 as a design which
+it is required to colour by this method, then the weave of parts _B_
+being plain, any of the Simple or Compound Schemes of Colouring might
+be used; or these parts might be coloured on a special system to form,
+for example, a shaded band of tints. If the colours used were pink
+and white, the maximum quantities of pink could approach the band of
+gauze effects, when the largest portion of white would fall in the
+centre of the plain stripe; or the shading might proceed from white
+at the edges to a pink central band. Whether the first or the second
+arrangement is adopted, the stripe of gauze should be in white, and the
+weft also of this shade. Obviously the ordinary schemes of colouring
+are applicable to such sections as _B_ of any gauze pattern. With some
+slight modification, or rather adaptation, they also relate to the leno
+or gauze portions of these styles. When it is required to introduce
+the fancy shades into the gauze proper, the structure of the fabric
+has to be taken into consideration. Fig. 142 is a sample of gauze in
+which the fancy yarn constitutes the gauze effect. By making it such,
+the character of the pattern is more clearly developed. It is only by
+an arrangement of this kind that the twisting of the gauze yarns can be
+prominently brought out. If the ground threads had been white, and the
+whip yarns black, the effect would not have been nearly so good. Hence
+it is advantageous in applying colours to these textures to make the
+twisting or whip threads into fancies.
+
+Another important feature about the application of colour to gauze
+effects is that different materials and thicker yarns may be employed
+for the whip than for the ground ends of the fabric. This is the case
+in Fig. 142, where the gauze threads are silk and several fold in
+thickness. The object of this contrast of materials and in sizes of
+yarns is to cause the gauze effects to appear prominent and distinct
+from the other characteristics of the pattern.
+
+The third example in the colouring of these styles is Pattern 3
+on Plate XXIII. There are several textural principles here for
+analysis. The gauze sections are developed in three kinds of yarns.
+The variegated silk threads form the main element of the tinting.
+Such yarns are only used in the finest of these fabrics. They
+impart richness of tone and lustre to the whole effect. Next there
+are the thick threads of cotton forming the diamond-work in the
+gauze parts. Intervening these thick yarns, and constituting the
+smaller interstices, the fine threads occur. These various yarns are
+effectively employed--the silks give the twisting, the thick threads
+the open gauze, and the fine threads the groundwork. The other sections
+of the style are composed of twill and plain. Fancy shades might be
+forcibly added to the twilled part, and so the pattern converted into a
+colouring of the third class of gauze styles.
+
+In addition to these striped combinations, a limited range of checkings
+in gauze are obtained, while figured effects are produced in this
+scheme of weaving in a considerable diversity of tints.
+
+173. _Imitation or Mock Gauzes._--The somewhat intricate mounting
+required to produce gauze fabrics has led to numerous ingenious
+attempts to obtain a gauze effect in the texture without increasing the
+complication of the weaving process. One of the most important methods
+of accomplishing this is shown in Fig. 143. The small weave (Section A)
+in this design, marked in ⊠’s, yields an imitation of the real gauze,
+and so groups the threads and picks that they result in forming a
+fabric full of small perforations. It is used in combination with the
+plain weave and fancy makes in the origination of various descriptions
+of patterns. As a rule, the colourings are of a simple order, only a
+limited variety of shades being used. The stripe in Fig. 143 may be
+colourable in the warp as follows:--
+
+          20 threads of tan.
+          32     „      light blue.
+          20     „      tan.
+          24     „      light blue.
+
+The weft might be either light blue, tan, or a tint that would contrast
+with both the colours in the warp. Assuming it to be blue, the pattern
+resultant would consist of a stripe of mock gauze in solid blue, a
+stripe of plain in brown and blue neatly mingled, a stripe of hopsack
+in which the respective shades would form small diaper-work, and of a
+second stripe of plain weave of intermingled colouring. The novelty of
+these patterns is largely proportionate to the ingenuity exercised in
+varying the methods of combining the weaves and in the selection of new
+types of crossings; while the special function of the colourings is to
+develop the weave elements.
+
+[Illustration: FIG. 143.]
+
+The check example, Fig. 144, further illustrates the method of
+colouring these mock effects. Fig. 144A is a photo-micrograph of the
+fabric, showing the interlacing of the threads, and the difference in
+structure of “mock” and gauze fabrics (Fig. 138). It is produced in
+Fig. 144B, and coloured:--
+
+          Light green   12  12  12  12  24   -
+          White         48  24   -  12   -  24
+          Medium green   -   -  24  12  12   -
+
+[Illustration: FIG. 144.]
+
+[Illustration: FIG. 144A.]
+
+174. _Colours in relation to Rib or Cord Styles._--The rib make of
+cloth is utilized in the construction of fancy patterns. It is one of
+the neatest schemes of weaving that can be used for this purpose. It
+allows of considerable scope for both colouring and designing. Though
+two wefts may be employed in producing this class of design, only
+one of them appears on the face of the fabric when forming the rib
+or cord effect. As a result of the cord may be variously coloured,
+and yet quite independently of the other sections of the style. Fig.
+145, which is the plan of the rib style given in Pattern 4, on Plate
+XXIII., illustrates the base on which such designs are arranged. Part
+_A_ forms the cord. It is produced solely by the even picks. These, in
+weaving, come as close together as if the odd picks were not part of
+the construction. At the same time they float under the several sets of
+threads forming the other parts of the style. It is this arrangement
+which makes it feasible to develop the cord in any order of colours
+without modifying the pattern as a whole. Pattern 4, Plate XXIII.,
+shows the rib of a distinct shade. The method of colouring is as
+appended:--
+
+[Illustration: FIG 144B.]
+
+                  _Warp._
+          10 threads of brown.
+          10     „      brown and white twist.
+          20     „      brown.
+          10     „      brown and white twist.
+          10     „      brown.
+          10     „      brown and white twist.
+           6     „      brown.
+          10     „      brown and white twist.
+          10     „      brown.
+
+                  _Weft._
+             1 pick of brown.
+             1    „    black.
+
+[Illustration: FIG. 145.
+
+(If necessary, stitch or tie beneath the cord section _A_.)]
+
+It is the black weft which forms the cord. Greater diversity of effect
+in this section of the fabric might have been acquired by wefting
+thus:--
+
+          For 92 picks. ⎧1 pick of brown.
+                        ⎩1  „      black.
+
+           For 4 picks. ⎧1 pick of brown.
+                        ⎩1  „      silk.
+
+In this scheme of wefting the rib is spotted with silk. Occasionally
+two colours of silk are employed, so that there is evidently some
+facility for fancy weft tinting in designs of this character. It is not
+necessary to enter into the details of the warp colouring, which depend
+largely on the weaves combined.
+
+[Illustration: FIG. 146.]
+
+Pattern 5 of Plate XXIII. is a rib of a different arrangement from that
+of the preceding example. In Fig. 146, used in its manufacture, three
+sizes of ribs are combined. It should be noted that where more than one
+rib constitutes any stripe, both the odd and even picks are utilized
+in forming the corded effect, and, as a consequence, it is no longer
+possible to have the whole of the rib stripes of a distinct weft shade
+from the rest of the design. If Band _A_ only contained three ribs,
+the pick-and-pick method of colouring might be practised, because in
+such an arrangement the fine twill would start on the first pick of
+the design in both Sections _C_ and _D_, admitting of the small ribs
+in _A_ and of the large ribs in _B_ being of a different colour from
+the opposing cords and also from the twilled parts. But this order of
+wefting, if applied to the design given in Fig. 146, would partially
+destroy the solidity and neatness of one of the twilled bands. Should
+the odd picks be selected for the fancy colour, it would be stripe _C_,
+but should the even picks be selected, it would be stripe _D_ that
+would be modified by the additional shade of weft.
+
+It may be observed that as a rule weaves of a warp type are combined
+with corded effects; clearer patterns, comprising more forcible
+contrasts of textural work, result from the use of these than from
+employing crossings which flush a considerable proportion of the
+weft yarn on the face of the fabric. Mellow and choice colouring is
+therefore important in the warp of these styles, because the yarns
+composing it float with comparatively few weft interruptions on the
+upper surface of the texture.
+
+
+
+
+                                  CHAPTER XI.
+
+                       COLOURING OF COMBINATION DESIGNS.
+
+     175. Principles of Colouring Weave-Combinations--176. Examples
+     in Colouring Compound Designs--177. Main Points in applying
+     Shades to Weave-Combinations--178. Examples in Drafted
+     Patterns--179. Designs composed of Two Prunelle Twills--
+     180. Drafted Designs composed of Two Four-Shaft Weaves--
+     181. Styles composed of Prunelle and Cassimere Twills--
+     182. Combinations composed of two-, Six-, Seven-, Eight-,
+     and Nine-Shaft Weaves--183. Drafted Designs composed of Three
+     or More Weaves--184. Fancy Stripe Combinations--185. Irregular
+     Woollen Weave-Combinations--186. Cotton Stripes--187.
+     Colouring of Designs containing several Weaves of Varied
+     Construction--188. Figured Designs striped in the Warp.
+
+
+175. _Principles of Colouring Weave-Combinations._--In applying
+fancy shades to designs containing several weaves, not only has the
+character of the pattern as a whole to be considered, but also the
+character of its component parts. That grouping of shades which
+forms a perfect style in the common twill may yield incongruous
+effects in other fancy weaves with which it may be associated,
+necessitating in some designs--particularly in those of a stripe and
+check order--the adoption of various systems of colouring, according
+to the structure of the crossings forming the different sections of
+the pattern. Generally, the elementary schemes of colouring are the
+most appropriate for weave-combinations, as they constitute the most
+uniform effects. To exemplify the methods practised in colouring this
+description of textile designs, some illustrations may be considered
+in detail. Supposing, in the first place, a design were composed of
+prunelle twills and the plain weave, and it were required to colour
+it on such lines as to obtain neat textural effects in each weave.
+Now, it will be clearly understood from the analyses made of Simple
+Colourings that several schemes might be employed, so far as the plain
+make is concerned, such as the one-and-one, the two-and-one, and the
+three-odd-thread systems; but if these analyses have been carefully
+studied, it will at once be evident that neither the first nor the last
+of these colourings would be suitable for application to this design,
+because, while producing satisfactory types in the plain sections,
+they form unsuitable ones in the twills; and it is imperative in this
+case to use a method of grouping shades that will give equally clear
+and regular effects in the prunelle as in the plain crossings. On this
+ground, therefore, both these systems must be rejected. There is not
+the same objection to the two-and-one arrangement, for it yields a good
+pattern in each of the makes. In the plain weave it forms a species of
+neat spotting; in the warp prunelle, lines lengthways of the fabric;
+and in the weft prunelle, lines of the two shades across the fabric.
+
+176. _Examples in Colouring Compound Designs._--Let the following
+examples also be considered: I. a design composed of four-end twill and
+mat; II. a design with a cassimere twill ground, small upright twill
+for figure, and swansdown twills for extra spotting; III. a design
+consisting of six-shaft twill in the ground, with warp and weft cords
+for figuring; IV. a design containing mayo, common twill, and mat; and
+V. a design with twilled mat for ground and double-plain for figuring.
+
+In the first design mentioned, two weaves are combined in which several
+schemes of colouring might be utilized, such as the two-and-two, the
+four-and-four, and the four-two’s arrangements. But assuming that
+it were required to adopt an order of colouring which would cause
+the twilled parts of the design to consist of minute checkings, and
+the hopsack parts of fine vertical stripes, then it would become a
+necessity to employ the two-and-two colouring. This order is, in some
+respects, one of the best that could be employed in all-over patterns
+consisting of twill and mat weaves, for it not only thus produces a
+distinct effect in both makes, which in figured styles would result
+in the precise development of the integral parts of the design, but
+also a combination in which the sections consisting of the respective
+crossings are equally pronounced.
+
+The second type of design named contains four weaves, but the one most
+largely employed and which constitutes the ground of the fabric is
+common twill. Now, in colouring such patterns the ground weave must
+be primarily considered, other makes, so far as the application of
+fancy shades to the entire design is concerned, being of secondary
+importance. In a combination comprising four weaves it is not,
+however, usual to adopt an order of shades calculated to produce
+a special effect in any of the crossings, but rather to employ a
+scheme of colouring largely composed of one shade. In other terms,
+it is advantageous in designs of this class to allow the bulk of the
+fabric to be composed of yarns of one tint--any fancy threads which
+may be introduced being used sparingly, and frequently singly, and
+not in larger groupings, as is the case in other modes of colouring.
+By adopting this arrangement, the weave characteristics are clearly
+emphasized, and yet the surface of the texture is neatly embellished
+with fancy shades.
+
+The six-shaft twill is the main factor of the third type of style. It
+is therefore a question of selecting in the first instance a plan of
+colours that is adapted to its structure. As it forms the bulk of the
+texture, it requires to be primarily considered. Reference should be
+made to the series of simple and compound colourings applicable to this
+weave, and then that method employed which, while making a neat pattern
+in the twill, will not form an unattractive effect in the cord weaves.
+Some of the standard groupings of shades for this weave are quite
+unsuitable when used with these cords. The three-two’s and two-three’s
+are arrangements of this character. They form neat patterns in the
+twill, but imperfect styles in the ribbed crossings. The one-and-one
+and the three-odd-thread schemes are the most appropriate in a
+combination of such weaves. They are both capable of producing regular
+effects in this compound design. Thus, take the thread-and-thread
+order. In the six-end twill it forms neat spotted work; in the warp
+rib, transverse bands of colours; and in the weft rib, vertical
+bands of colours, varying in dimensions according to the size of the
+rib-weaves used.
+
+The IV. class of example in mayo, twill, and mat is a combination in
+which several schemes of shades are feasible. The point to be acquired
+when such is the case, is the employment of a method of colouring that
+will yield effects in each weave, sufficiently marked in character
+to contrast neatly with each other, and yet constitute a harmonious
+pattern. This can only be practically worked out by comparing the
+patterns resulting from each crossing in standard groupings of shades,
+which will lead to the application of that order of yarns known to
+develop forms of pattern in the respective makes, calculated to
+harmonize satisfactorily in combination.
+
+[Illustration: FIG. 147.]
+
+When single and double weaves are combined, as in section V., the
+elementary schemes of colouring to be used have also to be applied
+in relation to the general effects producible. Fig. 147 is a pattern
+containing such weaves, the ground being single in structure and the
+fingering double-weave structure. A section is given in Fig. 148. The
+simplest arrangement of colouring, one-and-one, has been used, because
+it produces the figure in light and dark portions, and the ground in
+intermingled colouring. The relation of the colour effect to each weave
+gives satisfactory definition to the figuring in contrast with the
+intermingling of the shades in the ground.
+
+177. _Main Points in applying Shades to Weave-Combinations._--From
+these examples in the methods of colouring designs consisting of
+several elementary crossings, it is apparent that there are certain
+principles which must be observed in introducing fancy yarns into
+this class of woven patterns. First, whatever the character of the
+design, the primary factor for consideration is the structure of the
+weaves--the weave which occurs in the largest quantities being the
+most important, and requiring specific colour treatment. Second, when
+the weaves combined are similar in construction, a simple scheme
+of colouring should be adopted. Third, no order of shades should
+be employed which, while giving pleasing patterns in one weave,
+produces indifferent results in others. Obviously, these rules are
+only applicable to designs composed of elementary weaves, and in which
+the variety of crossings is very limited. For example, in designs
+comprising such a series of dissimilar weaves as obtains in Figs. 163
+and 166, it will be clear that, to acquire a well-balanced pattern
+as to colouring, the several sections of the style must be specially
+treated in a colour sense. To warp an assortment of weaves of this type
+on one system throughout, could only result in the construction of a
+most unsatisfactory range of effects. The order of colouring must vary
+with the alteration in weave. This of course is only feasible in stripe
+and check designs, but is absolutely necessary in styles comprising a
+considerable diversity of intricate weaves arranged on either of these
+methods.
+
+[Illustration: FIG. 148.]
+
+178. _Examples in Drafted Patterns._--These may be considered as
+follows:--
+
+I. Designs composed of weaves related to each other in structure and
+occupying a similar number of threads, and in which the several makes
+are used in corresponding proportions.
+
+II. Designs of a stripe and check arrangement diversified in weave
+assortment.
+
+III. Designs composed of several crossings, but with a simple twill,
+mat, or plain weave for the ground of the texture.
+
+In the I. group a range of irregular patterns occur, consisting mainly
+of three-, four-, and six-end makes. In colouring these patterns, it
+is necessary to consider how the simple schemes of colouring develop
+in the several weaves combined, in order that the scheme which will
+give the most uniform result in all the crossings may be applied. If
+three or four weaves obtain in the same design it is occasionally
+advantageous to employ an irregular grouping of shades, or one which
+is not intended to give a particular type of pattern in any one of the
+weaves combined.
+
+Increased colouring ingenuity and practical skill are required in the
+treatment of the second group; because in the designs included here, it
+is frequently necessary to adopt various orders of colouring--one for
+each type of weave in the design.
+
+The third group of drafted patterns is largely developed in cotton
+fabrics, dress goods, and other fancy textures. The method of colouring
+these patterns is twofold, relating, first, to the treatment of the
+ground crossing, and second, to the use of a plan of shades that will
+yield neat effects in all the weaves combined.
+
+Examples in each group will be fully analyzed and described.
+
+179. _Designs composed of Two Prunelle Twills._--An extensive
+assortment of styles in woollen, worsted, and cotton yarns is obtained
+in these two weaves by drafting. These are produced in trouserings,
+suitings, dresses, etc. When these two makes are combined and coloured
+on the two-and-one method, they give opposite effects, the warp twill
+forming vertical, and the weft twill transverse lines of colour. It
+is this principle which governs all the patterns obtained in designs
+composed of these crossings. In making styles of this kind, the first
+work consists in mapping out the form of the design, and the second
+work in running the twills on to the ground and figured sections
+respectively. Fig. 149 is a pattern partially constructed from these
+weaves. Stripes _A_ are a composition of warp and weft twills. The
+reduced design and the draft for the same are furnished in Figs. 150
+and 151. From these it will be evident that it is the transition from
+warp to weft twill which gives the results lettered _A_ and _B_ in the
+illustration taken from the woven fabric.
+
+[Illustration: FIG. 149.]
+
+[Illustration: FIG. 152.]
+
+[Illustration: FIG. 150.]
+
+Many types of figuring, whether floral or geometrical in arrangement,
+can be developed on this system.
+
+There is another mode of colouring this design besides that considered.
+It consists in employing three shades in single threads, but as it
+is somewhat more intricate than the two-and-one system, and yields a
+similar pattern, it is not so extensively employed.
+
+[Illustration: FIG. 151.]
+
+[Illustration: FIG. 153.]
+
+180. _Drafted Designs composed of Two Four-Shaft Weaves._--These
+obtain in greater diversity than designs resulting from three-shaft
+weaves. This is owing to the considerable series of makes of twill
+and mat types producible on four shafts, enlarging the scope for the
+origination of all classes of combination styles. Various illustrations
+in these designs will be examined, and the principles of colouring them
+explained. First, the pattern, Fig. 152, may be referred to. It has
+been obtained in the design and draft supplied in Figs. 153 and 154.
+Strictly speaking, it is composed of only one weave, which, to gain
+variety of effect, is twilled in two directions. It will be observed,
+if any of the sections are analyzed, that every other pick of this
+weave is plain. This accounts for the effect seen in the fabric in Fig.
+152. The arrangement of the shades is one-and-one, so that one weave
+here being the reverse of the other, while the parts developed in ◼’s
+are forming one textural type, the parts developed in ⊡’s are yielding
+a second type. It is the plain picks of the respective sections which
+constitute the minute skeleton squares of grey and black; the twill
+picks filling up the spaces formed by the grey with black, and those
+formed by the black with grey. This pattern may be developed in various
+shades of fancy yarns; and the two weaves may also be blended on such
+methods as to form stripe and check styles of several descriptions.
+
+[Illustration: FIG. 154.]
+
+[Illustration: FIG. 155.]
+
+[Illustration: FIG. 156.]
+
+  [Illustration:
+                               Plate XXIV
+
+                      COLOURING OF DRAFTED STYLES
+           1. Weave Compound; Prunelle and [2\2] Twills
+           2.   „      „      [1\3] [3\1], and [2\2] Twills
+           3.   „      „      [1\3] [3\1], and [2\2] Twist-warp Yarns]
+
+The fabric given in No. 1 on Plate XXIV. has some principles of
+construction common with the effect just described, inasmuch as the
+design employed in its manufacture is a composition of cassimere weave
+twilled to the right and left successively. Thus, it results from the
+plan and draft given in Figs. 155 and 156; hence it is, in reality, a
+cassimere twill pattern, for this is the only weave used. But as it
+runs forward for six picks, and then starts again--this process being
+repeated throughout sections _A_ and _B_, in which the weave twills
+in both directions--there is formed by the draft a check pattern,
+occupying forty-eight threads and picks, and in which the weave twills
+to the right in each alternate space of twenty-four threads. The order
+of colouring is somewhat intricate, being as appended:--
+
+                             _Warp._
+
+                                2 threads of a dark shade.
+          _A._ For 16 threads. ⎧2      „       light  „
+                               ⎩2      „       dark   „
+                                1 thread of a  light  „
+                                1      „       fancy  „
+          _A._ For 12 threads. ⎧2 threads of a dark   „
+                               ⎩2      „       light  „
+                                2      „       dark   „
+                                4      „       light  „
+                                2      „       dark   „
+                                4      „       light  „
+                                1 thread of a  dark   „
+                                1      „       light  „
+                                1      „       fancy  „
+                                4 threads of a light  „
+                                1 thread of a  fancy  „
+                                1      „       light  „
+                                1      „       dark   „
+                                4 threads of a light  „
+                                2      „       dark   „
+                                4      „       light  „
+                                2      „       dark   „
+          _A._ For 16 threads. ⎧2      „       light  „
+                               ⎩2      „       dark   „
+                                1 thread of a  light  „
+                                1      „       fancy  „
+          _A._ For 12 threads. ⎧2 threads of a dark   „
+                               ⎩2      „       light  „
+
+                             _Weft._
+          For 21 picks. ⎧2 picks of a dark shade,
+                        ⎩1 pick of a light shade same as warp.
+                         2 picks of a dark shade.
+                         1 pick of a fancy   „
+
+There is a sort of broken or irregular shading produced by this
+arrangement, the construction of the design having an important effect
+on the grouping of shades. The particles of two-and-two colouring,
+which occur in brackets _A_, develop, in the weaves cutting each other,
+the waviness characterizing the coloured effects (Pattern I, Plate
+XXIV.). The comparatively large patches of one group of yarns in the
+warp do not form a clear stripe in the fabric, because the system of
+wefting is irregular, being such, however, as to tally with the plan
+of changing the twilling of the weave on every sixth pick. The effect
+of the two-and-two order of shades in the warp in this drafted design
+shows the extent to which the construction of the plan of interlacing
+may modify the result of a simple order of shades.
+
+181. _Style composed of Prunelle and Cassimere Twills._--This is rather
+an irregular combination, but in the two-and-one system of colouring,
+if the weaves are skilfully adjusted, it is capable of producing a
+species of pattern rich in textural details. Referring, for example,
+to section _B_ of Fig. 149, the effect of the cassimere twill worked
+into checks of sixteen threads and picks in this grouping of shades
+is given. It is a neat type of pattern, contrasting with the effects
+of the prunelle twills with which it is combined. The quantity of
+cassimere twill must not be large in combinations of this class, or a
+cloth lacking uniformity of structure will be produced. Further, the
+weaves require to be correctly fitted together, or a fabric possessing
+an irregular surface will ensue. It is a suitable scheme of weaves for
+dress fabrics. The arrangement is also adaptive, in small styles, to
+trousering and similar fabrics.
+
+182. _Combinations composed of two-, Six-, Seven-, Eight-, and
+Nine-Shaft Weaves._--There are several varieties of patterns obtained
+in designs containing six-end makes. As a rule the twill is the
+principal weave. One example in which the hopsack and a fancy crossing
+are combined may, however, be described, as it is an interesting and
+typical specimen of the general range of patterns obtained in this
+class of weaves. This style is sketched in Fig. 157, while the design
+producing it is a composition of the two makes in Fig. 158. The method
+of colouring is three threads of white and six threads of black in both
+warp and weft. In the mat sections the minute figures are formed,
+but the intermingled checking is a consequence of the weave marked
+in full squares in Fig. 158. These two crossings are combinable in
+figured arrangements suitable for costumes and dressing-gowns. In soft
+colours, brightened at intervals by a few fancy threads, this compound
+of weaves and scheme of colouring are capable of yielding a series of
+fancy fabrics. By changing the mat to twill, quite a distinct species
+of pattern is obtained. Both weaves now yield check effects, but the
+type of effect resulting from the twill is uniform and regular in
+appearance. Some neat figured and check designs are also obtained in
+six-shaft makes by employing the twill for the ground of the texture,
+and small weaves which may be readily combined with it, and colouring
+on the three-one’s, two-three’s, and three-two’s systems.
+
+[Illustration: FIG. 157.]
+
+[Illustration: FIG. 158.]
+
+The variety of styles workable in seven-shaft crossings is somewhat
+limited. Such weaves as the corkscrew and twill, and the upright twill
+and small diagonals, are blended here.
+
+In combinations containing a large portion of corkscrew, the
+one-and-one method of colouring is appropriate, particularly if
+the make is of a common twill construction. The five-and-two,
+four-and-three, and six-and-one groupings of shades are useful in
+designs in which an ordinary seven-shaft twill forms the bulk of the
+texture.
+
+Eight-thread weave combinations comprise the largest variety of styles.
+Designs composed of several classes of twills, of simple, twilled,
+and fancy mats, of minute diagonals, and small figured types, are
+all colourable on the Simple and Compound systems of blending shades
+containing four and eight threads.
+
+Nine-shaft compounds, consisting of weaves about equally balanced as
+to warp and weft floats, are principally developed in the following
+groupings:--
+
+                     I.
+          5 threads of a dark shade.
+          4    „     „  medium  „
+
+                     II.
+          7 threads of a dark shade.
+          2    „     „      medium  „
+
+                    III.
+          3 threads of a dark shade.
+          3    „     „  medium  „
+          3    „     „  light   „
+
+                     IV.
+          4 threads of a dark shade.
+          3    „     „  medium  „
+          2    „     „  light   „
+
+183. _Drafted Designs composed of Three or more Weaves._--Four-, five-,
+six-, and eight-shaft weaves are all used in the construction of these
+designs, belonging to the second group, but such styles generally
+consist of four-end makes. For fine textures, and for fabrics in
+which a broad cast of pattern is required, weaves occupying a larger
+number of threads are employed. It will, however, be sufficient if
+illustrations are considered in designs composed of the four-thread
+weaves. These are given in Nos. 2 and 3 on Plate XXIV. They are taken
+from woollen textures. The colourings are as follows:--
+
+                               PATTERN I.
+
+                                _Warp._
+                          2 threads of white.
+                          1 thread of black and scarlet.
+                          2 threads of white.
+                          1 thread of black and green.
+                          2 threads of white.
+                          1 thread of black and white.
+
+                                _Weft._
+                              Medium grey.
+
+                              PATTERN II.
+
+                                _Warp_.
+             For 9 threads. ⎧1 thread of black and brown.
+                            ⎩1     „     brown and white.
+                             1     „     scarlet and green.
+             For 9 threads. ⎧1     „     brown and white.
+                            ⎩1     „     black and brown.
+                             1     „     blue and green.
+
+                                _Weft_.
+                            1 pick of black.
+                            1    „    black and white twist.
+
+Referring to the draft (Fig. 159), and the reduced design for Pattern 2
+(Fig. 160), these are arranged to form the same series of interlacings
+on each thread, which ensures the construction of a regularly-built
+fabric.
+
+[Illustration: FIG. 159.]
+
+It will be noticed that both plans of colouring are irregular, the
+first scheme containing nine, and the second scheme twenty threads.
+Now as the weaves forming the designs are on four shafts, the fancy
+yarns fall on different threads of the respective makes in different
+parts of the figuring. In this way a blended effect is acquired. The
+bulk of the first warp being white, and the weft of a medium shade, the
+weave details are clearly seen. The three makes, comprising the design
+(Fig. 160), are all traceable. The small spaces of white are due to
+the twill marked in crosses; the spaces of slate to the twill marked
+in full squares; and the spaces of slate and white, equally mixed, to
+the cassimere twill which forms the ground of the design. When the
+warp consists of broad bands of neatly contrasting shades, this type
+of weave-combination gives excellent results in dress and mantling
+fabrics.
+
+[Illustration: FIG. 160.]
+
+Pattern 3, Plate XXIV., though produced in the same draft and composed
+of similar weaves as Pattern 2, is very different from it in appearance
+and composition. It forms a type of granite mixture. The colours being
+arranged practically on the one-and-one system throughout the fabric,
+the effects of the various crossings are partially subdued. Cheviot
+yarns and medium counts of worsteds are adapted for this type of
+intermingled pattern in fancy costume fabrics.
+
+184. _Fancy Stripe Combinations._--Designs of this class for worsted
+trouserings, cotton textures, and tweed mantlings, may be intricate
+in both weave and colour composition. Indeed, it follows as a natural
+sequence that if a striped design is well diversified in weave
+arrangement, it will be correspondingly complex in colouring. Not only
+in a weave, but in a textural and colour relation, is there intricacy
+of technical contrivance in these fabrics. First, a uniform texture is
+indispensable; second, this quality must be obtained in conjunction
+with novel weave effects; and, third, the arrangement of colouring must
+be harmonious in shading and in accordance with the structure of the
+weaves combined.
+
+185. _Irregular Woollen Weave Combinations._--A compound of crossings,
+forming a style of design specially suitable for woollen yarns, is
+supplied in Fig. 161. Whether produced in fine or medium yarns for
+dress or cloaking fabrics, it forms an effective pattern. It is
+workable on fourteen healds, the plan of drafting being as follows:
+Threads 1 to 14 straight drawn, then shafts 6, 5, 4, 3, 2, 1, 7, 8,
+14, 13, 12, 11, 10, and 9. Should this method of drafting be adopted,
+Parts _A_ and _B_ would constitute the reduced plan. Though the design
+contains fourteen distinct threads, it is, nevertheless, merely a
+modification of the first seven ends. These form a species of diagonal
+weave suitable for worsted coatings.
+
+[Illustration: FIG. 161.]
+
+The arrangement of this pattern may he divided into four sections.
+Parts _C_ and _D_ have the diagonal moving to the right, and parts
+_A_ and _B_ to the left. The manner in which each diagonal commences
+and terminates is the chief characteristic of the pattern, and is
+illustrative of a method of combining this type of weave that may
+be followed out with satisfactory results. For dress materials the
+following weaving particulars are appropriate:--
+
+                          _Warp._
+          1 thread of fine black and white twist.
+          5 threads of medium grey.
+          1 thread of fine black and white twist.
+
+                         _Weft._
+                     All dark grey.
+
+Little variety of colouring is needed; a light shade of warp and a
+medium shade of weft are sufficient to give due precision and proper
+development to the various features of this design.
+
+[Illustration: FIG. 162.]
+
+186. _Cotton Stripes._--These have frequently a plain ground, and
+belong to the third group of drafted designs. The figuring is developed
+in warp and weft flushes neatly grouped in diamonds, twills, and fancy
+mats. An example of these designs is Fig. 162--a compound weavable
+on twelve shafts. It consists of bands of plain weave, warp rib, and
+wave effect. Section _A_ consists of objects of the same shape and
+dimensions developed in both warp and weft floats. Thus, while the
+figure marked in solid squares would, in the fabric, be composed of
+weft flushes, the part marked in crosses would consist of floats of
+warp; hence, providing the warp is light in shade, and the weft of
+an intermediate colour, these figures would be of distinct hues. The
+following scheme is illustrative of the methods generally adopted:--
+
+                                   _Warp._
+                             2 threads of lavender.
+                             4     „      white.
+                             2     „      lavender.
+                             4     „      white.
+                             2     „      lavender.
+                             4     „      white.
+                             2     „      lavender.
+                            16     „      white.
+                             2     „      lavender.
+           For 18 threads. ⎧ 4     „      white.
+                           ⎩ 2     „      lavender.
+                             8     „      bright blue.
+
+                                   _Weft._
+                                All lavender.
+
+[Illustration: FIG. 163.]
+
+According to this arrangement of colours the rib section would consist
+of furrows of bright blue and lavender, while the bands of plain would
+be divided into stripes of solid lavender of two threads each, and
+of mixture stripes of white and lavender of two and four threads in
+width. As to the Section _A_, the effect in warp flushes would be solid
+white on a ground of lavender and white; whereas the effect in weft
+floats would be solid lavender on the same mixture ground. This order
+of colours, but in different shades, such as pink and white, slate
+and white, and salmon and white, also develops well. In these latter
+shades, bright and pale pinks, and salmon and a deep and pale slate,
+are requisite to obtain the proper gradation of tinting.
+
+187. _Colouring of Designs containing several Weaves of Varied
+Structures._--Three typical illustrations in the methods of introducing
+fancy shades into this sort of compound designs may be considered.
+They are given in Figs. 163, 164, and 165. These examples show how
+full of weave effect, styles of this class may be. Thus, in the first
+design, Fig. 163, which is composed of three weaves, there are four
+distinct stripes, consisting of fancy mat weave, corkscrew, and rib
+respectively. An effective method of colouring such a compound is as
+follows:--
+
+                         10 threads of light mixture.
+                         10     „      medium mixture.
+                         10     „      light mixture.
+           For 15 ends. ⎧ 1  thread of light mixture.
+                        ⎩ 1     „      medium mixture.
+                         10 threads of light mixture.
+                         10     „      medium mixture.
+                         10     „      light mixture.
+                          2     „      medium blue silk.
+                          2     „      white silk.
+                          2     „      medium blue silk.
+
+According to this system of colours, the rib section consists of medium
+blue and white silk, the bands of fancy mat of stripes of light and
+medium mixture yarns, and the section of corkscrew, being warped thread
+and thread, consists of diagonals of the two shades of yarns employed.
+
+Fig. 164 is a composition of vertical and oblique twills, with a strong
+contrast in the weave effect. The make marked in ⊡’s forms an oblique
+twill, of about the same degree as the upright twill yielded by the
+crossing developed in solid marks. In combination, the weaves, though
+dissimilar in woven results, produce a uniform texture. The following
+is an appropriate scheme of colouring:--
+
+                  8 threads of blue.
+                  3     „      slate.
+                  2     „      brown and white.
+                  3     „      slate.
+                  8     „      blue.
+                  8     „      brown.
+                 ⎧1 thread of brown.
+          Repeat ⎨1     „     black and crimson.
+                 ⎪1     „     brown.
+                 ⎩1     „     black and green.
+                  8 threads of brown.
+
+[Illustration: FIG. 164.]
+
+The centre of the large band of twenty-four threads is thus neatly
+tinted with fancy twist threads; while the diagonals developed in
+◼’s are composed of the blue, the same diagonal, when twilling to
+the right, consists mainly of slate, with a fine line of brown and
+white twist down the centre. There is, therefore, not only in this
+arrangement an apt grouping of shades in a colour sense, but the
+plan of adjustment produces a form of stripe in keeping with the
+construction of the design.
+
+  [Illustration:
+                               Plate XXV
+
+                              FANCY YARNS
+           1. Ordinary Folded, or Two-Ply and Three-Ply Yarns
+           2. Flakes and Cloud Twists
+           3. Curl Twists
+           4. Gimp Twists]
+
+The subsequent three-weave stripe--Fig. 165--is composed of an uncommon
+set of crossings, namely, of sixteen-shaft twilled hopsack, of an
+eight-shaft diagonal, and of a fine warp cord. The threads making the
+cord section ought to be on a separate beam.
+
+[Illustration: FIG. 165.]
+
+A good system of introducing colour here consists in shading the
+diagonal with colour, as indicated in the plan of working given below:--
+
+          16 threads of slatish green.
+           4     „      light brown.
+           4     „      medium brown.
+           4     „      dark brown.
+           4     „      white silk.
+
+The depth of the brown and the slatish green must be about the same; if
+anything, the latter should be the darker.
+
+It is not unusual in these designs to employ bright shades of silk
+for weaves of a rib class, which are so constructed as to show the
+characteristic qualities of yarns of this material. Moreover, it is
+almost a general rule to apply the brightest colours to those sections
+of the design composed of warp cord crossings.
+
+[Illustration: FIG. 166.]
+
+Fig. 166 is a worsted trousering style, and is composed of four weaves,
+namely, a warp wave, corkscrew warp flushed, corkscrew weft flushed,
+and of fine twill. But it is not merely the variety of crossings which
+deserves notice, but also the arrangement or plan of combination.
+On both sides of the warp wave are bands of weft twill, contrasting
+with not only the former weave, but the bold stripes of fine twill
+represented in dots. These latter bands are intervened by a line of
+nine-heald corkscrew or round twill. The scheme of warp colouring
+should be such as to admit of the corkscrew sections being developed
+in fine worsted and silk twist. This can be effected by colouring as
+below:--
+
+                              _Warp._
+        For 16 ends. ⎧1 thread of light brown mixture.
+                     ⎩1     „     brown mixture.
+                      23 threads of blue mixture.
+                      10     „      fine worsted and white silk twist.
+                      23     „      blue mixture.
+
+                              _Weft._
+                       All brown or blue mixture.
+
+By this arrangement the bands of upright twill are developed in blue
+mixture, the warp wave in light brown and brown, and the corkscrew in
+silk twist threads. Should the weft be brown, the bands of weft twill
+marked in ⊠’s would be of this shade.
+
+188. _Figured Designs striped in the Warp._--Designs of this type
+are chiefly workable in cotton and silk yarns. The idea is to obtain
+variety of colouring by the use of only one colour in the weft;
+therefore, the coloured style consists of some diversity of striping in
+the warp. For this purpose, the examples in fancy stripe colourings,
+Figs. 11 and 12, may be used. For instance, Fig. 167 (Design 167A)
+contains three weave effects, there being, first, the continuous
+line of figuring developed in ◼’s, and second, the detached smaller
+figures in ⊡’s, both being produced in weft, on a warp sateen ground.
+Underneath such figuring, stripe colouring may be arranged.
+
+Two examples, based upon _C_, Fig. 11, and _D_, Fig. 12, are given. In
+order to fit carefully with the repeats of the design, the proportions
+of warp colouring in the former would be as follows:--
+
+                       18 threads of white.
+          Three times. ⎧5     „      medium heliotrope.
+                       ⎩5     „      white.
+                       18     „      medium heliotrope.
+          Three times. ⎧5     „      white.
+                       ⎩5     „      medium heliotrope.
+
+[Illustration: FIG. 167.]
+
+[Illustration: FIG. 167A.]
+
+If a dark heliotrope were used in the weft, then the figuring would be
+woven in such colour upon the striping of white and medium heliotrope.
+
+The design may also be woven in a stripe of a three-colour class. If
+_D_, Fig. 12, were used, suitable proportions of colours would be:--
+
+          40 threads of white.
+           8     „      green.
+           8     „      white.
+           8     „      pink.
+           8     „      white.
+           8     „      pink.
+           8     „      white.
+           8     „      green.
+
+If two materials were used, say cotton in the warp and silk in the
+weft, then white silk would be suitable for the weft; but if the weft
+is cotton, then a light tone of heliotrope would form a pleasing
+contrast with the striping in the warp. It is a type of figured
+designing, economically coloured in the weft, but diversified both as
+to the degree of contrast of colour, and method of shade assortment or
+striping in the warp.
+
+
+
+
+                                 CHAPTER XII.
+
+                               SPOTTED EFFECTS.
+
+     189. Varieties of Spotted Fabrics--190. Spots due to Specific
+     Systems of Weaving--191. Swansdown Twill Spotted--192. Spots
+     composed of [1\3] and [3\1] Twills--193. Weave-Spotting produced
+     by both Floats of Warp and Weft--194. Irregular Spotted Stripes
+     and Checks--195. Spots developed by single Extra Warp Threads--
+     196. Fabrics Spotted with Single Picks of Weft--197. Mat Weaves
+     Spotted--198. Corkscrew Weaves with Extra Spotting Picks--199.
+     Spotted Diagonals--200. Warp and Weft Spots compared--201.
+     Spotting in both Warp and Weft--202. Advantages of the Warp
+     and Weft Methods of Spotting--203. Yarns used for Spotting--204.
+     Spotted Effects in Ordinary Weaves--205. Application of Fancy
+     Yarns to Compound Weaves.
+
+
+189. _Varieties of Spotted Fabrics._--Woollen, worsted, cotton, and
+linen fabrics are all more or less ornamented on the spotted principles
+of designing and colouring. In all cases, it is sought to distribute or
+arrange, on a tinted groundwork, a series of minute spots, which may
+be composed of either the same or of distinct shades from those used
+in the construction of the general surface of the fabric. When this
+species of pattern is developed in woollens and worsteds, the spotting
+consists of mere specks of colouring, resulting from the employment of
+a special scheme of interlacing the warp and weft yarns. Cotton and
+linen styles require bolder and clearer spots than woollens, and, as a
+rule, are fuller of effects. There are various points to be considered
+in the construction of these patterns, relating to the method of
+development, the plan of grouping, and the dimensions of the spots.
+
+Respecting the method of development, this is subjective to the
+facilities at command. Thus, if the spotting can only be worked out
+in those yarns that constitute the ground of the texture, then it is
+more a matter of inventing a suitable scheme of weave-design than
+of any specific process of colouring. But should a special series of
+warp threads be used for the spotting, then it becomes necessary to
+utilize both a particular type of weave and order of colours. Generally
+considered, spotted patterns are of four varieties, as follows:--
+
+I. Spots developed by the ordinary warp and weft of the fabric.
+
+II. Spots obtained by using an extra series of warp yarns.
+
+III. Spots obtained by using an extra series of weft yarns.
+
+IV. Spots obtained by using both an extra series of warp and weft yarns.
+
+[Illustration: FIG. 168.]
+
+The first is the simplest class of spots. It is due to special
+schemes of floating the warp, weft, or both these sets of yarns, at
+regular intervals in constructing the fabric; that is to say, if the
+construction of the texture were of the mat order, here and there the
+mat effect would be substituted by groups of warp and weft flushes,
+lending to the surface of the fabric a spotted aspect. This type
+of spotted weaving is largely practised in designing for various
+descriptions of fancy woollens, worsteds, and cottons. In the second,
+third, and fourth classes of these patterns extra groups of shades,
+entirely independent of those forming the ground of the texture, are
+employed. They allow of the production of more intricate effects than
+those developable by the first system, but are more difficult to
+manipulate in both weave and colour combinations. Ornamental styles
+coloured in the warp for vestings, dresses, robes, and mantlings,
+also in the weft, and in both warp and weft, are but developments of
+these forms of weaving and shade-arrangements. Subsequent analyses of
+these textiles will demonstrate the affinity of the principles of their
+construction with those of the spotted designs now under consideration.
+
+[Illustration: FIG. 169.]
+
+[Illustration: FIG. 170.]
+
+190. _Spots due to Specific Systems of Weaving._--As these are purely
+a product of the plan of building the fabric, they may be designated
+Weave-Spots. Thus the design given in Fig. 168 would yield a spotted
+effect, however simple the system of colouring might be. The pattern
+resulting, Fig. 169, is an example. The shades in this texture are
+slate and white--the latter being the warp--and the effects consist
+of small white spots on a twilled surface. Of course in silk and
+worsted dress fabrics the spots are of various forms, and are arranged
+on geometrical bases; but in woollens small effects, as in the
+illustration, are the most appropriate. Still, the principles of this
+type of designing, whatever the form of the spot and the scheme of
+distribution, are the same, relating primarily to a diversification of
+the plan of weaving. In Fig. 168 the twill is interrupted at certain
+periods, to allow of the formation of a spot composed of floats of
+warp yarn of some three threads in width and five picks in length. In
+Section _A_ such spots lean to the right, and in Section _B_ to the
+left, or in both parts of the style they run with the twill. It should
+be observed that, when modifying a common weave to develop spotted
+results, care must be exercised not to injure the general build of the
+fabric, for this is a factor that must always remain intact. As to the
+size of the spot, it varies according to the fineness of the fabric and
+the nature of the pattern to which it is applied.
+
+[Illustration: FIG. 171.]
+
+191. _Swansdown Twill Spotted._--The spots in this instance are due
+to the weft yarn. They may consist of small diamonds, minute figures,
+and other forms, and be arranged in diagonals, twills, or on such a
+system as to constitute an irregular effect. For example, in Fig. 170
+they run in oblique lines, and in Fig. 171 they compose a vertical
+diagonal. As a rule, the colouring of these styles is of a simple
+order, merely comprising the employment of neatly-contrasting shades.
+If any additional shade-effects, besides those yielded by the spots of
+weft yarn, are required, fancy yarns are introduced into the warp to a
+limited extent. Take an illustration in colouring Fig. 170, in which
+the yarns are combined to form a striped pattern for cotton dresses:--
+
+                   _Warp._
+          26 threads of medium blue.
+           2    „    „  slate.
+           2    „    „  medium blue.
+           2    „    „  white.
+           2    „    „  medium blue.
+           2    „    „  slate.
+
+                   _Weft._
+          All bright medium brown
+
+This arrangement gives a pattern consisting of a bold band of medium
+blue, succeeded by fine lines of slate and white ornamented with
+spots of bright brown on a warp-twill ground. Now consider Fig. 171
+in relation to worsted dress goods. Taking the warp to be a light
+fawn shade and the weft brown, again a texture results with a twilled
+surface, but in this instance the ground parts are fawn spotted with
+brown. It will be apparent from these illustrations that in designs
+of this class but a small variety of colouring is needed, and that
+the fancy shades are usually worked into the warp, while the weft, in
+order to afford uniform emphasis to the spotting, is of one shade
+throughout the texture.
+
+[Illustration: FIG. 172.]
+
+[Illustration: FIG. 173.]
+
+[Illustration: FIG. 174.]
+
+192. _Spots composed of_ [1\3] _and_ [3\1] _Twills._--The main elements
+of these styles are the irregular character of the spotting, the
+uniformity of the weft floats--these never covering more than three
+threads in succession--and the clearness of the patterns when shades
+forming a strong contrast are used for warp and weft. They form an
+extensive series of weave combinations, and examples are given in Figs.
+172, 173, 174, 175, and 176. Whatever the weft yarn employed in the
+manufacture of these textiles, it constitutes, as in the preceding
+styles, the spotting, while the warp yarns tint the ground of the
+fabric. Though in these designs the spots generally appear to be
+irregularly arranged, still, on closer examination, it will be obvious
+that in the planning of each weave well-defined principles of textural
+composition are observed. Thus, in Fig. 172 each thread is depressed
+six times in each repeat of the design; in Fig. 173 sixteen times;
+and in Figs 174 and 175 eight times. Here, therefore, is one element
+of uniformity of structure denoting the designing principles in these
+weaves. This uniformity of interlacing extends to the picks also, hence
+the designs are essentially regular in construction, and, with the
+exception of Fig. 172, yield patterns in which the flushes of warp and
+weft are equally balanced. It is needless to observe that this is an
+all-important characteristic in the build of spotted combinations.
+
+[Illustration: FIG. 175.]
+
+[Illustration: FIG. 176.]
+
+Respecting the schemes of colouring practised here, they are so various
+that only a few of them may be indicated. First, suppose Fig. 172
+were woven in a brown and white twist warp, and crossed with black,
+slate, or blue weft. The pattern resulting from this arrangement
+would consist of a brown and white twist ground spotted with minute
+spots of different shapes of black, slate, or blue, according to the
+weft yarn used. Fig. 173 produces a more regular cast of pattern
+than the preceding style. Here an appropriate method of colouring in
+the warp is two-and-two, while the weft again should be one solid
+shade. For example, let the warp be 2 threads of slate and 2 threads
+of medium blue and white twist, and the weft brown, then the pattern
+would consist of some diversity of tinting. It is only furnished as
+an illustration in shade-arrangement, and ought, in practice, to be
+considerably varied; a fabric would result possessing a brown, slate,
+and medium blue and white twist ground, spotted with small patches of
+twist threads and of brown.
+
+  [Illustration:
+                               Plate XXVI
+
+                         FANCY YARN COLOURINGS
+                           1. Donegal Tweed
+                           2. Compound Weave Worsted]
+
+A still more irregular plan is given in Fig. 174, by which a marked
+intermingled effect is acquired. The warp and weft shades used in this
+design should slightly contrast, but produce a soft mellow colouring.
+The pattern may be striped in the warp, 16 threads of medium grey, and
+16 threads of light grey, and woven with blue weft.
+
+The shade of blue used should form exactly the same depth of contrast
+with the light as with the medium grey.
+
+Fig. 175 is of the striped order, for the spotted effect is here
+combined with a band of sixteen threads of cassimere twill. Any simple
+method of colouring the twilled section may be practised, because if
+the scheme of colouring is too elaborate it does not contrast well with
+the shades forming the latter part of the design. Such a scheme as the
+one appended is typical of what is usually applied in this class of
+effects:--
+
+                         _Warp._
+           1 thread of black and grey twist.
+           1    „      black and green twist.
+           2 threads of black and grey twist.
+           2     „      brown.
+           1 thread of black and green twist.
+           2 threads of black and grey twist.
+           1 thread of black and green twist.
+           2 threads of brown.
+           2     „     black and grey twist.
+           1 thread of black and green twist.
+           1    „      black and grey twist.
+          16 threads of brown.
+
+                         _Weft._
+                          Blue.
+
+[Illustration: FIG. 177.]
+
+The former, or twilled part of the style, would thus be striped
+with lines of colour, while the latter part of the design would be
+developed in brown and blue, the brown shade composing the ground, and
+the blue the figured or spotted appearance.
+
+[Illustration: FIG. 177A.]
+
+Figs. 176 and 177 are examples in the methods of colouring such weave.
+compounds in the weft, the weaves being grouped to form types of broken
+figuring. Both patterns are wefted one-and-one, but two-and-two and
+irregular weftings are also practised, the warp being, in each case,
+of one shade, but contrasting in colour with the shades used in the
+weft. Fig. 177 gives the effect seen in Fig. 177A, the warp of which
+is cotton and the weft fine woollen. Another feature of Fig. 177 is
+that the floats of weft are increased in order to produce an additional
+effect in the fabric. This principle of designing and colouring is
+applicable to fabrics of a figured character, and may be developed in
+dress, vesting, and fancy cotton textures.
+
+[Illustration: FIG. 178.]
+
+[Illustration: FIG. 179.
+
+               ◻’s and ⊠’s = warp.   ⊡’s and ◼’s = weft.]
+
+193. _Weave-Spotting produced by both Floats of Warp and Weft._--A more
+elaborate and interesting species of patterns results from this plan
+of spotting than from that of producing the spots by the warp or weft
+separately. All the shades entering into the texture now assist in the
+development of the spotted effects--an element of the designs which
+increases the diversity of colouring and pattern formation feasible.
+Three very distinct specimens of this scheme of spotting are Figs.
+178, 179, and 180. Considering Fig. 178 first, it has a plain ground,
+the spots being arranged on an eight-shaft sateen base. Such a design
+may be coloured on two methods--the warp and weft may be of distinct
+or of the same shades. Supposing, therefore, that in the first place
+the warp is of one colour only, such as brown mixture and crossed with
+blue mixture, then the mingled effects due to the plain ground would
+be enhanced by the specks of these colours resulting from the spots in
+the weave marked in full squares. By adopting, in the second instance,
+the thread-and-thread system of colouring in both warp and weft, a
+still more diversified style would ensue. In such a case the ground of
+the fabric consists of vertical lines with slightly indistinct spots
+at regular intervals. For fabrics in which clear effects are requisite
+this latter system of colouring is the most appropriate, but in goods
+where mingled colouring is required the former scheme of colouring is
+preferable. Fig. 179 shows how this principle of spotting is applied
+to designs of a more figured character. Section _A_ may be used
+separately, forming a series of broken twills composed of spots of warp
+and weft floats alternately. The extended design gives a more varied
+style of pattern, but the principle is the same. Several schemes of
+colouring might be practised. First, the Simple orders of shades, such
+as one-and-one, and two-and-two, woven as warp in the same or different
+colours, or crossed in the weft: that is to say, one-and-one warping
+woven with two-and-two wefting, and _vice versâ_. Another method is to
+colour in stripe arrangement in the warp, and to use one shade of weft:
+the weft spots then form a distinct feature of the pattern. Fig. 180
+is a compound of cassimere twill and of a spotted weave. Part _A_ is
+a spotted twill, the spotting comprising both warp and weft flushes,
+thus securing a proper balance of colouring when fancy yarns are used.
+The design is capable of modification, both in weave and colouring. For
+example, if it were worked out on twenty-four threads and twenty-four
+picks, with the same size of spots, these would be grouped on a sateen
+base. Provided a stripe were required, the eight threads of twill,
+bracketed _B_, might be added. A check, in which the same weave forms
+the principal factor, is obtainable by surrounding Section _A_, which
+should be doubled in size, with a band of eight threads and picks of
+common twill.
+
+  [Illustration:
+                        Lift blanks and crosses.
+                               FIG. 180.
+
+                      Spots  ⊠ = warp.  ⊡ = weft.
+                             ◼ = weft.  ◻ = warp.]
+
+A standard method of colouring is:--
+
+                  _Warp._
+          2 threads of medium grey.
+          2     „      dark grey.
+
+                  _Weft._
+          1 pick of medium grey.
+          2 picks of dark grey.
+          1 pick of medium grey.
+
+The small spots developed in the design in ⊠’s by this scheme of
+colouring consist in the woven sample of dark grey warp, while
+the spots developed in ◼’s consist of medium grey weft; but as the
+groundwork of the pattern is a compound of small dark and medium grey
+checks alternating, the spots would not be pronounced. Another useful
+method of colouring is as follows:--
+
+                     _Warp._
+          12 threads of brown mixture.
+           1 thread of black and blue twist.
+           1     „     black and crimson twist.
+           2 threads of brown mixture.
+           1 thread of black and crimson twist.
+           1     „     black and blue twist.
+           6 threads of brown mixture.
+
+                     _Weft._
+                  Blue mixture.
+
+In this instance, the spots marked in the design in ⊠’s would, in the
+texture, be brown mixture, and those in ◼’s blue. This arrangement of
+spotted pattern is also coloured on such principles as to form mixture,
+check, and other styles.
+
+194. _Irregular Spotted Stripes and Checks._--These styles constitute
+a further important type of weave-spotting. Designs constructed on
+this base are compounds of three weaves. Generally the ground weave
+is common twill, but it may be also mat or any other crossing which
+combines well with the twills employed in forming the spotted lines.
+If the weaves are of the four-shaft class they are generally those
+combined in Fig. 181. This pattern (see Fig. 182) is a spotted check.
+The fine warp and weft lines running transversely and longitudinally
+in the fabrics are of similar dimensions. Thus the effects formed by
+threads _A_ exactly correspond to those formed by picks _A_′. In both
+instances there is one small weft and warp line, and one large weft
+and warp line. It is a rule for each spotting thread and pick in these
+designs to be of the same interlacings.
+
+[Illustration: FIG. 181.]
+
+[Illustration: FIG. 182.]
+
+If Fig. 181 is woven in a white warp and dark weft the cassimere twill
+sections would be a mixture of brown and white twills, while the
+surface of the texture would be dotted with lines of the respective
+shades, so grouped as to form indefinite rectangular figuring. Should
+the picks _A_′ be changed to common twill, the spotting would only be
+lengthways of the fabric, illustrating the principle on which the
+spots are made to produce striped patterns.
+
+There are several methods of colouring practised in this build of
+design. Firstly, the spotting threads and picks are alone fancy yarns,
+the intervening threads and picks being composed of solid colours,
+thus:--
+
+                                _Warp._
+
+                     10 threads of medium grey.
+                      1 thread of black and green twist.
+                      1     „     black and orange twist.
+
+                                _Weft._
+
+                     10 picks of dark grey.
+                      1 pick of black and blue twist.
+                      1    „    black and orange twist.
+
+Secondly, the ground or common twill parts may consist of small
+checkings, and the spotting threads of bright shades. This scheme is
+worked out in fancy suitings and dress fabrics. A third arrangement
+comprises the use of cotton, silk, and worsted yarns, warping and
+wefting ten dark and two light, as in Fig. 182. This method is varied
+by using three or more colours for the spotting threads and picks,
+thus:--
+
+                                _Warp._
+                          10 threads of white.
+                           2     „      light blue.
+                          10     „      white.
+                           2     „      light brown.
+                          10     „      white.
+                           2     „      green.
+
+                                _Weft._
+                             Same as warp.
+
+195. _Spots developed by Single Extra Warp Threads._--Patterns of this
+character are applicable to woollen, worsted, and cotton and silk
+textures. Differing in construction from the preceding examples, the
+system provides for the interlacings of a special series of fancy warp
+yarns in developing the spotted effects. These threads yield a pattern
+supplementary to that resulting from the colourings forming the
+ground of the fabric, and from the twilled or other weaves used in the
+structure of the cloth. Any plan of weave or system of colouring may
+be adopted in producing the general foundation of the pattern; for the
+spotting is obtained by a distinct set of threads, and is controlled
+by a section of the weaving plan entirely independent of the design
+giving the cloth proper. As all spots got on this principle are due to
+the use of a regular yarn, and not to fancy twists of a knop, cloud,
+or spangle class, the fabric resultant is quite uniform in texture and
+smooth on the surface. This is a feature the weave method of spotting
+possesses over the yarn system. Threads of a knop type, though giving
+the requisite spot, yield a fabric more or less rough in appearance and
+handle, while the patterns, as regards the spotting, have no definite
+form or arrangement. On the other hand, in the weave system, the spots
+may be located or distributed over the face of the fabric according
+to the effect required. If desirable, the spotting may be arranged to
+form check, diamond, small figure, and other designs. Further, there
+is another difference between these two systems of introducing spots
+of bright colouring into woven pattern. When fancy twist yarns are
+used for spotting, the whole design, both ground and weave effects,
+results from the interlacing of these threads; whereas, in the weave
+arrangement, the spotting yarns do not constitute the groundwork of the
+texture, but merely add freshness to the pattern.
+
+  [Illustration:
+            ⌻ = Spotting threads depressed.           ⊡ = Weft.
+            ◼ = Spotting threads on face of fabric.   ◻ = Warp.
+                               FIG. 183.]
+
+Fig. 183 is an illustration in this method of spotting. It will be
+observed that there are eight threads of twill to one thread of
+spotting. According to the patterns of warp which are given below,
+the spotting yarns are much brighter in colour than those forming the
+ground of the fabric. This is the general rule. The spots appear on the
+face of the pattern in those positions in the design where they flush
+over three picks in succession, but run on the back of the texture in
+all other instances. The spotting ends are so controlled that the small
+specks of bright colouring they give are arranged on the four-shaft
+broken swansdown base, and hence are not only regularly distributed,
+but are also at equal distances from each other in the woven cloth. The
+groundwork of the pattern is simple in colouring, and forms a species
+of shaded check.
+
+  [Illustration:
+                              Plate XXVII
+
+                   COLOURING WITH CURL AND KNOP YARNS
+                             1. Twill Weave
+                            2. Small Figure]
+
+Two examples in colouring this design are appended:--
+
+                       _I. Warp._
+                  1 thread of tan.
+                  4 threads of black.
+                  4     „      medium grey.
+                  1 thread of blue.
+                  4 threads of light grey.
+                  4     „      black.
+                  1 thread of scarlet.
+                  4 threads of medium grey.
+                  4     „      light grey.
+
+                       _I. Weft._
+                  4 picks of black.
+                  4    „     medium grey.
+                  4    „     light grey.
+
+                       _II. Warp._
+                  1 thread of green.
+                  4 threads of black.
+                  4     „      brown.
+                  1 thread of lavender.
+                  4 threads of medium brown.
+                  4     „      black.
+                  1 thread of orange.
+                  4 threads of brown.
+                  4     „      medium brown.
+
+                       _II. Weft._
+                  4 picks of black.
+                  4    „     brown.
+                  4    „     medium brown.
+
+[Illustration: FIG. 184.]
+
+196. _Fabrics Spotted by Single Picks of Weft._--There are various
+methods of producing weft spots, but they may be grouped under two
+heads, thus: First, effects in which certain picks of the weave are
+removed and substituted by special picks that will bring the spotting
+yarns on to the face of the texture; second, effects in which a special
+series of spotting picks is employed. The latter system is the one
+most practised, because it gives the best results and the most uniform
+style. Fig. 184 is an illustration of the first method. It is a weave
+with a corkscrew-twill ground, the fifth pick of which has been
+changed to the pick marked in squares, which brings the fancy silk
+pick on to the face. The warp is usually a solid or mixture shade, and
+the weft the same or a contrasting shade, with the spotting pick in
+bright colour.
+
+197. _Mat Weaves Spotted._--One of the most useful methods of spotting
+with weft is given in Fig. 185. The spotting picks, _A_, appear on
+the face of the fabric where the full squares are seen. They have
+been arranged on the eight-shaft sateen base, which ensures an even
+and regular distribution of the spots. The structure of the design is
+elementary. It only differs very slightly from the hopsack weave backed
+with weft. The solid squares ◼, are the only features which cause it
+to possess a different structural appearance from the same weave when
+backed with the [1\3] twill. These marks are, however, sufficient to
+produce the required spotted effect in the woven cloth, when fancy
+yarns are introduced into picks _A_ of the pattern.
+
+The following are two typical methods of colouring this class of weave.
+In the first system, the ground of the fabric is one solid colour, but
+in the second system, it is striped with twist yarns.
+
+                      _I. Warp._
+             Blue or slate mixture worsted.
+
+                      _I. Weft._
+           2 picks of blue or slate mixture worsted.
+           1 pick of silk, or worsted and silk twist.
+
+                      _II. Warp._
+          16 threads of brown.
+           1 thread of black and scarlet.
+           1     „     brown.
+           4 threads of black and lavender.
+           1 thread of brown.
+           1     „     black and scarlet.
+
+                      _II. Weft._
+           2 picks of black.
+           1 pick of black, blue, and white silk twist.
+
+198. _Corkscrew Weaves with Extra Spotting Picks._--The scheme of
+spotting given in Fig. 186 possesses one advantage over that in
+Fig. 184--the ground weave or crossing is kept intact. Any weave or
+combination of weaves may be employed for forming the texture, and the
+spots may be distributed on any simple principle. If a fancy effect
+is required, special spots can be made to form diamond, check, and
+small figured patterns. The spots are somewhat more distinct than in
+the previous design, but in this example they have only been arranged
+to give a very minute dot in the fabric. Should a heavier texture be
+wanted than it is possible to produce by this single weave, a warp
+back, as in Fig. 187, may be added. In a single-make fabric it may be
+woven in one shade of warp and ground weft, with the spotting pick in
+bright colour.
+
+[Illustration: FIG. 185.]
+
+[Illustration: FIG. 186.]
+
+[Illustration: FIG. 187.]
+
+199. _Spotted Diagonals._--Fancy diagonals, as well as other types of
+fancy weaves, are frequently spotted with silk yarns, particularly
+in the construction of vesting patterns. An example in this class of
+designing is furnished in Fig. 188, which consists of a twenty-four
+shaft diagonal composed of corkscrew and ordinary twilled effects.
+
+Here special picks have been inserted for developing the spot. Thus
+the picks _A_, marked in ⊠’s, produce the spotting. They form a broken
+twill pattern, two of the spots leaning to the left and two to the
+right. The weave comprises three distinct effects: first, a solid,
+compact warp twill; second, a similar twill of weft-flush; and, third,
+a furrow of corkscrew twill. The warp colouring might be solid, but
+the weft should consist of one pick silk and of six picks of worsted.
+
+[Illustration: FIG. 188.]
+
+200. _Warp and Weft Spots compared._--Probably the method of developing
+spots by an extra series of warp threads is better adapted to woollens
+and cottons than to worsteds. In the last style of fabrics silk is the
+common material used for spotting purposes. Being fine and lustrous, it
+imparts richness of character to the woven fabric. For several reasons
+it is preferable to use extra picks in spotting worsteds. Thus the
+weft principle of spotting allows of considerable latitude for figured
+work and variety of pattern, and does not largely increase the cost of
+weaving, nor add materially to the complication of design construction.
+In spotting worsteds by the warp system with silk, an extra warp or
+chain beam is required, and an additional set of healds--which multiply
+the difficulties of the weaving process. Even when these increased
+facilities are requisitioned, the amount of figuring feasible is
+limited; whereas, by the weft method, the spot can be of any form or
+dimensions. On the other hand, the warp scheme is specially suitable
+for woollen effects of a tweed order in which colouring is the main
+element, and where the extra yarns form mere dots of colour on the
+surface of the texture. Each principle has therefore its specific place
+in textile designing.
+
+201. _Spotting in both Warp and Weft._--This principle of design
+combines the two preceding methods of spotting--making it feasible
+to spot the surface of the fabric both in the warp and weft. It
+follows that patterns fuller of effect and richer in spotting are
+producible by this system. There is, however, one disadvantage in the
+employment of this method of spotting--it adds to the intricacy of the
+weaving operation, for special threads and picks are necessary in the
+production of fabrics.
+
+  [Illustration:
+          ▧ Weft Spots  ◼ Warp Spots
+                  FIG. 189.]
+
+The spotted twill, Fig. 189, illustrates the plan of arrangement. The
+twill or ground weave is, in designs of this class, continuous, and
+forms, independently of the spotting threads and picks, a perfect
+texture. Further, the spotting is so arranged that it does not
+interrupt the twilled effect. It is an additional and separate element
+of the design. When constructing such styles, the order and size of
+the spots are the two main points for consideration. The methods of
+grouping the spots are similar in both warp and weft; thus, if there
+are four threads of ground weave to one thread of spotting in the warp,
+there will be the same proportion of ground and spotting picks in the
+weft. Adherence to this rule results in the manufacture of a uniform
+pattern. Having decided upon the scheme of grouping, say five threads
+of ground to one thread of spotting, as in Fig. 189, proceed by marking
+out the spotting threads and picks on point paper in colour, next add
+the ground weave, and, lastly, determine the dimensions and order
+of the spots. As to the ground, it may consist of any well-planned
+assortment of twills, mats, or fancy weaves. With regard to the size
+of the spots, this varies according to the class of the texture being
+manufactured. For tweed fabrics, small effects are the neatest, but
+in some types of mantlings, in which the spotting yarn is mohair or
+lustre worsted, large, clear, and bold spots yield the best patterns.
+Worsteds, linens, and cottons, with silk or mercerized cotton yarns
+for spotting, are, as a rule, designed with minute, precise, and
+smart effects. Distribution of the spots is done on numerous systems,
+such forms of arrangement as the diamond, simple figures, and sateens
+being used. In the example, Fig. 189, the spots are grouped on a
+broken-check base. Three methods of colouring this design require
+explanation.
+
+
+                       I.--COLOURING FOR COTTONS.
+
+                         [14] _Warp and Weft._
+          For 5 threads.  ⎧1 thread of tan.
+                          ⎩1    „      fawn.
+                           1 thread of pale blue (spotting).
+          For 5 threads.  ⎧1 thread of fawn.
+                          ⎩1    „      tan.
+                           1 thread of rose pink.
+
+
+                  II.--COLOURING FOR WORSTED SUITINGS.
+
+                         [14] _Warp and Weft._
+          5 threads of dark blue mixture.
+          1 thread of black worsted and green silk twist.
+          5 threads of dark blue mixture.
+          1 thread of black worsted and russet silk twist.
+
+
+                     III.--COLOURING FOR WOOLLENS.
+
+                         [14] _Warp and Weft._
+          4 threads of black.
+          1 thread of dark blue.
+          1    „      dark brown and green.
+          3 threads of dark blue.
+          2     „      black.
+          1 thread of black and tan.
+          2 threads of black.
+          3     „      blue.
+          1 thread of dark brown and green.
+          1    „      dark blue.
+          4 threads of black.
+          1 thread of black and tan.
+          4 threads of dark blue.
+          1 thread of black.
+          1    „      dark brown and green.
+          3 threads of black.
+          2     „      dark blue.
+          1 thread of black and tan.
+          2 threads of dark blue.
+          3     „      black.
+          1 thread of dark brown and green.
+          1    „      black.
+          4 threads of dark blue.
+          1 thread of black and tan.
+
+In the first colouring, the ground of the fabric is a composition of
+tan and fawn grouped on the thread-and-thread system, the spotting
+yarns being pale blue and rose pink. The second scheme is for textures
+consisting of one solid shade in the ground; the surface of the fabric
+in this instance is dark blue mixture, having the check spotting
+produced by the weave--Fig. 189--in fancy worsted and silk twists. The
+third arrangement is a simple four-and-four check composed of black
+and blue, the spots falling in different parts of the checks. Should
+it be necessary to have the spotting always in the centre of the four
+threads, the construction of the design would have to be modified.
+Instead of the arrangement being five threads of ground to one thread
+of spotting, it would require to be four threads of ground to one
+thread of spotting.
+
+202. _Advantages of the Warp and Weft Method of Spotting._--In all
+fabrics in which spotting is the chief characteristic, the warp and
+weft principle of design construction is the most effective. Mantlings
+of a matelasse order, worsted dress textures, fancy cottons for
+vestings and quiltings, are all spotted by this method. Allowing, as
+it does, for the employment of a double series of spotting yarns,
+it yields patterns characterized by much diversity of tinting and
+intermingled effects. By causing the two sets of spotting threads to
+interlace with each other, and arranging for them to be of different
+colours, patterns full of textural details are produced. Still, for
+ordinary suiting fabrics either the warp or weft method is generally
+practised, because in these textiles the spotting yarns are only
+intended to dot the surface of the fabric with minute specks of bright
+colouring, and not to form decided patterns, as in mantling and dress
+styles.
+
+203. _Yarns used for Spotting._--The yarns used for spotting purposes
+are of various types. All classes of fancy threads, including knop
+yarns produced in carding, but single in construction, and twists or
+folded yarns of various types are used.
+
+The first type is that employed in the production of Donegal tweeds,
+where the yarns are single, but coloured knops or specks are formed
+at intervals on the thread. These are due to distributing on the
+material, during carding, neps of fibrous material of different
+colours, which enter into the condensed sliver and become part of the
+spun thread. By this method the position of the colour on the thread is
+not mechanically controlled, but the selection of the nebs of fibres
+used for spotting determines the harmony of colour result in the
+woven fabric. There must first be a suitable blend of ground colour
+obtained in the carding of the material, and this having been fixed,
+the strength and blend of colour for nepping purposes is arranged.
+No Donegal pattern would be satisfactory in colour quality--which
+is the chief design characteristic such fabrics possess--unless the
+nepping colours gave strength and character of contrast to the ground
+colouring, as seen in No. 1, Plate XXVI.
+
+Some of the fancy and folded threads used for similar purposes as knop
+carded yarns, are those illustrated in Plate XXV., comprising 3-ply,
+cloud, knop produced in twisting, curl, and gimp yarns. Yarns _A_, _B_,
+and _C_ are ordinary threefold twists, being composed thus: _A_, black
+and scarlet worsteds, and salmon silk; _B_, black and green worsteds,
+and salmon silk; _C_, black, russet, and orange. For spotted worsteds,
+there are few yarns so useful as this class of worsted and silk twists.
+Samples _D_, _E_, _F_, _G_, and _H_ are cloud threads. They are chiefly
+used in fancy tweeds. As a rule, they are rich in colouring. Threads
+_D_, _E_, _G_, and _H_ are analogous in construction, for they are all
+composed of four colours and have one thread, which may be termed the
+central or principal yarn, all other threads twisting or twining round
+it. The composition of these respective twists is as follows:--
+
+_D._ Black for the central thread or shade, and crimson, green, and
+blue for the intermittent colours.
+
+_E._ Grey for the central thread or shade, and scarlet, black, and tan
+for the intermittent colours.
+
+_G._ Dark olive for the central thread or shade, and blue, yellow, and
+light olive for the intermittent colours.
+
+_F._ Light drab for the central thread or shade, and black, scarlet,
+and tan for the intermittent colours.
+
+  [Illustration:
+                              Plate XXVIII
+
+                   COSTUME COLOURING IN FANCY YARNS]
+
+Obviously, the result of using such yarns is to spot the surface of the
+texture with the various tints entering into their composition.
+
+Threads _F_, being of several thicknesses, differ in construction
+from threads _D_, _E_, _G_, and _H_. Still, this type of thread gives
+effects in the fabric somewhat resembling those resulting from the
+yarns with which it is grouped, and is also designated a “cloud” or
+“flock.” It is, however, less complex in colouring, and forms an
+elongated spot in the texture.
+
+The curled yarns are illustrated in types _I_, _J_, and _K_. Three
+examples are given--slate, crimson, and fawn. The curls or loops are of
+different sizes. Such threads are applied to both woollen and worsted
+fabrics, but mainly to tweeds and fancy costumes. They give to the
+pattern a richly-tinted aspect. Some classes of trimmings may be made
+entirely of these threads, but their relation to spotted fabrics is
+here alone considered.
+
+Gimp and knop twists are also employed largely in designs of a spot
+class. Five illustrations of these are given in samples _L_, _M_,
+_N_, _O_, and _P_ on Plate XXV. These threads are generally only
+applied to the more fancy designs. Yarn _L_ is a composition of three
+threads--black, blue, and tan. The black and blue form a two-ply twist
+to which the tan is added in the twisting operation. Small knops,
+causing the yarn to be somewhat irregular in thickness, are formed
+at intervals by the tan thread. Compound _M_ is more irregular in
+colouring and construction. Loose in twine, and of various thickness,
+it gives a novel type of spot, but on account of the lack of
+adhesiveness in its composition it is a difficult thread to manipulate
+in weaving, and hence is but sparingly employed. Yarn _N_ is a real
+gimp. Two black threads, well tensioned in twisting, have been combined
+with yellow and crimson threads of slack twist, and running loosely.
+Thread _O_ is similarly constructed to _N_, only the gimp is not so
+prominent, owing to the several colours being more evenly tensioned
+during twisting. Compound P is a combination of gimp and knop. Thus
+knops or buttons of tan colour--see _a_--are formed at intervals on the
+thread. Yarns _N_, _O_, and _P_ are suitable twists for spotted goods
+of various descriptions.
+
+204. _Spotted Effects in Ordinary Weaves._--The several classes of
+spotted patterns analyzed have all resulted from the employment of
+special builds of weaves. There are, however, some important species
+of these effects obtained in designs constructed on the ordinary
+principles of intertexture, which are extensively developed in both
+plain and ornamental fabrics. Allusion will now be made to several
+types of these patterns. It may be observed that in producing the
+spotting in these styles the fancy twists described in the preceding
+paragraph are utilized. Pattern No. 1 on Plate XXVII. is a specimen
+of fancy tweed spotted by this method. The cloth is woven from a
+twelve-end twill, the weft being black, and the order of warping as
+appended:--
+
+          2 threads of dark blue.
+          1 thread of black and tan curl.
+          2 threads of dark brown.
+          1 thread of black, brown, and white small curl.
+          2 threads of dark grey.
+          1 thread of black and blue curl.
+
+It is scarcely necessary to observe that the curled yarns are the
+main elements of this colouring, spotting the fabric with small loops
+of tan, blue, and white. Knop, cloud, and gimp threads are similarly
+introduced into fancy fabrics. The effect of the knop twist is seen in
+the next illustration--Pattern No. 2, Plate XXVII. The minute figuring
+is due to combining two broken crow weaves. It is a style of design
+for union mantlings, and is capable of being varied to an unlimited
+extent in both colouring and ornament. The warp is entirely composed
+of brown and white knop cotton twist. The dots of white noticed in the
+texture are a product of the warp yarns, and not of any peculiarity
+in the structure of the weave or design. Such an irregularly spotted
+combination as this sample is only producible by yarns of the knop and
+cloud kind.
+
+A third example, full of colour elements, No. 1, Plate XXVIII., may be
+described. It has been designed for a fancy coloured costume in the
+plain weave, and is illustrative of the variety of effect producible
+by order of warping and wefting, and diversity of yarn structure in
+which hues, tints, and shades of colours are used. The yarns are of six
+varieties, _A_, _B_, _C_, _D_, _E_, and _F_, being composed of two or
+more colours, and all different in construction. _A_ is a pronounced
+knop yarn; _B_ a curl yarn, of four varieties of colour, namely, deep
+crimson, orange, pale orange, and green; _C_ shows the difference in
+thickness and in wavy effect possible in gimp yarns; _D_, irregular
+twist with knops of fibres; _E_ and _F_, more ordinary twists, slack
+and hard spun intermittently. These, when arranged as in the fabric to
+make a check pattern, with over-checking in green, make a groundwork
+of colour which can only be acquired in textiles by using diversity of
+yarn structure. Blending in the material, or distributing colour in
+the weave, as in the spotted designs, Nos. 168 to 180, all repeat the
+colour regularly or in a prescribed pattern; but when the yarns are so
+diversified in construction, the colours are, as seen in the fabric,
+not selected on any definite method.
+
+205. _Application of Fancy Yarns to Compound Weaves._--Only two
+examples need be considered here, as the character of the results
+is similar to that of those obtained in single weave fabrics; only
+by reversing the position of the threads in the warp and weft, a
+prescribed form of pattern, see Plate XXIX., may be produced. On
+this principle, any type of design, as to figure or form, may be
+constructed, but it will have the same varied tinting as single weave
+fabrics, in which similar yarns are used. In this design, fancy knops
+and other cotton twists have been used. These yarns give the spots of
+lavender, tan, and scarlet, which are regularly distributed throughout
+the pattern. It is a double-weave structure arranged one thread ground,
+one thread of fancy yarn, and one thread of ground.
+
+A different example produced in worsted yarns, and worsted and cotton
+twists, is that given in No. 2, Plate XXVI. It is double in structure,
+arranged one thread ground, and one thread fancy yarn, and not
+two-and-one, as the style on Plate XXIX. The ground yarn is a single
+thread, forming the plain portions of the fabric, the curled yarn
+being in dark crimson, heliotrope, orange, and pale orange. A certain
+simple outline of pattern is formed by reversing the face and backing
+yarns. It is a good blend of colour, in which there is contrast of hue
+between the heliotrope and orange, and contrast of tone between the
+crimson and heliotrope; but the chief characteristic is the diversity
+of colour surface due to the curl or loop twist yarns, and the way in
+which the colours in consequence of their arrangement are softened in
+quality.
+
+
+  FOOTNOTES:
+
+     [14] _In each case, the order of picking must correspond
+          with the order of the spotting picks, in the designs._
+
+
+
+
+                                 CHAPTER XIII.
+
+                COLOURING OF DOUBLE WEAVES AND REVERSIBLES.[15]
+
+     206. Principles of Double Cloth Colouring--207. Styles
+     of Colour Effects obtained in Double Weaves--208. Double
+     Plains--209. Classification of Double Plain Stripes--210.
+     Double Plain Stripes in Two Shades--211. Two-Shade Stripes
+     Warped Irregularly--212. Styles in Three Colours--213.
+     Double Plains combined with other Weaves--214. Intermingled
+     Double Plain Compounds--215. Reversibles--216. Methods of
+     Colouring Double Plain Reversibles--217. Colouring of Figured
+     Designs containing Double Plain and other Weaves--218.
+     Reversibles arranged Two-and-One--219. Figured Compound Weave
+     Patterns--220. Compound Colourings in Compound Weaves--221.
+     Colouring of Double Cloths, such as Golf Cloakings and Rugs.
+
+
+206. _Principles of Double Cloth Colouring._--As briefly indicated in
+Chapter V., the general principles of colouring fabrics of a backed
+and double-make structure, resemble those applied to single textures.
+Particularly is this the case when the fabrics are the ordinary types
+of trousering, coating, and suiting styles. This follows from the
+fact that the face of these cloths largely consists of patterns of
+similar composition to those produced in single textiles. Still there
+are some builds of backed fabrics, which, owing to being coloured
+on both surfaces, involve the employment of two distinct schemes of
+colouring--one for each side of the fabric. The object to be attained
+in such fabrics is the development on the under side of the texture of
+a pattern that will, in general tone and character, correspond with
+that appearing on the face; but, though this species of colouring
+on the back is frequently necessary, inasmuch as it enhances the
+selling qualities of the fabric, yet the grouping of the face shades
+is the primary consideration, for it must be in accordance with the
+weave-compound used in the construction of the cloth, whereas the
+scheme of colouring applied to the back is of secondary importance,
+and should be made to coincide in its main outlines with the style
+of colouring composing the face of the texture. An example may be
+analyzed. Fig. 163 is a weave-combination, which it is required to
+back with warp and colour on such lines as to obtain a stripe style
+of pattern on the under surface. The face order of colouring is given
+on page 261, and has already been treated of. Without describing the
+structure of this build of backed fabric, it may be stated that the
+arrangement is generally one thread of face weave and one thread of
+backing throughout the design. It is usual to plan the backing warp
+according to the composition of the face design, so that the following
+scheme would, in this instance, be appropriate:--
+
+              30 threads of light mixture.
+              14     „      medium mixture.
+              30     „      light mixture.
+               6     „      slatish blue.
+
+This would result in the production of an effect in colouring on the
+back of Fig. 163 quite in keeping with the scheme applied to the
+face, though the exact order of the face warping is not followed. The
+simpler the arrangement of shades on the back the better, so long as it
+conforms with the order of colours producing the pattern on the face
+side.
+
+Another method of duplicate colouring in double and backed cloths,
+consists in having any ordinary scheme on the back which comprises a
+number of threads that is a multiple of the number occupied by the face
+pattern. Thus, in the scheme of colours for the design considered, Fig.
+163, there are eighty threads, hence arrangements comprising twenty,
+forty, and eighty threads might be utilized. These are divisible into
+two or four stripes, according to the style of effect required on the
+back of the texture. In this kind of colouring it is evident that the
+combination of face shades is not closely worked to--a stripe neat in
+colour composition being the main factor for development.
+
+When the yarns for the face and back of the fabric are of the same
+size and material, it is a rule in making out the pattern of warp to
+combine the two schemes of colouring, but each scheme is necessarily
+designed separately. In fabrics backed on the warp principle, it is
+feasible to have patterns of a striped character on the under surface,
+while if the fabric is backed with weft, colouring on the back results
+in striping the texture transversely; it is, therefore, only by
+employing the double-cloth method that all forms of colour effects may
+be developed on both sides of the fabric.
+
+207. _Styles of Colour Effects obtained in Double Weaves._--While, as
+is evident from the brief definitions of the principles of double-cloth
+colouring furnished in the preceding paragraph, the application of
+fancy shades to the ordinary groups of double weaves is more or less
+analogous to their application to single weaves and compound designs,
+yet there are some builds of double cloths which produce specific
+styles of patterns, such as are not obtainable in other descriptions
+of weaving and schemes of colouring. Amongst the most useful of these
+types are the double-plain, the double-cassimere, the double-mat,
+and combinations of these weaves. Patterns obtained in these makes,
+cover a large diversity of styles for trouserings, coatings, suitings,
+mantlings, shawls, rugs, curtains, and carpets. Here, however, the
+plan of colouring is not usually elaborate, being adapted to the
+structure of the design. The main characteristic of these fabrics
+which distinguishes them from effects obtained in single-make designs
+is the firmness and strength of the cloth, combined with clearness
+and precision of ornament or pattern. The utility of this class of
+design is evident in the varieties of textures, in which patterns are
+products of the double-weave system of cloth construction. As the
+structure of the weave is uniform in the fabrics mentioned, there are
+certain principles of colouring applicable to each class of effects.
+But, generally speaking, the use of a new double-weave necessitates the
+practice of a distinct system of colouring.
+
+208. _Double Plains._--For giving variety of effect and pattern,
+there is no class of double make more useful than the double plain.
+The analyses made in Chapter VIII. of the schemes of colouring used
+in the single weave make it evident what are the common principles
+of gaining effect by combining fancy shades in double plain; and,
+moreover, what is the type of pattern here producible; for, as the
+system of interlacing is still plain--one fabric being formed above
+or over the other--whatever pattern is workable in the single weave
+may, by duplicating the plan of colouring, be also obtained in the
+double weave. Bearing this principle in mind, the methods of pattern
+development in double-weave designs of all classes will be readily
+understood.
+
+The simplest type of effects developed in this structure of weave is
+stripe patterns. It includes fabrics of two, three, and four shades.
+As a rule, the shades combined are of a mellow and subdued character,
+being more in keeping with the build of the fabric than bright shades.
+Still, in fine worsted and cotton textures, somewhat brighter shades
+are employed than in woollen fabrics, which, being usually felted,
+mainly consist of patterns resulting from combining toned colours.
+These stripes may be of any dimensions, from line-like effects to broad
+bands several inches in width. Next to stripe patterns in importance
+are intermingled patterns. Such styles possess a peculiar diversity
+of minute effects, which makes them readily distinguishable from the
+mingled patterns obtained in other weaves and methods of colouring.
+Some of these effects will be analyzed. Checks, diagonals, small
+figured styles, and elaborately ornamented textiles, are also developed
+in these weaves. All these fabrics are double plain throughout. Though
+the weave is apparently an unimportant factor, yet it is closely
+related to the pattern produced, and has moreover to be modified with
+every change effected in the outline and form of the design resultant.
+Strictly speaking, all double plain patterns are composed of at least
+two weaves--one of which brings the odd series of yarns on to the face,
+and the other the even series. It follows that if a cloth is warped and
+woven one-and-one--say black and white--that one make gives a black,
+and the other a white effect on the face of the fabric. Remembering
+this principle, it will be evident how, by changing these weaves in
+working out figured or ornamental patterns, any construction of design
+may be acquired.
+
+  [Illustration:
+                               Plate XXIX
+
+                  REVERSIBLE KNOP-TWIST YARN PATTERN]
+
+209. _Classification of Double Plain Stripes._--Striped designs,
+obtainable by colouring double plain designs according to various
+systems, are as follows:--
+
+I. Patterns in two shades.
+
+II. Patterns in three shades.
+
+III. Patterns in four shades.
+
+IV. Patterns in two, three, or four shades, comprising double plain and
+other weaves.
+
+The most elementary form of pattern obtained in the double plain is the
+“hairline.” It resembles in appearance the effect produced by warping
+and wefting the single plain make thread-and-thread, only the fabric
+is sounder and firmer in build, as well as finer and more compact in
+construction. This simple style is a product of a certain method of
+colouring the double plain, but the same weave can be arranged and
+coloured to yield an endless variety of patterns.
+
+Three-shade stripes are, on the average, richer in colouring than the
+first order of patterns, and include the most useful forms and builds
+of double plain stripes. The third class, while composed of a larger
+number of shades, lacks scope for diversity of arrangement. As to the
+patterns comprised in the fourth class, they are rarely composed of
+more than two shades, but owing to containing additional weave elements
+they are more diversified in design.
+
+210. _Double Plain Stripes in Two Shades._--These are of two types:
+I. Patterns warped and woven one-and-one; and II. Patterns coloured
+variously, but in strict accordance with the structure of the design
+used. Allusion will primarily be made to the I. type of these styles.
+In this form of pattern, it is a question of arranging the double plain
+weaves on such principles as to produce any style of stripe pattern.
+Take an illustration. Patterns 1 and 2 on Plate XXX. are double plain
+stripes obtained by this method. The colourings are as follows:--
+
+                  1.
+          1 thread of olive.
+          1    „      slate.
+
+                  2.
+          1 thread of brown.
+          1    „      brown and white twist.
+
+The feature for analysis is, how the various combinations of stripes,
+and in Pattern 2 of twilling, are developed in these textures, which
+are composed solely of double plain weaves. Pattern 1 is an assortment
+of small stripes of four different sizes worked out in two shades. If
+necessary, the design--_i.e._ the plan of weave--could be so modified
+as to give a pattern in which the stripes would not only run from a
+broad to a narrow band, but tone off on both sides. A brief analysis of
+the design for this texture, given in Fig. 190, will make it evident
+what the principles of weaving are, which determine the construction of
+this kind of pattern. Here two double plain makes are combined, one of
+which floats the odd, and the other the even threads and picks on the
+face. Now these weaves are so grouped in this design that they give a
+pattern corresponding in every detail with No. 1 on Plate XXX. The use
+of these two weaves, and the method of adjustment, are two elements of
+design to which all such styles of woven effects are due. The weave
+marked in grey is the reverse of that marked in dots, for it brings the
+even set of threads on to the face, while the weave, ⊡, takes them on
+to the back. When it is considered that the arrangement of colouring
+is one slate and one olive, and that each of these weaves forms two
+fabrics one over the other, it becomes obvious that in Sections _A_
+of the design (Fig. 190) a slate stripe of plain fabric will cover an
+olive stripe of similar dimensions; but in Sections _B_ a plain olive
+band conceals a corresponding stripe of slate. Referring to Fig. 191,
+which is the weave arrangement for producing Pattern 2 of Plate XXX.,
+it will be observed that it is a style containing, in addition to the
+stripe effects, a series of clear twills. Evidently these have been
+developed on the same system as the preceding example, which consists
+of the identical weaves and order of colouring as Fig. 191. Diversity
+of pattern has, therefore, been acquired by adopting a different method
+of combining the weaves. This is effected by first sketching out on
+point paper the exact form of the pattern required, and then adding
+weave _A_ of Fig. 190 to the uncoloured parts, and weave _B_ to the
+coloured sections. It will be subsequently shown that reversible double
+plain styles are but developments of this species of designing.
+
+[Illustration: Fig. 190.]
+
+[Illustration: Fig. 191.]
+
+[Illustration: Fig. 192.]
+
+211. _Two-Shade Stripes Warped Irregularly._--First, there are styles
+of this class which are compositions of two shades, and in which
+variety of pattern is only producible by ingenious methods of grouping
+fancy yarns. By the aid of two examples (Patterns 1 and 2, Plate XXXI.)
+it may, however, be shown that even when thus limited to the use of two
+colours a considerable range of patterns may be acquired. The order of
+shades for Pattern 1--the design for which is given in Fig. 192--is:--
+
+                           _Warp_.
+          For 54 threads. ⎧ 6 threads of slate.
+                          ⎩ 2    „       black.
+          For 58 threads. ⎧ 8 threads of black.
+                          ⎩ 2    „       slate.
+
+                           _Weft_.
+                       1 pick of slate.
+                       1   „     black.
+
+One principle that requires to be taken cognizance of in making double
+plain stripes is, that while only every other thread comes on to the
+face, every pick, to some extent, is useful in forming the pattern on
+the right side of the fabric. As the principal feature of such styles
+is the solidity of the several lines of colour, providing these do
+not exceed four in number, it becomes a problem of so constructing
+the design that each shade of weft used, shall only float or flush
+over that colour of warp yarn it is supposed to match. To produce a
+stripe in two colours is comparatively simple; but, in the example
+given in Pattern 2 on Plate XXXI., the difficulty of arranging the plan
+of weave is increased by varying the order and size of the lines of
+colour. Thus, there are bands of colour of eight, six, and two threads
+each, or, on the face, of four, three, and one thread respectively. If
+the design, Fig. 192, is examined, it will be observed that the odd
+picks only cover the face-threads in parts _D_, which are the slate
+threads in the fabric, while the even picks are arranged to cover the
+face-threads in part _A_ only. Should the weave be further dissected,
+it will also be noticed that picks 1, 3, 5, and 7 interlace plain with
+the face-threads of _D_, but that picks 2, 4, 6, and 8 interlace plain
+with the face-threads of sections _A_. In this manner, the solidity of
+each stripe of colour, which is the essential feature of such styles,
+is kept intact, and a pattern formed possessing distinctness of parts.
+This example, and No. 1 of Plate XXXI., illustrate the numerous effects
+producible in these weaves by this method of colouring. Both parts _A_
+and _B_ of Pattern 1 form stripe arrangements. By varying the number of
+bands of these respective combinations, useful species of pattern are
+producible. Pattern No. 2 shows how a broad band of one shade may be
+worked into the texture, and then a line-like stripe of a second shade
+formed upon it.
+
+There is one peculiarity about the weave-design--Fig. 193--forming
+the drab band in Pattern 2 of this Plate, which contains eighteen
+threads. The ordinary double plain used in Figs. 190, 191, and 192 is
+untied; it follows that if some sixteen or more threads were used, as
+in this instance, the woven pattern would be loose and unsatisfactory
+in structure. So long as no more than eight threads form a stripe,
+tieing may not be necessary; but when this number is exceeded, a weave
+must be employed that, while tied or stitched, will not interfere
+with the neatness, compactness, and uniformity of this type of woven
+colouring. The weave generally used for this purpose is given in part
+_A_ of Fig. 193. Though somewhat irregular in construction, it produces
+a fabric perfectly even on both surfaces, and as smart and clear in
+other respects as the double plain texture. The order of colouring for
+this example is: _Warp_, 18 threads of drab, 2 threads of brown; and
+_weft_, 1 pick of brown and 3 picks of drab. The drab picks never float
+over the face-ends of brown, and, on the other hand, the brown picks
+always float under the drab face-ends--this being the principle of
+intertexture to which the solidity of the respective lines of colour is
+due.
+
+[Illustration: FIG. 193.]
+
+[Illustration: FIG. 194.]
+
+212. _Styles in Three or more Colours._--Some extremely interesting and
+effective stripes are got in double plain weaves by employing three
+and four colours. Two examples--Patterns 3 and 4 on Plate XXXI.--are
+furnished in styles composed of three shades. The weave for producing
+the former (Fig. 194) is simple, being so constructed as to form lines
+of lavender, claret brown, lavender and white. By comparing the order
+of colouring--which is given below--with the weave, the principles of
+design in which the pattern is obtained are obvious:--
+
+                   _Warp._
+          4 threads of lavender.
+          2   „      claret brown.
+          4   „      lavender.
+          2   „      stained white.
+
+                   _Weft._
+          1 pick of lavender.
+          1  „    stained white.
+          1  „    lavender.
+          1  „    claret brown.
+
+It will be noticed that the first pick is lavender; the reason for this
+is, that in the design the face-thread of lavender is down, and if it
+were covered by any other colour but its match in shade, the solidity
+of the lavender line would be interrupted. Pattern 4 of this Plate
+contains the same number of colour elements, but is quite different in
+arrangement. The design for this styles--Fig. 195--is so planned as to
+yield an effect, on the face of the fabric, as follows: a stripe of
+four threads of claret brown and white twist, a fine line of lavender,
+a stripe of four threads of claret brown and white twist, a fine line
+of lavender, a fine line of claret brown, a fine line of twist, a fine
+line of claret, and a fine line of lavender; in other words, it forms
+a compound of eight separate bands of colour. The plans of warping and
+wefting are appended:--
+
+                           _Warp._
+          8 threads of claret brown and white twist.
+          2     „      lavender.
+          8     „      claret brown and white twist.
+          2     „      lavender.
+          2     „      claret.
+          2     „      claret brown and white twist.
+          2     „      claret.
+          2     „      lavender.
+
+                           _Weft._
+          1 pick of claret brown and white twist.
+          1    „    lavender.
+          1    „    claret brown and white twist.
+          1    „    claret.
+
+The effects in four shades are somewhat limited in variety, the
+respective stripes being of a single-thread character on the face. They
+are constructed on the same lines as the three-coloured patterns just
+described.
+
+[Illustration: FIG. 195.]
+
+213. _Double Plains combined with Other Weaves._--Patterns of this
+class are made in worsted, woollen and cotton yarns. Certain weaves
+of a warp flush character, including types of corkscrews, combine
+satisfactorily with this double plain. The twills or makes used
+should be capable of forming neat patterns when coloured on the
+one-and-one system, which is the invariable method of wefting such
+designs. Referring to Fig. 196, which is a weave compound of this
+description, stripes of double plain are united with a stripe of
+corkscrew, resulting in the construction of the style given in Pattern
+3 on Plate XXX. The colours are maroon and dark green, and are grouped
+on the end-and-end system in both warp and weft; hence the solid lines
+of these shades in the double plain parts, and the oblique twills of
+maroon and green in the corkscrew sections of the fabric. Practically
+there are two points to consider in the selection of weaves for
+combining with double plain crossings, namely, the wefting capacity
+of the crossing, _i.e._, its power to weave regularly with the plain;
+and, second, its structure in regard to the scheme of shade-assortment
+practised in these designs. Respecting the first point, if another
+double make should be used, such as cassimere or mat for face, and
+plain for back, there would not be much liability to form a fabric
+lacking regularity of construction and hence evenness of surface; but,
+should the additional weaves be single in construction, they must be
+exactly of such structure as to work uniformly with the double plain.
+One point that may be noted in designing for these combinations, is
+to frequently divide the pattern, and so avoid the formation of broad
+bands of the several weaves. Then, as to the structure of the crossings
+in respect to colouring. Warp twills and warp weaves are most suitable,
+because they do not exhibit the weft colouring to any marked degree,
+and hence they allow of quite a distinct method of tinting being
+introduced in the warp of the sections of the design in which they
+occur.
+
+[Illustration: FIG. 196.]
+
+Styles of this description are neat in form and colouring. Being
+characterized by smartness of composition and richness of textural
+effects, they are developed to a large extent.
+
+214. _Intermingled Double Plain Compounds._--The most uncommon effects
+producible in double plain crossings are possibly those resulting from
+employing schemes of colouring containing an odd number of threads,
+such as 2, 1, 1 and 1, and the 4, 1, 1 and 1 groupings. The weave used
+in such schemes of combining shades is given in Fig. 197. In larger
+styles, sections _A_ and _B_ are increased to sixteen threads and picks
+each. By the aid of an example the principles underlying this form of
+pattern construction may be expounded. Pattern 5, Plate XXXI., results
+from the following arrangement of colours and the weave, Fig. 197:--
+
+                              _Warp and Weft._
+                          ⎧ 4 threads of brown.
+          For 42 threads. ⎨ 1 thread of black and white twist.
+                          ⎪ 1     „     brown.
+                          ⎩ 1     „     white.
+                          ⎧ 4 threads of brown.
+          For 14 threads. ⎨ 1 thread of black and white twist.
+                          ⎪ 1     „     brown.
+                          ⎩ 1     „     orange silk.
+
+[Illustration: FIG. 197.]
+
+The pattern is weavable on eight shafts, one repeat containing 112
+threads, so that it possesses the leading characteristics of a Jacquard
+design. The dimensions of each repeat of the pattern are due to the
+order of grouping the colours, combined with the weave. Thus, as there
+are fifty-six threads in each repeat of the colourings before the plan
+of weaving coincides with the order of the shades, the pattern of warp
+must run through two, and the weave through sixteen repetitions. The
+cause of the construction of this pattern consists in the appropriation
+of a system of colouring, containing a number of threads not a multiple
+of the number of ends and picks in the weave. This scheme of colouring
+is practised in fine worsteds and woollens for mantlings, in medium
+counts of yarns for suitings, and also in linen and cotton textures for
+vestings.
+
+  [Illustration:
+                               Plate XXX
+
+                          DOUBLE-PLAIN STYLES
+                        1. 2. 3. Stripe Patterns
+                           4. Figured Shawl]
+
+There is practically no limit to the variety of effects obtained on
+this system of colouring double plain designs. On the diamond base,
+forming Pattern 5 of Plate XXXI., an indistinct check in orange silk
+is distinguishable; and in this plan of weave and by irregular orders
+of colouring, many varieties of spotting, intermingled checkings, and
+other effects in minute and in clear, bold patterns, are produced
+in various counts of both woollen and worsted yarns. The 2 black, 1
+twist, 1 grey, and 1 twist, method of colouring is also useful for
+this purpose, yielding a form of pattern that can be diversified by
+modifications in colouring.
+
+215. _Reversibles._--Double and treble weaves are employed in the
+construction of these effects. Amongst the compound weaves used for
+this purpose, the double plain is one of the most important. It gives a
+species of figuring as clearly developed on one side of the texture as
+on the other. The system of colouring is mainly one-and-one, with some
+slight modification, such as a stripe or check effect in addition to
+the ornamental details worked out in colour. This principle of weaving
+is practised in the decoration of woollen and worsted shawls and rugs,
+tapestries, curtains, and Kidder and Scotch and other carpets. In the
+examples given in No. 4, Plate XXX., and Nos. 1 and 2, Plate XXXII.,
+two builds of fabrics are represented, namely, the double plain and the
+double twill. An important element of all such figuring, distinguishing
+it from that obtained by other schemes of weaving, is the clearness
+with which the details and component parts of the design are developed.
+This characteristic is a product of the double-weave arrangement.
+Taking, for instance, the shades of a texture thus constructed to be
+black and white, it follows that from any double-make combination in
+which the figuring is produced by changing the positions of the weaves,
+that is, by transferring that weave on to the back which has appeared
+on the face, and _vice versâ_, there must result a pattern clear in
+outline and general composition. No other principle of weaving is
+capable of giving effects so well pronounced in these features: other
+figured styles are more or less wanting in precision and regularity
+of outline. Reversibles are made in double weaves arranged on the
+one-and-one, the two-and-one, and the three-and-one principles. The
+first method is the most frequently practised. When the second and
+third schemes are adopted, the yarns used are of two sizes--that
+forming the figure being considerably thicker than that employed for
+the ground of the texture.
+
+[Illustration: FIG. 198.]
+
+216. _Methods of Colouring Double Plain Reversibles._--Generally these
+are not very intricate, the main work in ornamenting such fabrics
+consisting in the adoption of a well-arranged design, with the various
+sections of the figuring correctly represented on point paper. A few
+illustrations may be described. On Plate XXX., Pattern 4, and on Plate
+XXXII., are textures for dressing-gowns and shawls. Sections of each
+design are given in Figs. 198, 199, and 201. It should be observed
+that in executing these styles the first work relates to sketching the
+pattern on point paper, the weaves being subsequently added. The ground
+sections are occupied by the opposite weave to that applied to the
+figured parts. There should not be figure outlines requiring less than
+two threads and picks to develop, or the effect in the woven fabric
+will not be satisfactory. It should be considered in preparing these
+designs that practically every other thread and pick are duplicate
+yarns--both the odd and even threads not being utilized simultaneously
+in the construction of the pattern on the face of the cloth.
+Providing the figure has been correctly worked out on point paper, an
+appropriate scheme of colouring has then to be applied. Here various
+technical details and other points have to be considered, such as the
+structure of the design, whether bold or subdued colouring is the most
+suitable, and the scheme of grouping shades necessary to develop the
+ornamental forms of the style. First, the shades of yarn are arranged,
+one-and-one, throughout, in order to meet the structure of the double
+plain weaves. Second, it may be useful to consider types in which the
+designs are clearly pronounced in every detail, and others in which the
+figuring is more or less subdued. Take, for example, the worsted shawl
+pattern, No. 4 on Plate XXX. By warping and wefting thus:--
+
+          96  ⎧1 thread dark shade,          96 ⎧1 thread dark shade,
+              ⎩1    „   blue,                   ⎩1    „   white,
+
+the figuring on the face of the fabric is developed in the dark
+shade, and the ground in the white and blue, the effects on the under
+side being exactly the reverse of those on the face. For shawls few
+principles of design are more useful than this, for it gives a texture
+in every particular as neatly ornamented and constructed on one
+surface as the other. The border of these goods generally consists of
+a different pattern from the centre or groundwork of the shawl, and is
+also differently coloured. Take the following as an example:--
+
+   1 thread of dark brown.⎫        ⎫
+   1    „      blue.      ⎭ For 96 ⎬ 192 threads--the edge of the shawl.
+   1 thread of dark brown.⎫        ⎪
+   1    „      white.     ⎭ For 96 ⎭
+
+     1 thread of blue.    ⎫     ⎫
+     1    „     white.    ⎭  24 ⎪
+     1 thread of scarlet. ⎫     ⎪
+     1    „        white. ⎭  24 ⎪
+     1 thread of blue.    ⎫     ⎪
+     1    „     white.    ⎭  24 ⎪
+     1 thread of orange.  ⎫     ⎪
+     1    „       white.  ⎭  24 ⎪
+     1 thread of blue.    ⎫     ⎬ Border--repeat; 768 threads in border.
+     1    „     white.    ⎭ 192 ⎪
+     1 thread of orange.  ⎫     ⎪
+     1    „       white.  ⎭  24 ⎪
+     1 thread of blue.    ⎫     ⎪
+     1    „     white.    ⎭  24 ⎪
+     1 thread of scarlet. ⎫     ⎪
+     1    „        white. ⎭  24 ⎪
+     1 thread of blue.    ⎫     ⎪
+     1    „     white.    ⎭  24 ⎭
+
+     1 thread of dark brown.⎫       ⎫
+     1     „     blue.      ⎭ For 96⎬3648 threads--centre of the shawl.
+     1 thread of dark brown.⎫       ⎪
+     1     „     white.     ⎭ For 96⎭
+
+                 Repeat the border.
+                 Repeat the edge.
+
+  [Illustration:
+                               FIG. 199.
+                            (Section only.)]
+
+The above arrangement is for a fine worsted shawl made of about twofold
+fifty’s yarns and set in twenty’s reed four’s. The centre and edges of
+the shawl are simple in colouring, but the border consists of checks
+of blue, scarlet, and orange on a white groundwork. As the white yarns
+alternate with each of these colours, the figuring on one side of the
+shawl in the border is solid white on the checks named, but on the
+reverse side the figuring is developed in the various colours, while
+the ground is white. Other and simpler forms of colouring besides this
+are adopted; for instance, another appropriate method of colouring the
+border and the centre of the shawl, Pattern 4 of Plate XXX., using a
+double-plain diagonal weave for the edges, is thus:--
+
+          1 end of white.      ⎫
+          1   „    light grey. ⎭  96
+          1 end of white.      ⎫
+          1   „    dark grey.  ⎭  96
+
+  [Illustration:
+                               Plate XXXI
+
+                      VARIOUS DOUBLE PLAIN DESIGNS
+               1. Warped and Wefted one-and-one
+               2. 3. 4. System of Warp Colouring Coinciding
+                        with the Weave Construction
+               5. Irregular Warp and Weft Colouring]
+
+When this class of designing and colouring is executed in woollen yarns
+for rugs, the fabrics are covered with pile on both surfaces, causing
+the colourings to possess a very mellow aspect. Pattern I on Plate
+XXXII. is an example of this kind. The design (Fig. 199) is made on
+the same system as that for the preceding style. The arrangement of
+shades is as follows:--
+
+                           _Warp._
+          1 thread of dark grey. ⎫ For 48 threads.
+          1     „     white.     ⎭
+          1 thread of light grey.⎫ For 48 threads.
+          1     „     white.     ⎭
+
+                           _Weft._
+          1 pick of dark grey.   ⎫ For 48 picks.
+          1    „    white.       ⎭
+          1 pick of brown.       ⎫ For 48 picks.
+          1    „    white.       ⎭
+
+[Illustration: FIG. 200.]
+
+217. _Colouring of Figured Designs containing Double Plain and other
+Weaves._--One illustration in this type of fabric will show the
+principles of colouring and weaving which have now to be considered.
+The object is to obtain three or more effects in figured fabrics mainly
+composed of double plain crossings, and at the same time to develop
+with special emphasis the ornamental forms combined. A feature to be
+avoided in the construction of these designs is the employment of such
+quantities of the single weaves as will result in the production of
+a fabric irregular in build. Fig. 200 shows the manner of combining
+the different crossings to obtain such effects. Intricate orders of
+colouring are feasible here, providing the thread-and-thread scheme is
+retained: the more ingenious the system of grouping the shades, the
+more valuable the results.
+
+  [Illustration:
+                               FIG. 201.
+                ⊡ = Weft in ground.  ◻ = Warp in ground.
+                ◍ = Weft figure.     ⧄ = Warp figure.]
+
+218. _Reversibles arranged Two-and-One._--This type of textiles is
+produced in various kinds of yarns, such as worsted, woollen, fancy
+cottons, and mohair. It is a useful build of fabric, being developed
+in dresses, suitings, mantlings, vestings, and quiltings. An example
+in cottons is given on Plate XXIX. A section of the design used in
+producing this fabric is Fig. 201, from which it is evident there are
+two ends and picks of ground weave to one end and pick of figure. The
+weave applied to the ground may be plain, twill, mat, or any other
+simple crossing, but that applied to the figuring threads is invariably
+plain in order to secure a texture quite fast in build throughout. The
+following is the method of colouring practised here:--
+
+     1 thread of fine white cotton.
+     1      „    thick white cotton twisted with scarlet (knop).
+     2 threads of fine white cotton.
+     1 thread of thick white cotton twisted with lavender (knop).
+     2 threads of fine white cotton.
+     1 thread of thick white cotton twisted with tan (knop).
+     1      „    fine white cotton.
+
+When the following scheme of shades is adopted, the aspect of the
+design is completely changed:--
+
+          1 thread of fine medium blue cotton.
+          1      „    thick white        „
+          1      „    fine medium blue   „
+
+This latter order gives a solid blue ground with a clear figure.
+
+There are several distinct methods of colouring these designs. First,
+the figuring threads, as in the first of these examples, are coloured
+variously, while the ground threads are of one shade. This affords
+a clear development of the design, particularly when the ground and
+figuring yarns are of contrasting shades. The production by such
+arrangements of a monotonous groundwork is obviated by spotting here
+and there with the figuring yarns, as in the patterns on Plates VII.
+and XXIX. A second system admits of the ground being composed of
+stripes or checks of any dimensions over which the figuring in bright
+colourings is distributed. Third, for woollen vestings, to which this
+type of design in simple twill and spotted effects may be applied, such
+orders of colouring as are given below being practised:--
+
+                         I.
+          1 thread of black.
+          1     „     black and blue twist.
+          2 threads of brown.
+          1 thread of black and light olive twist.
+          2 threads of blue.
+          1 thread of black and scarlet twist.
+          1     „     black.
+
+                         II.
+          1 thread of light grey.            ⎫
+          1     „     black and white twist. ⎬ For 9 threads.
+          1     „     light grey             ⎭
+          1 thread of dark grey.             ⎫
+          1     „     black and white twist. ⎬ For 9 threads.
+          1     „     dark grey.             ⎭
+
+The ground shades in the first method should be of similar depths of
+hue, while the twists must not only harmonize with them but also with
+each other. The checks of light and dark grey in the second example
+may, in practice, be of different sizes. One feature of this system is
+that the groundwork may be varied in colour composition, but the twist
+yarns making the small ornamental effects suitable for fancy coatings,
+are of the same shade in both sections of the pattern.
+
+[Illustration: FIG. 202.]
+
+219. _Figured Compound Weave Patterns._--In general colouring these
+are treated on similar principles to reversible double plains--such
+duplicate schemes of shades as are workable in the single weaves being
+employed. Double cassimeres are coloured on such various methods as to
+be used in the manufacture of plain and figured textures. From Fig.
+202, which is a plan of the weaves for the curve effect seen in Pattern
+2, Plate XXXII., it will be apparent how the designs are constructed.
+It is the same weave which is run on to the ground as on to the figure,
+only in the former the odd threads appear on the face, and in the
+latter they appear on the back, while the even threads come on to the
+face. The order of warping and wefting is one thread of blue and one
+thread of stained white, so that the structure of the weave-design
+produces the ground of the texture in blue, and the figure is stained
+white. The opposite effect obtains on the reverse side of the fabric
+from that represented in the illustration, the colours which form the
+ground on one side composing the figure on the other.
+
+220. _Compound Colourings in Compound Weaves._--This is a good
+principle of colouring for vesting styles, either in woollen or worsted
+yarns. Some diversity of yarn structure is used, that is to say,
+woollen combined with worsted, or with worsted and silk, in order
+to obtain a difference in brightness of surface in the texture. No.
+1, Plate XXXIII, is an example. The ground colouring is one-and-one
+in a double cassimere twill; and by reversing, the square spots in
+the illustration are developed in other methods of colourings which
+harmonize with the thread-and-thread order. A section of the design is
+given in Fig. 203, showing how the reversing is effected. This brings
+on to the face in one portion of the design the two-and-two colouring,
+and in another part of the design the four-and-four colouring. Other
+compound arrangements may be used.
+
+  [Illustration:
+                               FIG. 203.
+
+          ▨ ⎫  Sections in which the colours are reversed from
+          ⊡ ⎭           back to face of the texture.]
+
+The method of designing consists in arranging, first, the face
+warp and weft, usually in some simple order of colouring; and,
+second, a compound scheme for the back, of two or more simple orders
+of colouring, which, by combining reversible double weaves, may
+interchange with the face to give the style required. In addition, it
+is usual in such patterns to colour the face to form either a stripe or
+a check, irrespective of the special design or pattern due to reversing
+the backing scheme of colourings to the face, as shown in No. 1,
+Plate XXXIII. In this pattern, for example, the face colouring is as
+follows:--
+
+                     _Face Warp._
+          For 24. ⎧1 thread of white woollen.
+                  ⎩1     „     dark grey woollen.
+
+          For 16. ⎧1 thread of white silk.
+                  ⎩1     „     dark grey woollen.
+
+          For 24. ⎧l thread of white woollen.
+                  ⎩1     „     dark grey woollen.
+
+          For 16. ⎧1 thread of white silk.
+                  ⎩1     „     green worsted.
+
+                     _Face Weft._
+          For 32. ⎧1 thread of medium grey woollen.
+                  ⎩1     „     white woollen.
+
+          For 16. ⎧1 thread of medium grey woollen.
+                  ⎩l     „     white silk.
+
+          For 32. ⎧l thread of medium grey woollen.
+                  ⎩1     „     white woollen.
+
+          For 16. ⎧1 thread of white silk.
+                  ⎩1     „     olive brown worsted.
+
+One colour thus alternates with the white woollen and white silk, and,
+in the last portion, the white silk alternates with the green worsted
+warp and olive brown weft.
+
+The backing warp and weft are:--
+
+                        _Warp._
+          For 24. ⎧1 thread of white woollen.
+                  ⎩1    „      dark grey woollen.
+
+          For 16. ⎧2 threads of white woollen.
+                  ⎩2     „      dark grey woollen.
+
+          For 24. ⎧1 thread of white woollen.
+                  ⎩1    „      dark grey woollen.
+
+          For 16. ⎧4 threads of white woollen.
+                  ⎩4     „      dark grey woollen.
+
+                        _Weft._
+          For 32. ⎧1 thread of medium grey woollen.
+                  ⎩1     „     white woollen.
+
+          For 16. ⎧2 threads of medium grey woollen.
+                  ⎩2     „      white woollen.
+
+          For 32. ⎧1 thread of medium grey woollen.
+                  ⎩1     „     white woollen.
+
+          For 16. ⎧4 threads of medium grey woollen.
+                  ⎩4     „      white woollen.
+
+Or three simple orders of colouring, either the two-and-two or
+four-and-four being brought on to the face to form the squares.
+
+  [Illustration:
+                              Plate XXXII
+
+                    REVERSIBLE DOUBLE-WEAVE FABRICS
+                     1. Double-plain: Velvet Finish
+                     2. Double-twill]
+
+221. _Colouring of Double Cloths, such as Golf Cloakings and
+Rugs._--These are compound in structure, so that a different scheme of
+colour may be employed for the face from the back of the fabric. It is
+not, as in the preceding example, a question of reversing the position
+of the colours, but of confining one scheme of colour arrangement
+to each side of the fabric. In Pattern 2, Plate XXXIII., the face
+side is one colour, khaki, and the under-side a tartan check; but,
+as seen from Fig. 205 (weave 205a), both sides of the fabric may be
+coloured variously. This applies both to the ordinary golf cloaking
+or wrap, and to double-weave rugs, where the material, as well as the
+colouring, may be different on the face and the back of the texture:
+but in the example on Plate XXXIII., the weave, Fig. 204, is of a
+special structure in order to produce on the face side a sateen warp
+effect, in which the colouring for the back does not penetrate on to
+the face, nor the face colouring penetrate on to the back. The weave
+for the under-side is [2/2] twill, suitable to the development of such
+colouring. The scheme of colouring for the backing warp and weft is as
+follows:--
+
+                     _Backing Warp._
+          Red          60 - 60  -  -  -  -  -  -
+          Black         8 8 60  4  4  -  4  4 60
+          Blue         12 -  -  -  -  -  -  -  -
+          Blue green    - - 12 12 48 48 12 12  -
+          Yellow        - -  -  - 12  -  -  -  -
+
+                      _Backing Weft._
+          Red         56 - 56  -  -  -  -  -  -
+          Black        8 8 64  4  4  -  4  4 64
+          Blue        12 -  -  -  -  -  -  -  -
+          Blue green   - - 12 12 42 42 12 12  -
+          Yellow       - -  -  - 12  -  -  -  -
+
+The weft is similar in colouring but the number of picks is not the
+same as the threads of warp. The colour compound forming the check
+consists of red, black, blue, blue green, and yellow, the method of
+finishing the fabric having toned the colours into each other, and
+softened or mellowed the style of the check. The difference between the
+effect on the face and on the back is here extreme, but it serves to
+illustrate how distinct in colour quality each side of such a fabric
+may be, by employing a suitable weave and counts of yarn.
+
+  [Illustration:
+                               FIG. 204.
+                            ◼ = Face weave.
+                            ⊠ = Backing weave.]
+
+  [Illustration:
+                               FIG. 205A.
+                            ◼ = Face weave.
+                            ⊠ = Backing weave.
+                            ⊡ = Contre warp stitching.]
+
+The method of colouring Fig. 205, produced in Fig. 205A, is as
+follows:--
+
+                     _Face Warp._
+          3 threads of heliotrope and white twist.
+          6     „      brown and white twist.
+
+                      _Face Weft._
+          3 threads of brown and white twist.
+          2    „         „       fawn    „
+          2    „         „       white   „
+          2    „         „       fawn    „
+
+[Illustration: FIG. 205.]
+
+                 _Backing Warp and Weft._
+          30 threads of white woollen.
+           2     „       brown and white twist.
+           2     „       white woollen.
+           2     „       brown and white twist.
+           2     „       dark olive and white twist.
+           4     „       white woollen.
+           4     „       brown and white twist.
+           2     „       dark olive and white twist.
+           4     „       white woollen.
+           2     „       dark olive and white twist.
+           2     „       white woollen.
+           2     „       dark olive and white twist.
+           2     „       white woollen.
+           4     „       dark olive and white twist.
+           4     „       white woollen.
+           4     „       brown and white twist.
+
+Contrasts in form of pattern--on the face and back of the cloth
+respectively--as in this example, are applied to golf cloakings and
+rugs, in stripe and check combinations.
+
+
+  FOOTNOTES:
+
+     [15] For information on the principles of designing
+          double-make fabrics, the reader is referred to
+          _Woollen and Worsted Cloth Manufacture._
+
+
+
+
+                                 CHAPTER XIV.
+
+                    FIGURED TEXTILES COLOURED IN THE WARP.
+
+     222. Methods of Colouring Figured Fabrics--223. Special
+     Elements of Ornamental Woven Design--224. Art and Technique--
+     225. Styles of Figured Fabrics Coloured in the Warp--226.
+     Cotton Quilting Fabrics--227. Ornamental Characteristics of
+     Quilting Designs--228. Attributes of Plush Fabrics--229.
+     Origin of Velvet Weaving--230. Velvets, Compound in
+     Structure--231. Two Classes of Plush Fabrics--232. Warp
+     Plushes--233. Methods of securing the Pile--234. Analysis
+     of the Process of Velvet or Warp Plush Weaving--235. Colouring
+     of Warp Plushes and Figured Velvets--236. Brussels and
+     Tapestry Carpets compared--237. How the Pattern is developed
+     in Brussels--238. Structure of Pile Carpets.
+
+
+222. _Methods of Colouring Figured Fabrics._--There are three distinct
+systems of colouring figured textiles--namely, colouring in the warp,
+colouring in the weft, and colouring in both warp and weft. According
+to the first method, the fancy shades are introduced into the warp
+only--the weft being of one colour throughout the texture. This scheme
+of colouring is practised in various types of mantlings and dress
+fabrics, also pile textures of a figured velvet and plush class, and
+Brussels, tapestry, and velvet pile carpets. Each additional colour in
+these styles of woven productions may involve the use of a separate set
+of warp yarns, which, as will be indicated, materially increases the
+complications of manufacture. Turning to the second system of colouring
+named, which also obtains in certain descriptions of dress textiles,
+and in vestings, rugs, and matelasses, it necessitates the employment
+of several groups of weft threads of different colours. On comparing
+these two distinct schemes, it may be observed that while the former
+relates to the utilization of various warp shades--which multiplies the
+difficulties of weaving in two ways, first, by requiring a Jacquard
+of large figuring capacity; and, second, by increasing the diversity
+of the warp colouring--the latter relates to the employment of various
+groups of weft yarns, which add to the complexity of production by
+increasing the number of cards necessary in the construction of the
+design, and by making the use of a number of shuttles a necessity.
+Lastly, the third method is a combination of the arrangements just
+considered, and is applicable to similar fabrics. It is, for obvious
+reasons, the most complex system of colouring, and is only feasible
+in looms specially constructed and mounted for the weaving of figured
+fabrics, comprising both warp and weft colouring in a considerable
+diversity of shades.
+
+223. _Special Elements of Ornamental Woven Design._--Woven design
+requires distinct treatment from other species of decoration; it is not
+simply surface ornamentation, for it also relates to the production
+of a suitable fabric for developing the details of the pattern. Every
+description of textile designing has, in a word, a two-fold relation,
+for it is both utilitarian and ornamental. Primarily, it relates to
+the construction of a texture uniform in surface and of the requisite
+quality and strength; and, secondly, it relates to the decoration of
+the fabric. Ornament in woven structures is inseparable from the weave
+which produces it. Consequently, it cannot be applied with the same
+facility to a textile surface as to paper-hangings, porcelain, etc. In
+these instances, the designer’s work consists in the embellishment of
+an article obtained by a distinct process of manufacture; whereas, in
+textiles, warp and weft are the elements out of which both the pattern
+and the fabric are evolved. Design or ornament and texture have by
+these agents to be developed simultaneously. Instead of manipulating
+straight and curved lines in the formation of the pattern, threads of
+warp and weft have to be interlaced on such methods as to constitute
+the design required. In order to develop the integral parts of woven
+design, by imparting appropriate prominence to certain sections and
+subordinating others, a knowledge of the structure of textile fabrics
+in general is indispensable. Elaborate textile designing is only
+perfect so far as the various figures and details of the ornament are
+clearly defined in weaving. The correct delineation of the objects,
+and evenly-balanced grouping and distribution of figure, chiefly affect
+the artistic phases of the subject. Textile pattern is too frequently
+marred by defective and faulty development. Either the materials used
+are unsuitable for displaying the characteristics of the style, or the
+designer has only partially understood the work. With the form and
+general conception of the design there is no fault to be found, but
+with the manner in which it has been executed.
+
+  [Illustration:
+                              Plate XXXIII
+                               1. VESTING
+                      2. REVERSIBLE GOLF CLOAKING]
+
+224. _Art and Technique._--It will be obvious from the preceding
+paragraph that technical dexterity in textile designing is the power
+of developing, with appropriate emphasis, all types of ornamental
+effects, whether in relation to form or colour, with the construction
+of a fabric uniform in texture and soundly built. Technology relates
+primarily to weaving, but in an ampler sense to the invention and
+combination of schemes of crossings calculated to add novelty and
+uniqueness to woven design. Technical or weave patterns provide,
+however, infinite diversity of texture. It may be ribbed, furrowed,
+twilled, diagonalled, or covered with pile. Weave design is the feature
+of the ornamentation of some types of silk patterns (see Fig. 232).
+Of course it is materially enhanced by artistic elements of form and
+colour, for technique and art are, in these fabrics, essential to
+each other. In all woven decoration, art is the natural and requisite
+associate of technique. Technique determines the strength and fineness
+of the fabric; art determines its ornamental force and symmetry of the
+design. Technique regulates the distribution of materials; art appoints
+the forms, groups the figures, and blends the colours.
+
+225. _Styles of Figured Fabrics Coloured in the Warp._--The simplest
+type of figured textures coloured on the warp principle is essentially
+single in construction. There is no duplicate series of yarns for
+colouring purposes, but a special set of threads used in certain
+sections of the ground warp of the fabric. Pattern 1 on Plate XXXIV.
+illustrates this scheme of colouring. From this example and the section
+supplied of the design in its production--Fig. 206--it is apparent
+that the texture is constructed on the single-weave principle, the
+only irregularity consisting in a number of threads--white in the
+pattern--being flushed or floated on the surface of the fabric to
+form the figure in stripes _A_, _B_, _C_, and _D_. The weft effect
+is therefore concealed in these sections of the texture. In warp
+matelasses, the same principles of weaving and colouring obtain--the
+weft yarns acting as binding agents, and not appearing on the face in
+the figuring, unless a special set of weft yarns is employed, as in
+some styles of matelasse vestings, spotted with bright colours. This
+description of warp effect is, however, a compound fabric, possessing
+two warps and two wefts, and may be arranged two threads of figuring
+to one thread of ground in the warp, but one-and-one in the weft. The
+ground warp is invariably cotton, but the figuring warp is worsted,
+silk, or mohair. One weft is thick cotton or wool, and is used for
+wadding or for giving fulness and clearness to the design, and the
+other is fine cotton, worsted, or silk, according to the quality of
+fabric produced. Not infrequently, an additional woollen weft is
+employed for backing.
+
+  [Illustration: Part 4 of Pattern 1, Plate XXXIV.
+                      ▨  ◼  = warp.
+
+                  FIG. 206.]
+
+  [Illustration: Marks = warp.
+                   FIG. 207.]
+
+  [Illustration: First 16 threads of Fig. 207.
+                   FIG. 207A.]
+
+Quite a distinct scheme of warp colouring is practised in some classes
+of dress and plush textures from that just alluded to. These fabrics
+are, in those sections in which several colours run m the same line of
+the design, two-, three-, and fourfold in structure, according to the
+number of colours used. In Pattern 2 on Plate XXXIV. a fabric coloured
+on this principle is given. It is a vesting style of the quilting
+character, but is illustrative of the common methods of colouring by
+extra series of warp yarns. On analysis, it is found to be composed
+of three tints--a white ground, and brown and tan figuring. These
+are introduced in the warp. Now in such textures there is invariably
+a ground warp or chain which runs through the fabric, and forms,
+conjointly with the weft, a firm fabric to which the figuring yarns
+are secured. This ground warp, usually of one colour, is drawn on to
+a set of shafts, and is worked plain, twill, mat, and other simple
+crossings. The method of combining the figuring yarns is shown in Figs.
+207 and 207A. In the former, the effects are arranged as they are seen
+in the texture, the blank spaces representing the ground of the fabric,
+the greys the tan spotting, and the solid blacks the brown figuring.
+Fig. 207A shows how the figuring threads succeed each other in the
+harness. Between each two threads of figuring there is one ground end.
+When three or four colours are employed in figuring, there is one
+ground end for each group of threads. The different series of fancy
+yarns, working on distinct systems with the weft, have to be run on to
+separate beams--an arrangement which adds to the cost of manufacture.
+Moreover, the principle of construction minimizes the weaving capacity
+of the machine. If a design, for example, requiring a 192 Jacquard
+to produce it when developed in one colour, had to be modified to be
+woven in three colours, each of which formed some part of the figure,
+it could not be produced in a machine possessing a less capacity than
+576 wires. In addition to this machine, the ground of the texture would
+be obtained by shafts or heddles. The same design, if coloured in the
+weft, would be weavable in a 192 Jacquard, but would require 576
+cards for developing the figure and 192 cards for producing the ground
+of the fabric. Hence, while the warp method of colouring is the most
+economical in respect of cards, weaving, and card stamping, the weft
+method does not necessitate the employment of a Jacquard of such large
+figuring capacity.
+
+Amongst the ornamental styles of woven goods coloured in the warp that
+may be analyzed, are cotton quiltings, velvets, and various classes of
+pile fabrics.
+
+226. _Cotton Quilting Fabrics._--Quiltings being one of the most
+interesting and important of warp-coloured figured textures, may be
+primarily examined.
+
+In texture and ornament, they constitute a specific type of woven
+fabrics. One essential in which they differ from other textures of
+a vesting character consists in the figure or ornamentation being
+produced by several colours, or rather series, of warp threads.
+Belonging to that class of fabrics figured by the warp and not by
+the weft yarns, the designs are arranged to elevate or depress any
+particular set of threads, according to the section of the pattern
+being formed. The threads which constitute the ground of the texture,
+compose what is termed the ground warp, while other series of yarns are
+“extras.” A similar arrangement of warps is employed in some classes of
+plush, tapestry, and carpet weaving, but in no fabric is an identical
+effect obtained to that which characterizes this kind of vesting.
+
+The warps which produce the figured pattern in quiltings do not flush
+or float loosely on the surface, but are regularly secured to the
+foundation texture, making a “fast” figure, that is, a pattern which,
+though marked and well pronounced, is even on the surface and firm in
+construction.
+
+  [Illustration:
+                              Plate XXXIV
+
+                          EXTRA-WARP COLOURING
+                           1. Stripe Design
+                           2. Quilting Texture
+]
+
+Generally, quiltings have a light or white groundwork, which is neatly
+ornamented with small lozenge, diaper, or other figured effects. The
+plan of the design (No. 2, Plate XXXIV.) is geometrical, yet there is
+an absence, due to the floral details, of that rigid appearance which
+is frequently associated with patterns constructed on this base. Weave,
+or the system of interlacing adopted, is the factor which imparts a
+variety of tone and effect to the style. The texture is woven in three
+colours--brown, tan, and white. The floral and sprig combinations
+are formed of the first colour, the raised or diamond portions of
+white, and the indentions of tan. The quantity of white or tan in
+any particular part of the fabric is due to the structure of the
+design employed. The groundwork of the fabric is neat and effective.
+It consists of a fine texture of white, slightly raised above the
+indented border surrounding the figures. The small diamond effects
+are produced by the lifting of the figuring warp, which imparts an
+indented appearance to the cloth. On this groundwork, two rectangular
+objects are placed in such a way that the inverted figures they contain
+oppose each other. Treating of the rectangular objects first, they are
+separated by the diamond groundwork, and also by the narrow border of
+dotted effect, in which, in the fabric, the tan colour is the most
+prominent. The space between this edging and the central figures on
+which the floral and sprig work are delineated, consists of rib or rep.
+Here the white and tan are equally balanced. The sprig ornamentation is
+characteristic of this style of vestings. It has not been produced, nor
+can it be applied with such facility, to other types of woven fabrics.
+The fineness of the texture, and smallness of the threads employed,
+make it possible to develop the most minute figuring quite distinctly.
+A neat and interesting contrast is obtained by having the sprig effect
+in one figure faintly marked, while in the other the floral work is
+both bolder in form and more compact in arrangement.
+
+227. _Ornamental Characteristics of Quilting Designs._--The ornament
+applied to this make of fabric is so unique that it deserves to be
+briefly noted. It is typical of the texture in which it is developed,
+being, so to speak, part of its construction. No other build of fabric
+admits of the production of such fine, line-like, and detailed figured
+effects as are obtainable by this principle of weaving. The most
+minute decoration is here delineated with a precision that it would
+be difficult to surpass with the pencil. All the figures employed
+are graceful and delicate in appearance, due mainly to the absence
+of floats of warp or weft from their composition. Elaborate designs,
+crowded with combinations of form, are thus produced by a neat,
+tasteful method. Some patterns which would appear coarse in other
+makes of fabric, possess in these textures clearness, combined with
+an effective arrangement. The examples supplied in Pattern 2 on Plate
+XXXIV., and Pattern 1, Plate XXXV., are illustrations of the minute
+character of the ornamental forms developed in these fabrics. Whatever
+the class of figuring practised, it is full of small twig and floral
+effects and clear and precise details.
+
+228. _Attributes of Plush Fabrics._--Another description of woven
+production coloured in the warp is plushes, including imitation
+astrakhans, the figured velvet, and several classes of carpets, for
+example, Eastern, tufted, and Axminster. The distinguishing quality
+of all plush fabrics is the soft shag or pile with which they are so
+covered that one of the essential features of a woven texture--namely,
+the crossing of warp and weft threads--is entirely concealed. The
+pile is of two kinds: in some fabrics it consists of a uniform mass
+of cut short filaments, while in others it is in the form of minute
+curls or loops compactly clustered together; but in both cases, it
+projects from the surface of an ordinary texture. The fineness of the
+fibre and density of the plush both combine to conceal the foundation
+on which it is produced. The characteristic appearance of velvet, as
+well as its quality of softness, which distinguishes it from all other
+loom products, are due to the pile alone. The beauty of the fabric
+is dependent upon the compactness and uniform evenness of the pile,
+any inequality in the length of the fibres of which it is composed
+producing an irregular and defective appearance in the texture. In
+plush weaving, one series of threads forms a species of curl or loop on
+the ground of the fabric; or such threads, after having been secured to
+the foundation of the texture, are cut into short filaments, causing
+them to be erect on the surface of the texture: hence a plush or velvet
+fabric is an ordinary texture overspread with a compact, dense pile.
+
+229. _Origin of Velvet Weaving._--Velvets are said to have been
+originally produced in Asia. The Chinese claim to have been the makers
+of a fabric of this description at a comparatively early date. Velvet
+manufacture, for a considerable period after its introduction into
+Europe, was confined to Italy, where, in the weaving establishments
+of Venice, Milan, Florence, and Genoa, it was extensively carried on
+with marked success. Two Genoese manufacturers, Etienne Turquetti and
+Barthélemy Narri, under the patronage of Francis I., in 1536, are
+reported to have commenced velvet weaving in Lyons, at which place
+it has down to the present day remained an important industry. The
+productions of the French looms speedily surpassed those of Italy, both
+in fineness of texture and in soft, lustrous appearance. Rather more
+than a century after velvet manufacture had been established in France,
+it was introduced into England by the refugees of that nation when
+compelled, by the Revocation of the Edict of Nantes, in 1685, to leave
+their country, who, coming over to England, settled in Spitalfields,
+the ancient seat of the English silk industry, and there domesticated
+this important textile art.
+
+230. _Velvets, Compound in Structure._--All velvets are what may be
+termed compound in construction--that is to say, one series of threads
+is appropriated to the production of the _ground_ of the texture, while
+a second series is employed in the formation of the _pile_; in other
+words, there are distinct warps or wefts necessary to produce the plush
+and foundation of the fabric respectively. As to the ground, it may be
+formed of the plain make or of a fine twill. The threads used in the
+production of the pile may be of various colours, and treated in such
+a manner as to yield a shag or plush of several lengths. When the pile
+is obtained in the warp it may be either cut or uncut; that is, the
+plush may be formed of small, curl-like loops, or of merely the ends of
+threads projecting from the body of the cloth. In figured plushes, the
+various parts of the pattern are developed by resorting to these two
+modes of producing effects, some sections of the pile being cut, and
+others remaining uncut, while to further enhance the character of the
+design an ottoman rib effect may also ornament specific portions of the
+fabric.
+
+231. _Two Classes of Plush Fabrics._--Technically, plushes are
+divisible into two great classes: (1) Weft plushes, or fabrics in which
+the pile is formed of flushes of extra weft yarns distinct from those
+producing the ground of the fabric. (2) Warp plushes, or fabrics in
+which the pile results from the use of extra warp yarns distinct from
+and independent of the warp utilized in forming the foundation of the
+texture proper.
+
+The richest effects are producible on the latter principle, which is
+probably the original method of plush weaving. Weft plushes comprise,
+however, a considerable variety of textures, including velveteens,
+corded velveteens, corduroys, astrakhans, and feather trimmings.
+
+232. _Warp Plushes._--In the first place, let it be understood that
+for whatever purpose the fabric is intended, at least two warps are
+essential in its production. Though wound on to separate beams and
+subjected to different tensions, yet they are so combined by the weft
+yarn, that they both, when amalgamated, become important factors in the
+same texture. The weave used in the construction of a warp plush is
+essentially of a two-fold character, consisting of a ground crossing,
+and of a flush arrangement for producing the pile effect. Plain, mat,
+rib, and twill weaves are applied to the ground, according to the
+fineness and characteristics of the required texture. As to the pile,
+it may be either cut or uncut, of one or several colours, and also of
+such variable lengths as are requisite to the development of the forms
+contained in the pattern. Whatever the character of the plush, it is
+due to the employment of wires which are inserted between the threads
+of the pile warp. Thus the wires are introduced when the series of
+threads in the ground warp is depressed, and such threads elevated in
+the pile warp as are in accordance with the formation of the design.
+In some velvets the whole of the pile warp is lifted for the insertion
+of each wire. Fig. 208 illustrates the system on which the wires are
+employed, as well as the manner in which they produce the pile. Only
+nine warp threads, six picks of weft, and three wires are represented.
+The threads lettered _A_ form the pile, and those lettered _G_ the
+ground warp. In this diagram the wires are shown entering the warp when
+threads _G_ are depressed and threads _A_ elevated.
+
+[Illustration: FIG. 208.]
+
+233. _Methods of securing the Pile._--Fastening the pile is an
+important feature of the weaving process. Unless a sufficient number of
+ground picks is inserted between the wires, and unless they form such
+interlacings with the pile warp as to secure the threads it contains
+to the ground of the texture, whether the plush is looped or cut, it
+will draw out, and the result will be a defective fabric. A point,
+therefore, that should have careful attention is that of securing the
+pile in such a manner that it will remain erect after the withdrawal
+of the wires. The usual method of effecting this consists in arranging
+for the ground picks to float over the pile threads, both immediately
+before and after the insertion of the wires, as illustrated in Fig.
+208. This plan is adopted, because it has not only a tendency to force
+the wires into position, but to keep them there. It is not, however,
+the only system; in fact, there are two other useful methods of forming
+a “bed” or foundation for the wires. One feature of this arrangement
+is common to all systems, namely, the pile warp is depressed after the
+insertion of each wire; consequently any difference existing between
+this and other modes of fastening the plush will be found in the plan
+of interlacing the picks _preceding_ the wire. For example, in making
+tapestry carpets, the pile warp is not down, but up, in the shed before
+that formed for the wire; while in a third system, the pile threads
+float over two ground picks and the wire in succession. Both these
+systems are better adapted for the insertion of a large number of
+wires to the inch of the fabric than the first method described.
+
+234. _Analysis of the Process of Velvet or Warp Plush Weaving._--The
+The weaver, having interlaced the requisite series of ground shoots
+between the threads of the combined warps, proceeds to form a division
+in the threads, by depressing the whole of the ground warp, and in
+some cases the half of the pile warp, for the admission of the wire.
+This shed remains formed until the wire has been passed from side to
+side of the warp and with the grooved edge towards the sley of the
+going part. On the wire having thus been fixed, the reed is brought
+against the texture already woven, carrying the wire along with it,
+which it causes to rest on its lower edge. In this upright position
+it is maintained by keeping the going part in contact with it, till a
+new division of the threads (obtained by depressing all the threads
+covering the wire and elevating a portion of those floating under it)
+is secured, when the sley or reed is removed from the fell of the cloth
+and a ground pick introduced to be driven into contact with the ground
+shoot which preceded the wire. On this principle the wires are bound to
+the ground of the fabric, for the threads covering them are not only
+securely woven into the texture by the shoots preceding, but also by
+those following their insertion. After the proper complement of ground
+picks has been added, the process of inserting the wires is repeated,
+several wires always being retained in the fabric. The necessity for
+this is obvious; thus, if the weaver, before he has introduced a
+sufficient number of wires, passes his knife within the groove of the
+first wire, and so cuts the loops covering it, the pile ends would,
+when tension was put on the warp in the formation of the next shed,
+draw out, and thus the plush would be destroyed. This is descriptive
+of the hand method, by which some of the finest decorative silk pile
+fabrics are produced. In ordinary velvets and carpet weaving, whether
+Brussels (loop pile) or Axminster (cut pile), the wires are inserted
+and withdrawn by automatic mechanism. In cut pile carpet weaving, at
+the end of each wire is a short blade tapering to the end of the wire,
+so that, when the wire is withdrawn, the threads of pile warp covering
+its upper edge are cut.
+
+  [Illustration:
+                               Plate XXXV
+
+                COLOURING OF FIGURED FABRICS IN THE WARP
+                     1. Old Vesting Style (Quilting)
+                     2. Cut and uncut Pile Pattern]
+
+235. _Colouring of Warp Plushes and Figured Velvets._--Plushes made in
+imitation of animal skins may be composed of several colours, and also
+of different lengths of pile. Fig. 209 is a weave for a plush of this
+order. Threads _B_ are grey pile, and threads _T_ are white pile. The
+ground of the texture is formed by threads and picks _G_. The two sets
+of pile yarns are wound on to separate beams. As the marks in this case
+indicate threads lifted, it will be noticed that on the first wire only
+one pile thread is up, namely, _B_¹, both the white and the ground ends
+being depressed. The second wire elevates _T_¹, the third wire _B_²,
+and the fourth wire _T_²; so that in each repeat of the design all the
+pile yarns are up once. This is one method of colouring plush fabrics,
+and is practised in the production of fancy effects in which no figure
+or ornamental design is required. When colour is introduced into styles
+of a figured class for robes and mantlings, it is accomplished on other
+systems. Pattern 2, Plate XXXV., and Pattern 1, Plate XXXVI., are
+illustrations of two types of plush or velvet colouring.
+
+[Illustration: FIG. 209.]
+
+Pattern 2 on Plate XXXV. is a velvet pile colouring. Several warps
+have been employed in its construction, white silk for ground, pale
+sage green for the principal figure, and variously coloured warps for
+the minor parts of the pattern. To produce elaborate textiles of this
+description a complicated form of loom mounting is necessary. First,
+the ground warp, which is run off a special beam, is passed through a
+set of shafts hung before the harness and worked by the Jacquard or a
+dobbie machine. Second, one section of the harness receives the green
+warp, and other sections the various hues composing the remaining
+warps. These figuring warps are also mounted on separate beams or run
+off bobbins or miniature beams, each thread being tensioned separately.
+The designs have to be so prepared that all the effects which are
+intended to be of one colour will fall exactly in the same line or
+occupy the same threads in design.
+
+This is also illustrated in Plate XXXVI., a pattern with silk sateen
+ground, and with the figuring developed as follows:--
+
+      Green leaves and stems in loop and cut pile.
+      Tinted-rose flowers in loop and cut pile.
+      Underneath or subdued design in terry or loop pile.
+
+An effective contrast, which is characteristic of pile colouring, is
+seen in the tone of the cut and loop pile in the green and tinted
+rose. The difference is so marked as to appear the result of colours
+of dissimilar qualities. The cut pile imparts a soft, full colour, and
+the terry, an apparently lighter colour, but of the same hue. This
+technicality relates specially to pile-fabric colouring. By using the
+same colour of yarn, _e.g._ green or salmon pink, two tones of green
+and two tones of pink are acquired. This design element is used in the
+development of ornamental details; shading in either leaves or flowers
+being rendered feasible with one colour of yarn.
+
+Another contrast to be noted is that between the sateen ground and the
+terry pile figuring. The terry is deeper in quality, and, if produced
+in cut pile, would be still fuller in depth of tone. In construction
+or loom mounting, the sateen warp would be on one beam, the ground
+or foundation warp on a second beam, and the pale green, dark green,
+and salmon-pink warps on bobbins, being individually tensioned, as in
+Axminster or Brussels carpet weaving.
+
+236. _Brussels and Tapestry Carpets compared._--Brussels and tapestry
+carpets are so similar in appearance that they might be regarded as
+fabrics of the same structure. But, when the principles on which the
+pattern is obtained in the respective carpets are examined, it is at
+once evident that in the Brussels the design is purely a woven effect,
+in the tapestry it is a print. The technical differences between
+these manufactures being understood, there are causes apparent for
+the superior wearing qualities of the Brussels. First, in point of
+colouring it possesses a distinct advantage over the tapestry, for
+all the shades used in its composition are supposed to be “fast,” the
+yarns being hank dyed and not coloured in the warp. Second, the pile is
+fuller and made of better materials, while the thickness and substance
+of the fabric are not due to strengthening threads, like the “body” of
+the tapestry, but to the worsted yarns used in the formation of the
+pile. Third, the pattern is more smartly defined, its various parts
+being clearly and distinctly developed; whereas the figure in tapestry
+carpets is more or less indistinct, arising from the system on which
+the pattern is produced.
+
+237. _How the Pattern is developed in Brussels Carpets._--The weaving
+of this carpet possesses some characteristic features. The pile warp,
+for instance, instead of running off ordinary yarn beams, is wound, as
+stated, on bobbins, or miniature beams, fixed in frames, or a large
+creel, placed behind the loom. Each colour requires what is technically
+called a separate frame. A five-frame Brussels is a carpet with this
+number of colours succeeding each other in the same line of the fabric.
+The manner in which the various colours are controlled--in other
+words, in which they are concealed from, or brought into, view--is
+an important factor in the manufacture of this article. On examining
+a Brussels carpet, it will be observed that the individual threads
+forming the pile seem either to be composed of several colours, or
+to be substituted by yarns of other shades, according to the section
+of the pattern being formed. For instance, in the same line of the
+design, looking at the fabric lengthways, apparently in the same
+thread, as many as from three to five colours, such as brown, green,
+fawn, scarlet, and blue, form the pile in succession. If these effects
+are not due to a printed yarn, they result from the employment of five
+distinct threads, each of which is so controlled that it only appears
+in the pile when assisting to develop the design. The question occurs,
+How are the threads concealed when not appearing on the face of the
+fabric? An important principle of weaving is implied in the production
+of results of this character. Whatever the colour of the warp yarn in a
+single cloth, the pattern is, throughout the piece, continuously tinged
+with that shade, excepting in such positions as it is crossed with
+the weft thread. In a double cloth two colours of warp yarns may be
+applied to one line of the fabric; that is to say, supposing the shades
+selected were black and white, the pattern produced might be composed
+of these colours alternately, while in a triple-make fabric three
+shades could be brought on to the surface of the texture in succession.
+Effects of this order are due to changing the positions of the threads
+of the respective warps by reversing the weaves. The several shades of
+a Brussels carpet are manipulated on this compound-weave principle of
+intertexture. To obtain a three-frame pattern composed, say, of green,
+scarlet, and olive, at least three separate weaves are necessary--one
+for each shade. Thus the weave used in forming the shed in the warp
+for the green pile is so arranged as to depress the scarlet and olive,
+while that for giving the scarlet pile conceals the green and olive
+threads, and lastly, that for producing the olive pile conceals the
+green and scarlet ends; so that, by an appropriate application of these
+respective weaves to the design, the colours are brought up in the
+figure where required.
+
+[Illustration: FIG. 210.]
+
+238. _Structure of Pile Carpets._--Fig. 210 is a sketch of the
+interlacing of the threads in a section of this class of carpet, and
+is a three-frame structure. The positions the threads occupy when not
+covering the wires, will be evident on examining the illustration.
+Thus it is clear that when a thread of pile yarn is not active in the
+formation of the figure, it is covered or concealed by the wire and
+ground shoots of weft. Take thread _b_, for instance, which, having
+covered the first two wires shown, floats underneath the succeeding
+wires; a similar arrangement obtains in the interlacings of thread _c_,
+which floats under wires 1 and 2, and over wires 3 and 4, while thread
+_a_ is covered by the first four, but flushes over the last two wires;
+hence each class of pile threads interweaves with the ground weft on
+the same system, producing a carpet of uniform strength, and one in
+which every species of pile is equally permanent.
+
+  [Illustration:
+                              Plate XXXVI
+
+                 FIGURED PILE SPECIMEN, SATEEN GROUND]
+
+
+
+
+                                  CHAPTER XV
+
+                 WEFT-COLOURED FIGURED FABRICS--CURL TEXTURES.
+
+     239. Warp and Weft Colouring compared--240. Classes of Designs
+     Coloured in the Weft--241. Designs in which the Pattern is a
+     Product of the Ground Weft--242. Extra-Weft Styles--243.
+     Vestings--244. Vestings with one Extra Weft--245. Two-Cover
+     Vestings--246. Four-Cover Styles--247. Honeycomb Vestings--248.
+     Two-Cover Designing--249. Four-Cover Pine Design--250. Paisley
+     Shawl Colouring--251. Compound-Weft Reversibles--252. Warp
+     and Weft Coloured Figuring--253. Curls, Textiles of the Astrakhan
+     Group--254. Four Types of Curled Effects--255. Curls obtained
+     by Wires--256. Process of Weaving Curls produced by Wires--257.
+     Curls formed by the Weft in which the Warp is Cotton--258. The
+     Weave of Weft Curls--259. Structure of Weft-Curl Fabrics--260.
+     Operation of Cutting after Weaving--261. Curls developed by
+     Milling--262. Points of dissimilarity in the various Builds of
+     Curled Textures--263. Two kinds of Curls developed by
+     Milling--264. Spiral Threads used for Warp--265. Variety
+     of Pattern in Spiral-Warp Curls due to Colour--266. Twist-Yarn
+     Cotton Warp Curls--267. Backed Weaves for Curled Cloths--268.
+     Essential Characteristics of Cotton Warp Curls due to Milling--
+     269. Examples in Designs for Cotton Warp Curls.
+
+
+239. _Warp and Weft Colouring compared._--This class of figured styles
+is the most comprehensive. It includes vestings, robes, ribbons, and
+an endless diversity of ornamental textures. Richer combinations of
+tints are more feasible by this than the warp method of colouring.
+A comparison of these two important systems of introducing colours
+into figured fabrics, shows that the actual weaving process is less
+intricate so far as shuttling is concerned--not more than one or
+two shades of weft being employed--in warp-tinted textiles; but, as
+explained in Chapter XIV., each additional colour in the same line of
+the design requires a special warp beam. These arrangements are just
+reversed in the weft system, for here there may be from two to six
+shades of weft running in the same line of the fabric, but only one
+warp is utilized. These conditions make the production of such fabrics
+a laborious operation, inasmuch as the number of picks inserted to
+the inch in four- or five-colour styles may be very large. Thus, in a
+pattern composed of the latter number of colours throughout, two or
+more hundred picks to the inch is not uncommon.
+
+Whatever number of shades occur in succession across the pattern it is
+exactly so many fold in the weft, whereas if the colours are introduced
+in the warp the texture is several fold lengthways. The different kinds
+of weft or warp form layers of threads in the woven product. When
+they are composing the ornamental details of the design they appear
+on the face of the fabric, but when not thus used they float loosely
+on the back, only being stitched at intervals, and in patterns of
+several shades they are frequently not stitched at all. The loose yarns
+flushing on the under surface of the texture may be cut off. One other
+detail in the two systems affecting economic production is, that in the
+weft system, a somewhat inferior or rather less costly yarn may be used
+than when colouring by the warp scheme. There is a minimum degree of
+tension put on weft yarns and a maximum degree applied to warp yarns
+in weaving. In coarse fabrics and cotton textiles this condition does
+not materially alter the cost of manufacture, but in fine productions
+it is an item that has to be considered. Summarizing these points of
+dissimilarity, the warp method of colouring affords the most scope for
+the development of ornament in pile or plush goods; does not multiply
+the intricacies of shuttling, but tends to diminish the figuring power
+of the Jacquard, and requires yarns of a better quality than may be
+adopted for wefting; on the other hand, the weft method practically
+allows of more latitude for diversity of colouring and ornamentation of
+all types of fabrics excepting the plush and leno, and it is, moreover,
+in fine textiles, less costly, in so far as it makes it feasible to
+employ an inferior fancy thread with satisfactory results; and lastly,
+it utilizes the utmost capacity of the Jacquard in the construction of
+a figured design.
+
+240. _Classes of Designs Coloured in the Weft._--Fabrics figured and
+coloured by the weft yarns are of various kinds, but to facilitate
+analysis they may be considered under the following distinguishing
+types:--
+
+       I.--Designs in which the figure is a product of the ground weft.
+      II.--Designs requiring one extra weft.
+     III.--Designs requiring two extra wefts.
+      IV.--Designs requiring three extra wefts.
+       V.--Designs requiring four or five extra wefts.
+      VI.--Designs composed of two or more wefts and reversible.
+
+As in warp colouring, a ground warp is an essential element of
+the fabric, in textiles coloured in the weft--Classes I. to V.
+inclusive--there must also be a ground weft, which forms a suitable
+texture on which the more elaborate ornamentation due to the fancy
+shades may be produced. By extras are meant the shades of weft in
+addition to the ground picks. A design with two extra wefts is called
+two-cover; with three extras, three-cover, and so on--the ground weft
+always being added. The word “cover” is therefore synonymous in this
+sense with “extra,” and has probably been adopted because it partially
+describes the texture to which it relates, which consists of so many
+layers or covers of weft threads in thickness.
+
+241. _Designs in which the Pattern is a Product of the Ground
+Weft._--In this build of fabric there is comparatively little
+complication of fabric-structure, of weaving, and of colouring. Thus
+the weft, which interlaces with the warp to form the ground of the
+fabric, is also used in the construction of the design. Some types of
+dress fabrics, particularly those of a lustre character, and mantlings
+for summer wear, are coloured and ornamented on this principle. It may
+be regarded as the most elementary type of figured fabric. An example
+is given in Pattern 1 on Plate XXXVII., which will show the scheme of
+colouring generally practised in this style of textures. A section of
+the weave-design is that in Fig. 211. It will be observed that the
+small figures are composed of solid weft floats, and are arranged
+on a fine sateen twill groundwork. The warp is composed of lavender
+cotton, and is mainly useful in constituting the foundation of the
+fabric, and in concealing the weft picks when they are not forming the
+figured effects. The small objects are chintzed with weft colouring,
+the order of picking being four of dark blue and four of white. This
+gives the pattern the aspect of a cloth composed of extra wefts. It
+should be noted that such a contrast in weft colouring, as obtains
+in this specimen, is only satisfactory in this build of texture when
+the warp is closely set, and flushes well in the ground sections. If
+these conditions were not complied with, the pattern produced would be
+chintzed by the weft in not only the figure, but also in other parts of
+the texture. A plain or twill weave, for example, would expose the blue
+and white shades right across the sample.
+
+[Illustration: FIG. 211.]
+
+[Illustration: FIG. 212.]
+
+Respecting the construction of this style of fabric: it is based on
+the single-make principle of design. The figure is purely a product of
+floats of the weft yarn, which are determined by the form of the figure
+being developed. In some patterns the ornamental sections are composed
+of twill and other fancy weaves to increase the diversity of effects
+obtained.
+
+[Illustration: FIG. 213.]
+
+242. _Extra Weft Styles._--Fabrics of this description are practically
+two-fold in the weft. An illustration will make the scheme of colouring
+and design arrangement evident. Pattern 3, Plate XXXVII., is compound
+in the weft and single in the warp; for the wefting consists of deep
+lavender-blue wool, and of white silk, and the warping entirely of
+lavender cotton. The warp threads are concealed, but this is not an
+invariable rule, for they may be a different shade from the wefts, and
+be flushed on the surface of the texture. When this is the case, a
+buckskin weave is generally used for the ground of the cloth. Should,
+however, the wefts be worsted and silk, or woollen and silk, and the
+warp cotton, it is customary to conceal the latter by employing a weave
+which flushes the ground weft on the face. For vesting and mantling
+fabrics, this is the common arrangement, but in dresses and cottons,
+the warp is also used for enhancing the colouring of the fabric. This
+latter type of design is a compound form of the system illustrated in
+Fig. 211, two wefts being used instead of one, and each being utilized
+in the construction of the figured effects, and also in forming a
+fine warp twill in the ground of the fabric. Different principles of
+designing are practised from these, in the construction of such styles
+as are typified by Pattern 3 of Plate XXXVII. Figs. 212 and 213 are the
+weave designs to Section _A_ of this pattern. The former illustrates
+the method of preparing designs of this class on point paper for the
+loom, and the latter the method by which the two series of picks are
+amalgamated during weaving. Fig. 213 is the last eight picks of Fig.
+212, the ◼’s of which form the odd and the ⊡’s the even picks. This
+is the structure of the fabric; for in stamping the cards each pick
+of the design as given in Fig. 212 is treated twice: I., the ⊡’s and
+the ◻’s are cut; II., the ◼’s and ◻’s are cut. The stitches for the
+silk or figuring picks are added during stamping, and occupy similar
+positions in the design to those on picks _A_ and _B_ of Fig. 213. The
+principle of stitching here corresponds to that of stitching cloths
+backed with weft--so that the ties are, as far as feasible, introduced
+in such positions in the picks, that the threads on which they occur
+are depressed both before and after their insertion. Thus thread
+seventeen, on which the tie on pick _A_ occurs, is depressed on picks
+twelve and fourteen--resulting in the concealment of this tie.
+
+Whatever the number of colours used in the construction of this style
+of figured fabrics, the designs are simply drawn out as in Fig. 212,
+which shows the relation of the colours to each other in the woven
+structure.
+
+The manner in which the different effects seen in Pattern 3 of Plate
+XXXVII. have been produced may be explained by referring to Fig. 213.
+The first pick of this sectional design--marked in solid squares--is
+a figure pick, being white in the texture, and corresponding to pick
+25 of Fig. 212. The second pick is ground, and also corresponds to the
+twenty-fifth pick. Now it will be observed that the figuring picks
+in Fig. 213 float under the threads occupied by the ground picks
+_succeeding_ them; and also that the ground picks float under the
+threads occupied by the figuring picks _preceding_ them. In this way
+the effects due to the two series of picks--lavender and white, or
+ground and figure--are kept separate and distinct, and a clear pattern
+is developed on an equally clear and regular groundwork.
+
+The figured sections here, as in Pattern 1 of the same plate, may be
+chintzed, as this process does not increase the number of “extras”
+required. As to the ground of these styles, it is generally a solid
+colour.
+
+  [Illustration:
+                              Plate XXXVII
+
+              FIGURED AND SPOTTED FABRICS. WEFT COLOURING
+                             1. Chintzed
+                             3. Extra weft
+                          2. 4. Extra weft Spotting]
+
+243. _Vestings._--One of the most important species of woven design to
+which this scheme of colouring relates is vestings. These fabrics are
+composed of various materials, and constructed on different principles
+of design, and may be figured in the warp, weft, or both, but in this
+example only coloured and figured by the weft yarns. It necessarily
+follows that the most elementary type of this class of patterns only
+possesses one extra weft, as the example just considered. This extra
+colour does not, however, always run through the texture, but merely
+spots it at intervals. Some of these fabrics are composed of cotton
+and linen in the ground, with these materials or silk for spotting;
+others possess a worsted or woollen warp, with worsted or woollen
+ground weft and silk extras; a third class has a cotton warp, with
+woollen ground and silk figuring; while a fourth class has silk warp
+and weft for face, and cotton warp and weft for foundation. The first
+group is mainly produced in light shades for summer wear; the second
+series has either light or dark grounds; the third series is invariably
+developed in dark shades, and the fourth in dark and light colours. In
+the cotton and linen vesting the compound principle of intertexture is
+utilized; but whatever the weave-construction of the fabric, the scheme
+of colouring is uniform. Moreover, in the woollen and cotton ground
+textures, but little diversity of weave is practised in producing the
+groundwork of these styles; whereas, in the worsted and silk types,
+various crossings and combinations of weaves are used for this purpose.
+The construction of the worsted warp vesting affords scope for weave
+ornamentation in the foundation of the fabric as well as for elaborate
+figuring by variety of colouring. The two worsted vestings given in
+No. 2 and No. 4, Plate XXXVII., are, for example, very different from
+each other in groundwork. The former has a broad diagonal foundation
+(Fig. 216) composed of several thirteen-shaft weaves; but the latter a
+fine corkscrew twill in the ground. Fig. 214 also illustrates another
+system of ornamenting the ground of these textures with weaves. If the
+spots developed in ⌻’s were removed, this design would be a rib pattern
+composed of fine twill and weft cord. With the addition of the spots
+it forms a neat vesting. In colouring, the rib consists of a distinct
+shade from either the twilled parts or the spotting. This is obtained
+by wefting as follows:--
+
+          For 12 picks. ⎧1 pick of black worsted.
+                        ⎩1    „    dark blue worsted.
+
+                        ⎧1 pick of silk.
+           For 8 picks. ⎨1    „    black worsted.
+                        ⎪1    „    silk.
+                        ⎩1    „    dark blue worsted.
+
+This grouping of shades gives a silk spot in the twill parts on a black
+ground, and a rib effect in dark blue.
+
+In the designing of the ground sections of worsted vestings, it is
+important to obtain an effect which combines neatness with novelty and
+richness of colouring.
+
+244. _Vestings with one Extra Weft._--Only one specimen in this type
+of vesting is furnished. It is given in Pattern 4 on Plate XXXVII.,
+and, as stated in the previous paragraph, has a corkscrew ground.
+The weaving plan for this pattern is supplied in Fig. 215. The spots
+of which it is composed are arranged on the six-end sateen base. The
+silk picks used in forming the spotted effects are tied regularly, as
+indicated by the small line marks in the design; hence, in preparing
+for the loom, the first pick would be stamped twice thus: I., cut all
+but the marks ▨ and--; II., cut all but the marks ⌻.
+
+[Illustration: FIG. 214.]
+
+[Illustration: FIG. 215.]
+
+It will be observed that the spots in the fabric (Pattern 4, Plate
+XXXVII.) are composed of green, blue, and crimson. This is due to the
+system of weft colouring practised, which is as appended:--
+
+          For 8 picks. ⎧ 1 pick of black worsted.
+                       ⎩ 1   „  crimson silk
+
+          For 8 picks. ⎧ 1 pick of black worsted.
+                       ⎩ 1   „  blue silk.
+
+          For 8 picks. ⎧ 1 pick of black worsted.
+                       ⎩ 1   „  green silk.
+
+Of course it is feasible to colour a design of this arrangement on
+other systems. Thus the spots could all be developed in the same
+colour, or they might each have been composed of two tints, such as
+crimson and white, claret and lavender, and blue and olive. The base
+on which the design is constructed causes the respective spots of blue,
+green, and crimson in the pattern to be neatly distributed over the
+corkscrew twill surface forming the groundwork of the fabric.
+
+[Illustration: FIG. 216.]
+
+245. _Two-Cover Vestings._--Vestings of this class possess one
+ground weft and two “extras” for figuring. Loud patterns only being
+occasionally required in these textures, a scheme of figuring is
+practised which reduces the cost of production. Thus the spots or
+figures are only produced here and there in the fabric, a considerable
+number of ground picks intervening. In this way, the quantity of silk
+used is considerably diminished. An example may be considered in which
+two extras are necessary in developing the spotted effects. It is
+the diagonal pattern given in No. 2 on Plate XXXVII., and referred
+to in the previous paragraph. The ground design here is composed of
+four weaves--fine corkscrew, weft sateen, twilled mat, and an upright
+twill--and, apart from the small figures, occupies 288 picks. The
+spots are developed in two hues, and are arranged on this diagonal
+base on a sateen method, six occurring in each repeat of the pattern.
+Those sections of the design--Fig. 216--in which the spots occur are
+three-fold in composition, the ground, crimson, and green wefts being
+combined. Picks lettered _A_, for example, comprise one spot, and
+include the ground, crimson, and green picks. The ties for the extra
+wefts are on the principle indicated. The system of wefting which has
+been practised in producing the pattern formed of the design worked out
+on the base of Fig. 216 is as follows:--
+
+                        ⎧ 1 pick of black worsted.
+          For 24 picks. ⎨ 1    „    crimson silk.
+                        ⎩ 1    „    green silk.
+                         40 picks of black worsted.
+
+Blue and white, orange and blue, and salmon and light-blue, also
+give neat patterns. Light shades may be, moreover, employed, with
+satisfactory results, in the ground of the fabric.
+
+[Illustration: FIG. 217.]
+
+246. _Four-Cover Styles._--Having considered two specimens of vestings
+in worsteds an example in five shades, may be examined in woollens.
+Each shade of weft in figured textiles adds to the construction of
+this type of design. First, it implies a larger number of cards; and,
+second, more picks to the inch, necessitating more weaving. While,
+however, these complications are the result of the employment of a
+diversity of colours, yet it is mainly by multiplying the shades
+of weft that richness of design is obtained. In the example in the
+four-cover vestings, Design 217, the foundation of the texture is
+broken crow or weft swansdown. All the effects are due to solid weft
+floats. The marks ⧅ represent Shade 1 in the fabric, the ▨’s Shade 2,
+the ⊡’s Shade 3, the ◼’s Shade 4, and ⌻’s Shade 5. The order of weft
+colours is:--
+
+            For 26 picks. ⎧ 1 pick of Shade 1.
+                          ⎩ 1    „      „   2.
+
+                          ⎧ 1 pick of Shade 1.
+            For 12 picks. ⎨ 1    „      „   2.
+                          ⎩ 1    „    silk, Shade 3.
+
+                        ⎧1 pick of Shade 1.
+                        ⎪1    „      „   2.
+           For 8 picks. ⎨1    „    silk, Shade 3.
+                        ⎩l    „          „     4.
+
+                        ⎧1 pick of Shade 1.
+                        ⎪1    „      „   2.
+          For 20 picks. ⎨1    „    silk, Shade 3.
+                        ⎪1    „         „      4.
+                        ⎩1    „         „      5.
+
+                        ⎧1 pick of Shade 1.
+           For 9 picks. ⎨1    „      „   2.
+                        ⎩1    „    silk, Shade 4.
+
+          For 12 picks. ⎧1 pick of Shade 1.
+                        ⎩1    „      „   2.
+
+In preparing the cards, first cut all but ⧅; second, cut all but ▨;
+third, cut all but ⊡; fourth, cut all but ◼; and, fifth, cut all but ⌻.
+Picks _A_ are stamped twice, picks _B_ three times, picks _C_ and _E_
+four times, and picks _D_ five times.
+
+[Illustration: FIG. 218.]
+
+247. _Honeycomb Vestings._[16]--These are an old style of woven
+textural effect produced in weaves irregular in structure, or in which
+there is contrast of warp and weft floats, forming diamond, mat, and
+other effects. The fabrics may be single, backed, or compound in
+structure. An example of the first type is given in Pattern 1, Plate
+XXXVIII., the weave being Fig. 218, on a diamond base. The warping and
+wefting are as follows:--
+
+                 2/18ˢ white          2  21  21  21  19
+          Double 22’s/2 yellow silk   3   -   -   -   -
+                 2/16ˢ black          -   3   -   3   -
+                 10’s/2 red silk      -   -   3   -   -
+
+A more irregular type is that seen in Fig. 219, in which the diamond
+principle is combined with mat weave, Fig. 220. The method of
+manufacture is as follows:--
+
+                           _Warp._
+          Three-fold 2/30’s white worsted -  24
+          Four-fold 2/36’s blue      „    4   8
+
+                          _Weft._
+          Three-fold 2/30’s white worsted.
+
+[Illustration: FIG. 219.]
+
+It will be seen from both examples that there is much irregularity of
+weave structure and also in counts of yarn.
+
+[Illustration: FIG. 220.]
+
+248. _Two-Cover Designing._--Several types of fabrics in addition to
+Pattern 2, Plate XXXVII., are coloured and figured on this system,
+which admits of the production of a considerable diversity of effects.
+Pattern 1 of Plate XXXIX. is an example. The warp of this fabric is
+cotton, but as the ground weave is a five-end weft sateen, it flushes
+the worsted picks constituting the foundation of the texture on
+the surface, concealing thereby the cotton yarns. A section of the
+design used in weaving this example is given in Fig. 221. By changing
+the ground weave to twill, and employing a shade of warp distinct
+from the weft, the pattern could be improved in colouring. As here
+tinted, however, it is evident that by this scheme of designing
+ornamental details may be clearly developed in the texture. The order
+of wefting is one pick of light fawn, one pick of black silk, and one
+pick of lavender silk. The texture being two-cover, the process of
+card stamping is as follows: I., cut blanks, solid blacks, and small
+circles; II., cut crosses, blanks, and circles; and III., cut crosses,
+blacks, and blanks.
+
+[Illustration: FIG. 221.]
+
+249. _Four-Cover Pine Design._--An interesting specimen of four-colour
+figuring is given in Pattern 2 on Plate XXXVIII. It is a good
+combination of colours, textile effects, and principles of weaving.
+First, as to the blending of tints and the figuring obtained. Though
+only four colours are used in the weft--claret, lavender or blue grey,
+olive, and salmon--yet five-tinted effects are produced. The extra tint
+is due to interweaving the warp--which is a bright crimson--plain with
+the salmon weft, forming that intermingled colouring composing the
+ground of the interior of the pine figures. The rich claret shade which
+constitutes the ground of the fabric gives a velvety aspect to the
+entire pattern, and develops the other tints in the texture.
+
+[Illustration: FIG. 222.]
+
+The order of wefting and colouring is thus: _warp_, all crimson;
+_weft_,1 pick of claret, 1 pick of salmon, 1 pick of lavender, and
+1 pick of olive. Each shade runs through the fabric, and is
+continually helpful in imparting tone and character to the whole
+composition of both ornamental and textural details.
+
+  [Illustration:
+                             Plate XXXVIII
+
+                          1. HONEYCOMB PATTERN
+                            2. PINE FIGURING]
+
+As to the construction of the design. The ground weave--Fig. 222--is a
+weft broken [1\3] twill. All the figured parts of the design, excepting
+where the warp yarns work plain with the salmon picks, are flushed
+solid. This is apparent from Fig. 222, which is the weave-design of
+the upper part of the pine figures. Here the solid squares correspond
+to the claret in the texture, the dots to the salmon, the circles
+to the lavender, and the grey marks to the olive. Every pick of the
+weave-design is stamped four times as follows:--
+
+            I. Cut all marks but solid black.
+           II.         „         dots.
+          III.         „         circles.
+           IV.         „         greys.
+
+The ground weft is tied regularly, but the other wefts are flushed on
+the under surface of the fabric.
+
+250. _Paisley Shawl Colouring._--Fig. 223 is on the pine base, similar
+to No. 2, Plate XXXVIII., but the ornament is of a more elaborate
+character. The structure of the fabric is seen from the section of a
+design of this character, Fig. 224, the colours being inserted chiefly
+in the weft. The weaves in the various parts of the figuring are fine
+twills running in different directions, and the ground is warp twill.
+Each kind of mark represents the different colour of weft in which
+the figuring is developed. Each colour stitches in the weft to make a
+continuous twill.
+
+[Illustration: FIG. 223.]
+
+251. _Compound-Weft Reversibles._--Reference should be made, in
+treating of fabrics coloured in the weft, to rugs and reversible
+textures, for some classes of shawls, and--in light materials--for
+mantlings. These textures are composed of weaves which are double or
+three-fold in the weft but single in the warp Thus they are of such a
+character as to allow of the employment of two series of weft threads
+of different colours. One layer of picks is spread over the other. This
+will be understood on referring to Fig. 225. The weaves used in the
+construction of this 2-ply build of fabric are supplied in Fig. 226.
+They are simply swansdown twills backed, hence, when combined and woven
+in a warp composed of small yarns, and with thick weft yarns arranged
+one pick black and one pick grey, a textile is produced of the same
+structure as that represented in Fig. 225. Here it is apparent that
+the system of weaving causes the black picks to cover the grey picks
+in part _A_, and _vice versâ_ in part _B_. In the actual texture, the
+black picks are close together, completely concealing the layer of
+picks over which they are spread. The same may be remarked of the grey
+picks in part _B_; consequently the warp threads, being small, are all
+but entirely hid, and indeed they should not be observed on either side
+of the finished fabric.
+
+[Illustration: FIG. 224.]
+
+As the designs are two-fold in the weft, they may contain twice the
+number of picks to threads per inch, in which case they would be
+worked out on 8-by-16 point paper. Having determined on the ornamental
+arrangement of the pattern, say that given in Fig. 227, the sketch is
+transferred on to the plan paper on the same principle as in designing
+for double-plain reversibles. Weave _A_ of Fig. 226 is then applied to
+the figured sections, and weave _B_ to the ground, and for the hard
+effect or shade, a weave arranged 2 picks face and 2 picks backing,
+intermingling the two colours, is also used. Should black and white
+wefts be employed, the figure on the upper surface would be in black
+and the ground in white, and the grey portions, Fig. 227, in black and
+white.
+
+[Illustration: FIG. 225.]
+
+[Illustration: FIG. 226.]
+
+In the 3-ply colouring, Fig. 228, weaves, threefold in structure in the
+weft, have been used. A simple type of weave for this purpose is given
+in Fig. 229, where the face and back of the texture are in weft twills,
+and the centre in plain weave. If a finer fabric is required, then
+six-end sateen with warp prunelle twill in the centre may be used, Fig.
+230. By such weaves, three colours of weft may be combined, one for
+each part of the figuring, and the pattern developed in three shades.
+
+[Illustration: FIG. 227.]
+
+[Illustration: FIG. 228.--Three-ply Weft Reversible.]
+
+252. _Warp and Weft Colouring._--This species of colouring is
+principally practised in figured textiles. The ordinary system relates
+to flushing the warp and weft--which are of different shades--in the
+construction of the figure, as is instanced in Pattern 3 of Plate
+XXXIX. Here the outside of the oblong figures consists of floats of
+weft, and the interior of floats of warp. Now by warping 96 ends of
+crimson and 96 ends of lavender, and weaving 96 picks of tan and 96
+picks of white, several tinted effects are obtained. First, a solid
+square of lavender is formed; second, square _B_ is composed of crimson
+and lavender; third, square _C_ is composed of crimson and tan; and
+fourth, square _D_ is composed of tan and lavender. By this scheme of
+colouring and weaving, considerable diversity of pattern is producible.
+
+[Illustration: FIG. 229.]
+
+[Illustration: FIG. 230.]
+
+Design 231 is an example in compound warp and weft colouring. The
+colour of the warp of this fabric would partially form both the ground
+and the figured effects. Two wefts might be used, say brown and light
+brown, the former producing the figure and the latter the ground of
+the texture. The ⌻’s represent the rib groundwork, the dots the light
+brown, and the greys the solid floats of warp. Being composed of two
+wefts, the design is prepared for the loom by first cutting all but
+⌻’s; and, second, by cutting all but ⊡’s. The light brown is regularly
+tied to the under-side of the texture.
+
+Other types of colouring, having “extras” in both warp and weft, are
+also practised. They are, however, mainly compounds of the two systems
+of colouring already illustrated.
+
+A useful example is Pattern 2, Plate XXXIX. The broader floral figuring
+is developed in warp cord (see sectional design 232). Between such
+floats of warp making the cord, a firm groundwork is formed. The weft
+figuring consists of long floats of the light silk yarn, underneath
+which is also constructed a fast woven texture. The ground weave is a
+fine cord.
+
+[Illustration: FIG. 231.]
+
+253. _Curls, Textiles of the Astrakhan Group._--“Curls” are a type of
+textile that belong, strictly speaking, to fabrics of the astrakhan
+and lambskin type. One of the objects here is to manufacture a fabric
+similar in appearance, texture, and general character to the original
+astrakhan. But at the same time, it is sought to acquire these effects
+by cheaper and more expeditious methods than are practised in making
+astrakhan, lambskin, and similar fabrics. The production of cheap,
+serviceable “curls” has led to the construction of spiral, curled, and
+knopped yarns--all threads which, when appropriately employed, impart a
+curly surface to the cloth.
+
+[Illustration: FIG. 232.--Section of Design for Pattern 2, Plate XXXIX.]
+
+254. _Four Types of Curled Effects._--Curled effects may be classified
+under four heads:--
+
+(1) Those in which the effect is obtained by employing wires in weaving.
+
+(2) Those in which the yarn is curled previous to weaving, and the
+flushes of weft thread cut after the piece leaves the loom.
+
+(3) Curls due to the employment of yarns composed of two or more
+classes of materials. The curl in this case is developed in milling.
+
+(4) Fabrics in which a curled thread is used in the weft.
+
+[Illustration: FIG. 233.]
+
+The first and second classes of curls represent the original methods
+of gaining effects of this kind, while the third and fourth classes
+represent the modern principles of manufacture. Examination of the
+different classes will show that each possesses some advantages which
+the other lacks, and also that certain defects are characteristic of
+each process of production.
+
+In the first species of curls--in which colour is introduced into the
+warp--are astrakhans, lambskins, and other classes of similar fabrics.
+
+255. _Curls obtained by Wires._--Curls obtained by the use of wires
+are fabrics containing two warps--one of which forms the foundation,
+and the other the curled effect of the texture. The ground warp is
+usually cotton, the curled warp mohair, and the weft woollen. The
+mohair yarn is submitted to a process of curling or crimping before
+weaving, so that when the threads are cut over the wires, in the actual
+manipulation of the fabric, the ends thus produced twist, twirl, and
+roll into all kinds of shapes. The larger the curl, the thicker and
+more curly the material used in its formation, and the deeper the wires
+inserted into the cloth during weaving. Fig. 233 will illustrate the
+principle on which the wires are employed and the part they play in the
+development of the curly appearance of such fabrics. In this sketch,
+which is a sectional drawing showing the interlacing of the threads
+and the position of the wires in a simple astrakhan prior to cutting,
+threads _A_ represent the mohair warp, threads _C_ the ground warp, _b_
+the picks or shoots of weft, and _W_ the wires. It will be observed
+that there are several picks between each wire which interlace with
+threads _C_ to form a texture, or foundation fabric, on to which a
+layer of curls, closely grouped together, is secured. There is a firm
+woven cloth in addition to the curled effect in all such structures;
+and it should be noticed that the more substantial this concealed
+portion of the foundation, the more durable the texture produced. An
+insecure ground texture should be prevented in the manufacture of all
+fabrics in which wires are employed. The picks _b_ interweave with
+threads _C_ on the plain principle, but not invariably so, as the
+three-end twill sometimes forms the plan of intersection for these
+yarns.
+
+No less than five ground picks are inserted between each wire in the
+fabric sketched, forming a firm foundation for the wires. Another point
+secured, by having this number of ground shoots intervening the wires,
+is the production of a large curl, because the wires are not forced
+into close or absolute contact with each other.
+
+256. _Process of Weaving Curls produced by Wires._--The routine of
+the actual operation of weaving this style of curl may be briefly
+stated:--The proper number of ground picks _b_, having been interlaced
+with yarns _C_, one half of the mohair warp is elevated and wire 1
+inserted; the same number of ground picks is again introduced into the
+warp _C_, and then the reverse half of the mohair warp raised and wire
+2 inserted. This completes the process as far as the interlacing of the
+threads is concerned. One particular that has not been noticed is the
+mode of binding the curled warp to the texture; this is effected by
+depressing the mohair yarns both previous to, and after the insertion
+of the wires, crossing them of course with the picks b. After some
+five or six wires have been secured, as shown in the illustration,
+cutting takes place. This is done by the weaver running his knife down
+the grooved part of the wire, a process which divides the loops and
+liberates the threads, when their curling properties cause them to
+twist and curl so effectually together as to entirely cover the surface
+of the ground fabric on to which they have thus been fastly woven.
+The spiral condition into which the ends twist themselves on being
+liberated, is seen in Figs. 234 and 235, a section of an astrakhan
+fabric after cutting.
+
+[Illustration: FIG. 234.]
+
+A feature in which this class of curls differs from others is that if
+two or more shades of yarn, and several depths of wires are used, one
+for each colour of curled warp, then, by a suitable arrangement in the
+design, an attractive combination of effects results.
+
+[Illustration: FIG. 235.]
+
+257. _Curls formed by the Weft in which the Warp is Cotton
+Threads._--This class of “curls,” which may be examined in detail, also
+includes fabrics of the astrakhan group. But here, instead of the curl
+being obtained in the warp, it is obtained in the weft yarn. In cloths
+of this order the warp is invariably cotton, while the weft is woollen
+and mohair--the wool being utilized in the construction of the ground
+of the texture, and the mohair in the formation of the curly effect.
+
+The system of forming the curl by the warp offers larger scope for
+variety of pattern and texture, than when it is produced on the weft
+principle. In this instance, the cloth is simple in structure. It is
+possible, however, on this principle of intertexture, to have either
+a short or long curl. As in warp effects, the mohair yarn has to be
+curled or crimped prior to weaving by submitting it to a process of
+boiling, which may be continued for two or three hours, according to
+the quality of the yarn and the permanence with which it is sought to
+fix the curl.
+
+258. _The Weave of Weft Curls._--The weave of this type of fabric is
+arranged on a simple principle. It first admits of several mohair or
+flush picks being introduced into the warp, which are followed by a
+plain ground shoot. If the weave occupies, say twenty-four threads,
+each flushing pick might float over seventeen ends, and then form a
+plain interlacing with the remaining seven ends of the series. This
+process securely fastens the curl picks on to the ground of the fabric.
+
+[Illustration: FIG. 236.]
+
+259. _Structure of Weft-Curl Fabrics._--Fig. 236 is a section of the
+interlacing of the warp and weft yarns in this make of textile. Here
+dots _a_ represent the ends of the warp threads; _B_, the mohair weft
+yarns or flushing picks; and _c_, the plain ground picks. The fabric
+is twofold in the weft and single in the warp. Picks lettered _B_ are
+placed, in weaving, over the picks or shoots _c_, which produce, along
+with the ends lettered _a_, a foundation texture on to which shoots _B_
+may be fastened. The warp threads are thus made to interlace with both
+kinds of weft, producing, with the cotton or woollen weft _c_, a plain
+fabric, and, with the mohair picks _B_, a cloth in which the face is
+formed of long flushes of weft yarn.
+
+  [Illustration:
+                              Plate XXXIX
+
+         FIGURED STYLES DEVELOPED IN WARP AND WEFT COLOURINGS]
+
+Feather trimmings, Fig. 237, are made on this principle, only
+several widths, _A_, _B_, _C_, of the curl effect are formed in one
+width of the fabric. The mohair yarn to form the curl is crimped or
+curled before weaving. The floats in the texture vary in length, and
+extend from Series _A_ to Series _B_, and from _B_ to _C_ In the
+illustration, the weft threads floating over such spaces have been
+severed and allowed to form the curl effect of which the trimming
+consists. Many methods of colouring are practised in the production of
+such fabrics, and also, as seen from the specimen _D_, special figuring
+due to the ordinary type of weaving.
+
+[Illustration: FIG. 237.]
+
+260. _Operation of Cutting after Weaving._--When the cloth leaves the
+loom there is no appearance of a curl effect, its under surface being
+nothing but a plain weave, and the face consisting of long floats of
+mohair yarn. To produce the curl these flushes require to be severed or
+cut, when the ends thus obtained twist and twirl into the spiral forms
+shown in Fig. 235. The cutting process is done as follows:--About two
+yards of cloth having been stretched tightly on a frame, the cutter
+inserts the fine point of the knife and guide under one of the row of
+long flushes formed by picks _B_, Fig. 236; the loops or flushes being
+arranged in rows, the knife can be made to travel very accurately under
+each row of loops to the end of the length of texture spread on the
+frame. As it is forced through this tunnel of loops, it severs the
+threads, and, as the yarns were curled or crimped previous to weaving,
+they immediately assume curly, spiral conditions.
+
+By a slight modification of this principle of weaving it is possible
+to produce a large variety of patterns. One example of this class of
+effects is a pattern with a figured design (see _D_, Fig. 237), in
+which the pine pattern is developed in extra silk weft in addition
+to the curl effects. Mohair may be the material used for the curled
+figures and silk for the figuring.
+
+261. _Curls developed by Milling._--In the two classes of these fabrics
+already described, the curl effect is the result of preparing the yarn
+by subjecting it to a crimping process before using it as warp or weft
+in the composition of the cloths. Both types of curls considered are,
+moreover, submitted to a cutting operation, which, severing the loops
+or flushes of mohair yarns, results in the production of the curled
+characteristic of the textures. In the curled cloths produced in
+milling, the curl is not due to cutting one series of the yarns in the
+fabric, but to the more rapid shrinking of some threads in the texture
+than others, a process which develops loops on the surface of the
+piece. The curl in this instance is produced by the doubling of certain
+threads, and not by any curling and cutting operations the yarns may be
+subjected to either previous to, during, or after weaving.
+
+262. _Points of Dissimilarity in the Various Builds of Curled
+Textures._--If a fabric in which the curl is obtained in the warp and
+by the use of wires is dissected, it will be observed:--On removing,
+in the first place, to withdraw a curl thread it would be found to be
+divided into short lengths, each curl being a separate length. The
+entire series of curls might be removed and still a plain woven texture
+would remain intact; if, however, either the warp or weft of this
+foundation structure were disturbed, the whole fabric would be reduced
+to a group of loose ends.
+
+Let a fabric in which the curl is formed by the weft yarn and developed
+by cutting, after the piece leaves the loom, be next analyzed. Here
+it is possible to remove the curls, as in the other fabric, and yet
+to retain a woven texture. The wide dissimilarity between this fabric
+and the warp curl is to be found in the fact that the various short
+lengths of mohair which form the mass of small curls, covering the
+texture, are in this case sections of picks of weft and not threads of
+warp.
+
+Curl textures, which obtain the curly appearance in the milling machine
+(see Figs. 239, 241, and 243), are constructed on an entirely different
+principle of manufacture. To remove any thread or pick from this
+fabric, curl or otherwise, destroys the structure of the cloth. In this
+type of curl there is only one warp and one weft, the threads of which
+appear alternately on both sides of the piece. Either warp or weft
+may contain both woollen and mohair yarns, but still the cloths are
+constructed from single weaves.
+
+263. _Two kinds of Curls developed by Milling._--Curled fabrics of this
+group may be divided into two classes: (1) those in which the curl yarn
+is introduced into the warp; and (2) those in which it is employed in
+the weft. The warp thread which forms the curl is in some cases made
+of the noil resulting from combing mohair or alpaca, or the waste from
+the machines in making lustre worsted yarns. These materials possess
+exactly the curling properties that are requisite to the production of
+the effect characterizing this kind of curl. As to the weft thread, it
+is made chiefly of “extract” and similar materials.
+
+264. _Spiral Threads used for Warps._--The warp is composed of twist
+threads known as “spirals,” a name applied to them on account of their
+crimpy form. They derive their principal characteristic from the system
+on which they are prepared; thus one of the two threads utilized
+in their production is, during twisting, only slightly tensioned,
+while the other thread is highly tensioned. This arrangement causes
+the compound yarn resultant to be crimpy or spiral, and to possess
+an undulated, wavy appearance. When the piece is subjected to heat,
+soapy moisture, and the friction of the milling process, the thick,
+slack thread shrinks up into loops, or forms small buttons, or curls,
+on the surface of the cloth. The process of fulling these cloths
+is interesting. Previous to this operation the fabric possesses a
+level surface; for there is little indication in the cloth when it
+leaves the loom as to any curly or looped effect. This is entirely a
+subsequent development. As soon as the felting operation commences,
+this characteristic appears, the thick and soft threads of the twist
+yarns forming loops or curls which cover both sides of the fabric.
+
+265. _Variety of Patterns in Spiral-Warp Curls due to Colour._--Pattern
+or design in these goods is mainly due to colour combinations. As the
+weave is generally a four-end twill, there is facility for developing
+effects of this character with precision and clearness. Styles of a
+mixture, stripe, and check class are employed. One example of a mixture
+effect is as follows: Warp, two ends of maroon (spiral) and two ends
+of green (spiral); weft, all olive brown. The pattern thus obtained
+is intermingled in colouring, the warp threads giving indefinite and
+mellow patches of maroon and green, while the weft forms a solid and
+continued series of olive-brown twills.
+
+[Illustration: FIG. 238.]
+
+266. _Twist-Yarn Cotton-Warp Curl._--This is a backed fabric, the
+face or right side being formed of curled twists and the back or
+under side of woollen yarn. Diversity of pattern or style is, in this
+kind of curl, obtained by employing several colours or shades of
+twists. Amongst the twists which are largely used three or four may be
+mentioned, namely, black and white, black and steel grey, black and
+olive, and black and medium blue, the white, steel grey, olive, and
+medium blue forming the loops or curls of the respective threads.
+
+267. _Backed Weave for Curled Cloth._--A reference to FIG. 238, which
+is a standard example of the description of crossing employed in
+making this sort of curls, shows that in reality this curled texture
+is constructed on the backed weave principle, a system of intertexture
+which readily allows of the production of a thick cloth. The picks
+marked in ⊠’s represent the woollen yarns, or weft for the ground, and
+the picks marked in ◻’s form the weave for the curl effect, or the
+looped twist weft. On examining the former series of picks, it will be
+observed that they interlace weft cord with the warp threads. The face
+weave--marked in dots--is the eight-heald doeskin or sateen, a plan of
+crossing which not only permits the curled yarn to be flushed on the
+right side of the fabric, but attaches it to the woollen and cotton
+ground texture in a uniform and secure manner. While the curl yarn
+should not show on the back of the cloth, the woollen yarn should not
+be visible on the face.
+
+Of course it will be understood that the character of the curly effect
+is dependent on the kind of twist weft employed; thus, should the yarn
+be of several colours and the loops on its surface large, a clear, bold
+curl will result; but should the loops be more of a knop than a curl,
+the pattern will be correspondingly indistinct.
+
+[Illustration: FIG. 239.]
+
+268. _Essential Characteristics of Cotton-Warp Curls due to
+Milling._--The cotton warp, which constitutes the foundation of the
+fabric, possesses no felting power, but the mohair yarn which forms the
+weft, though not possessing the same fulling quality as some classes of
+wools, yet when floated on the surface of a cloth of this character,
+felts to such an extent as to draw, or compress, the warp ends into
+closer contact with each other; and it is this contracting of the
+texture in the direction of the weft that produces the curly or looped
+appearance desired.
+
+[Illustration: FIG. 240.]
+
+It must not be understood that because the curliness is entirely
+developed in fulling, the structure of the weave in no way affects
+the pattern obtained, for striped and other effects, can be woven by
+a proper modification in the arrangement of the design. A sketch of a
+curled stripe made on this principle is supplied in Fig. 239.
+
+269. _Examples in Designs for Cotton-Warp Curls._--The weave, Fig.
+240, is technically called a plain rib, being so constructed as to
+flush the curl yarn on the face of the cloth, and yet produce a fast,
+plain woven texture underneath the floats. All designs for curls of
+this description are made on the principle illustrated in this weave,
+and also Fig. 243, it being of equal importance to secure a fast fabric
+as to float the mohair yarn on the face side of the texture.
+
+[Illustration: FIG. 241.]
+
+[Illustration: FIG. 242.]
+
+Part _A_ of the design forms the small curly effects drawn in Section
+1 of Fig. 239, while part _B_ gives the piping of curls represented
+in Section 2. When the odd picks--1, 3, 5, and 7--are woven into the
+warp they flush over the entire series of threads in _A_, but form a
+plain interlacing with the threads in Section _B_. On the other hand,
+when the even picks--2, 4, 6, and 8--are introduced into the warp, they
+flush over the threads in part _B_, but work plain with the threads in
+_A_. The woven result of this weave is, first, a striped pattern is
+formed on the upper side of the cloth, consisting of two distinct bands
+of curls; second, a firm cloth is produced, though the weft is flushed
+to such an extent on the upper surface as to conceal the cotton warp,
+for the picks which give the flushes for the curl in _A_, form a plain
+cloth under the picks which float over the threads _B_, while the picks
+yielding the curly appearance due to Section _B_ of the design, at the
+same time form a plain texture underneath the shoots of weft which pass
+over threads _A_. So that on this principle, facility is afforded for
+a proper flushing of the weft yarns on to the upper side of the cloth,
+yet provision is made in the weave for the construction of an all but
+plain fabric to which the flushes of mohair that form the curl are
+securely attached.
+
+Generally these textures are piece-dyed, but in such patterns as those
+given in Figs. 239, 241, and 243, some excellent styles may be obtained
+by using two colours of weft yarn, such as black and maroon, blue and
+olive, and black and white. In such combinations one shade would form
+the broad and the other the narrow stripe of curls.
+
+[Illustration: FIG. 243.]
+
+In Fig. 241 a fabric is sketched in which the curls are distributed,
+without any apparent design; yet according to the weave--Fig.
+242--there is really a twilled or diagonal distribution of the curls.
+Felting, however, destroys this characteristic.
+
+[Illustration: FIG. 244.]
+
+A more irregular pattern is that in Fig. 243, produced in Fig. 244,
+being woven one pick of light, and one pick of dark yarn alternately.
+In this way, varied colourings and forms of designs are obtainable in
+these structures.
+
+
+  FOOTNOTES:
+
+     [16] _Not infrequently with extra colour weft or warp
+          spotting, but the example--Pattern 1, Plate
+          XXXVIII.--is coloured on the ordinary method._
+
+
+
+
+                                 INDEX.
+
+
+  Adjacent colours, effects of, 42.
+
+  Analogous colour contrasts, 50, 55.
+
+  Analysis of colour compounds, 72.
+    of light, 9.
+    of standardization scheme of colouring, 62.
+
+  Art and technique in design, 320.
+
+  Astrakhan fabrics, 354.
+
+  Attributes of blue, 27.
+    of green, 37.
+    of orange, 37.
+    of purple, 40.
+    of red, 23.
+    of yellow, 37.
+
+
+  Backed cloths, colour applied to, 94.
+
+  Backed-weave combinations in relation to colour, 96.
+
+  Black and bright colour contrasts, 55.
+    use of, in mixtures, 78, 80.
+
+  Blending, use of standard colours in, 63.
+
+  Blends, simple, 70.
+
+  Blue, derivatives of, 28.
+    its properties and uses, 27.
+    shades and tints of, 30.
+    uses of, in twist yarns, 33.
+
+  Brodie tartan, 150.
+
+  Brussels carpets, 332.
+
+
+  Carpets, tapestry and Brussels, 332.
+
+  Characteristics of red, 23.
+
+  Check, basket (in two colours), 128.
+    broken (in two colours), 128.
+    (common) modification of, 132.
+    consisting of two sizes of squares, 124.
+    counter-change, 126.
+    graduated, 127.
+    interchanging, 135.
+    ordinary (in three shades), 130.
+    patterns, 119.
+    set, 131.
+    shaded (in black and white), 136.
+      (in two colours, using designs composed of several weaves), 139.
+
+  Check and stripe designs, spotted, 277.
+
+  Checking, compound (in three shades), 133.
+    principles of (in three shades), 129.
+
+  CHECKING, PRINCIPLES OF. _See_ List of Figs., page xix.
+
+  Checks, 102.
+    fancy, 145.
+    irregular and mixture, 142.
+
+  Citron, 16.
+
+  Clan Alpin tartan, 157.
+
+  Colour applied to single-make figured fabrics, 95.
+    effects in the plain weave, 99.
+      in the [2/2] twill, 99.
+
+  COLOUR EFFECTS, ELEMENTARY STANDARD. _See_ List of Figs., page xx.
+
+  COLOUR EFFECTS IN COMPOUND WEAVE DESIGNS. _See_ List of Figs., page
+        xxii.
+
+  Colour, method of applying to textiles, 5, 7.
+    in relation to backed and compound cloths, 94.
+    in simple and fancy weaves, 93.
+    occurrence and utility of, in fabrics, 3, 4.
+    phenomena of, 7.
+
+  Colour standardization, 61.
+      analysis of the scheme of, 62.
+      application of, 60.
+      by selected colours, 62.
+    standards, use of in blending, 63.
+
+  Colouring, elements of, 92.
+    figuring in the weft, 96.
+      warp, 97.
+      warp and weft, 97.
+    1-and-1, figured styles in, 164, 167.
+    3-and-3, effects in, 170.
+    4-and-4, effects in, 171.
+    4-and-4, effects in (fancy weaves), 172.
+    6-and-6 and 8-and-8, 173.
+    6-and-6 in various weaves, 174.
+    mixture, 67.
+    simple weave, 94.
+    three-odd-thread arrangement of, 175.
+
+  COLOURING OF SPOTTED DESIGNS. _See_ List of Figs., page xxii.
+
+  COLOURING SPECIFIC WEAVES AND DESIGNS, ILLUSTRATIVE OF. _See_ List of
+        Figs., page x.
+
+  Colouring, tartan, 145.
+    types of woven, 93.
+
+  COLOURING IN THE WARP, PRINCIPLES OF. _See_ List of Figs., page xxiii.
+
+  COLOURING IN THE WEFT, PRINCIPLES OF. _See_ List of Figs., page xxiii.
+
+  Colourings, 1-and-1 and 2-and-2, 163.
+    irregular simple order of, 182.
+    methods of obtaining well-balanced, 32.
+    (regular type), table of, 161.
+    simple, 159.
+    simple in four shades, 180.
+
+  Colours, changed by juxtaposition, 42.
+    constants of, 17.
+    methods of modifying, 25.
+    primary, 15.
+    pure, functions of, in design, 21.
+    qualities of, 20.
+    spectral, weave frequency of, 9.
+    temperature of, 17.
+    tints and tones of, 25.
+
+  Composition of coloured lights, 14.
+
+  Compound colouring, 192.
+    composed of three elementary types, 194.
+    in compound weaves, 312.
+    types of, 199.
+
+  COMPOUND WEAVE COLOURING. _See_ List of Figs., page xxiii.
+
+  COMPOUND COLOURINGS, EXAMPLES IN. _See_ List of Figs., page xxi.
+
+  Compound colours, 15, 72.
+
+  Compounds composed of two simple types, 201.
+    two types and three shades, 203.
+      four shades, 219.
+    irregular, 218.
+
+  Contrast, 43.
+    economic, 47.
+    examples in, 46.
+    kinds of, 38.
+    mono-chromatic, 47, 50.
+    poly-chromatic, 48.
+    shaded and tinted, 53.
+    (strong colour) methods of neutralising, 57.
+    tinted, 50.
+
+  Cord or rib weaves and colouring, 240.
+
+  Corkscrew weaves, colouring of, 221.
+      modified and colouring, 223.
+    and other weaves spotted, 282.
+
+  Cotton quiltings, 324.
+    stripes, 259.
+    weaves, colouring applied to, 232.
+
+  Crawford tartan, 150.
+
+  Cuninghame tartan, 150.
+
+  Curl textures, 354.
+    (cotton warp) designs for, 365.
+    developed in milling, 362.
+      by using spiral twist yarns, 363.
+    effects produced in, with wires, 357.
+    formed in the weft, the warp being cotton, 359.
+    four types of, 357.
+    varieties of, due to colour, 364.
+    (weft principle) structure of, 362.
+
+
+  Derivatives of blue, 28.
+    of green, 37.
+    of orange, 39.
+    of purple, 40.
+    of red, 23.
+    of yellow, 36.
+
+  Design, elements of woven, 1.
+    function of pure colours in, 21.
+
+  Designs composed of several weaves of varied structures, 261.
+
+  Diagonals, 230.
+    composed of single and double weaves, 231.
+    spotted, 283.
+
+  Double cloths, colour in relation to, 94.
+    principles of colouring, 295.
+    styles of colour effects in, 296.
+
+  Double-plain stripes, 296.
+      in two shades, 297.
+        (warped irregularly), 298.
+      in three shades, 301.
+    intermingled pattern, 302.
+    weaves combined with other makes, 302.
+
+  Douglas (Grey) tartan, 149.
+
+  Dundas tartan, 155.
+
+  Duke of Rothesay tartan, 146, 150.
+
+
+  ELEMENTARY COLOUR EFFECTS, STANDARD. _See_ List of Figs., page xx.
+
+  Elements of textile colouring, 91.
+
+  Elliot tartan, 153.
+
+  Erskine tartan, 146.
+
+  Examples in colour contrasts, 46.
+
+  EXAMPLES IN COMPOUND COLOURINGS. _See_ List of Figs., page xxi.
+
+  Extra-weft patterns, 336.
+    colouring (two-cover styles), 346.
+      (four-cover styles), 347.
+
+
+  Fabrics, compound patterns in, 198.
+
+  Fancy broken check, 145.
+    weaves, colouring of, 168.
+
+  Feather trimming (weft-pile fabric), 360.
+
+  Figured fabrics, 95.
+    methods of colouring, 319.
+    striped in the warp, 264.
+    warp colouring of, 97, 321.
+      and weft colouring of, 97.
+
+
+  Gauze textures, 234.
+    imitation, 238.
+    systems of colouring, 237.
+
+  Gimp twist yarns, 289.
+
+  Golf cloakings, 315.
+
+  Gow tartan, 150.
+
+  Granite effects, 228.
+
+  Green, attributes of, 37.
+    derivatives of, 37.
+    tints of, 38.
+
+  Grey (bloomed) mixtures, 81.
+    (coloured) mixtures, 82.
+    (neutral) mixtures, 80.
+
+
+  Hairline patterns, 105.
+
+  Hamilton tartan, 151.
+
+  Harmony, principles of colour, 59.
+
+  Hay tartan, 146.
+
+
+  Indian shawl, colouring of, 22.
+
+  Irregular compounds, 218.
+    simple patterns in two shades, 184.
+      in three shades, 186.
+    simple colourings, tables of, 182.
+    stripe and check spotting, 277.
+
+  Irregulars in two shades, 183.
+    in three shades, 186.
+    in four shades, 188.
+
+
+  Juxtaposed colours, 43.
+
+
+  Keith tartan, 150.
+
+  Knop twist yarns, 289.
+
+
+  Light, analysis of, 9.
+
+  Lights, coloured, composition of, 14.
+
+  Loom productions, occurrence and utility of colour in, 3.
+
+
+  MacArthur tartan, 150.
+
+  Macintosh tartan, 150.
+
+  MacKinnon tartan, 154.
+
+  MacLean tartan, 157.
+
+  MacLeod tartan, 150.
+
+  Makes of fabric, colour applied to, 221.
+
+  Marls, 90.
+
+  Mat weaves spotted, 282.
+
+  Materials, importance of pure in mixtures, 68.
+
+  Mathieson tartan, 150.
+
+  Maxwell tartan, 151.
+
+  Menzies tartan, 146.
+
+  Methods of applying colour to textiles, 5.
+    of modifying colours, 25.
+
+  Mixture checks, 142.
+
+  Mixtures, bloomed grey, 81.
+    coloured grey, 82.
+    composed of a colour and black, 78.
+      of a colour and white, 77.
+      of two shades, 75.
+      of two shades and black, 78.
+      of two shades and white, 76.
+    elements of colouring of, 67.
+    multi-colour, 87.
+    patterns, 66, 103.
+    twist yarn, 89.
+    two colour, 86.
+    varieties of, compared, 69.
+    weave, 91.
+
+  Mono chromatic contrasts, 47, 50.
+
+  Montgomery tartan, 147.
+
+
+  Neutralizing strong colour contrasts, 57.
+
+
+  Orange colour, 15.
+    qualities of, 37.
+    shades and tints of, 39.
+
+  Overchecking, examples in, 125.
+
+
+  Paisley shawl colouring, 349.
+
+  Pattern design, 98.
+
+  Patterns, checks (_see_ also Checks), 102.
+    drafted, 249.
+    (drafted) consisting of two four-shaft weaves, 251.
+      consisting of prunelle and [2\2] twill, 254.
+      consisting of three or more weaves, 256.
+    figured, 104.
+    hairline, 105.
+    mixture, 66.
+    stripe, 101.
+
+  Persian carpet, 22.
+
+  Pigment and wool blends compared, 71.
+
+  Pigments, colours resulting from combining, 15.
+
+  Pile and curl fabrics, weft type of (cutting after weaving), 361.
+
+  Plaids, types of, 146.
+    two-colour, 146.
+    three-colour, 150.
+    four-colour, 153.
+    five, six, and multi-colour, 157.
+
+  Plush fabrics, 326.
+    two classes of, 327.
+    warp, 328.
+
+  Poly-chromatic contrasts, 48.
+
+  Primary colours, 15.
+
+  PRINCIPLES OF CHECKING. _See_ List of Figs., page xix.
+
+  Principles of checking, 120, 129.
+
+  Prismatic experiments, utility of, 11.
+
+  Pure colours, functions of, in design, 21.
+
+  Purple, 40.
+
+
+  Qualifications of the textile colourist, 21.
+
+  Qualities of colour, 20.
+
+
+  Red, characteristics of, 23.
+    derivatives of, 26.
+
+  Reversibles arranged 2-and-1, 310.
+    figured (double-plain and other weaves combined), 309.
+    in compound weaves, 293.
+    in double and compound weaves, 305.
+    methods of colouring, 306.
+    weft compound, 349.
+
+  Rib or cord weaves, colouring applied to, 240.
+
+  Ross tartan, 150.
+
+  Royal Stuart tartan, 157.
+
+  Russet, 16.
+
+
+  Scale or “base” standard colours, 62.
+
+  Schemes of colouring, 13.
+
+  Shade and tinted contrast, 53.
+
+  Shaded checks, 136.
+    figuring, 142.
+    stripes, 113.
+
+  Shades and tints of blue, 30.
+    of colours, 25.
+    of green, 38.
+    of orange, 39.
+
+  Shawl (Paisley), colouring of, 349.
+
+  Single pick weft spotting, 281.
+    thread warp spotting, 279.
+
+  Skene tartan, 150.
+
+  Spectral colours, wave frequency of, 9.
+
+  Spots composed of warp and weft floats, 271, 274.
+
+  SPOTTED DESIGNS, COLOURING OF. _See_ List of Figs., page xxii.
+
+  Spotted effects, 267.
+    due to system of weaving, 269.
+    in ordinary weaves, 290.
+
+  STANDARD ELEMENTARY COLOUR EFFECTS. _See_ List of Figs., page ix.
+
+  Standardization of colour, 60.
+    applications of the scheme of, 65.
+    by selected colours, 62.
+    scheme analyzed, 62.
+    systems of, 61.
+
+  Stripe and check designs, spotted, 277.
+
+  Stripes, 101.
+    composed of longitudinal and transverse lines, 106.
+      of two colours, 107.
+      of three or more colours, 109.
+    hairlines, 105.
+    in double-plain weave, 296.
+      (two shades), 297.
+    irregular and indefinite in two colours, 111.
+      composed of black and white lines, 110.
+      containing several colours, 116.
+      (shades in two colours), 112.
+    shaded (in two colours), 113.
+      (in several colours), 118.
+
+  Strong colour contrasts, methods of neutralizing, 57.
+
+  Swansdown twill ([1\3] or [3\1]) spotted, 270.
+
+
+  Table of compound colourings, 199.
+
+  Tapestry and Brussels carpets, 332, 333.
+
+  Tartan, Brodie, 150.
+    Clan Alpin, 157.
+    Crawford, 150.
+    Cunningham, 150.
+    Duke of Rothesay, 146, 150.
+    Dundas, 155.
+    Elliot, 153.
+    Erskine, 146.
+    Fraser, 156.
+    Gow, 150.
+    Grey Douglas, 149.
+    Hamilton, 151.
+    Hay, 146.
+    Keith, 150.
+    MacArthur, 150.
+    Macintosh, 150.
+    MacKinnon, 154.
+    MacLean, 157.
+    MacLeod, 150.
+    MacQueen, 150.
+    Mathieson, 150.
+    Maxwell, 151.
+    Menzies, 146.
+    Montgomery, 147.
+    Ross, 150.
+    Royal Stuart, 157.
+    Skene, 150.
+    Wallace, 150.
+
+  TARTANS. _See_ List of Figs., page viii.
+    examples in the colouring of, 145.
+    two-colour, 146.
+    three-colour, 150.
+    four-colour, 153.
+    five, six, and multi-colour, 157.
+    types of, 146.
+
+  Temperature of colours, 17.
+
+  Tertiary colours, 16.
+
+  Textile colourist, qualifications of, 21.
+
+  Three-and-three colouring, effects in, 170.
+    odd thread colouring, arrangement of, 175.
+    shade patterns, 179.
+
+  Tinted contrasts, 51, 53.
+
+  Tints of blue, 30.
+    of colours, 25.
+    of green, 38.
+    of orange, 39.
+
+  Toned contrasts, 51, 53.
+
+  Tones of colours, 25.
+
+  Treatment of colour in textiles, 4.
+
+  Twist yarn mixtures, 89.
+    yarns, uses of blue in, 33.
+
+  Two-and-two twill colour effects (warp 1-and-1), 99.
+
+  Two-shade compounds (in which white or black is one shade), 75.
+    (in which black is used), 78.
+    (in which white is used), 76.
+
+  Types of woven colourings, 93.
+
+
+  Utility of colour in loom productions, 3.
+    of prismatic experiments, 11.
+
+
+  Velvets, compound in structure, 327.
+    figured, 331.
+    weaving, operation of, 330.
+      origin of, 326.
+
+  Vestings, 340.
+    cotton quiltings, 324.
+    four-cover colouring, 344.
+    honeycomb, 345.
+    two-cover colouring, 343.
+
+  Violet in compounds of coloured lights, 15.
+    in prismatic experiments, 10.
+    wave frequency of, 9.
+
+
+  Wallace tartan, 150.
+
+  Warp and weft colouring, 352.
+        compared, 335.
+      colouring and figured textiles, 97.
+      (extra colouring) spotted, 284.
+    colourings, figured effects obtained by, 97.
+    figured fabrics coloured in the, 321.
+    plushes, 328.
+    (single-thread) spotting, 279.
+    striping in figured designs, 264.
+
+  Wave frequency of spectral colours, 9.
+
+  Weave and colour compounds compared, 197.
+    (single) colourings, 94.
+    (backed and double) combinations, colour applied to, 96.
+    compounds, 244.
+      composed of two, 6, 7, 8, or 9-shaft weaves, 254.
+      examples in colouring of, 245.
+    mixtures, 91.
+
+  Weaves (compound), application of fancy yarns to, 291.
+      figuring in, 312.
+    (double) styles of colour effects in, 295.
+    fancy, 1-and-l and 2-and-2 colourings in, 168.
+    (ordinary) spotted effects in, 290.
+
+  Weft colouring, 336.
+      figured effects obtained by, 96.
+    compound reversibles, 349.
+    (extra) styles, 338.
+    (ground) used for figuring, 337.
+    (single-pick) spotting, 281.
+
+  Weftings, cross, 190.
+
+  White and bright colour contrasts, 55.
+    use of in mixtures, 76, 77.
+
+  Wool and pigment blends compared, 71.
+
+  Woollen, fancy weaves and colouring in, 226.
+    irregular weave compounds in, 268.
+
+  Woven design, elements of, 1.
+      (ornamental) elements of, 320.
+    effects and simple colourings in, 197.
+
+
+  Yarns (fancy) with compound weaves, 291.
+    gimp and knop twists, 289.
+    marl, 90.
+      composition of, 90.
+    twist-yarn mixtures, 89.
+    used for spotting, 288.
+
+  Yellow, attributes of, 34.
+    derivatives of, 36.
+    in woven design, 35.
+
+
+
+
+                  PRINTED BY NEILL AND CO., LTD., EDINBURGH.
+
+*** END OF THE PROJECT GUTENBERG EBOOK 77150 ***
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+<body>
+<div style='text-align:center'>*** START OF THE PROJECT GUTENBERG EBOOK 77150 ***</div>
+  <h4 class="nobreak">
+    Transcriber’s Note:
+  </h4>
+  <br>
+
+<p class="center">
+In Memory of<br>
+<br>
+Chris Curnow<br>
+(1937-2023)<br>
+the Project Manager at Distributed Proofreaders<br>
+who selected this book,<br>
+and more than 2200 others,<br>
+to be preserved as free digital transcriptions<br>
+by Project Gutenberg.
+</p>
+
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter transnote">
+ <p>   The book uses two symbols for which no unicode exists;
+    ◍ was substituted for a small circle overlapping
+    slash marks, inside a box; ▦ was substituted for horizontal
+    lines with a black dot, inside a box; horizontal braces above or below columns are indicated like this:<br>
+     /~~~~~\ \~~~~~/.</p>
+
+<p>The discussion of twills uses notation like this:</p>
+
+<p>
+  <span style="margin-left: 0em;">3 <span class="ss" style="width:3.5em">&thinsp;</span>3</span><br>
+  <span style="margin-left: 1.25em;">—- and —-. These were reformatted as [3/1] and [1\3].</span><br>
+  <span style="margin-left: 2.0em;">1 <span class="ss" style="width:1.5em">&thinsp;</span> 1</span>
+</p>
+
+<p class="tall">Final stops missing at the end of sentences and abbreviations were
+added. Footnotes were renumbered sequentially and were
+moved to the end of the chapter. There are multiple anchors to footnotes <a href="#Footnote_9_9" class="fnanchor">[9]</a>, <a href="#Footnote_13_13" class="fnanchor">[13]</a> and <a href="#Footnote_14_14" class="fnanchor">[14]</a>.
+Ditto marks were replaced with text in some tables to accommodate column alignment.</p>
+</div><!--end TN-->
+
+
+<div class="chapter">
+<h1>
+COLOUR IN WOVEN DESIGN
+</h1>
+<hr class="chap x-ebookmaker-drop">
+</div><!--end chapter-->
+
+<div class="chapter">
+<p class="h1head">COLOUR IN WOVEN DESIGN</p>
+
+<p class="center tall"><i>BEING A TREATISE ON</i><br>
+THE SCIENCE AND TECHNOLOGY OF TEXTILE COLOURING<br>
+(WOOLLEN, WORSTED, COTTON AND SILK MATERIALS)</p>
+
+<p class="p2 center smaller allsmcap">BY</p>
+
+<p class="center muchlarger">ROBERTS BEAUMONT, <span class="smcap">M.Sc.</span>, <span class="smcap">M.I.Mech.E.</span></p>
+
+<p class="center allsmcap">PROFESSOR OF TEXTILE INDUSTRIES, THE UNIVERSITY OF LEEDS;</p>
+
+<p class="center allsmcap">AUTHOR OF<br>
+“FINISHING, OF TEXTILE FABRICS,” “WOOLLEN AND WORSTED CLOTH MANUFACTURE,”<br>
+“WOVEN FABRICS AT THE WORLD’S FAIR.”</p>
+
+<p class="center allsmcap">VICE-PRESIDENT OF THE JURY OF AWARD AT THE PARIS EXHIBITION, 1900;<br>
+INSPECTOR OF TEXTILE INSTITUTES; SOCIETY OF ARTS SILVER MEDALLIST;<br>
+HONORARY MEDALLIST OF THE CITY AND GUILDS OF LONDON INSTITUTE.</p>
+
+<p class="center allsmcap">EDITOR OF<br>
+“THE JOURNAL OF THE LEEDS UNIVERSITY TEXTILE STUDENTS’ ASSOCIATION”</p>
+
+<p class="p2 center sansserif allsmcap">WITH 39 COLOURED PLATES, CONTAINING 187 ILLUSTRATIONS<br>
+AND 280 FIGURES IN THE TEXT</p>
+
+<p class="p2 center"><i>SECOND EDITION, REWRITTEN AND ENLARGED,<br>
+WITH NUMEROUS ADDITIONAL ORIGINAL ILLUSTRATIONS</i></p>
+
+<p class="p4 center tall"><span class="larger">WHITTAKER &amp; CO.</span><br>
+2 WHITE HART STREET, PATERNOSTER SQUARE<br>
+LONDON, AND NEW YORK<br>
+1912</p>
+</div><!--end chapter-->
+<hr class="chap x-ebookmaker-drop">
+
+
+<div class="chapter">
+<p class="center taller">
+THIS NEW AND ENLARGED EDITION<br>
+IS DEDICATED TO THE MEMORY OF MY LATE FATHER<br>
+
+<span class="muchlarger">JOHN BEAUMONT,</span><br>
+
+PROFESSOR OF TEXTILE INDUSTRIES<br>
+THE YORKSHIRE COLLEGE, LEEDS,<br>
+1875-1889.
+</p>
+</div>
+<hr class="chap x-ebookmaker-drop">
+
+<p><span class="pagenum" id="Page_vi">[Pg vi]</span></p>
+<p>
+<span class="pagenum" id="Page_vii">[Pg vii]</span></p>
+
+<div class="chapter">
+  <h2 class="nobreak" id="PREFACE_TO_FIRST_EDITION">
+    PREFACE TO FIRST EDITION.
+  </h2>
+</div>
+
+<p class="unindent"><span class="smcap">Three</span> years ago the first edition of my work on <cite>Woollen and
+Worsted Cloth Manufacture</cite> appeared, and in the preface of the
+book I observed that should it be satisfactorily appreciated I
+would write other treatises on specific branches of textile
+designing and weaving.</p>
+
+<p>Partially in fulfilment of this promise, and partially because
+I have frequently been requested by designers, manufacturers,
+and students who have attended my lectures on textile colouring
+at Leeds, Huddersfield, and other places, to prepare a text-book
+on the application of colours to woven fabrics, this volume has
+been written, which, to use the hackneyed prefatory phrase, <em>is
+intended to meet a long-felt want</em>.</p>
+
+<p>Though there are several useful works on Colour—to wit, those
+of Chevreul, Rood, Benson, Hay, Field, Maxwell, and Guichard—dealing
+with its scientific phases, yet they can scarcely be said
+to lend that kind of help to the student of applied design that
+is needed; hence the necessity of this handbook, which is the
+first treatise published professing to treat exclusively of the
+colouring of woven styles.</p>
+
+<p>During the last fifteen years various efforts have been made
+to teach textile designing and manufacturing systematically,
+and to specify the principles which underlie the origination of
+pattern in the loom: what to some extent was, previously,
+haphazard work, inasmuch as there were no schools for teaching
+textile technology, and those apprenticed in the mill were
+<span class="pagenum" id="Page_viii">[Pg viii]</span>
+generally allowed to glean information as best they could, has
+now become an exact science. Colouring, however, though
+practically of primary importance in design, has not been so
+efficiently taught as some branches of textile manufacturing.
+The object of this book is, therefore, to supply as far as possible
+a complete scheme of textile colouring, and to demonstrate the
+methods of applying fancy shades to all descriptions of woven
+manufactures.</p>
+
+<p>Referring briefly to the plan of the book: In the early
+chapters the pigment and light theories of colour are expounded,
+and also the attributes and qualities of colours, and
+the laws of contrast and harmony. Subsequently, the technicalities
+characterizing woven colour combinations are analyzed
+<i lang="la">in extenso</i>.</p>
+
+<p>As the initiatory method of introducing tints and shades
+into fabrics consists in blending raw materials of divers colours,
+the art of mixing to obtain artistic mingled compositions is at
+the outset fully considered. This part of the subject is possibly
+of the first importance to those engaged in designing fancy
+tweeds and kindred classes of woollen goods.</p>
+
+<p>After having treated of the combination of shades in
+“blending,” reference is made to the principles of developing
+simple patterns by amalgamating warp and weft yarns. The
+various kinds of stripe, check, mixture, and figured effects, and
+the tinting of all types of single, backed, and double cloths, of
+combination patterns, of fabrics figured in the warp, in the
+weft, and in both warp and weft, are all treated of at length.
+Woollen, worsted, cotton, and silk fabrics, and the specific
+styles of colouring applicable to each, have also obtained
+detailed notice.</p>
+
+<p>Many of the patterns printed on the plates have been woven
+at the Yorkshire College under my supervision, and are now
+published for the first time; while the other figures, with the
+exception of a small number appearing in the <cite>Textile Recorder</cite>
+<span class="pagenum" id="Page_ix">[Pg ix]</span>
+in articles I have written for that journal, and which the
+Editor has kindly permitted me to use, have been specially
+prepared for this book. It need scarcely be observed that the
+coloured illustrations are unique, being exact representations of
+the woven textures.</p>
+
+<p>I have pleasure in acknowledging my indebtedness to my
+publishers, who have done all in their power to meet my
+wishes in the execution of the plates of woven samples.</p>
+
+<p class="right r2">
+  R. B.
+</p>
+<hr class="chap x-ebookmaker-drop">
+
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_xi">[Pg xi]</span></p>
+  <h2 class="nobreak" id="PREFACE_TO_SECOND_EDITION">
+    PREFACE TO SECOND EDITION.
+  </h2>
+</div>
+
+<p class="unindent"><span class="smcap">This</span> Work has been rewritten and enlarged. Numerous
+original illustrations have been added in the text and also
+to the coloured plates, which should enhance its value to
+the Textile Colourist, whether Student or Expert.</p>
+
+<p>A chapter has also been prepared on Colour Standardization,
+the scheme for which has been originated and
+developed in the Textile Industries Department of the
+Leeds University, under my supervision and in collaboration
+with Mr Thos. Hollis, Lecturer in Yarn
+Manufacture.</p>
+
+<p>In reading the proof sheets, I acknowledge the help of
+Miss Clara Benton, of the Clothworkers’ Museum of the
+University.</p>
+
+<p>I am indebted to my Publishers for the regard and
+consideration they have had to my wishes in the preparation
+of the Book.</p>
+
+<p class="right r2">
+  R. B.
+</p>
+
+<p>
+<span class="smcap">University of Leeds</span>,<br>
+<span class="m1">1911</span>.
+</p>
+<hr class="chap x-ebookmaker-drop">
+
+
+<div class="chapter">
+<span class="pagenum" id="Page_xiii">[Pg xiii]</span>
+  <h2 class="nobreak" id="CONTENTS">
+    CONTENTS.
+  </h2>
+</div>
+
+<p class="center">
+CHAPTER <abbr title="One">I.</abbr><br>
+<br>
+<span class="allsmcap">THEORIES OF COLOUR.</span>
+</p>
+
+<p class="right muchsmaller">
+  PAGE
+</p>
+
+<div class="r4">
+<p class="hanging">1. Elements of Woven Pattern—2. Occurrence and Utility of Colour in Loom
+Productions—3. Treatment of Colour in Relation to Textiles—4. Methods
+of Using Colour in Textiles—5. Colour Phenomena—6. Analysis of Light—7.
+Utility of Prismatic Experiments—8. Schemes of Colouring—9.
+Primary Colours—10. Compound Colours—11. The Three Constants of
+Colour—12. Temperature of Colours</p>
+</div>
+<p class="pneg right"><a href="#Page_1">1-19</a></p>
+
+<p class="p2 center">
+CHAPTER <abbr title="Two">II.</abbr><br>
+<br>
+<span class="allsmcap">ATTRIBUTES OF COLOURS.</span>
+</p>
+
+<div class="r4">
+<p class="hanging">13. Utility of a Knowledge of the Qualities of Colours—14. Qualifications of
+the Textile Colourist—15. Functions of Pure Colours in Design—16. Red:
+its Characteristics—17. Methods of Modifying Colours—18. Derivatives of
+Red: their Qualities and their Province in Textiles—19. Blue: its
+Properties and Uses—20. Derivatives of Blue and their Application to
+Woven Textures—21. Shades and Tints of Blue mixed with Shaded and
+Tinted Reds and Yellows—22. Methods of obtaining Well-balanced
+Colourings—23. Uses of Blue in Twist Yarns—24. Points in the Application
+of Blue and Red to Textiles Summarized—25. Attributes of Yellow—26.
+Province of Yellow in Woven Fabrics—27. Derivatives of Yellow—28.
+Secondary Colours—29. Green: its Attributes and Derivatives—30.
+Tints of Green—31. Orange: its Shades and Tints—32. Purple</p>
+</div>
+<p class="pneg right"><a href="#Page_20">20-41</a></p>
+
+
+<p class="p2 center">
+CHAPTER <abbr title="Three">III.</abbr><br>
+<br>
+<span class="allsmcap">CONTRAST AND HARMONY.</span>
+</p>
+
+<div class="r4">
+<p class="hanging">33. Colours Affected by Adjacent Colours—34. How Colours are Changed by
+Juxtaposition—35. Contrast—36. Examples in Contrasts—37. Economic
+Contrasts—38. Two Kinds of Contrasts—39. Poly-chromatic Contrasts—40.
+Mono-chromatic Contrasts—41. Toned and Tinted Contrasts—42. Comparison
+of Contrasts by Shade and Contrasts by Colour—43. Shaded and
+Tinted Compositions—44. Bright Colour Contrasts Modified with Black
+and White—45. Successive and Simultaneous Colour Effects—46. Methods
+of Neutralizing the Effects of Strong Colour Contrasts—47. Harmony—48.
+Principles of Harmony</p>
+</div>
+<p class="pneg right"><a href="#Page_42">42-59</a></p>
+
+
+<p class="p2 center">
+CHAPTER <abbr title="Four">IV.</abbr><br>
+<br>
+<span class="allsmcap">COLOUR STANDARDIZATION.</span>
+</p>
+
+<div class="r4">
+<p class="hanging">49. Objects of Standardization in Colouring—50. Systems of Colour Standardization—51.
+Standardization by Selected Colours—52. Analysis of Standardization
+Scheme, Plate XII.—53. Use of Standards in Blending—54. Applications
+of the Scheme</p>
+</div>
+<p class="pneg right"><a href="#Page_60">60-65</a></p>
+
+
+<p class="p2 center">
+<span class="pagenum" id="Page_xiv">[Pg xiv]</span>
+CHAPTER <abbr title="Five">V.</abbr><br>
+<br>
+<span class="allsmcap">MIXTURES.</span>
+</p>
+
+<div class="r4">
+<p class="hanging">55. Varieties of Mixture Patterns—56. Elements of Mixture Colouring—57.
+Importance of Pure Materials—58. Several Classes of Mixtures Compared—59.
+Simple Blends—60. Blends of Wools and Pigments Compared—61.
+Modes of Testing Composition of Colours—62. Mixtures composed of two
+Shades—63. Compounds of two Colours in which White is used—64. Illustrations
+in Mixtures composed of White and a second Colour—65. Mixtures
+composed of Black and another Colour—66. Grey Mixtures—67. Bloomed
+Greys—68. Coloured Greys—69. Two-Coloured Mixtures—70. Multi-Shaded
+Mixtures—71. Twist Yarn Mixtures—72. Marls—73. Weave
+Mixtures</p>
+</div>
+<p class="pneg right"><a href="#Page_66">66-91</a></p>
+
+
+<p class="p2 center">
+CHAPTER <abbr title="Six">VI.</abbr><br>
+<br>
+<span class="allsmcap">ELEMENTS OF TEXTILE COLOURING—STRIPES.</span>
+</p>
+
+<div class="r4">
+<p class="hanging">74. Colours applied to Textiles on Various Systems—75. Types of Woven
+Colouring—76. Single Weave Colourings—77. Colour in relation to
+Backed, Double, and Compound Cloths—78. Colour applied to Single-make
+Figured Cloths—79. Fancy Shades applied to Backed and Double
+Weave Combination Designs—80. Colour in Designs in which the Figures
+are produced by the Weft Yarns—81. Figured Effects obtained by Warp
+Colouring—82. Colour in Textiles Figured by both Warp and Weft Yarns—83.
+Pattern Design—84. Styles due to Colouring only—85. Stripes—86.
+Checks—87. Mixtures—88. Figures—89. Classes of Striped Patterns—90.
+Hairlines—91. Compound Hairlines—92. Stripes composed of
+Longitudinal and Transverse Lines—93. Stripes composed of Two
+Colours—94. Stripes composed of Three or more Colours—95.
+Irregular Stripes composed of Black and White Yarns—96. Irregular
+and Indefinite Stripes in Two Colours—97. Irregular Stripes—Shades in
+Two Colours—98. Shaded Stripes in Two Colours—99. Irregular Stripes
+containing several Colours—100. Shaded Stripes in several Colours</p>
+</div>
+<p class="pneg right"><a href="#Page_92">92-118</a></p>
+
+
+<p class="p2 center">
+CHAPTER <abbr title="Seven">VII.</abbr><br>
+<br>
+<span class="allsmcap">CHECK PATTERNS.</span>
+</p>
+
+<div class="r4">
+<p class="hanging">101. Utility of Check Styles—102. Principles of Checking—103. Several Styles
+of Checks. <span class="smcap">Checks composed of Two Colours</span>—104. Forms of Checking
+in Two Shades—105. Common Check—106. Modification of Common
+Check—107. Check consisting of Two Sizes of Squares—108. Pattern composed
+of Solid Squares and of an Over-check—109. Counter-change Check—110.
+Compound Checking—111. Gradated Check—112. Broken Check
+in Two Colours—113. Basket Check. <span class="smcap">Checks composed of Three or
+more Colours</span>—114. Principle of Checking with Three Colours—115.
+Ordinary Three-shade Check—116. Set Check—117. Compound Checking
+in Three Shades—118. Counter-change Check in Three Shades—119. Interchanging
+Check—120. Counter-change with Over-check. <span class="smcap">Shaded and
+Irregular Checks</span>—121. Shaded Check in Black and White Cassimere
+Twill—122. Shaded Cheek in Two Colours due to using Designs composed
+of Various Weaves—123. Irregular and Mixture Checks—124. Fancy
+Broken Check—125. Examples in the Colouring of Tartans—126. Types of
+Tartans—127. Two-colour Plaids—128. Three-colour Plaids-129. Four-colour
+Plaids—130. Five-, Six-, and Seven-colour Plaids</p>
+</div>
+<p class="pneg right"><a href="#Page_119">119-158</a></p>
+
+
+<p class="p2 center">
+CHAPTER <abbr title="Eight">VIII.</abbr><br>
+<br>
+<span class="allsmcap">SIMPLE COLOURINGS.</span>
+</p>
+
+<div class="r4">
+<p class="hanging">131. Simple and Compound Colourings—132. Regular Simple Colourings—133.
+One-and-One and Two-and-Two Systems—134. Figured Styles in
+Common Weaves and One-and-One Colouring—135. Utility of the One-and-One
+<span class="pagenum" id="Page_xv">[Pg xv]</span>
+Principle in Figured Textiles—136. One-and-One and Two-and-Two
+Colourings in Fancy Weaves—137. Three-and-Three Colouring—138. Four-and-Four
+Arrangement—139. Four-and-Four Method applied to Fancy
+Weaves—140. Six-and-Six and Eight-and-Eight Schemes—141. Six-and-Six
+Colouring in Various Crossings—142. Three-Odd-Thread Arrangement—143.
+Various Three-Shade Patterns—144. Simple Colourings, composed
+of Four Shades—145. Irregular Simple Colourings—146. Irregular Simple
+Patterns of Two Shades—147. “Irregulars” composed of Three Shades—148.
+“Irregulars” composed of Four Shades—149. Cross Wefting</p>
+</div>
+<p class="pneg right"><a href="#Page_159">159-191</a></p>
+
+
+<p class="p2 center">
+CHAPTER <abbr title="Nine">IX.</abbr><br>
+<br>
+<span class="allsmcap">COMPOUND COLOURINGS.</span>
+</p>
+
+<div class="r4">
+<p class="hanging">150. Compounds—151. Compounds composed of Three Types of Elementary
+Colouring—152. Results of Combining Simple Colourings—153. Compounds
+and Weave Combinations compared—154. Utility of a Practical
+Acquaintance with the Woven Effects of Simple Colourings—155. Compound
+Patterns subjective to the Nature of the Fabrics Manufactured—156.
+Types of Compounds—157. Compounds composed of Two Simple
+Types—158. Patterns composed of Two Types and Three Shades—159.
+Styles of Four Shades containing Two Simple Types—160. Styles composed
+of Three Simple Types—161. Irregular Compounds</p>
+</div>
+<p class="pneg right"><a href="#Page_192">192-219</a></p>
+
+
+<p class="p2 center">
+CHAPTER X.<br>
+<br>
+<span class="allsmcap">FANCY SHADES APPLIED TO SPECIAL DESIGNS.</span>
+</p>
+
+<div class="r4">
+<p class="hanging">162. Colour applied to Special Makes—163. Colouring of Corkscrews—164.
+Modified Corkscrews—165. Fancy Woollen Weaves—166. Granite Effects—167.
+Diagonals—168. Diagonals composed of Plain and Double Plain
+Makes—169. Stripe and Check Colourings on Diagonals—170. Methods of
+Colouring Fancy Weaves for Cottons or Silks—171. Gauze Textures—172.
+Systems of Colouring Gauzes—173. Imitation or Mock Gauzes—174. Colour
+in relation to Rib or Cord Styles</p>
+</div>
+<p class="pneg right"><a href="#Page_220">220-243</a></p>
+
+
+<p class="p2 center">
+CHAPTER <abbr title="Eleven">XI.</abbr><br>
+<br>
+<span class="allsmcap">COLOURING OF COMBINATION DESIGNS.</span>
+</p>
+
+<div class="r4">
+<p class="hanging">175. Principles of Colouring Weave-Combinations—176. Examples in Colouring
+Compound Designs—177. Main Points in applying Shades to Weave-Combinations—178.
+Examples in Drafted Patterns—179. Designs composed
+of Two Prunelle Twills—180. Drafted Designs composed of Two Four-Shaft
+Weaves—181. Styles composed of Prunelle and Cassimere Twills—182.
+Combinations composed of two-, Six-, Seven-, Eight-, and Nine-Shaft
+Weaves—183. Drafted Designs composed of Three or More Weaves—184.
+Fancy Stripe Combinations—185. Irregular Woollen Weave Combinations—186.
+Cotton Stripes—187. Colouring of Designs containing several Weaves
+of Varied Construction—188. Figured Designs striped in the Warp</p>
+</div>
+<p class="pneg right"><a href="#Page_243">243-266</a></p>
+
+
+<p class="p2 center">
+CHAPTER <abbr title="Twelve">XII.</abbr><br>
+<br>
+<span class="allsmcap">SPOTTED EFFECTS.</span>
+</p>
+
+<div class="r4">
+<p class="hanging">189. Varieties of Spotted Fabrics—190. Spots due to Specific Systems of Weaving—191.
+Swansdown Twill Spotted—192. Spots composed of [3/1] and
+[1/3] Twills—193. Weave-spotting produced by both Floats of Warp
+and Weft—194. Irregular Spotted Stripes and Checks—195. Spots developed
+by single Extra Warp threads—196. Fabrics Spotted with Single Picks of
+<span class="pagenum" id="Page_xvi">[Pg xvi]</span>
+Weft—197. Mat Weaves Spotted—198. Corkscrew Weaves with Extra
+Spotting Picks—199. Spotted Diagonals—200. Warp and Weft Spots
+compared—201. Spotting in both Warp and Weft—202. Advantages of
+the Warp and Weft Methods of Spotting—203. Yarns used for Spotting—204.
+Spotted Effects in Ordinary Weaves—205. Application of Fancy
+Yarns to Compound Weaves</p>
+</div>
+<p class="pneg right"><a href="#Page_267">267-292</a></p>
+
+
+<p class="p2 center">
+CHAPTER <abbr title="Thirteen">XIII.</abbr><br>
+<br>
+<span class="allsmcap">COLOURING OF DOUBLE WEAVES AND REVERSIBLES.</span>
+</p>
+
+<div class="r4">
+<p class="hanging">206. Principles of Double Cloth Colouring—207. Styles of Colour Effects
+obtained in Double Weaves—208. Double Plains—209. Classification of
+Double Plain Stripes—210. Double Plain Stripes in Two Shades—211.
+Two-Shade Stripes Warped Irregularly—212. Styles in Three Colours—213.
+Double Plains combined with other Weaves—214. Intermingled
+Double Plain Compounds—215. Reversibles—216. Methods of Colouring
+Double Plain Reversibles—217. Colouring of Figured Designs containing
+Double Plain and other Weaves—218. Reversibles arranged Two and One—219.
+Figured Compound Weave Patterns—220. Compound Colourings in
+Compound Weaves—221. Colouring of Double Cloths, such as Golf Cloakings
+and Rugs</p>
+</div>
+<p class="pneg right"><a href="#Page_293">293-318</a></p>
+
+
+<p class="p2 center">
+CHAPTER <abbr title="Fourteen">XIV.</abbr><br>
+<br>
+<span class="allsmcap">FIGURED TEXTILES COLOURED IN THE WARP.</span>
+</p>
+
+<div class="r4">
+<p class="hanging">222. Methods of Colouring Figured Fabrics—223. Special Elements of
+Ornamental Woven Design—224. Art and Technique—225. Styles of
+Figured Fabrics Coloured in the Warp—226. Cotton Quilting Fabrics—227.
+Ornamental Characteristics of Quilting Designs—228. Attributes of
+Plush Fabrics—229. Origin of Velvet Weaving—230. Velvets, Compound
+in Structure—231. Two Classes of Plush Fabrics—232. Warp Plushes—233.
+Methods of securing the Pile—234. Analysis of the Process of Velvet
+or Warp Plush Weaving—235. Colouring of Warp Plushes and Figured
+Velvets—236. Brussels and Tapestry Carpets compared—237. How the
+Pattern is developed in Brussels—238. Structure of Pile Carpets</p>
+</div>
+<p class="pneg right"><a href="#Page_319">319-334</a></p>
+
+
+<p class="p2 center">
+CHAPTER <abbr title="Fifteen">XV.</abbr><br>
+<br>
+<span class="allsmcap">WEFT-COLOURED FIGURED FABRICS—CURL TEXTURES.</span>
+</p>
+
+<div class="r4">
+<p class="hanging">239. Warp and Weft Colouring compared—240. Classes of Designs Coloured in
+the Weft—241. Designs in which the Pattern is a product of the Ground
+Weft—242. Extra-Weft Styles—243. Vestings—244. Vestings with one
+Extra Weft—245. Two-Cover Vestings—246. Four-Cover Styles—247.
+Honeycomb Vestings—248. Two-Cover Colouring—249. Four-Cover Designing—250.
+Paisley Shawl Colouring—251. Compound-Weft Reversibles—252.
+Warp and Weft Coloured Figuring—253. Curls, Textiles of the
+Astrakhan Group—254. Four Types of Curled Effects—255. Curls obtained
+by Wires—256. Process of Weaving Curls produced by Wires—257. Curls
+formed by the Weft in which the Warp is Cotton—258. The Weave of
+Weft Curls—259. Structure of Weft-Curl Fabrics—260. Operation of
+Cutting after Weaving—261. Curls developed by Milling—262. Points
+of dissimilarity in the various Builds of Curled Textures—263. Two kinds
+of Curls developed by Milling—264. Spiral Threads used for Warp—265.
+Variety of Pattern in Spiral-Warp Curls due to Colour—266. Twist-Yarn
+Cotton Warp Curls—267. Backed Weaves for Curled Cloths—268.
+Essential Characteristics of Cotton Warp Curls due to Milling—269.
+Examples in Designs for Cotton Warp Curls</p>
+</div>
+<p class="pneg right"><a href="#Page_335">335-367</a></p>
+
+
+<p class="unindent">
+  <span class="smcap">Index</span><span class="righttext"><a href="#Page_368">368</a></span>
+</p>
+<hr class="chap x-ebookmaker-drop">
+
+
+<div class="chapter">
+<span class="pagenum" id="Page_xvii">[Pg xvii]</span>
+  <h2 class="nobreak" id="LIST_OF_COLOURED_PLATES">
+    LIST OF COLOURED PLATES.
+  </h2>
+</div>
+
+<table>
+<tr><td class="tdc muchsmaller">PLATE</td>
+    <td class="tdr muchsmaller" colspan="2">TO FACE PAGE</td></tr>
+
+<tr><td class="tdr pad3"><abbr title="One">I.</abbr></td>
+    <td class="tdl">A = Spectrum</td>
+    <td class="tdr"><a href="#plate01">10</a></td></tr>
+
+<tr><td></td>
+    <td class="tdh">B = Spectrum resultant from viewing a strip of black on a white
+         surface through a prism.</td>
+    <td></td></tr>
+
+<tr><td class="tdr pad3"><abbr title="Two">II.</abbr></td>
+    <td class="tdh">Spectral colouring of fabrics</td>
+    <td class="tdr"><a href="#plate02a">16</a></td></tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">1. Woven-design specimen.</td></tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">2. Printed-yarn &emsp; „ </td></tr>
+
+<tr><td class="tdr vlt pad3"><abbr title="Three">III.</abbr></td>
+    <td class="tdl">Primary, secondary, and tertiary colours</td>
+    <td class="tdr"><a href="#plate03">22</a></td></tr>
+
+<tr><td class="tdr pad3"><abbr title="Four">IV.</abbr></td>
+    <td class="tdl">Tones and tints of the “primaries”</td>
+    <td class="tdr"><a href="#plate04">28</a></td></tr>
+
+<tr><td class="tdr vlt pad3"><abbr title="Five">V.</abbr></td>
+    <td class="tdl">Plaid in which yellow is the bright overchecking colour</td>
+    <td class="tdr"><a href="#plate05">34</a></td></tr>
+
+<tr><td class="tdr pad3"><abbr title="Six">VI.</abbr></td>
+    <td class="tdl">Tones and tints of the “secondaries”</td>
+    <td class="tdr"><a href="#plate06">40</a></td>
+</tr>
+
+<tr><td class="tdr pad3"><abbr title="Seven">VII.</abbr></td>
+    <td class="tdl">1. Blue texture</td>
+    <td class="tdr"><a href="#plate07a">44</a></td>
+</tr>
+
+<tr><td></td>
+    <td class="tdl" colspan="2">2. Fancy-twist yarn specimen.</td></tr>
+
+<tr><td class="tdr pad3"><abbr title="Eight">VIII.</abbr></td>
+    <td class="tdl">Examples in colour contrasts</td>
+    <td class="tdr"><a href="#plate08a">50</a></td>
+</tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">1, 2. Stripes.</td></tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2"> &emsp; 3. Figuring in bright colours.</td></tr>
+
+<tr><td class="tdr pad3"><abbr title="Nine">IX.</abbr></td>
+    <td class="tdl">Mono-chromatic contrasts</td>
+    <td class="tdr"><a href="#plate09a">54</a></td>
+</tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">1. Contrasts in tone.</td></tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">2. <span class="hide">Cont</span>„<span class="hide">asts</span> „&thinsp; tints.</td></tr>
+
+<tr><td class="tdr pad3"><abbr title="Ten">X.</abbr></td>
+    <td class="tdl">Specimen of bright colouring in plaids</td>
+    <td class="tdr"><a href="#plate10">58</a></td>
+</tr>
+
+<tr><td class="tdr pad3"><abbr title="Eleven">XI.</abbr></td>
+    <td class="tdl">Red, green, and blue colouring</td>
+    <td class="tdr"><a href="#plate11a">64</a></td>
+</tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">1. Figured pattern.</td></tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">2. Check <span class="hide">d pat</span>„</td></tr>
+
+<tr><td class="tdr vlt pad3"><abbr title="Twelve">XII.</abbr></td>
+    <td class="tdl">Chart of colour standardization scheme</td>
+    <td class="tdr"><a href="#plate12a">68</a></td>
+</tr>
+
+<tr><td class="tdr pad3"><abbr title="Thirteen">XIII.</abbr></td>
+    <td class="tdl">Blends of coloured wools</td>
+    <td class="tdr"><a href="#plate13">76</a></td>
+</tr>
+
+<tr><td class="tdr pad3"><abbr title="Fourteen">XIV.</abbr></td>
+    <td class="tdl">Specimens of marl yarns</td>
+    <td class="tdr"><a href="#plate14">90</a></td>
+</tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">Series <abbr title="One">I.</abbr> Greys.</td></tr>
+
+<tr><td></td>
+    <td class="tdl pad2" colspan="2"><abbr title="Two">II.</abbr> Colour.</td></tr>
+
+<tr><td class="tdr pad3"><abbr title="Fifteen">XV.</abbr></td>
+    <td class="tdl">Regular stripes</td>
+    <td class="tdr"><a href="#plate15a">104</a></td>
+</tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">1 and 2. Two-colour patterns.</td></tr>
+
+<tr><td></td>
+    <td class="tdl pad2" colspan="2">3. Four-colour pattern.</td></tr>
+
+<tr><td class="tdr pad3"><abbr title="Sixteen">XVI.</abbr></td>
+    <td class="tdl">Forms of irregular stripes</td>
+    <td class="tdr"><a href="#plate16a">112</a></td>
+</tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">1. Tennis stripe.</td></tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">2. Shaded&emsp;„</td></tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">3. Compound of ordinary and shaded stripes.</td></tr>
+
+<tr><td class="tdr pad3"><abbr title="Seventeen">XVII.</abbr></td>
+    <td class="tdl">Fancy tweeds</td>
+    <td class="tdr"><a href="#plate17">120</a></td>
+</tr>
+
+<tr><td class="tdr pad3"><abbr title="Eighteen">XVIII.</abbr></td>
+    <td class="tdl">Compound stripings in bright colours</td>
+    <td class="tdr"><a href="#plate18">126</a></td>
+</tr>
+
+<tr><td class="tdr pad3"><abbr title="Nineteen">XIX.</abbr></td>
+    <td class="tdl">Check styles</td>
+    <td class="tdr"><a href="#plate19a">134</a></td>
+</tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">1. Pattern in maroon and green.</td></tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">2. Compound check.</td></tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">3. Small interchanging check in fancy yarns.</td></tr>
+
+<tr><td class="tdr pad3"><abbr title="Twenty">XX.</abbr></td>
+    <td class="tdl">Check styles</td>
+    <td class="tdr"><a href="#plate20a">144</a></td>
+</tr>
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">1 and 3. Intermingled effects.</td></tr>
+<tr><td></td>
+    <td class="tdl pad2" colspan="2">2. Broken check.</td></tr>
+
+<tr><td class="tdr pad3"><abbr title="Twenty-one">XXI.</abbr></td>
+    <td class="tdl">Figuring in simple twills</td>
+    <td class="tdr"><a href="#plate21">166</a>
+<span class="pagenum" id="Page_xviii">[Pg xviii]</span></td></tr>
+
+<tr><td class="tdr vlt pad3"><abbr title="Twenty-two">XXII.</abbr></td>
+    <td class="tdl">Styles due to simple orders of colouring</td>
+    <td class="tdr"><a href="#plate22">190</a></td>
+</tr>
+
+<tr><td class="tdr pad3"><abbr title="Twenty-three">XXIII.</abbr></td>
+    <td class="tdl">Check and stripe patterns</td>
+    <td class="tdr"><a href="#plate23a">228</a></td>
+</tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">1 and 2. Checks.</td></tr>
+
+<tr><td></td>
+    <td class="tdl pad2" colspan="2">3. Gauze stripe.</td></tr>
+
+<tr><td></td>
+    <td class="tdl pad2" colspan="2">4. Cord or rib stripes.</td></tr>
+
+<tr><td class="tdr pad3"><abbr title="Twenty-four">XXIV.</abbr></td>
+    <td class="tdl">Colouring of drafted styles</td>
+    <td class="tdr"><a href="#plate24a">252</a></td>
+</tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">1. Weave compound—prunelle and [2\2] twills.</td></tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">2. <span class="hide">We</span>„<span class="hide">e com</span>„<span class="hide">ound —</span> [1\3], [3\1], and [2\2] twills.</td></tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">3. <span class="hide">We</span>„<span class="hide">e com</span>„<span class="hide">ound —</span>„<span class="hide">[1\3], [3</span>„ twist-warp yarns.</td></tr>
+
+<tr><td class="tdr pad3"><abbr title="Twenty-five">XXV.</abbr></td>
+    <td class="tdl">Fancy yarns</td>
+    <td class="tdr"><a href="#plate25a">262</a></td>
+</tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">1. Ordinary folded or two-ply and three-ply yarns.</td></tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">2. Flake and cloud twists.</td></tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">3. Curl twists.</td></tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">4. Gimp   „</td></tr>
+
+<tr><td class="tdr pad3"><abbr title="Twenty-six">XXVI.</abbr></td>
+    <td class="tdl">Fancy yarn colourings</td>
+    <td class="tdr"><a href="#plate26a">272</a></td>
+</tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">1. Donegal tweed.</td></tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">2. Compound-weave worsted.</td></tr>
+
+<tr><td class="tdr pad3"><abbr title="Twenty-seven">XXVII.</abbr></td>
+    <td class="tdl">Colouring with curl and knop yarns</td>
+    <td class="tdr"><a href="#plate27a">280</a></td>
+</tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">1. Twill weave.</td></tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">2. Small figure.</td></tr>
+
+<tr><td class="tdr pad3"><abbr title="Twenty-eight">XXVIII.</abbr></td>
+    <td class="tdl">Costume colouring in fancy yarns</td>
+    <td class="tdr"><a href="#plate28">288</a></td>
+</tr>
+
+<tr><td class="tdr pad3"><abbr title="Twenty-nine">XXIX.</abbr></td>
+    <td class="tdl">Reversible knop-twist yarn pattern</td>
+    <td class="tdr"><a href="#plate29">296</a></td>
+</tr>
+
+<tr><td class="tdr pad3"><abbr title="Thirty">XXX.</abbr></td>
+    <td class="tdl">Double-plain styles</td>
+    <td class="tdr"><a href="#plate30a">304</a></td>
+</tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">1, 2, 3. Stripe patterns.</td></tr>
+
+<tr><td></td>
+    <td class="tdl pad2" colspan="2">4. Figured shawl.</td></tr>
+
+<tr><td class="tdr pad3"><abbr title="Thirty-one">XXXI.</abbr></td>
+    <td class="tdl">Various double-plain designs</td>
+    <td class="tdr"><a href="#plate31a">308</a></td>
+</tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">1. Warped and wefted one-and-one.</td></tr>
+
+<tr><td></td>
+    <td class="tdh2">2, 3 and 4. System of warp colouring coinciding with the weave
+              construction.</td>
+    <td></td></tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">5. Irregular warp and weft colouring.</td></tr>
+
+<tr><td class="tdr pad3"><abbr title="Thirty-two">XXXII.</abbr></td>
+    <td class="tdl">Reversible double-weave fabrics</td>
+    <td class="tdr"><a href="#plate32a">314</a></td>
+</tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">1. Double plain—velvet finish.</td></tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">2. Double twill.</td></tr>
+
+<tr><td class="tdr pad3"><abbr title="Thirty-three">XXXIII.</abbr></td>
+    <td></td>
+    <td class="tdr"><a href="#plate33">320</a></td>
+</tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">1. Vesting.</td></tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">2. Reversible golf cloaking.</td></tr>
+
+<tr><td class="tdr pad3"><abbr title="Thirty-four">XXXIV.</abbr></td>
+    <td class="tdl">Extra-warp colouring</td>
+    <td class="tdr"><a href="#plate34a">324</a></td>
+</tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">1. Stripe style.</td></tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">2. Quilting texture.</td></tr>
+
+<tr><td class="tdr vlt pad3"><abbr title="Thirty-five">XXXV.</abbr></td>
+    <td class="tdl">Colouring of figured fabrics in the warp</td>
+    <td class="tdr"><a href="#plate35a">330</a></td>
+</tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">1. Old vesting design (quilting).</td></tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">2. Cut and uncut pile pattern.</td></tr>
+
+<tr><td class="tdr pad3"><abbr title="Thirty-six">XXXVI.</abbr></td>
+    <td class="tdl">Figured-pile specimen, sateen ground</td>
+    <td class="tdr"><a href="#plate36">334</a></td>
+</tr>
+
+<tr><td class="tdr pad3 vlt"><abbr title="Thirty-seven">XXXVII.</abbr></td>
+    <td class="tdh">Figured and spotted fabrics (extra-weft colouring)</td>
+    <td class="tdr"><a href="#plate37">340</a></td>
+</tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">1. Chintzed.</td></tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">2 and 4. Extra-weft spotting.</td></tr>
+
+<tr><td></td>
+    <td class="tdl pad1" colspan="2">3. Extra weft.</td></tr>
+
+<tr><td class="tdr pad3"><abbr title="Thirty-eight">XXXVIII.</abbr></td>
+    <td class="tdl">1. Honeycomb</td>
+    <td class="tdr"><a href="#plate38">348</a></td>
+</tr>
+
+<tr><td></td>
+    <td class="tdl" colspan="2">2. Pine figuring.</td></tr>
+
+<tr><td class="tdr pad3 vlt"><abbr title="Thirty-nine">XXXIX.</abbr></td>
+    <td class="tdh">Figured styles developed in warp and weft colourings</td>
+    <td class="tdr"><a href="#plate39">360</a></td>
+</tr>
+</table>
+<hr class="chap x-ebookmaker-drop">
+
+
+<div class="chapter">
+<span class="pagenum" id="Page_xix">[Pg xix]</span>
+  <h2 class="nobreak" id="LIST_OF_FIGURES">
+    LIST OF FIGURES.
+  </h2>
+</div>
+
+<table>
+<tr><td class="tdc muchsmaller" colspan="2">FIG.</td>
+    <td></td>
+    <td class="tdr muchsmaller" colspan="2">PAGE.</td></tr>
+
+<tr><td class="tdr vlt">1</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Weave design, effect of</td>
+    <td class="tdr vlb"><a href="#fig1">2</a></td></tr>
+<tr><td class="tdr">1</td>
+    <td class="tdl"><span class="allsmcap">A.</span></td>
+    <td></td>
+    <td class="tdh2">Weave design</td>
+    <td class="tdr vlb"><a href="#fig1a">2</a></td></tr>
+<tr><td class="tdr vlt">2</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Prismatic experiment</td>
+    <td class="tdr vlb"><a href="#fig2">8</a></td></tr>
+<tr><td class="tdr vlt">3</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Design for prismatic experiment</td>
+    <td class="tdr vlb"><a href="#fig3">10</a></td></tr>
+<tr><td class="tdr vlt">4</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Lambert’s experiment</td>
+    <td class="tdr vlb"><a href="#fig4">14</a></td></tr>
+<tr><td class="tdr vlt">5</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2"><i>A</i>, <i>B</i>, <i>C</i>. One-and-one colouring effects in the plain weave</td>
+    <td class="tdr vlb"><a href="#fig5a">98</a></td></tr>
+<tr><td class="tdr vlt">5</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2"><i>D</i>, <i>E</i>, <i>F</i>. One-and-one colouring effects in the [2\2] twill</td>
+    <td class="tdr vlb"><a href="#fig5b">98</a></td></tr>
+<tr><td class="tdr vlt">6</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Hairline pattern in [3/1] twill</td>
+    <td class="tdr vlb"><a href="#fig6-7">105</a></td></tr>
+<tr><td class="tdr vlt">7</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Hairline pattern in [3/1] twill, fine and broad effects</td>
+    <td class="tdr pad1"><a href="#fig6-7">105</a></td></tr>
+<tr><td class="tdr vlt">8</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Hairline pattern in mat weaves</td>
+    <td class="tdr vlb"><a href="#fig8-9">106</a></td></tr>
+<tr><td class="tdr vlt">9</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Hairline and broken effect in [3/1] and [2\2] twills</td>
+    <td class="tdr vlb"><a href="#fig8-9">106</a></td></tr>
+<tr><td class="tdr vlt">10</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Vertical and transverse lines or stripes</td>
+    <td class="tdr vlb"><a href="#fig10">107</a></td></tr>
+<tr><td class="tdr vlt">11</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2"><i>A</i>, <i>B</i>, <i>C</i>, <i>D</i>, <i>E</i>, and <i>F</i>. Stripe patterns in two shades</td>
+    <td class="tdr vlb"><a href="#fig11">108</a></td></tr>
+<tr><td class="tdr vlt">12</td>
+    <td class="tdl vlt">.</td>
+     <td></td>
+   <td class="tdh2"><i>A</i>, <i>B</i>, <i>C</i>, <i>D</i>, <i>E</i>, and <i>F</i>. Stripe patterns in three shades</td>
+    <td class="tdr vlb"><a href="#fig12">109</a></td></tr>
+<tr><td class="tdr vlt">13</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Line patterns in warp face weaves</td>
+    <td class="tdr vlb"><a href="#fig13">110</a></td></tr>
+<tr><td class="tdr">13</td>
+    <td class="tdl"><span class="allsmcap">A.</span></td>
+    <td></td>
+    <td class="tdh2">Ten-shaft whip cord</td>
+    <td class="tdr vlb"><a href="#fig13a">111</a></td></tr>
+<tr><td class="tdr vlt">14</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Compound stripe of two sets of lines</td>
+    <td class="tdr vlb"><a href="#fig14">111</a></td></tr>
+<tr><td class="tdr vlt">14</td>
+    <td class="tdl vlt"><span class="allsmcap">A.</span></td>
+    <td></td>
+    <td class="tdh2">Compound stripe of several sets of lines of different width in three shades</td>
+    <td class="tdr vlb"><a href="#fig14a">112</a></td></tr>
+
+<tr><td class="tdc pad4" colspan="5"><span class="smcap">Principles of Checking.</span></td></tr>
+
+<tr><td class="tdr vlt">15</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Common check</td>
+    <td class="tdr vlb"><a href="#fig15">123</a></td></tr>
+<tr><td class="tdr vlt">16</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Common check modified</td>
+    <td class="tdr vlb"><a href="#fig16">123</a></td></tr>
+<tr><td class="tdr vlt">17</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Check composed of two sizes of squares</td>
+    <td class="tdr vlb"><a href="#fig17">124</a></td></tr>
+<tr><td class="tdr vlt">18</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Check composed of two sizes of squares modified</td>
+    <td class="tdr vlb"><a href="#fig18">124</a></td></tr>
+<tr><td class="tdr vlt">19</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Overcheck</td>
+    <td class="tdr vlb"><a href="#fig19">125</a></td></tr>
+<tr><td class="tdr vlt">20</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Overcheck modified</td>
+    <td class="tdr vlb"><a href="#fig20">125</a></td></tr>
+<tr><td class="tdr vlt">21</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Counter-change check</td>
+    <td class="tdr vlb"><a href="#fig21">126</a></td></tr>
+<tr><td class="tdr vlt">22</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">[4\4] and [8\8] check</td>
+    <td class="tdr vlb"><a href="#fig22">126</a></td></tr>
+<tr><td class="tdr vlt">23</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Graduated check</td>
+    <td class="tdr vlb"><a href="#fig23">127</a></td></tr>
+<tr><td class="tdr vlt">24</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Common three-colour check</td>
+    <td class="tdr vlb"><a href="#fig24">130</a></td></tr>
+<tr><td class="tdr vlt">25</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">“Set” check</td>
+    <td class="tdr vlb"><a href="#fig25">132</a></td></tr>
+<tr><td class="tdr vlt">26</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">“Set” check modified</td>
+    <td class="tdr vlb"><a href="#fig26">132</a></td></tr>
+<tr><td class="tdr vlt">27</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Compound checking in three colours</td>
+    <td class="tdr vlb"><a href="#fig27">133</a></td></tr>
+<tr><td class="tdr vlt">28</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Compound checking in three colours modified</td>
+    <td class="tdr vlb"><a href="#fig28">133</a></td></tr>
+<tr><td class="tdr vlt">29</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Counter-change check in three colours</td>
+    <td class="tdr vlb"><a href="#fig29">134</a></td></tr>
+<tr><td class="tdr vlt">30</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Three-colour interchanging check</td>
+    <td class="tdr vlb"><a href="#fig30">134</a></td></tr>
+<tr><td class="tdr vlt">31</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Three-colour interchanging check modified</td>
+    <td class="tdr vlb"><a href="#fig31">136</a></td></tr>
+<tr><td class="tdr vlt">32</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Shaded check</td>
+    <td class="tdr vlb"><a href="#fig32">137</a></td></tr>
+<tr><td class="tdr vlt">33</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Weave shaded check</td>
+    <td class="tdr vlb"><a href="#fig33">140</a></td></tr>
+<tr><td class="tdr vlt">34</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Weave shaded check reverse section</td>
+    <td class="tdr vlb"><a href="#fig34">141</a></td></tr>
+<tr><td class="tdr vlt">35</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Shaded figured style</td>
+    <td class="tdr vlb"><a href="#fig35">142</a></td></tr>
+<tr><td class="tdr vlt">35</td>
+    <td class="tdl vlt"><span class="allsmcap">A.</span></td>
+    <td></td>
+    <td class="tdh2">Shaded figured style section of weave design for</td>
+    <td class="tdr vlb"><a href="#fig35a">143</a></td></tr>
+
+<tr><td class="tdc pad4" colspan="5"><span class="smcap">Tartans.</span></td></tr>
+
+<tr><td class="tdr vlt">36</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">The Menzies</td>
+    <td class="tdr vlb"><a href="#fig36">147</a></td></tr>
+<tr><td class="tdr vlt">37</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">The Menzies, modification of</td>
+    <td class="tdr vlb"><a href="#fig37">147</a></td></tr>
+<tr><td class="tdr vlt">38</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">The Montgomery</td>
+    <td class="tdr vlb"><a href="#fig38">148</a></td></tr>
+<tr><td class="tdr vlt">39</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">The Montgomery, <abbr title="One">I.</abbr> modification of</td>
+    <td class="tdr vlb"><a href="#fig39">148</a></td></tr>
+<tr><td class="tdr vlt">40</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">The Montgomery, <abbr title="Two">II.</abbr> modification of</td>
+    <td class="tdr vlb"><a href="#fig40">149</a></td></tr>
+<tr><td class="tdr vlt">41</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">The Douglas</td>
+    <td class="tdr vlb"><a href="#fig41">149</a></td></tr>
+<tr><td class="tdr vlt">42</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">The Douglas, <abbr title="One">I.</abbr> modification of</td>
+    <td class="tdr vlb"><a href="#fig42">149</a></td></tr>
+<tr><td class="tdr vlt">43</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">The Douglas, <abbr title="Two">II.</abbr> modification of</td>
+    <td class="tdr vlb"><a href="#fig43">149</a></td></tr>
+<tr><td class="tdr vlt">44</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">The Douglas, <abbr title="Two">II.</abbr>, modification of, in the [3\3] twill</td>
+    <td class="tdr vlb"><a href="#fig44">150</a></td></tr>
+<tr><td class="tdr vlt">45</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">The McQueen</td>
+    <td class="tdr vlb"><a href="#fig45">151</a></td></tr>
+<tr><td class="tdr vlt">46</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">The McQueen, <abbr title="One">I.</abbr> modification of</td>
+    <td class="tdr vlb"><a href="#fig46">152</a></td></tr>
+<tr><td class="tdr vlt">47</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">The McQueen, <abbr title="Two">II.</abbr> modification of</td>
+    <td class="tdr vlb"><a href="#fig47">152</a></td></tr>
+<tr><td class="tdr vlt">48</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">The Hamilton</td>
+    <td class="tdr vlb"><a href="#fig48">153</a></td></tr>
+<tr><td class="tdr vlt">49</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">The Maxwell</td>
+    <td class="tdr vlb"><a href="#fig49">153</a></td></tr>
+<tr><td class="tdr vlt">50</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">The Elliot</td>
+    <td class="tdr vlb"><a href="#fig50">154</a></td></tr>
+<tr><td class="tdr vlt">51</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">The McKinnon</td>
+    <td class="tdr vlb"><a href="#fig51">154</a></td></tr>
+<tr><td class="tdr vlt">52</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">The McKinnon, <abbr title="One">I.</abbr> modification of</td>
+    <td class="tdr vlb"><a href="#fig52">155</a></td></tr>
+<tr><td class="tdr vlt">53</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">The McKinnon, <abbr title="Two">II.</abbr> modification of</td>
+    <td class="tdr vlb"><a href="#fig53">155</a></td></tr>
+
+<tr><td class="tdr vlt">54</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">The Dundas</td>
+    <td class="tdr vlb"><a href="#fig54">155</a>
+<span class="pagenum" id="Page_xx">[Pg xx]</span></td></tr>
+<tr><td class="tdr vlt">55</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">The Dundas, <abbr title="One">I.</abbr> modification of</td>
+    <td class="tdr vlb"><a href="#fig55">155</a></td></tr>
+<tr><td class="tdr vlt">56</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">The Dundas, <abbr title="Two">II.</abbr> modification of</td>
+    <td class="tdr vlb"><a href="#fig56">156</a></td></tr>
+<tr><td class="tdr vlt">57</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">The Fraser</td>
+    <td class="tdr vlb"><a href="#fig57">156</a></td></tr>
+<tr><td class="tdr vlt">58</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">The Fraser, <abbr title="One">I.</abbr> modification of</td>
+    <td class="tdr vlb"><a href="#fig58">157</a></td></tr>
+<tr><td class="tdr vlt">59</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">The Fraser, <abbr title="Two">II.</abbr> modification of</td>
+    <td class="tdr vlb"><a href="#fig59">157</a></td></tr>
+
+<tr><td class="tdc pad4" colspan="5"><span class="smcap">Standard Elementary Colour
+Effects.</span></td></tr>
+
+<tr><td class="tdr vlt">60</td>
+    <td class="tdl vlt">.</td>
+    <td class="tdl">⎫</td>
+    <td class="tdh2" rowspan="2">Plain weaves</td>
+    <td class="tdr" rowspan="2"><a href="#fig60">162</a></td></tr>
+<tr><td class="tdr vlt">60</td>
+    <td class="tdl vlt"><span class="allsmcap">A</span>.</td>
+    <td class="tdl">⎭</td></tr>
+<tr><td class="tdr vlt">61</td>
+    <td class="tdl vlt">.</td>
+    <td class="tdl">⎫</td>
+    <td class="tdh2" rowspan="2">[2\2] twills</td>
+    <td class="tdr" rowspan="2"><a href="#fig60">162</a></td></tr>
+<tr><td class="tdr">61</td>
+    <td class="tdl vlt"><span class="allsmcap">A.</span></td>
+    <td class="tdl">⎭</td></tr>
+<tr><td class="tdr vlt">62</td>
+    <td class="tdl vlt">.</td>
+    <td class="tdl">⎫</td>
+    <td class="tdh2" rowspan="3">Two-and-two colour effects in the [2\2] twill</td>
+    <td class="tdr" rowspan="3"><a href="#fig62">163</a></td></tr>
+<tr><td class="tdr vlt">62</td>
+    <td class="tdl vlt"><span class="allsmcap">A.</span></td>
+    <td class="tdl">⎬</td></tr>
+<tr><td class="tdr vlt">62</td>
+    <td class="tdl vlt"><span class="allsmcap">B.</span></td>
+    <td class="tdl">⎭</td></tr>
+
+<tr><td class="tdr vlt">63</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Effect in the plain weave (bird’s-eye spot)</td>
+    <td class="tdr vlb"><a href="#fig63">164</a></td></tr>
+<tr><td class="tdr vlt">64</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Spotted design composed of plain weave</td>
+    <td class="tdr vlb"><a href="#fig64">165</a></td></tr>
+<tr><td class="tdr vlt">65</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Spotted design composed of plain weave, effect of colouring one-and-one</td>
+    <td class="tdr vlb"><a href="#fig65">166</a></td></tr>
+<tr><td class="tdr vlt">66</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Spotted design composed of [2\2] twill, effect of colouring one-and-one</td>
+    <td class="tdr vlb"><a href="#fig66">167</a></td></tr>
+<tr><td class="tdr vlt">67</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Spotted twill weave, effect in the fabric, one-and-one colouring in warp and weft</td>
+    <td class="tdr vlb"><a href="#fig67">168</a></td></tr>
+<tr><td class="tdr">67</td>
+    <td class="tdl vlt"><span class="allsmcap">A.</span></td>
+    <td></td>
+    <td class="tdh2">Spotted twill weave</td>
+    <td class="tdr vlb"><a href="#fig67a">168</a></td></tr>
+<tr><td class="tdr vlt">68</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Mat and twill weave, effect in the fabric, one-and-one colouring in warp and weft</td>
+    <td class="tdr vlb"><a href="#fig68">169</a></td></tr>
+<tr><td class="tdr">68</td>
+    <td class="tdl vlt"><span class="allsmcap">A.</span></td>
+    <td></td>
+    <td class="tdh2">Mat and twill weave</td>
+    <td class="tdr vlb"><a href="#fig68a">169</a></td></tr>
+<tr><td class="tdr vlt">69</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Checked weave, effect in the fabric, one-and-one colouring in warp and weft</td>
+    <td class="tdr vlb"><a href="#fig69">169</a></td></tr>
+<tr><td class="tdr">69</td>
+    <td class="tdl vlt"><span class="allsmcap">A.</span></td>
+    <td></td>
+    <td class="tdh2">Checked weave</td>
+    <td class="tdr vlb"><a href="#fig69a">169</a></td></tr>
+<tr><td class="tdr vlt">70</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">[2\2] mat design, effect in the fabric, two-and-two-colouring</td>
+    <td class="tdr vlb"><a href="#fig70">170</a></td></tr>
+<tr><td class="tdr">70</td>
+    <td class="tdl vlt"><span class="allsmcap">A.</span></td>
+    <td></td>
+    <td class="tdh2">[2\2]mat design</td>
+    <td class="tdr vlb"><a href="#fig70a">170</a></td></tr>
+<tr><td class="tdr vlt">71</td>
+    <td class="tdl vlt">.</td>
+    <td class="tdl">⎫</td>
+    <td class="tdh2" rowspan="3">Three-and-three colour effects in the [3\3] twill</td>
+    <td class="tdr" rowspan="3"><a href="#fig71">171</a></td></tr>
+<tr><td class="tdr">71</td>
+    <td class="tdl vlt"><span class="allsmcap">A.</span></td>
+    <td class="tdl">⎬</td></tr>
+<tr><td class="tdr vlt">71</td>
+    <td class="tdl vlt"><span class="allsmcap">B.</span></td>
+    <td class="tdl">⎭</td></tr>
+
+<tr><td class="tdr vlt">72</td>
+    <td class="tdl vlt">.</td>
+    <td class="tdl">⎫</td>
+    <td class="tdh2" rowspan="3">Four-and-four colour effects in the [2\2] twill</td>
+    <td class="tdr" rowspan="3"><a href="#fig72">171</a></td></tr>
+<tr><td class="tdr">72</td>
+    <td class="tdl vlt"><span class="allsmcap">A.</span></td>
+    <td class="tdl">⎬</td></tr>
+<tr><td class="tdr vlt">72</td>
+    <td class="tdl vlt"><span class="allsmcap">B.</span></td>
+    <td class="tdl">⎭</td></tr>
+<tr><td class="tdr vlt">73</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Four-and-four colouring in [2\2] mat</td>
+    <td class="tdr vlb"><a href="#fig73">172</a></td></tr>
+<tr><td class="tdr vlt">74</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Four-and-four colouring in weave 74<span class="allsmcap">A.</span></td>
+    <td class="tdr vlb"><a href="#fig74">172</a></td></tr>
+<tr><td class="tdr">74</td>
+    <td class="tdl vlt"><span class="allsmcap">A.</span></td>
+    <td></td>
+    <td class="tdh2">Fancy eight-shaft weave</td>
+    <td class="tdr vlb"><a href="#fig74a">172</a></td></tr>
+<tr><td class="tdr vlt">75</td>
+    <td class="tdl vlt">.</td>
+    <td class="tdl">⎫</td>
+    <td class="tdh2" rowspan="3">Six-and-six colour effects in the [3\3] twill</td>
+    <td class="tdr" rowspan="3"><a href="#fig75">174</a></td></tr>
+<tr><td class="tdr">75</td>
+    <td class="tdl vlt"><span class="allsmcap">A.</span></td>
+    <td class="tdl">⎬</td></tr>
+<tr><td class="tdr vlt">75</td>
+    <td class="tdl vlt"><span class="allsmcap">B.</span></td>
+    <td class="tdl">⎭</td></tr>
+<tr><td class="tdr vlt">76</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Eight-and-eight colouring in the [4\4] twill</td>
+    <td class="tdr vlb"><a href="#fig76">174</a></td></tr>
+<tr><td class="tdr vlt">77</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Six-and-six colouring in weave 77<span class="allsmcap">A</span></td>
+    <td class="tdr vlb"><a href="#fig77">175</a></td></tr>
+<tr><td class="tdr">77</td>
+    <td class="tdl vlt"><span class="allsmcap">A</span></td>
+    <td></td>
+    <td class="tdh2">Twelve-shaft irregular warp cord</td>
+    <td class="tdr vlb"><a href="#fig77a">175</a></td></tr>
+<tr><td class="tdr vlt">78</td>
+    <td class="tdl vlt">.</td>
+     <td></td>
+    <td class="tdh2">Star check (six-and-six colouring)</td>
+    <td class="tdr vlb"><a href="#fig78">175</a></td></tr>
+<tr><td class="tdr">78</td>
+    <td class="tdl vlt"><span class="allsmcap">A.</span></td>
+    <td></td>
+    <td class="tdh2">Weave for Fig. 78</td>
+    <td class="tdr vlb"><a href="#fig78a">175</a></td></tr>
+<tr><td class="tdr vlt">79</td>
+    <td class="tdl vlt">.</td>
+     <td></td>
+   <td class="tdh2">Three-odd thread colour effect in the [3\3] twill</td>
+    <td class="tdr vlb"><a href="#fig79">176</a></td></tr>
+<tr><td class="tdr vlt">80</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Three-odd thread colour effects in a [3\3] twill check design</td>
+    <td class="tdr vlb"><a href="#fig80">177</a></td></tr>
+<tr><td class="tdr">80</td>
+    <td class="tdl vlt"><span class="allsmcap">A.</span></td>
+    <td></td>
+    <td class="tdh2">Design for Fig. 80</td>
+    <td class="tdr vlb"><a href="#fig80a">177</a></td></tr>
+<tr><td class="tdr vlt">81</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Three-2’s colour effect in the [3\3] twill</td>
+    <td class="tdr vlb"><a href="#fig81">178</a></td></tr>
+<tr><td class="tdr vlt">82</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Three-3’s colour effect in the [3\3] twill</td>
+    <td class="tdr vlb"><a href="#fig82">178</a></td></tr>
+<tr><td class="tdr vlt">83</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Hairline in four shades in the [3\1] broken twill</td>
+    <td class="tdr vlb"><a href="#fig83">180</a></td></tr>
+<tr><td class="tdr vlt">84</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Four-2’s colour effect in the [2\2] twill</td>
+    <td class="tdr vlb"><a href="#fig84">181</a></td></tr>
+<tr><td class="tdr vlt">85</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Four-3’s colour effect in the [3\3] twill</td>
+    <td class="tdr vlb"><a href="#fig85">181</a></td></tr>
+<tr><td class="tdr vlt">86</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Four-2’s colour effect in the Mayo</td>
+    <td class="tdr vlb"><a href="#fig86">182</a></td></tr>
+<tr><td class="tdr">86</td>
+    <td class="tdl vlt"><span class="allsmcap">A.</span></td>
+    <td></td>
+    <td class="tdh2">Mayo weave</td>
+    <td class="tdr vlb"><a href="#fig86a">182</a></td></tr>
+<tr><td class="tdr vlt">87</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Four-and-one colour effect in the [3\2] twill</td>
+    <td class="tdr vlb"><a href="#fig87">184</a></td></tr>
+<tr><td class="tdr">87</td>
+    <td class="tdl vlt"><span class="allsmcap">A.</span></td>
+    <td></td>
+    <td class="tdh2">[3\2] twill</td>
+    <td class="tdr vlb"><a href="#fig87a">184</a></td></tr>
+<tr><td class="tdr">87</td>
+    <td class="tdl vlt"><span class="allsmcap">B.</span></td>
+    <td></td>
+    <td class="tdh2">Irregular checking in Fig. 87a</td>
+    <td class="tdr vlb"><a href="#fig87b">184</a></td></tr>
+<tr><td class="tdr vlt">88</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Six-and-two colour effect in a fancy mat weave</td>
+    <td class="tdr vlb"><a href="#fig88">185</a></td></tr>
+<tr><td class="tdr vlt">89</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Fancy eight-shaft mat</td>
+    <td class="tdr vlb"><a href="#fig89">185</a></td></tr>
+<tr><td class="tdr">89</td>
+    <td class="tdl vlt"><span class="allsmcap">A.</span></td>
+    <td></td>
+    <td class="tdh2">Weave for Fig. 89</td>
+    <td class="tdr vlb"><a href="#fig89a">185</a></td></tr>
+<tr><td class="tdr vlt">90</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Six-and-two colour effect in an irregular weave</td>
+    <td class="tdr vlb"><a href="#fig90">186</a></td></tr>
+<tr><td class="tdr">90</td>
+    <td class="tdl vlt"><span class="allsmcap">A.</span></td>
+    <td></td>
+    <td class="tdh2">Weave for Fig. 90</td>
+    <td class="tdr vlb"><a href="#fig90a">186</a></td></tr>
+<tr><td class="tdr vlt">91</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Irregular colour effect in an eight-shaft twill</td>
+    <td class="tdr vlb"><a href="#fig91">186</a></td></tr>
+<tr><td class="tdr">91</td>
+    <td class="tdl vlt"><span class="allsmcap">A.</span></td>
+    <td></td>
+    <td class="tdh2">Weave for Fig. 91</td>
+    <td class="tdr vlb"><a href="#fig91a">186</a></td></tr>
+<tr><td class="tdr vlt">92</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Two-two-and-one colour effect in the [3\2] twill</td>
+    <td class="tdr vlb"><a href="#fig92">186</a></td></tr>
+<tr><td class="tdr vlt">93</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Three-two-and-one colour effect in the [3\3] twill</td>
+    <td class="tdr vlb"><a href="#fig93">187</a></td></tr>
+<tr><td class="tdr vlt">94</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Six-four-and-two colour effect in the [3\3] twill</td>
+    <td class="tdr vlb"><a href="#fig94">187</a></td></tr>
+<tr><td class="tdr vlt">95</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Six-four-and-two colour effect in the [2\2] mat</td>
+    <td class="tdr vlb"><a href="#fig95">187</a></td></tr>
+<tr><td class="tdr vlt">96</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Twelve-shaft fancy twill</td>
+    <td class="tdr vlb"><a href="#fig96">187</a></td></tr>
+<tr><td class="tdr vlt">97</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Irregular colour effect in four shades in Fig. 96</td>
+    <td class="tdr vlb"><a href="#fig97">188</a>
+    <span class="pagenum" id="Page_xxi">[Pg xxi]</span></td></tr>
+<tr><td class="tdr vlt">98</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Irregular colour effect in four shades in ordinary twill</td>
+    <td class="tdr vlb"><a href="#fig98">188</a></td></tr>
+<tr><td class="tdr vlt">99</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Irregular colour effect in four shades in the Mayo</td>
+    <td class="tdr vlb"><a href="#fig99">189</a></td></tr>
+<tr><td class="tdr vlt">100</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Shaded check in four shades</td>
+    <td class="tdr vlb"><a href="#fig100">189</a></td></tr>
+<tr><td class="tdr">100</td>
+    <td class="tdl vlt"><span class="allsmcap">A.</span></td>
+    <td></td>
+    <td class="tdh2">Weave for Fig. 100</td>
+    <td class="tdr vlb"><a href="#fig100a">189</a></td></tr>
+<tr><td class="tdr vlt">101</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">A series of elementary colour patterns in [2\2] twill and mat</td>
+    <td class="tdr vlb"><a href="#fig101">190</a></td></tr>
+
+<tr><td class="tdc pad4" colspan="5"><span class="smcap">Examples in Compound Colourings.</span></td></tr>
+
+<tr><td class="tdr vlt">102</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Regular compound check, 2-and-2 and 1-and-1 colouring, [2\2] twill</td>
+    <td class="tdr vlb"><a href="#fig102">193</a></td></tr>
+<tr><td class="tdr vlt">103</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Regular compound check, 4-and-4, 2-and-2, and 1-and-1 colouring, [2\2] twill</td>
+    <td class="tdr vlb"><a href="#fig103">195</a></td></tr>
+<tr><td class="tdr vlt">104</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Regular compound stripe, 4-and-4 and 8-and-8 colouring, light weft, [2\2] twill</td>
+    <td class="tdr vlb"><a href="#fig104">203</a></td></tr>
+<tr><td class="tdr vlt">105</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Regular compound stripe, 4-and-4 and 8-and-8 colouring, dark weft, [2\2] twill</td>
+    <td class="tdr vlb"><a href="#fig105">203</a></td></tr>
+<tr><td class="tdr vlt">106</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Regular compound check, 4-and-4 and 8-and-8 colouring, [2\2] twill</td>
+    <td class="tdr vlb"><a href="#fig106">204</a></td></tr>
+<tr><td class="tdr vlt">107</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Regular compound stripe, 1-1-and-1 and 2-2-and-2 colouring, light weft, [2\2] twill</td>
+    <td class="tdr vlb"><a href="#fig107">204</a></td></tr>
+<tr><td class="tdr vlt">108</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Regular compound check, 1-1-and-1 and 2-2-and-2 colouring, [2\2] twill</td>
+    <td class="tdr vlb"><a href="#fig108">204</a></td></tr>
+<tr><td class="tdr vlt">109</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Regular compound stripe, 3-3-and-3 and 6-6-and-6 colouring, dark weft, [2\2] twill</td>
+    <td class="tdr vlb"><a href="#fig109">207</a></td></tr>
+<tr><td class="tdr vlt">110</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Regular compound stripe, 3-3-and-3 and 6-6-and-6 colouring, light weft, [2\2] twill</td>
+    <td class="tdr vlb"><a href="#fig110">207</a></td></tr>
+<tr><td class="tdr vlt">111</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Regular compound check, 3-3-and-3 and 6-6-and-6, [2\2] twill</td>
+    <td class="tdr vlb"><a href="#fig111">208</a></td></tr>
+<tr><td class="tdr vlt">112</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Regular compound stripe, 3-3-3-and-3 and 6-6-6-and-6 colouring, dark weft, [2\2] twill</td>
+    <td class="tdr vlb"><a href="#fig112">209</a></td></tr>
+<tr><td class="tdr vlt">113</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Regular compound stripe, 3-3-3-and-3 and 6-6-6-and-6 colouring, light weft, [2\2] twill</td>
+    <td class="tdr vlb"><a href="#fig113">209</a></td></tr>
+<tr><td class="tdr vlt">114</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Regular compound check, 3-3-3-and-3 and 6-6-6-and-6, [2\2] twill</td>
+    <td class="tdr vlb"><a href="#fig114">210</a></td></tr>
+<tr><td class="tdr vlt">115</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Regular compound stripe, 1-1-and-1, 2-2-and-2, and 4-4-and 4 colouring, light weft, [2\2] twill</td>
+    <td class="tdr vlb"><a href="#fig115">211</a></td></tr>
+<tr><td class="tdr vlt">116</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Regular compound stripe, 1-1-and-1, 2-2-and-2, and 4-4-and-4 colouring, dark weft, [2\2] twill</td>
+    <td class="tdr vlb"><a href="#fig116">211</a></td></tr>
+<tr><td class="tdr vlt">117</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Regular compound check, 1-1-and-1, 2-2-and-2, and 4-4-and-4, [2\2] twill</td>
+    <td class="tdr vlb"><a href="#fig117">211</a></td></tr>
+<tr><td class="tdr vlt">117</td>
+    <td class="tdl vlt"><span class="allsmcap">A.</span></td>
+    <td></td>
+    <td class="tdh2">Regular compound check, 1-1-and-1, 2-2-and-2, and 4-4-and-4, [2\2] mat</td>
+    <td class="tdr vlb"><a href="#fig117a">213</a></td></tr>
+<tr><td class="tdr vlt">118</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Irregular compound stripe, 2-and-1 and 4-and-2, dark weft, [2\2] twill</td>
+    <td class="tdr vlb"><a href="#fig118">215</a></td></tr>
+<tr><td class="tdr vlt">119</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Irregular compound check, 2-and-1 and 4-and-2 colouring, [2\2] twill</td>
+    <td class="tdr vlb"><a href="#fig119">215</a></td></tr>
+<tr><td class="tdr vlt">120</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Irregular compound stripe, 6-4-and-2 and 3-and-3, dark weft, [3\3] twill</td>
+    <td class="tdr vlb"><a href="#fig120">216</a></td></tr>
+<tr><td class="tdr vlt">121</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Irregular compound check, 6-4-and-2 and 3-and-3, [3\3] twill</td>
+    <td class="tdr vlb"><a href="#fig121">216</a></td></tr>
+<tr><td class="tdr vlt">122</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Irregular compound check, 3-and-3 and 4-and-2 colouring, [3\3] twill</td>
+    <td class="tdr vlb"><a href="#fig122">217</a></td></tr>
+<tr><td class="tdr vlt">123</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Irregular compound check, 3-and-3 and 2-1-1-and-2 colouring, [3\3] twill</td>
+    <td class="tdr vlb"><a href="#fig123">217</a></td></tr>
+<tr><td class="tdr vlt">124</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Irregular compound check, 3-and-3 and 2-1-1-and-2 colouring, differently grouped, [3\3] twill</td>
+    <td class="tdr vlb"><a href="#fig124">218</a></td></tr>
+
+<tr><td class="tdc pad4" colspan="5"><span class="smcap">Illustrative of Colouring Specific
+Weaves and Designs.</span></td></tr>
+
+<tr><td class="tdr vlt">125</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Corkscrew weave, colour effect in</td>
+    <td class="tdr vlb"><a href="#fig125">222</a></td></tr>
+<tr><td class="tdr vlt">126</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Corkscrew weave, colour effect in broad stripe</td>
+    <td class="tdr vlb"><a href="#fig126-127">224</a></td></tr>
+<tr><td class="tdr vlt">127</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Corkscrew weave, colour effect in angled stripe</td>
+    <td class="tdr vlb"><a href="#fig126-127">224</a></td></tr>
+<tr><td class="tdr vlt">128</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Modified corkscrew weave</td>
+    <td class="tdr vlb"><a href="#fig128">225</a>
+    <span class="pagenum" id="Page_xxii">[Pg xxii]</span></td></tr>
+<tr><td class="tdr vlt">129</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Pattern obtained in Fig. 128</td>
+    <td class="tdr vlb"><a href="#fig129">225</a></td></tr>
+<tr><td class="tdr vlt">130</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">(Upper section) Check produced in fancy weave</td>
+    <td class="tdr vlb"><a href="#fig130">226</a></td></tr>
+<tr><td class="tdr vlt">130</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">(Lower section) Pattern due to Fig. 132</td>
+    <td class="tdr vlb"><a href="#fig130">226</a></td></tr>
+<tr><td class="tdr vlt">131</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Weave for Fig. 130 (upper section)</td>
+    <td class="tdr vlb"><a href="#fig131">226</a></td></tr>
+<tr><td class="tdr vlt">132</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Warp and weft cord and prunelle twill design</td>
+    <td class="tdr vlb"><a href="#fig132">228</a></td></tr>
+<tr><td class="tdr vlt">133</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Diagonal pattern in single- and double-plain weaves</td>
+    <td class="tdr vlb"><a href="#fig133">230</a></td></tr>
+<tr><td class="tdr vlt">134</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Section of design for Fig. 133</td>
+    <td class="tdr vlb"><a href="#fig134">231</a></td></tr>
+<tr><td class="tdr vlt">135</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Striped spotted design</td>
+    <td class="tdr vlb"><a href="#fig135">233</a></td></tr>
+<tr><td class="tdr vlt">136</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Wave or zig-zag effect</td>
+    <td class="tdr vlb"><a href="#fig136">233</a></td></tr>
+<tr><td class="tdr vlt">137</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Section of gauze and plain-woven pattern</td>
+    <td class="tdr vlb"><a href="#fig137">234</a></td></tr>
+<tr><td class="tdr vlt">138</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Gauze structure (photo-micrograph)</td>
+    <td class="tdr vlb"><a href="#fig138">235</a></td></tr>
+<tr><td class="tdr vlt">139</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Plan for gauze twill and plain stripe</td>
+    <td class="tdr vlb"><a href="#fig139">235</a></td></tr>
+<tr><td class="tdr vlt">140</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Healding draft for Figs. 139 and 140</td>
+    <td class="tdr vlb"><a href="#fig140">235</a></td></tr>
+<tr><td class="tdr vlt">141</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Similar to Fig. 139</td>
+    <td class="tdr vlb"><a href="#fig141">235</a></td></tr>
+<tr><td class="tdr vlt">142</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Fancy gauze and ordinary weave compound</td>
+    <td class="tdr vlb"><a href="#fig142">236</a></td></tr>
+<tr><td class="tdr vlt">143</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Mock gauze stripe design</td>
+    <td class="tdr vlb"><a href="#fig143">239</a></td></tr>
+<tr><td class="tdr vlt">144</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Mock gauze check</td>
+    <td class="tdr vlb"><a href="#fig144">240</a></td></tr>
+<tr><td class="tdr vlt">144</td>
+    <td class="tdl vlt"><span class="allsmcap">A.</span></td>
+    <td></td>
+    <td class="tdh2">Structure of mock gauze (photo-micrograph)</td>
+    <td class="tdr vlb"><a href="#fig144a">240</a></td></tr>
+<tr><td class="tdr vlt">144</td>
+    <td class="tdl vlt"><span class="allsmcap">B.</span></td>
+    <td></td>
+    <td class="tdh2">Weave for Fig. 144<span class="allsmcap">A</span></td>
+    <td class="tdr vlb"><a href="#fig144b">241</a></td></tr>
+<tr><td class="tdr vlt">145</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Cord stripe. Weaves, weft cord, and whip cord twills</td>
+    <td class="tdr vlb"><a href="#fig145">241</a></td></tr>
+<tr><td class="tdr vlt">146</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Cord stripe. Weaves, weft cords and buckskin twill</td>
+    <td class="tdr vlb"><a href="#fig146">242</a></td></tr>
+
+<tr><td class="tdc pad4" colspan="5"><span class="smcap">Colour Effects in Compound
+Weave Designs.</span></td></tr>
+
+<tr><td class="tdr vlt">147</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Figured pattern in [2\2] twill and double-plain weaves</td>
+    <td class="tdr vlb"><a href="#fig147">247</a></td></tr>
+<tr><td class="tdr vlt">148</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Section of design for Fig. 147</td>
+    <td class="tdr vlb"><a href="#fig148">248</a></td></tr>
+<tr><td class="tdr vlt">149</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Woven effect of Figs. 150 and 151</td>
+    <td class="tdr vlb"><a href="#fig152">250</a></td></tr>
+<tr><td class="tdr vlt">150</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Compound design [1\2], [2\1] and [2\2] twills</td>
+    <td class="tdr vlb"><a href="#fig150h">250</a></td></tr>
+<tr><td class="tdr vlt">151</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Healding draft for Fig. 153</td>
+    <td class="tdr vlb"><a href="#fig151">251</a></td></tr>
+<tr><td class="tdr vlt">152</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Woven effect of Figs. 153 and 154</td>
+    <td class="tdr vlb"><a href="#fig152">250</a></td></tr>
+<tr><td class="tdr vlt">153</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Compound design, small twill weaves reversed</td>
+    <td class="tdr vlb"><a href="#fig153">251</a></td></tr>
+<tr><td class="tdr vlt">154</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Healding draft for Fig. 153</td>
+    <td class="tdr vlb"><a href="#fig154">252</a></td></tr>
+<tr><td class="tdr vlt">155</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Compound check design, [2\2] twill weave reversed</td>
+    <td class="tdr vlb"><a href="#fig155">252</a></td></tr>
+<tr><td class="tdr vlt">156</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Healding draft for Fig. 155</td>
+    <td class="tdr vlb"><a href="#fig156">253</a></td></tr>
+<tr><td class="tdr vlt">157</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Six-and-three colour effect in Fig. 158</td>
+    <td class="tdr vlb"><a href="#fig157">255</a></td></tr>
+<tr><td class="tdr vlt">158</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Stripe design composed of [3\3] mat and a broken mat</td>
+    <td class="tdr vlb"><a href="#fig158">255</a></td></tr>
+<tr><td class="tdr vlt">159</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Healding draft for Fig. 160</td>
+    <td class="tdr vlb"><a href="#fig159">257</a></td></tr>
+<tr><td class="tdr vlt">160</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Compound style in [2\2], [3\1], and [1\3] twills</td>
+    <td class="tdr vlb"><a href="#fig160">258</a></td></tr>
+<tr><td class="tdr vlt">161</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Stripe design consisting of a seven-shaft diagonal reversed</td>
+    <td class="tdr vlb"><a href="#fig161">259</a></td></tr>
+<tr><td class="tdr vlt">162</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Stripe design consisting of warp and weft cord effects on a plain weave ground</td>
+    <td class="tdr vlb"><a href="#fig162">260</a></td></tr>
+<tr><td class="tdr vlt">163</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Stripe design consisting of thirteen-shaft weaves</td>
+    <td class="tdr vlb"><a href="#fig163">260</a></td></tr>
+<tr><td class="tdr vlt">164</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Stripe design consisting of fancy weaves</td>
+    <td class="tdr vlb"><a href="#fig164">262</a></td></tr>
+<tr><td class="tdr vlt">165</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Stripe design consisting of sixteen-shaft twilled mat and other weaves</td>
+    <td class="tdr vlb"><a href="#fig165">263</a></td></tr>
+<tr><td class="tdr vlt">166</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Compound of warp and weft corkscrews and whip cord weaves</td>
+    <td class="tdr vlb"><a href="#fig166">263</a></td></tr>
+<tr><td class="tdr vlt">167</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Wave pattern, sateen ground</td>
+    <td class="tdr vlb"><a href="#fig167">265</a></td></tr>
+<tr><td class="tdr">167</td>
+    <td class="tdl vlt"><span class="allsmcap">A.</span></td>
+    <td></td>
+    <td class="tdh2">Design for Fig. 167</td>
+    <td class="tdr vlb"><a href="#fig167a">265</a></td></tr>
+
+<tr><td class="tdc pad4" colspan="5"><span class="smcap">Colouring of Spotted Designs.</span></td></tr>
+<tr><td class="tdr vlt">168</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Angled [2\2] twill spotted pattern</td>
+    <td class="tdr vlb"><a href="#fig168">268</a></td></tr>
+<tr><td class="tdr vlt">169</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Effect of Fig. 168</td>
+    <td class="tdr vlb"><a href="#fig169">269</a></td></tr>
+<tr><td class="tdr vlt">170</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Spotted warp twill</td>
+    <td class="tdr vlb"><a href="#fig170">269</a></td></tr>
+<tr><td class="tdr vlt">171</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Spotted warp twill</td>
+    <td class="tdr vlb"><a href="#fig171">270</a></td></tr>
+<tr><td class="tdr vlt">172</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Spotted effect in [3\1] broken twill ground</td>
+    <td class="tdr vlb"><a href="#fig172">271</a></td></tr>
+<tr><td class="tdr vlt">173</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Spotted effect in [2\2], [3\1], and [1\3] twills</td>
+    <td class="tdr vlb"><a href="#fig173">271</a></td></tr>
+<tr><td class="tdr vlt">174</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Spotted effect in [3\1] and [1\3] broken twills</td>
+    <td class="tdr vlb"><a href="#fig174">271</a></td></tr>
+<tr><td class="tdr vlt">175</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Stripe spotted design</td>
+    <td class="tdr vlb"><a href="#fig175">272</a></td></tr>
+<tr><td class="tdr vlt">176</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Method of grouping “spots”</td>
+    <td class="tdr vlb"><a href="#fig176">272</a></td></tr>
+<tr><td class="tdr vlt">177</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Irregular distribution of “spots”</td>
+    <td class="tdr vlb"><a href="#fig177">273</a></td></tr>
+<tr><td class="tdr">177</td>
+    <td class="tdl vlt"><span class="allsmcap">A.</span></td>
+    <td></td>
+    <td class="tdh2">Pattern for Fig. 177</td>
+    <td class="tdr vlb"><a href="#fig177a">274</a></td></tr>
+<tr><td class="tdr vlt">178</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Warp and weft spotting on a plain ground (small effects)</td>
+    <td class="tdr vlb"><a href="#fig178">274</a></td></tr>
+<tr><td class="tdr vlt">179</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Warp and weft spotting on a plain ground (broad effects)</td>
+    <td class="tdr vlb"><a href="#fig179">275</a></td></tr>
+<tr><td class="tdr vlt">180</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Warp and weft spotting on a twill ground</td>
+    <td class="tdr vlb"><a href="#fig180">276</a></td></tr>
+<tr><td class="tdr vlt">181</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Warp and weft spotting to form checks</td>
+    <td class="tdr vlb"><a href="#fig181">278</a></td></tr>
+<tr><td class="tdr vlt">182</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Pattern for Fig. 181</td>
+    <td class="tdr vlb"><a href="#fig182">278</a></td></tr>
+<tr><td class="tdr vlt">183</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Single-thread warp spotting</td>
+    <td class="tdr vlb"><a href="#fig183">280</a></td></tr>
+<tr><td class="tdr vlt">184</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Single-pick weft spotting (corkscrew twill)</td>
+    <td class="tdr vlb"><a href="#fig184">281</a></td></tr>
+<tr><td class="tdr vlt">185</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Single-pick weft spotting (mat ground)</td>
+    <td class="tdr vlb"><a href="#fig185">283</a></td></tr>
+<tr><td class="tdr vlt">186</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Modification of Fig. 184</td>
+    <td class="tdr vlb"><a href="#fig186">283</a></td></tr>
+<tr><td class="tdr vlt">187</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Warp-backed design, single-pick spotted</td>
+    <td class="tdr vlb"><a href="#fig187">283</a></td></tr>
+<tr><td class="tdr vlt">188</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Diagonal single-pick spotted</td>
+    <td class="tdr vlb"><a href="#fig188">284</a>
+    <span class="pagenum" id="Page_xxiii">[Pg xxiii]</span></td></tr>
+<tr><td class="tdr vlt">189</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Single-thread and single-pick spotting</td>
+    <td class="tdr vlb"><a href="#fig189">285</a></td></tr>
+
+<tr><td class="tdc pad4" colspan="5"><span class="smcap">Compound Weave Colouring.</span></td></tr>
+
+<tr><td class="tdr vlt">190</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Double-plain stripe, thread-and-thread colouring</td>
+    <td class="tdr vlb"><a href="#fig190">299</a></td></tr>
+<tr><td class="tdr vlt">191</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Double-plain stripe, thread-and-thread colouring</td>
+    <td class="tdr vlb"><a href="#fig191">299</a></td></tr>
+<tr><td class="tdr vlt">192</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Double-plain stripe, weaves cutting</td>
+    <td class="tdr vlb"><a href="#fig192">299</a></td></tr>
+<tr><td class="tdr vlt">193</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Double-plain stripe, warp colouring fitting with weave structure</td>
+    <td class="tdr vlb"><a href="#fig193">301</a></td></tr>
+<tr><td class="tdr vlt">194</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Double-plain stripe in three colours</td>
+    <td class="tdr vlb"><a href="#fig194">301</a></td></tr>
+<tr><td class="tdr vlt">195</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Double-plain stripe in three colours</td>
+    <td class="tdr vlb"><a href="#fig195">302</a></td></tr>
+<tr><td class="tdr vlt">196</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Compound design, double-plain and warp-twill weave</td>
+    <td class="tdr vlb"><a href="#fig196">302</a></td></tr>
+<tr><td class="tdr vlt">197</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Double-plain check</td>
+    <td class="tdr vlb"><a href="#fig197">304</a></td></tr>
+<tr><td class="tdr vlt">198</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Figured reversible design</td>
+    <td class="tdr vlb"><a href="#fig198">306</a></td></tr>
+<tr><td class="tdr vlt">199</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Figured reversible design</td>
+    <td class="tdr vlb"><a href="#fig199">308</a></td></tr>
+<tr><td class="tdr vlt">200</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Figured reversible design double-plain and [2\2] twill weaves</td>
+    <td class="tdr vlb"><a href="#fig200">309</a></td></tr>
+<tr><td class="tdr vlt">201</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Double-weave reversible 2-and-1 principle</td>
+    <td class="tdr vlb"><a href="#fig201">310</a></td></tr>
+<tr><td class="tdr vlt">202</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Double-twill figuring</td>
+    <td class="tdr vlb"><a href="#fig202">312</a></td></tr>
+<tr><td class="tdr vlt">203</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Double-weave vesting</td>
+    <td class="tdr vlb"><a href="#fig203">313</a></td></tr>
+<tr><td class="tdr vlt">204</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Double-twill, warp stitched for golf cloaking</td>
+    <td class="tdr vlb"><a href="#fig204">316</a></td></tr>
+<tr><td class="tdr vlt">205</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Check golf cloaking pattern</td>
+    <td class="tdr vlb"><a href="#fig205">317</a></td></tr>
+<tr><td class="tdr vlt">205</td>
+    <td class="tdl vlt"><span class="allsmcap">A.</span></td>
+    <td></td>
+    <td class="tdh2">Weave for Fig. 205, centre-warp stitched</td>
+    <td class="tdr vlb"><a href="#fig205a">316</a></td></tr>
+
+<tr><td class="tdc pad4" colspan="5"><span class="smcap">Principles of Colouring in the
+Warp.</span></td></tr>
+
+<tr><td class="tdr vlt">206</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Warp-figured design</td>
+    <td class="tdr vlb"><a href="#fig206">322</a></td></tr>
+<tr><td class="tdr vlt">207</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Extra-warp figuring</td>
+    <td class="tdr vlb"><a href="#fig207">323</a></td></tr>
+<tr><td class="tdr">207</td>
+    <td class="tdl vlt"><span class="allsmcap">A.</span></td>
+    <td></td>
+    <td class="tdh2">Section for Fig. 207</td>
+    <td class="tdr vlb"><a href="#fig207a">323</a></td></tr>
+<tr><td class="tdr vlt">208</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Warp-pile structure</td>
+    <td class="tdr vlb"><a href="#fig208">329</a></td></tr>
+<tr><td class="tdr vlt">209</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Weave structure for three-colour warp pile</td>
+    <td class="tdr vlb"><a href="#fig209">331</a></td></tr>
+<tr><td class="tdr vlt">210</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Section of three-colour pile fabric</td>
+    <td class="tdr vlb"><a href="#fig210">334</a></td></tr>
+
+<tr><td class="tdc pad4" colspan="5"><span class="smcap">Principles of Colouring in The
+Weft-Curl Fabrics.</span></td></tr>
+
+<tr><td class="tdr vlt">211</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Ordinary principle of weft figuring</td>
+    <td class="tdr vlb"><a href="#fig211">338</a></td></tr>
+<tr><td class="tdr vlt">212</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Extra-weft colouring</td>
+    <td class="tdr vlb"><a href="#fig212">338</a></td></tr>
+<tr><td class="tdr vlt">213</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Section design for Fig. 212</td>
+    <td class="tdr vlb"><a href="#fig213">339</a></td></tr>
+<tr><td class="tdr vlt">214</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Rib or cord stripe, extra weft coloured</td>
+    <td class="tdr vlb"><a href="#fig214">342</a></td></tr>
+<tr><td class="tdr vlt">215</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Spotted vesting, extra weft colouring</td>
+    <td class="tdr vlb"><a href="#fig215">342</a></td></tr>
+<tr><td class="tdr vlt">216</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Diagonal design, extra weft colouring</td>
+    <td class="tdr vlb"><a href="#fig216">343</a></td></tr>
+<tr><td class="tdr vlt">217</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Section of four-cover vesting design</td>
+    <td class="tdr vlb"><a href="#fig217">344</a></td></tr>
+<tr><td class="tdr vlt">218</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Honeycomb weave</td>
+    <td class="tdr vlb"><a href="#fig218">345</a></td></tr>
+<tr><td class="tdr vlt">219</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Honeycomb fabric</td>
+    <td class="tdr vlb"><a href="#fig219">346</a></td></tr>
+<tr><td class="tdr vlt">220</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Honeycomb striped design</td>
+    <td class="tdr vlb"><a href="#fig220">346</a></td></tr>
+<tr><td class="tdr vlt">221</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Figured pattern, sateen ground</td>
+    <td class="tdr vlb"><a href="#fig221">347</a></td></tr>
+<tr><td class="tdr vlt">222</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Section of pine figuring, four extra wefts</td>
+    <td class="tdr vlb"><a href="#fig222">348</a></td></tr>
+<tr><td class="tdr vlt">223</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Pine figuring, Border style</td>
+    <td class="tdr vlb"><a href="#fig223">350</a></td></tr>
+<tr><td class="tdr vlt">224</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Section of Paisley shawl design</td>
+    <td class="tdr vlb"><a href="#fig224">351</a></td></tr>
+<tr><td class="tdr vlt">225</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Section of two-ply weft reversible fabric</td>
+    <td class="tdr vlb"><a href="#fig225">352</a></td></tr>
+<tr><td class="tdr vlt">226</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Weave for Fig. 227</td>
+    <td class="tdr vlb"><a href="#fig226">352</a></td></tr>
+<tr><td class="tdr vlt">227</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Design for a reversible fabric</td>
+    <td class="tdr vlb"><a href="#fig227">352</a></td></tr>
+<tr><td class="tdr vlt">228</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Three-shade weft coloured reversible</td>
+    <td class="tdr vlb"><a href="#fig228">353</a></td></tr>
+<tr><td class="tdr vlt">229</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Three-ply weft weave, four-shaft</td>
+    <td class="tdr vlb"><a href="#fig229">354</a></td></tr>
+<tr><td class="tdr vlt">230</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Three-ply weft weave, six-shaft</td>
+    <td class="tdr vlb"><a href="#fig230">354</a></td></tr>
+<tr><td class="tdr vlt">231</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Weft figuring on a warp cord ground</td>
+    <td class="tdr vlb"><a href="#fig231">355</a></td></tr>
+<tr><td class="tdr vlt">232</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Figuring in solid weft floats and bold warp cord on a rep ground</td>
+    <td class="tdr vlb"><a href="#fig232">356</a></td></tr>
+<tr><td class="tdr vlt">233</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Section of pile fabrics</td>
+    <td class="tdr vlb"><a href="#fig233">357</a></td></tr>
+<tr><td class="tdr vlt">234</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Section of pile fabrics, (cut)</td>
+    <td class="tdr vlb"><a href="#fig234">359</a></td></tr>
+<tr><td class="tdr vlt">235</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Section of pile fabrics, long curl effect (cut)</td>
+    <td class="tdr vlb"><a href="#fig235">359</a></td></tr>
+<tr><td class="tdr vlt">236</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Section of pile fabrics, long curl effect (uncut)</td>
+    <td class="tdr vlb"><a href="#fig236">360</a></td></tr>
+<tr><td class="tdr vlt">237</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Feather trimming textures</td>
+    <td class="tdr vlb"><a href="#fig237">361</a></td></tr>
+<tr><td class="tdr vlt">238</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Weft curl weave</td>
+    <td class="tdr vlb"><a href="#fig238">364</a></td></tr>
+<tr><td class="tdr vlt">239</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Striped curl pattern</td>
+    <td class="tdr vlb"><a href="#fig239">365</a></td></tr>
+<tr><td class="tdr vlt">240</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Weave design for Fig. 239</td>
+    <td class="tdr vlb"><a href="#fig240">365</a></td></tr>
+<tr><td class="tdr vlt">241</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Irregular “curl”</td>
+    <td class="tdr vlb"><a href="#fig241">366</a></td></tr>
+<tr><td class="tdr vlt">242</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Weave design for Fig. 241</td>
+    <td class="tdr vlb"><a href="#fig242">366</a></td></tr>
+<tr><td class="tdr vlt">243</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">“Curl” in two colours of weft</td>
+    <td class="tdr vlb"><a href="#fig243">367</a></td></tr>
+<tr><td class="tdr vlt">244</td>
+    <td class="tdl vlt">.</td>
+    <td></td>
+    <td class="tdh2">Design for two-colour weft “curl”</td>
+    <td class="tdr vlb"><a href="#fig244">367</a></td></tr>
+</table>
+<hr class="chap x-ebookmaker-drop">
+
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_xxiv">[Pg xxiv]</span></p>
+  <h2 class="nobreak" id="TABLES">
+    TABLES.
+  </h2>
+</div>
+
+<table>
+<tr><td class="tdr muchsmaller" colspan="3">PAGE</td></tr>
+
+<tr><td class="tdr vlt"><abbr title="One">I.</abbr></td>
+    <td class="tdh2">Methods of applying Colour to Textiles</td>
+    <td class="tdr vlb"><a href="#Table_1">7</a></td></tr>
+
+<tr><td class="tdr vlt"><abbr title="Two">II.</abbr></td>
+    <td class="tdh2">Wave Frequency of the Spectral Colours</td>
+    <td class="tdr vlb"><a href="#Table_2">9</a></td></tr>
+
+<tr><td class="tdr vlt"><abbr title="Three">III.</abbr></td>
+    <td class="tdh2">Compounds of Coloured Lights</td>
+    <td class="tdr vlb"><a href="#Table_3">14</a></td></tr>
+
+<tr><td class="tdr vlt"><abbr title="Four">IV.</abbr></td>
+    <td class="tdh2">Colours resulting from combining Pigments</td>
+    <td class="tdr vlb"><a href="#Table_4">15</a></td></tr>
+
+<tr><td class="tdr vlt"><abbr title="Five">V.</abbr></td>
+    <td class="tdh2">Compounds of Shades or Tones of Colour</td>
+    <td class="tdr vlb"><a href="#Table_5">30</a></td></tr>
+
+<tr><td class="tdr vlt"><abbr title="Six">VI.</abbr></td>
+    <td class="tdh2">Compounds of Tints of Colour</td>
+    <td class="tdr vlb"><a href="#Table_6">31</a></td></tr>
+
+<tr><td class="tdr vlt"><abbr title="Seven">VII.</abbr></td>
+    <td class="tdh2">Types of Woven Colouring</td>
+    <td class="tdr vlb"><a href="#Table_7">93</a></td></tr>
+
+<tr><td class="tdr vlt"><abbr title="Eight">VIII.</abbr></td>
+    <td class="tdh2">Illustrating the Effects on the Plain and [2\2] Twill Weaves of changing
+          the Order of Warping and Wefting</td>
+    <td class="tdr vlb"><a href="#Table_8">99</a></td></tr>
+
+<tr><td class="tdr vlt"><abbr title="Nine">IX.</abbr></td>
+    <td class="tdh2">Regular Simple Colourings</td>
+    <td class="tdr vlb"><a href="#Table_9">161</a></td></tr>
+
+<tr><td class="tdr vlt"><abbr title="Ten">X.</abbr></td>
+    <td class="tdh2">Irregular Simple Colourings</td>
+    <td class="tdr vlb"><a href="#Table_10">182</a></td></tr>
+
+<tr><td class="tdr vlt"><abbr title="Eleven">XI.</abbr></td>
+    <td class="tdh2">Compound Colourings</td>
+    <td class="tdr vlb pad1"><a href="#Table_11">199</a></td></tr>
+</table>
+<hr class="chap x-ebookmaker-drop">
+
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_1">[Pg 1]</span></p>
+  <p class="h1head" id="COLOUR_IN_WOVEN_DESIGN">
+    COLOUR IN WOVEN DESIGN.
+  </p>
+</div>
+
+  <h2 class="nobreak" id="CHAPTER_I">
+    CHAPTER <abbr title="One">I.</abbr>
+  </h2>
+   <h3>
+    THEORIES OF COLOUR.
+   </h3>
+
+<div class="blockquot">
+<p>1. Elements of Woven Pattern—2. Occurrence and Utility of Colour in
+Loom Productions—3. Treatment of Colour in Relation to Textiles—4.
+Methods of Using Colours in Textiles—5. Colour Phenomena—6. Analysis
+of Light—7. Utility of Prismatic Experiments—8. Schemes of Colouring—9.
+Primary Colours—10. Compound Colours—11. The Three Constants of
+Colour—12. Temperature of Colours.</p>
+</div>
+
+<p class="unindent">1. <i>Elements of Woven Pattern.</i>—Weave, compounds of form,
+and blending of colour are the three primary elements of textile
+design. They enter, either separately or in combination, into
+the many styles of loom effects. Weave relates specifically to
+the build or structure of the fabric, and is a necessary factor in
+any type of texture, whether plain, twilled, or ornamental in
+character. It is the scheme or plan of crossing the warp and
+weft yarns that forms or produces the fabric. Weave may give
+a compact texture subordinate in effect to other elements in the
+design; or, it may be the constructive and not the ornamental
+part of the pattern; yet in several woven specimens it possesses
+both these qualities. Fabrics of this description are not embellished
+with compounds of form or colour, and hence derive
+their design from the structural plan employed in the operation
+of weaving. Schemes of intertexture giving these results are
+devised in such a manner as to form, by interlacing warp and
+weft, an even fabric, decorated with a type of pattern consisting
+of minute effects in threads or yarns, and which may be
+subdued or decided in definition.</p>
+
+<p><span class="pagenum" id="Page_2">[Pg 2]</span>
+<a href="#fig1">Fig. 1</a> is an elementary type of Weave design or Pattern.
+The weave used is <a href="#fig1a">Fig. 1<span class="allsmcap">A</span></a>. The sections are produced thus:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr"><i>A.</i></td>
+ <td class="tdl">White</td>
+ <td class="tdc">warp</td>
+ <td class="tdc">crossed with</td>
+ <td class="tdc">white</td>
+ <td class="tdc">weft.</td>
+</tr>
+<tr>
+ <td class="tdr"><i>B.</i></td>
+ <td class="tdl">Grey</td>
+ <td class="tdc">„</td>
+ <td class="tdc">„</td>
+ <td class="tdc">„</td>
+ <td class="tdc">„</td>
+</tr>
+<tr>
+ <td class="tdr"><i>C.</i></td>
+ <td class="tdl">White</td>
+ <td class="tdc">„</td>
+ <td class="tdc">„</td>
+ <td class="tdc">black</td>
+ <td class="tdc">„</td>
+</tr>
+<tr>
+ <td class="tdr"><i>D.</i></td>
+ <td class="tdl">Grey</td>
+ <td class="tdc">„</td>
+ <td class="tdc">„</td>
+ <td class="tdc">„</td>
+ <td class="tdc">„</td>
+</tr>
+</table>
+
+<figure class="figcenter illowp50" id="fig1" style="max-width: 54.0em;">
+  <img class="w100" src="images/fig1.jpg" alt="Effect of weave design">
+  <figcaption>
+      <p class="center"><span class="smcap">Fig. 1.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp25" id="fig1a" style="max-width: 25.25em;">
+  <img class="w100" src="images/fig1a.jpg" alt="Weave design">
+  <figcaption>
+      <p><span class="smcap">Fig. 1a.</span></p>
+  </figcaption>
+</figure>
+
+<p>Four degrees of definition of the design are present. The
+textural effect is clearly visible in section <i>A</i>, but increasingly
+distinct in sections <i>B</i>, <i>C</i>, and <i>D</i>, due to the improved or more
+pronounced contrasts of the shades of warp and weft combined.</p>
+
+<p>Briefly considered, Weave has the following functions in
+textile design:&#x2060;—</p>
+
+<p class="hangwide">(1) In the construction or build of the fabric.</p>
+
+<p class="hangwide">(2) In the development of textural design (<a href="#fig1">Fig. 1</a>).</p>
+
+<p class="hangwide">(3) In the production of special and compound makes of
+fabrics.</p>
+
+<p class="hangwide">(4) It is employed to accentuate or subdue in simple and
+decorative styles certain parts of the design—producing
+harmony of composition, whether due to blends of form,
+colour, or both.</p>
+
+<p>Combinations of form have no relation whatever to the
+<span class="pagenum" id="Page_3">[Pg 3]</span>
+structural arrangement of the fabric. The sphere of form in
+woven design is not constructive or utilitarian, but in the
+amplest sense ornamental. It is surface decoration obtained by
+amalgamating, on definite principles, linear and curvilinear lines:
+ornament, consisting of geometrical or floral features, is applied
+to such loom products as dress, mantle, and vesting fabrics; silk
+textures, including neckties, handkerchiefs, robes, and decorative
+styles; damasks, quiltings, tapestries, etc.; carpets, hand-woven
+or tufted (produced on the vertical loom and now made in
+Donegal and some parts of Scotland as well as in the East);
+velvet, or cut pile (Axminster type); looped or uncut pile
+(Brussels type); and Kidderminster and other plain-surface
+productions.</p>
+
+<p>Colour, the third characteristic in design, is differently related
+to textile effects from Weave and Form. The special function of
+colour is to impart brightness of tone and improve the qualities
+of the design. There are many varieties of pattern in fabrics
+for wear, which possess freshness owing to the style and method
+of colouring practised. In the woven decorative arts, colour may
+be the main constituent of the design, or employed to develop its
+integral parts.</p>
+
+<p>2. <i>Occurrence and Utility of Colour in Loom Productions.</i>—Colour
+is extensively used in woven design. It obtains, and is
+the prevailing element of the pattern, in all classes of fancy
+woollens, such as tweeds, flannels, and light textures, and thick
+figured rugs, wraps, and shawls. Whether the pattern be stripe,
+check, figure, or intermingled effect, it obtains its outline and
+detail from the method of colouring adopted. But colour
+is not confined to woollens; it is also an important factor
+in design produced in worsted, silk, cotton, jute, ramie, and
+other yarns. There is, in worsteds, a larger diversity of weave
+design than in woollen or carded-yarn textures; but, still,
+colour is very extensively employed to develop the effects due to
+weave and form, and also to impart a cheerful and lustrous
+appearance to the cloths. Patterns in dress fabrics, shirtings and
+blouses, made entirely of cotton, are frequently combinations of
+fancy shades; while, if the fabrics composed of silk and jute
+materials are considered, including—in silk—ties, handkerchiefs,
+<span class="pagenum" id="Page_4">[Pg 4]</span>
+and various kinds of matelasses; and—in jute—simple carpets,
+mats, and coarse rugs, it will be discovered that the colour
+element of the design largely predominates. This brief summary
+of the textures, in which fancy shades are used, shows that colouring,
+and the combinations of colours, in all branches of woven
+products embellished with design, are the elements which give
+tone and character to the styles. Though the fabrics produced
+may be soft to the touch, substantially made, uniform in structure,
+and skilfully finished, yet a lack of brightness and harmony
+of colouring so powerfully detracts from the merit of the pattern,
+that these qualities, in themselves, are not sufficient to give the
+fabric an attractive appearance—particulars which demonstrate
+the importance of choice and tasteful colouring in designs
+produced in the loom. Evidently colour is of twofold utility
+in the development of woven effects; for it may, firstly, be the
+sole constituent of the pattern; and, secondly, a supplementary
+element which affords precision and beauty to the composition of
+the design.</p>
+
+<p>3. <i>Treatment of Colour in Relation to Textiles.</i>—Though, to
+a considerable extent, the principles of colouring are similar in
+all types of decorative design—harmonious blending and contrasting
+combinations possessing like qualities in whatever materials
+they obtain—still there are several reasons why some of the
+recognized canons of the science of colour are inappropriate, if
+not inapplicable, when textiles are the media of development.
+Foremost of these reasons are the technical difficulties which
+arise in the employment of colour in woven pattern. There is
+not the same facility nor means for its application here, as in
+the treatment of ordinary surface decoration. The make of the
+fabric, and the principles of its structure, determine the system
+of distribution; while the general aspect of the entire body
+of colouring varies according to the nature of the materials
+employed. If the same colourings which appear harmonious,
+neatly toned, and cheerful in arrangement in a velvet pile carpet,
+were reproduced in a silk texture, many points of dissimilarity
+would be noticed in the general effect obtained, though the tint
+and hue of the shades combined, might be identically the same
+in the respective fabrics. Why is this? Are not the apparent
+<span class="pagenum" id="Page_5">[Pg 5]</span>
+modifications in the colourings—for such they appear when thus
+compared—due, first, to the difference in the nature of the
+materials composing the textures; second, to the dissimilitude of
+their structural character; and, third, to the distinct principles
+of weaving practised in their production? The pile of the carpet—dense
+and compact—gives breadth, force, and richness to
+the colours; whereas the fine and clear texture of the silk
+imparts a more precise effect to the shades, causing the whole
+blend to possess an aspect which, while harmonious, lacks that
+mellow quality of bloom so characteristic of the pile production.
+It is clear, therefore, that colour in textiles requires to be studied
+as a special art. Its functions and effects in woven fabrics are so
+various and distinct from what they are in ordinary decorative
+work, that it can only be effectively treated when the nature of
+textile materials, and the diverse structures of the fabrics, are
+considered. In a word, there are not only recognized principles
+of woven design which have no place in purely ornamental art,
+but also schemes and laws of colouring which simply apply to
+the development of pattern in textile fabrics. Any exposition,
+therefore, of the theory and practice of colouring, to be useful to
+the textile technologist, must be given in relation to the varied
+technicalities of the weaver’s craft.</p>
+
+<p>4. <i>Methods of Using Colours in Textiles.</i>—Colour is not always
+applied to woven textures on the same system. The method of
+utilization depends upon the composition of the design to be
+woven, and on the structure of the cloth it is intended to produce.
+There are fabrics in which the colour element is so decided that
+the effect obtained is somewhat similar to the results noticed in
+ordinary surface decoration. Take, for example, silk textures
+of a ribbon class, in which, by skilful workmanship and exact
+sketching, any floral form may be developed with a delicacy of
+toning and correctness of delineation that cannot be improved
+upon, even though the crayon or the brush should be employed.
+But this is not a common, because not a useful, species of designing
+and colouring. Carpets and tapestry fabrics illustrate other
+principles of employing fancy shades. The structure of some
+types of carpets very materially affects the character of the
+colourings. In Brussels and tapestry, for instance, the loop or
+<span class="pagenum" id="Page_6">[Pg 6]</span>
+pile of the carpet which forms its distinguishing feature,
+prevents that solidity and compactness of colouring noticeable in
+the silk ribbon or dress material. If the same design and blend
+of shades introduced into a Kidderminster or Scotch carpet were
+subsequently applied to a Brussels production, they would be
+entirely changed in appearance; for there is no common principle
+of intertexture in the respective carpets. In cotton, silk,
+woollen, and worsted textures, colour is found to have a
+different tone or cast in each fabric. Fancy colours in
+cottons, while decidedly smart and clear in effect, are comparatively
+non-lustrous, raw, and dull in toning.&#x2060;<a id="FNanchor_1_1" href="#Footnote_1_1" class="fnanchor">[1]</a> Silk is
+distinguishable by brilliance of hue; woollen colourings have
+a unique depth and saturation of hue characteristic of the
+material employed in their manufacture; while worsted colourings
+are bright, definite, and smart in appearance.</p>
+
+<p>These differences are due to the physical formation and
+properties of the several fibres and yarns. Thus, a filament of
+silk is almost transparent, and shines like a smooth glass rod
+when light falls upon it; that of wool is solid and opaque in the
+centre, but its exterior consists of a multitude of semi-transparent
+scales, which, when of large dimensions and uniformly arranged—as
+in the best qualities of Lincoln and Leicester wools—reflect
+light with a minimum amount of dispersion, and impart to the
+woven material a lustrous aspect. Cotton has no such partially
+transparent surface. Its downy structure absorbs light freely,
+while what is reflected is so broken up, that the colour resultant
+is impoverished in saturation and brightness. To clearly
+apprehend the degree to which the nature of the raw material is
+capable of changing the tone or character of colours, compare
+three plain woven textures of the same colour made of silk,
+wool, and cotton respectively. Lustre, brilliance, and richness
+are the features of the silk colouring. Though thus bright,
+it lacks that fulness and depth of hue which appertains to
+the wool production, the filaments of which closely compounded,
+and all tinted alike, possess a peculiar bloom and saturation
+of colouring not to be found either in the silk or cotton.
+The cotton texture is somewhat dull and flat in quality of
+<span class="pagenum" id="Page_7">[Pg 7]</span>
+hue, lacking the brightness of silk. Such is the importance
+of the relation of the material to the species of coloured effect
+produced in textiles, that it will require subsequent analysis.</p>
+
+<p>The various methods of employing fancy shades in patterns
+obtained in the loom may be briefly summarized as follows:—</p>
+
+<p class="p2 center"><a id="Table_1"></a>
+<span class="smcap">Table <abbr title="One">I.</abbr></span><br>
+<br>
+<span class="smcap">Methods of Applying Colour to Textiles.</span>
+</p>
+
+<p class="unindent"><abbr title="One">I.</abbr> In mixture cloths, for suitings, coatings, and costumes.</p>
+
+<p class="hangwide"><i>a.</i> By combining or blending various colours of materials.</p>
+
+<p class="hangwide"><i>b.</i> By combining several classes of twist threads.</p>
+
+<p class="unindent"><abbr title="Two">II.</abbr> In plain, twilled, mat, and fancy weave designs, for
+trouserings, coatings, suitings, dresses, costumes, flannels,
+shirtings, and fine textures.</p>
+
+<p class="hangwide"><i>a.</i> By applying colour to the warp, forming stripes.</p>
+<p class="hangwide"><i>b.</i> By applying colour to the weft, producing spotted patterns.</p>
+<p class="hangwide"><i>c.</i> By applying colour to both warp and weft, giving
+checks and other styles.
+</p>
+
+<p class="unindent"><abbr title="Three">III.</abbr> In figured designs for dresses, mantlings, vestings, shawls,
+rugs, mauds, carpets, and tapestries.</p>
+
+<p class="hangwide"><i>a.</i> By using one or several series of extra warp yarns.</p>
+<p class="hangwide"><i>b.</i> By using one or several series of extra weft yarns.</p>
+<p class="hangwide"><i>c.</i> By using one or several series of extra yarns in both
+warp and weft.
+</p>
+
+<p>Each of these systems is capable of further subdivision; but,
+as here given, they represent the principles of colouring the
+general classes of woven designs.</p>
+
+<p>5. <i>Colour Phenomena.</i>—Under ordinary conditions, light is
+essential to colour apprehension. Diversity of hue may be
+made evident to the mind by mechanical agitation of the optic
+nerves in a darkened room. Of course, such an experiment is
+only useful as showing the media by which colour sensations
+are rendered visible, or rather conveyed to the mind.</p>
+
+<p>The colour of an object is determined by three things: the
+nature of light, the physical properties of the material on which
+<span class="pagenum" id="Page_8">[Pg 8]</span>
+light falls, and the power of the observer’s eye. These are
+obvious conditions. Change the light from brilliant daylight
+to gaslight, and a richly coloured fabric undergoes several
+modifications—the hues suffer in brightness and lose a measure
+of their co-relative value. Or, by using a mono-chromatic light
+(that from burning sodium is a compound of two yellow lights
+of similar quality in the spectrum&#x2060;<a id="FNanchor_2_2" href="#Footnote_2_2" class="fnanchor">[2]</a>), coloured objects may be
+changed to a similar hue. That colour is affected by the
+nature of the material has been stated in reference to fibres
+of wool, cotton, and silk.</p>
+
+<figure class="figcenter illowp75" id="fig2" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig2.jpg" alt="Prismatic experiment">
+  <figcaption>
+      <p class="center"><span class="smcap">Fig. 2.</span></p>
+  </figcaption>
+</figure>
+
+<p>Incapacity to correctly distinguish the hues, tones, and tints
+of colour is caused by some affection of the retina. Training
+and practice in the matching and blending of colours may
+enhance the acuteness of colour vision. The Gobelin tapestry-weaver
+will select, without hesitancy, from a bundle of bobbins
+of tints of material of the same hue or colour, the one he
+requires. Similarly, the carpet-weavers of Donegal—after
+a period of training—will unerringly manipulate a varied
+assortment of delicate colours.</p>
+
+<p>“Light is due to waves—or other periodic disturbances,
+whose recurrence resembles that of waves—in the ether of
+space; and just as air-waves of a certain definite frequency
+of recurrence will induce in the ear the sensation of a sound of
+<span class="pagenum" id="Page_9">[Pg 9]</span>
+a particular pitch, so will the impact of ‘ether-waves’ of a certain
+particular frequency induce in the eye a sensation of light of
+a particular colour.”&#x2060;<a id="FNanchor_3_3" href="#Footnote_3_3" class="fnanchor">[3]</a></p>
+
+<p>The extreme visible red in the spectrum is produced by 392
+billions, and the extreme visible violet by 757 billions of waves
+per second. The table gives the wave frequency of the spectral
+colours:&#x2060;—</p>
+
+<p class="p2 center"><a id="Table_2"></a>
+<span class="smcap">Table <abbr title="Two">II.</abbr></span><br>
+<br>
+<span class="smcap">Wave Frequency of the Spectral Colours.</span>
+</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdl">Red</td>
+ <td class="tdl">492·4</td>
+ <td class="tdc">billions</td>
+ <td class="tdc">per second.</td>
+</tr>
+<tr>
+ <td class="tdl">Orange red</td>
+ <td class="tdl">484·1</td>
+ <td class="tdc">„</td>
+ <td class="tdc">„</td>
+</tr>
+<tr>
+ <td class="tdl">Orange</td>
+ <td class="tdl">503·3</td>
+ <td class="tdc">„</td>
+ <td class="tdc">„</td>
+</tr>
+<tr>
+ <td class="tdl">Orange yellow</td>
+ <td class="tdl">511·2</td>
+ <td class="tdc">„</td>
+ <td class="tdc">„</td>
+</tr>
+<tr>
+ <td class="tdl">Yellow</td>
+ <td class="tdl">517·5</td>
+ <td class="tdc">„</td>
+ <td class="tdc">„</td>
+</tr>
+<tr>
+ <td class="tdl">Green</td>
+ <td class="tdl">570</td>
+ <td class="tdc">„</td>
+ <td class="tdc">„</td>
+</tr>
+<tr>
+ <td class="tdl">Blue</td>
+ <td class="tdl">591·4</td>
+ <td class="tdc">„</td>
+ <td class="tdc">„</td>
+</tr>
+<tr>
+ <td class="tdl">Cyan blue</td>
+ <td class="tdl">606</td>
+ <td class="tdc">„</td>
+ <td class="tdc">„</td>
+</tr>
+<tr>
+ <td class="tdl">Blue</td>
+ <td class="tdl">635·2</td>
+ <td class="tdc">„</td>
+ <td class="tdc">„</td>
+</tr>
+<tr>
+ <td class="tdl">Violet blue</td>
+ <td class="tdl">685·8</td>
+ <td class="tdc">„</td>
+ <td class="tdc">„</td>
+</tr>
+<tr>
+ <td class="tdl">Puce violet</td>
+ <td class="tdl">740·5</td>
+ <td class="tdc">„</td>
+ <td class="tdc">„</td>
+</tr>
+</table>
+
+<p class="p2">As the frequency of the vibrations increases, or as they are
+diminished in length, the visible colours of the spectrum are
+produced. Just as the pitch of a musical instrument depends
+upon the celerity of the wave it produces, so the colour of an
+object is subjective to the length of the undulations transmitted.
+This analogy between the phenomena of sound and light has
+led some colourists to attempt a scheme of colours based upon
+similar laws to musical harmony.&#x2060;<a id="FNanchor_4_4" href="#Footnote_4_4" class="fnanchor">[4]</a></p>
+
+<p>6. <i>Analysis of Light.</i>—When a pencil of sunlight passes
+through a prism horizontally fixed, as in <a href="#fig2">Fig. 2</a>, it is decomposed,
+and produces on the screen the colour spectrum <a href="#plate01"><i>A</i>, Plate <abbr title="One">I</abbr>.</a> In the
+intervals between each hue there is a gradation to which the colours
+are severally susceptive. Red passes, through a diversity of tinting,
+into orange, which graduates into yellow; and green, green
+<span class="pagenum" id="Page_10">[Pg 10]</span>
+blue, blue, indigo, and violet occur in succession, all softly toning
+into each other. The purity and intensity of each colour will
+be observed.</p>
+
+<figure class="figcenter illowp80" id="fig3" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig3.jpg" alt="Design prismatic experiment">
+  <figcaption>
+      <p class="center"><span class="smcap">Fig. 3.</span></p>
+  </figcaption>
+</figure>
+
+<p>A second and useful experiment may be made as follows:—Place
+a piece of black cardboard, about an inch wide and a few
+inches in length, on a white ground, and view it through
+the edge of a prism. If this experiment be correctly made, a
+result will be obtained corresponding to <a href="#plate01"><i>B</i>, Plate <abbr title="One">I.</abbr></a> The
+edge nearest the observer produces the violet, blue, and green
+side of the spectrum, while the opposite edge gives red, orange,
+yellow, and pale yellow—these two series of spectrum colours
+of distinct qualities being divided by a narrow band of black.
+Coldness is the distinguishing characteristic of the violet side,
+and warmness that of the red side; in the upper portion of
+the spectrum are found the intense, ostentatious hues, while
+in the lower portion are the colours of a subdued, soft quality.
+Yellow and green are beautifully toned. The former passes
+from a yellowish orange into a pure, bright tint, which is softly
+shaded off into white. Green, on the front edge of the black
+line, is similarly graduated in hue, but as the band of this colour
+is not so broad as the yellow strip, its shadings are not so extensive;
+still, it imperceptibly changes from deep into pale green,
+and diminishes in intensity until it disappears in white light.
+One feature of this experiment will at once be observed, namely,
+the brilliance and richness of coloured lights, when compared
+with corresponding colours obtained by pigments or dye substances.
+<span class="pagenum" id="Page_11">[Pg 11]</span>
+Bloom, depth, and purity of hue characterize the
+former; but however the latter are produced, they seem, in
+comparison, to be lacking in fulness, intensity, and brightness.&#x2060;<a id="FNanchor_5_5" href="#Footnote_5_5" class="fnanchor">[5]</a></p>
+
+<figure class="figcenter illowp64" id="plate01" style="max-width: 37.625em;">
+  <img class="w100" src="images/plate01.jpg" alt="color spectrum">
+  <figcaption style="color:blue;">
+      <p class="center">Plate <abbr title="One">I</abbr><br>
+<span class="allsmcap">A = SPECTRUM<br>
+B = SPECTRUM RESULTANT FROM VIEWING A STRIP OF BLACK
+ON A WHITE SURFACE THROUGH A PRISM</span></p>
+  </figcaption>
+</figure>
+
+<p>7. <i>Utility of Prismatic Experiments.</i>—Experiments with the
+prism afford suggestive exercises in colour blending. Seeing
+that the results of these experiments are richer by far than
+those obtained by pigments, and always harmonious in tone,
+they are calculated to enhance appreciation for pure and
+lustrous colouring. For the purpose of successful manipulation
+of prismatic experiments, and of viewing in a suitable
+manner the effects that may, by this means, be produced, a
+piece of black velvet or cloth should be employed, and patterns
+cut out of white cardboard placed on it, and then the design
+thus arranged examined through the prism. The more ingenuity
+exercised in pattern origination, the more pleasing the combinations
+resultant. <a href="#fig3">Fig. 3</a> illustrates the class of designs
+adapted for this work. Form and arrangement should be of
+the most elementary kind, and the whole pattern clear and
+pronounced, in order to allow of a complete development of the
+colours formed on the respective edges of the various figures.
+Intermingled, diminutive patterns give confused and indistinct
+effects. On the other hand, broad and large designs yield
+lustrous colourings, which the experimenter may feasibly
+dissect, and which teach principles in colour arrangement,
+harmony, and contrast, of utility in pattern production.</p>
+
+<p>When the pattern in <a href="#fig3">Fig. 3</a> is viewed through the refractory
+angle of a prism at a distance of about two feet, and about
+three times larger than here sketched, it forms an interesting
+assortment of colourings and tinted effects. Any description
+of this experiment, however concise and clear, can only afford
+a vague idea of the real appearance of the pattern when prismatically
+examined. Still, to assist the reader to make the
+experiment accurately himself, a detailed analysis is given.
+Treating of the different sections of the patterns, the edge of
+band A, nearest the observer, should be considered first, which
+commences with pure green, running through blue, purple,
+deep violet, and crimson. The crimson results from the violet
+<span class="pagenum" id="Page_12">[Pg 12]</span>
+rays of this edge blending with the intense red rays of the
+further edge of band <i>A</i>.</p>
+
+<p><span class="smcap">Small Lines <i>B</i> and <i>C</i>.</span> The former begins with crimson,
+which successively changes into scarlet, orange, and yellow, a
+small strip of white separating these colours from those of
+band <i>C</i>, which consists of various tints of green and orange.</p>
+
+<p><span class="smcap">Diamond Figures of Band <i>A</i>.</span> The front edges of these
+are tinted with scarlet, orange, and yellow, and the opposite
+edges with various shades of green.</p>
+
+<p><span class="smcap">Circles of Band <i>D</i>.</span> First, as to the edges nearest the
+observer. These are coloured with emerald-green and grass-green.
+It will be noticed that the green in this section of
+the pattern is distinct from that produced by the front edge
+of band <i>A</i>, being, as stated, more grass- than sea-green.
+Its peculiar tint results from the orange rays of the upper
+edge of band <i>C</i> intermingling with the green rays of the
+circles. As the centres of the circles are approached, green
+is succeeded by blue, purple, and black. Second, as to the
+distant edges of the circles. At these points red, crimson, scarlet,
+and orange—the latter colour graduating imperceptibly into
+yellow—all occur. It is notable that the yellow hue is somewhat
+dingy, being adulterated with other colours. Compare it,
+for example, with the yellow resulting from the extreme edge of
+this diagram. Its dulness and impurity are due to certain colours
+intermingling with it. Thus, the space between the extreme edge
+of the circles and band <i>E</i> is so limited, that the yellow rays of
+the circular objects combine with the green rays of the latter,
+and, as a consequence, the yellow suffers in purity and luminosity.</p>
+
+<p><span class="smcap">Bands <i>E</i>, <i>F</i>, and the Front Edge of <i>G</i>.</span> These, very closely
+resembling strips <i>B</i>, <i>C</i>, and <i>A</i>, require no description.</p>
+
+<p><span class="smcap">Extreme Edge of Band <i>C</i>.</span> Here the red side of the spectrum
+is seen in its intensity and lustre; it begins with deep red,
+which gradually verges into orange, and the latter into yellow.</p>
+
+<p>This simple experiment demonstrates the value of prismatic
+results. All colourists should study shade combinations through
+these media. Analysis of the colourings obtained in this
+manner increases the acuteness of the faculty of discrimination
+of the brilliance and depth of hue of individual colours. Though,
+<span class="pagenum" id="Page_13">[Pg 13]</span>
+in practice, the textile designer has to deal exclusively with
+pigments and dye substances, yet the intensity and beauty of
+the combinations resulting from the decomposition of light are
+so novel and suggestive, that all desirous of cultivating aptitude
+for harmonious colourings will be at pains to multiply experiments
+of this class, which afford a true conception of what
+constitutes harmony and contrast in colours.</p>
+
+<p>That such compounds of spectrum colours have an application
+to textile design is evident from the specimens on <a href="#plate02a">Plate <abbr title="Two">II.</abbr></a>,
+in which tints of the pure or prismatic colours are used in
+silk fabrics. The mode of distribution is irregular, but this is
+done for the purpose of subduing the strength of contrast
+which would be formed if the colours were used on the basis
+of the experiment described. Two fabrics are given as examples
+on <a href="#plate02a">Plate <abbr title="Two">II.</abbr> <abbr title="Number">No.</abbr> 1</a>, a silk ribbon, is produced by weaving in
+a bold warp rep or cord weave, the colours being arranged in the
+warp to give the intermingled shaded effect. The weft is a thick,
+yellow cotton yarn, but, owing to the weave structure, does not
+show on either the face or underside of the texture. In the
+second example, <a href="#plate02b"><abbr title="Number">No.</abbr> 2</a>, the colouring is due to printing the warp
+prior to weaving. It has a similar intermingled composition,
+but the colour contrasts are harsher in tone. Both examples
+show the utility of prismatic colours in their purity, or when
+slightly subdued by tinting.</p>
+
+<figure class="figleft illowp50" id="fig4" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig4.jpg" alt="Lambert’s experiment">
+  <figcaption>
+      <p class="center"><span class="smcap">Fig. 4.</span></p>
+  </figcaption>
+</figure>
+
+<p><a id="par8"></a>8. <i>Schemes of Colouring.</i>—There are two important theories
+of colour—the Light Theory and the Pigment Theory. The
+former deals with the phenomena of colours, the attributes of
+light, and the laws, which control the modification of the
+intensity, hue, and tone of colours. These varied phenomena
+are theoretically of value, but as they have few practical
+applications, the pigment theory of colouring is necessarily
+adopted in the applied arts, and deals with colour as an
+active element in decorative design. Every possible shade
+and hue of colour may be obtained by mixing red, yellow,
+and blue in variable proportions, and, of course, by toning
+and tinting with white and black. Mixtures of lights and
+pigments, however, do not give analogous results. Lambert&#x2060;<a id="FNanchor_6_6" href="#Footnote_6_6" class="fnanchor">[6]</a>
+<span class="pagenum" id="Page_14">[Pg 14]</span>
+is credited with being the first to discover and prove that
+the colours due to these two causes were rarely identical,
+and frequently widely dissimilar. His method of doing this
+consisted in using two coloured wafers, <i>A</i> and <i>B</i> (<a href="#fig4">Fig. 4</a>), which
+were placed on a black surface, and a piece of ordinary glass, <i>g</i>,
+fixed vertically. It was found that when blue and yellow were
+thus simultaneously seen, the rays reflected by them did not,
+when co-mingled, give green, but a whitish-coloured sensation.
+This fact was also subsequently elaborated by Helmholtz, who
+pushed his inquiries into the spectrum itself, and, by blending
+the lights, obtained valuable
+results. Blue-green, when
+mixed with red, instead of
+giving a brownish or greenish
+grey, as with pigments, was
+found, like ultramarine blue
+and yellow, to also constitute
+white light. With pigments,
+a mixture of chrome yellow
+and ultramarine blue, in variable
+quantities, forms different
+tints of green. Microscopic examination of this compound does
+not reveal the separate particles of yellow and blue pigments,
+but simply the greenish hue. The real and obvious distinction
+between spectrum and pigment combinations is that the former
+are additions, while the latter are subtractions. Knowing this,
+it will at once be evident that the colours obtained by these two
+methods cannot coincide.</p>
+
+<p>The following are some of the results of combining coloured
+lights and pigments respectively:&#x2060;—</p>
+
+<p class="p2 center"><a id="Table_3"></a>
+<span class="smcap">Table <abbr title="Three">III.</abbr></span><br>
+<br>
+<span class="smcap">Compounds of Coloured Lights.</span>
+</p>
+
+<p class="hanging">
+  Red + green = yellow. Should the green be slightly bluish
+  = white.</p>
+<p class="p0 hanging">  2 red + green = orange.</p>
+<p class="p0 hanging">  Green + blue = sea-green.</p>
+<p class="p0 hanging">  2 green + blue = greenish sea-green.</p>
+<p class="p0 hanging"><span class="pagenum" id="Page_15">[Pg 15]</span>
+  Blue + red = purple.</p>
+<p class="p0 hanging">  2 blue + red = violet.</p>
+<p class="p0 hanging">  Red + green + blue = white.</p>
+<p class="p0 hanging">  2 red + green + blue = white + red, or pale red.</p>
+<p class="p0 hanging">  2 red + 2 green + blue = white + yellow, or pale yellow.</p>
+<p class="p0 hanging">  Red + 2 green + 2 blue = white + sea-green, or pale sea-green.</p>
+<p class="p0 hanging">  2 red + green + 2 blue = white + purple, or pale purple.
+</p>
+
+<p class="p2 center"><a id="Table_4"></a>
+<span class="smcap">Table <abbr title="Four">IV.</abbr></span><br>
+<br>
+<span class="smcap">Colours resulting from Combining Pigments.</span>
+</p>
+
+<table class="smaller">
+<tr>
+ <td class="tdc">Primaries.</td>
+ <td class="tdl pad1">Secondaries.</td>
+ <td></td>
+ <td class="tdc">Tertiaries.</td>
+</tr>
+<tr>
+ <td class="tdl pad5">Red +<br>&ensp;yellow</td>
+ <td class="tdc">= orange.</td>
+ <td class="tdl pad5">2 R + Y + B,<br>&ensp;or O + P</td>
+ <td class="tdc">= russet.</td>
+</tr>
+<tr>
+ <td class="tdl pad5">Yellow +<br>&ensp;blue</td>
+ <td class="tdc">= green.</td>
+ <td class="tdl pad5">2 Y + R + B,<br>&ensp;or O + G</td>
+ <td class="tdc pad5">= citron or<br>greenish olive.</td>
+</tr>
+<tr>
+ <td class="tdl pad5">Blue +<br>&ensp;red</td>
+ <td class="tdc">= purple.</td>
+ <td class="tdl pad5">2 B + R + Y,<br>&ensp;or G + P</td>
+ <td class="tdc">= olive.</td>
+</tr>
+</table>
+
+<p class="p2"><a id="par9"></a>9. <i>Primary Colours.</i>—Writers on the pigment theory are
+all agreed as to the selection of the simple colours; but scientists
+have, in treating of this subject, chosen several sets of hues as
+primaries. Young and Helmholtz take red, green, and violet;
+vermilion, emerald-green, and ultramarine blue are selected by
+Maxwell. When the subject of colour is considered with a
+view to its practical application to the arts, it is needful to
+base all combinations on the scheme elucidated by Chevreul,
+Hey, Field, and others—that red, blue, and yellow (<a href="#plate03">Plate
+III.</a>, <abbr title="Numbers">Nos.</abbr> 1, 2, and 3) are primary colours, and all others
+the resultants of mixing them in variable quantities. For
+technical purposes, it is therefore only feasible to deal with
+colour as it changes, according to the pigments combined;
+hence red, yellow, and blue will be regarded as primaries,
+because, when mixed with each other and with black and
+white, every possible shade of colour may be obtained.</p>
+
+<p>10. <i>Compound Colours.</i>—These are of two classes—secondaries
+and tertiaries. The secondaries—green, orange, and
+purple (<a href="#plate03">Plate <abbr title="Three">III.</abbr></a>, <abbr title="Numbers">Nos.</abbr> 4, 5, and 6)—are composed of two
+primaries, while the tertiaries—russet, citron, and olive (<a href="#plate03">Plate
+<abbr title="Three">III.</abbr></a>, <abbr title="Numbers">Nos.</abbr> 7, 8, and 9)—are composed of two secondaries. Orange
+<span class="pagenum" id="Page_16">[Pg 16]</span>
+and purple produce russet or reddish brown; orange and green
+produce citron or greenish olive; and green and purple, olive.
+On reducing these shades to their simple elements, it is found
+that they are each composed of three primaries, with one predominating
+and giving tone to the colour. Russet, for instance,
+contains a double portion of red, for red is a constituent of
+both the orange and purple which enter into its composition;
+citron contains a double portion of yellow, and olive a double
+portion of blue.</p>
+
+<p>The hue or tone of a compound colour is determined by the
+proportionate quantities of the primaries combined in its production.
+For example, to procure a bluish green, blue must
+be the predominating and yellow the subordinate colour; while,
+on the other hand, to obtain a yellowish green, yellow would
+be the predominating and blue the subordinate colour. Reddish
+or yellowish orange is got by increasing the red or yellow
+constituents of this colour; and bluish or reddish purple, by
+increasing the blue or red components of this secondary. This
+affords some idea of how colours are modified and multiplied.
+Taking the three secondaries and subjecting them to similar
+treatment, a diversity of shades will be found to result.
+Russet (<a href="#plate03">Plate <abbr title="Three">III.</abbr></a>, <abbr title="Number">No.</abbr> 7) is composed of two parts red, one
+part yellow, and one part blue. It will be obvious that by
+varying these proportions another series of hues will result.
+By increasing the red constituent, the warmth of the colour
+is intensified; by increasing the yellow, the reddish tone is
+neutralized; while an increase of the blue would add to its
+depth and saturation. Similar results are obtained by modifying
+the constituents of the other primaries. Thus citron—composed
+of two parts yellow, one part blue, and one part red—may
+be changed to a yellowish, bluish, or brownish citron,
+according to the quantity of yellow, blue, or red used. Olive,
+which consists of two parts blue, one part red, and one
+part yellow, varies from a deep olive-green, brownish olive,
+to a yellowish olive-green, as the blue, red, and yellow constituents
+are increased.</p>
+
+<figure class="figcenter illowp100" id="plate02a" style="max-width: 156.75em;">
+  <img class="w100" src="images/plate02a.jpg" alt="spectral colouring">
+  <figcaption style="color: blue;">
+      <p class="center">Plate <abbr title="Two">II</abbr><br>
+         <span class="allsmcap">SPECTRAL COLOURING OF FABRICS</span><br>
+         <span class="smaller">1. Woven-design Specimen</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp80" id="plate02b" style="max-width: 136.8125em;">
+  <img class="w100" src="images/plate02b.jpg" alt="spectral colouring">
+  <figcaption style="color: blue;">
+      <p class="center smaller">2. Printed-yarn Specimen</p>
+  </figcaption>
+</figure>
+
+<p>The tertiary shades are the most useful colours employed
+in textile design. They are generally used for the ground of
+<span class="pagenum" id="Page_17">[Pg 17]</span>
+the fabric, while the secondaries and primaries are utilized in
+enhancing the brightness of the pattern.</p>
+
+<p>11. <i>The Three Constants of Colour.</i>—The three constants of
+colour are, <i>purity</i>, <i>luminosity</i>, and <i>hue</i>. If a piece of paper is
+painted vermilion and placed across the red end of the spectrum,
+it will be seen to be deficient in purity. Emerald-green and
+ultramarine blue papers, when compared with their respective
+sections of the spectrum, are found to be similarly defective. By
+mixing white light with the colours of the spectrum they may
+be so adulterated as to correspond with, or match, those obtained
+by the use of pigments. Artificial colours are never perfectly
+pure—they always contain some measure of foreign element,
+which can only be correctly determined by bringing them in
+contact with the colours of the spectrum. The second constant,
+<i>Luminosity</i> or <i>Intensity</i>, depends on the degree of light a colour
+reflects. Yellow, orange, and red represent the most luminous,
+and green, blue, and violet the least luminous end of the
+spectrum. It will be evident that it is possible to have two
+or more colours of the same degree of purity, but of different
+degrees of brightness. Two scarlets might both contain the
+same proportionate quantities of colour and of white light,
+and yet be dissimilar, simply on account of one being more
+intense in hue than the other. To match the two colours,
+the more luminous one would require to be exposed to a dull
+light, or the less luminous to a bright light. The third constant,
+<i>Hue</i>, is that special property which is caused by a definite refrangibility
+of light, producing the colour proper. Green and
+red may be exactly of the same purity and brightness, but they
+are different in hue, each being produced by a distinct refrangibility
+of rays.</p>
+
+<p>12. <i>Temperature of Colours.</i>—The temperature of the
+spectrum colours is not uniform. It augments from violet to
+red. Herschel, by exposing thermometers to the several tints
+of the solar spectrum, determined the temperature of each colour,
+and proved that, proceeding from the most refracted or violet
+end of the spectrum to the least refracted or red end, there is a
+successive increase of heat. Besides luminous rays, the sun emits
+a mass of invisible but potent calorific rays. Herschel, pushing
+<span class="pagenum" id="Page_18">[Pg 18]</span>
+his thermometers beyond the visible red and violet rays, discovered
+the presence in the spectrum of ultra red rays of intense
+heat, and ultra violet rays of a less heat. The solar spectrum
+may therefore be described as consisting of three distinct
+sections: First, of the ultra and invisible red rays; second,
+of the luminous rays, red, orange, yellow, green, blue, and
+violet; and third, of the ultra and invisible violet rays. Though
+it is thus evident that each spectral colour has a different
+temperature, yet it cannot be assumed on this basis that a red
+fabric will possess a greater degree of heat than a blue fabric
+composed of the same materials; because all rays penetrating a
+coloured body are not luminous, and yet, whether luminous or
+non-luminous, they possess properties of heat. Were the rays
+absorbed by a coloured surface only luminous, then it would be
+possible, by estimating the measure of absorption, to determine
+the colour temperature. But the bulk of radiation from any
+luminous body consists of invisible calorific rays, regarding
+which colour teaches absolutely nothing. A fact that has to be
+taken into consideration is, that a body may be highly susceptible
+to one class of rays, but insusceptible to other classes. As it
+is generally known that black garments are more effective
+retainers of solar heat than white garments, it may be pointed
+out why this is the case. White clothes absorb the invisible rays,
+but reflect the luminous rays which constitute solar light.
+Black or dark clothes, on the other hand, not only retain the
+dark rays which penetrate them, but also the visible rays; and
+hence they are that degree warmer than white fabrics of the
+same structure and material, as the difference in the influx of
+temperature due to the absorption of luminous as well as invisible
+rays. Tyndall explains that if a white cloth were spread
+over the snow, it would even act as a shield to the latter instead
+of assisting it to thaw. Snow, which is ice in a powdered form,
+absorbs the dark rays with greater avidity than a white fabric;
+and, as both the particles of snow and the threads of the texture
+reflect the luminous rays poured upon them, the snow would melt
+sooner without the cloth than with it. Indeed it would be found
+that in a short time the cloth would occupy quite a prominence—the
+snow not covered by it thawing more rapidly than that
+<span class="pagenum" id="Page_19">[Pg 19]</span>
+over which it is spread. Should a black fabric of similar
+material be next placed on sunned snow, it would produce the
+very opposite results. Absorbing the luminous as well as the
+dark rays, it retains more of the sun’s heat than the snow,
+which rapidly melts under it; while the surrounding and uncovered
+snow remains comparatively unthawed and icy. Both
+the white texture and the snow are powerless as regards the
+luminous rays emitted by the sun; the myriads of fibres composing
+the former receive no warmth from them, nor can the ice-like
+atoms of the latter be melted by them. They, in a word,
+can only be changed by the dark rays. As to the black-surfaced
+texture, there are different conditions to be taken into
+account. It is both an absorbent of the invisible and of the
+luminous rays, consequently dark materials not only attract but
+retain more of the sun’s heat than light materials. More than
+this cannot be stated with certainty about the warmth-yielding
+qualities of woven textures of various colours.</p>
+
+<div class="p2 footnotes"><h4>FOOTNOTES:</h4>
+
+<div class="blockquot">
+<div class="footnote"><p class="unindent"><a id="Footnote_1_1" href="#FNanchor_1_1" class="label">[1]</a> Mercerized cottons possess some of the qualities of silk colourings.</p></div>
+
+<div class="footnote"><p class="unindent"><a id="Footnote_2_2" href="#FNanchor_2_2" class="label">[2]</a> “Colour”: <i>Chambers’ Encyclopædia</i>.</p></div>
+
+<div class="footnote"><p class="unindent"><a id="Footnote_3_3" href="#FNanchor_3_3" class="label">[3]</a> Abney’s <i>Colour Measurement and Mixture</i>.</p></div>
+
+<div class="footnote"><p class="unindent"><a id="Footnote_4_4" href="#FNanchor_4_4" class="label">[4]</a> Wilkinson’s <i>Harmonious Colouring</i>.</p></div>
+
+<div class="footnote"><p class="unindent"><a id="Footnote_5_5" href="#FNanchor_5_5" class="label">[5]</a> Paterson’s <i>Science of Colour Mixing</i>.</p></div>
+
+<div class="footnote"><p class="unindent"><a id="Footnote_6_6" href="#FNanchor_6_6" class="label">[6]</a> Atkinson’s <i>Ganot’s Physics</i>; Tyndall’s <i>Fragments of Science</i>.</p></div></div>
+</div>
+<hr class="chap x-ebookmaker-drop">
+
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_20">[Pg 20]</span></p>
+  <h2 class="nobreak" id="CHAPTER_II">
+    CHAPTER <abbr title="Two">II.</abbr>
+  </h2>
+   <h3>
+    ATTRIBUTES OF COLOURS.
+   </h3>
+</div>
+
+<div class="blockquot">
+<p>13. Utility of a Knowledge of the Qualities of Colours—14. Qualifications
+of the Textile Colourist—15. Functions of Pure Colours in Design—16. Red:
+its Characteristics—17. Methods of Modifying Colours—18. Derivatives of
+Red: their Qualities and their Province in Textiles—19. Blue: its Properties
+and Uses—20. Derivatives of Blue and their Application to Woven Textures—21.
+Shades and Tints of Blue mixed with Shaded and Tinted Reds
+and Yellows—22. Methods of obtaining Well-balanced Colourings—23. Uses
+of Blue in Twist Yarns—24. Points in the Application of Blue and Red to
+Textiles Summarized—25. Attributes of Yellow—26. Province of Yellow in
+Woven Fabrics—27. Derivatives of Yellow—28. Secondary Colours—29.
+Green: its Attributes and Derivatives—30. Tints of Green—31. Orange: its
+Shades and Tints—32. Purple.</p>
+</div>
+
+<p class="unindent">13. <i>Utility of a Knowledge of the Qualities of Colours.</i>—In
+order to apply colours artistically to woven fabrics, one must
+be conversant with the attributes of the tints, tones, and hues of
+colour the technologist uses in his work. More is requisite than
+a mere acquaintance with the technical details which lie at the
+basis of the construction of useful and decorative fabrics: this
+knowledge must be supplemented by practice and training in
+the blending of pure and other shades, and in the origination
+of novel schemes of colouring. Exact knowledge of the quality
+and application of colours, and of the laws which determine
+harmony of colouring, is indispensable to the successful textile
+designer. The pattern originator must display in his work a
+reliable conception of the province of colour in woven style;
+this is as essential as it is to the manufacturer to have regard
+to the chemical composition, physical structure, and clothing
+qualities of the materials used. As in blending wools and other
+fibres, the nature and properties of each are taken into account,
+so in colouring woven manufactures, the attributes of the several
+<span class="pagenum" id="Page_21">[Pg 21]</span>
+shades and the method of arrangement require to be carefully
+considered.</p>
+
+<p>14. <i>Qualifications of the Textile Colourist.</i>—One of the
+primary qualifications of a colourist is natural aptitude for his
+work. To “feel” or appreciate harmony and contrast of colour,
+the eye of the observer must convey to the mind an accurate
+impression of the <i lang="fr">ensemble</i> of shades visible. Two things are
+requisite—intuitive and acquired taste for colouring, combined
+with practice in textile designing. Yet these are insufficient.
+They may enable one to judge of the purity of colours, or of
+the degree in tone between two or more hues; but this faculty
+for matching of colours, or of colour discrimination, however
+acute, does not constitute that sense for harmony of colouring
+which would make it a transgression of nature for a designer
+to originate incongruous colour compounds. Another quality is
+needful. It may be said to be practically, if not wholly, an
+intuitive talent, for it may be displayed in the work of those
+who possess but slender knowledge of the laws and theories of
+colour. There must be taste or genius for colouring. Such is
+the perfection in which some designers have this natural faculty
+for colour blending and application, that they are a law in themselves.
+Natural talent is the source of inspiration. This faculty
+is invariably the better for culture. As a capacity for music
+may be developed by training, so a power for colouring may be
+augmented by studying harmony and contrast, and the general
+principles of the science as they relate to the development of
+patterns in the loom; consequently, though culture may not
+create that acuteness of conception exercised by those who have
+an intuitive bent for harmonious assortments of hues, yet it may
+result in producing a passable, if not a proficient colourist, and
+is, moreover, calculated to direct even the naturally talented to
+a judicious selection and use of materials.</p>
+
+<p>15. <i>Functions of Pure Colours in Design.</i>—Before treating
+of the attributes of the primary and secondary colours, namely,
+red, blue, yellow, green, orange, and purple, it may be useful to
+allude to the application of these colours to the various types of
+woven decoration. Some designers so rarely use such hues,
+unless tempered with either white or black, that they seem to
+<span class="pagenum" id="Page_22">[Pg 22]</span>
+entertain an idea that they can only be made to yield strong
+and harsh contrasts. Certainly this is likely to occur if they
+are not combined with due regard to intensity and quantity of
+hue, the methods of distributing the several colours, and the
+relative effect they have on each other in the woven fabric.
+Bright colours should always be applied to textures for the
+purpose of imparting tone and character of pattern. Though,
+generally, they do not form the groundwork of the style, yet
+they should give additional lustre to the design. What such
+hues are in decorative and pictorial art, they are also in loom
+productions when skilfully employed.</p>
+
+<p>Showy styles in which the primaries or bright colours are
+present, result more from the system of combination practised
+than from excessive brightness. The Indian shawl—or the
+Paisley imitation—and the Turkey or Persian carpet, not infrequently
+consist of designs composed of the most brilliant
+shades producible in the dye vat. In the former, in addition to
+a play on certain figures, which are generally unique in arrangement
+and ingeniously grouped, there is a depth and fulness of
+tinting that seems to possess all but a permanent freshness. As
+to the Eastern carpet, it contains a large diversity of colours,
+and mostly of a bright tone, but still the general effect is
+pleasing and cheerful. To what are the congruity of tone and
+richness of colouring due in these textures? This law is
+observed in their composition: the quantity of each colour used,
+depends entirely on the position it occupies in the pattern and
+on its intensity and quality; while the several shades are so
+blended that when the carpet or shawl is viewed in its entirety
+the whole is harmonious in result. This is the general effect
+sought after in tweeds and all classes of fancy fabrics. If scarlet,
+blue, green, crimson, or orange were applied to a woven design,—though
+decidedly stronger in hue than the shades forming
+the bulk of the fabric—while tingeing the pattern with a freshness
+of tone, they should not be allowed to unduly attract the
+eye. The use of twist yarns very largely facilitates the production
+of congruous combinations, in which bright colours play a
+prominent part in the composition of the pattern. By employing
+these threads, the colours may be broken up, in which form they
+<span class="pagenum" id="Page_23">[Pg 23]</span>
+do not produce that continuity of effect which necessarily results
+from the use of self-coloured yarns. Success in effective colouring
+with pure hues lies, however, in a proper distribution of the
+shades combined, incongruity of effect being as largely due to
+defective balancing of colour as to injudicious and distasteful
+combinations; in a word, there is as much dependent on the
+arrangement, as on the selection and blending of shades in pattern
+origination.</p>
+
+<!--add id=plate03 to below if above is deleted-->
+<figure class="figcenter illowp44a"  id="plate03" style="max-width: 151.5em;">
+  <img class="w100" src="images/plate03.jpg" alt="Primary, secondary and tertiary colours">
+  <figcaption style="color:blue">
+      <p class="center">Plate <abbr title="Three">III</abbr><br>
+      <span class="allsmcap">PRIMARY, SECONDARY AND TERTIARY COLOURS</span></p>
+  </figcaption>
+</figure>
+
+<p>In addition to thus acting as the brightening elements in
+woven design, these colours are also used in some classes of
+textures as ground shades. For instance, they are the principal
+colours employed in dress fabrics of a Scotch tartan class, certain
+kinds of shawls, silk neckties, handkerchiefs, and wraps; but
+generally, in worsted and woollen textures they are used
+sparingly, and for giving lustre to a sombre mixture of
+colours. Pure colours have therefore two distinct functions in
+textile patterns: first, they constitute a kind of supplementary
+colouring which imparts lustre and intensity of hue to the style
+to which they are applied; and, second, they may be the
+principal colours comprised in the design.</p>
+
+<p>16. <i>Red: its Characteristics.</i>—Red (<abbr title="Number">No.</abbr> 1, <a href="#plate03">Plate <abbr title="Three">III.</abbr></a>) is designated
+a simple or primary colour in both the light and
+pigment theories of colouring. Of all hues it is the most showy,
+brilliant, and gorgeous. Intense red is so powerful that when
+used in large quantities it neutralizes the effect of adjacent hues.
+On this account, its distribution in textiles should always be
+accomplished in accordance with the depth of the other colours
+entering into the style; that is to say, its intensity, as well as
+its quantity, must be varied in the same proportion as the general
+colouring of the pattern is diminished or augmented in tone.
+An otherwise satisfactorily coloured pattern may be destroyed
+by using a red too potent in hue, or by using this colour too
+profusely. Yet red is decidedly one of the most useful colours
+at the command of the decorative designer and the textile
+producer. Whether employed as a pure, or as an adulterated
+colour, it is of extensive utility in textile designing. When
+judiciously applied, it adds brightness and cheerfulness to woven
+effects. Its true sphere in textiles is to impart freshness. Red
+<span class="pagenum" id="Page_24">[Pg 24]</span>
+in these compositions is the brightening or toning hue. In
+applying red tints to worsted and woollen fabrics, they should
+seldom occur in patches or in continuous lines of a check arrangement,
+but they should be more or less intermittent in effect.&#x2060;<a id="FNanchor_7_7" href="#Footnote_7_7" class="fnanchor">[7]</a>
+It should be borne in mind that in these fabrics it is not
+loudness or showiness, but neatness of style, that is sought
+after, yet the quality of brightness must not be lacking. In
+the form of twist yarns, reds and scarlets may be made to
+produce exactly the general toning required. This mode of
+applying this colour is particularly well adapted to textures
+of a cheviot and tweed description. Worsteds require different
+treatment. One method of introducing reds into these fabrics
+consists in using silk yarns, and simply bringing them on to
+the surface to form a bright spot or minute line of colour.
+In silk, cotton, and some kinds of linen textures, this primary
+is used in larger quantities, and more liberally displayed in
+patterns composed of these materials, than in the ordinary run
+of woollen and worsted fabrics.</p>
+
+<p>Being such a potent and bright colour, it is of utility in
+the blending process of manufacturing, when several shades of
+materials are combined to produce a mixture yarn. Some
+mixtures or blends of this class contain scarlet wools, which, in
+whatever form they occur give tone and quality to the combination
+of which they form a part. A variety of tints and
+shades results from mixing red in different quantities with
+black or white, and also an extensive range of hues from combining
+it with other colours. Still, pure red is not so
+liberally used in textile work as its derivatives: thus, it
+unites with yellow and blue in the production of orange and
+purple. Should a small quantity of yellow be added to red, it
+gives scarlet, while the addition of a small quantity of blue
+produces crimson. The richness and luminosity of the scarlet
+are determined by the proportion of yellow added; and the
+depth of the crimson by the amount of blue entering the
+mixtures. Both in scarlets and crimsons, a considerable diversity
+of hues is obtainable. Before either of these colours is produced,
+<span class="pagenum" id="Page_25">[Pg 25]</span>
+red undergoes a series of gradations of hue. In the rose,
+there is displayed to perfection the various modifications in tint
+and shade of which this colour is susceptive. Scarlets, crimsons,
+maroons, russets, and browns are all hues employed by the
+weaver that obtain their prevailing tint from this primary.</p>
+
+<p>17. <i>Methods of Modifying Colours.</i>—All pure colours, such as
+red, blue, yellow, orange, green, and purple, may be subjected to
+three kinds of modification: first, they may be darkened in
+<i>tone</i>; second, lightened in <i>tint</i>; and third, changed in hue.
+If, for example, black is mixed with red in various proportions,
+it produces <i>tones</i> or <i>shades</i> of this colour, while an admixture of
+white with red yields different <i>tints</i> of red. To alter the hue, it is
+necessary to blend it with some other colour, such as blue, when
+various shades of full-toned crimsons result. In blending, and
+also in the arrangement of colours in the warp and weft of the
+woven fabric, the phenomena underlying the changes producible
+in the tone and tint of a colour have to be taken into consideration.
+Black and red wools when scribbled together give a dark
+brown or reddish-brown mixture, according to the quantities
+of the respective shades entering into the combination; on the
+other hand, if white and red wools are blended, a mixture
+of a pinkish character is obtained. Hence it is clear that the
+same principles which determine the alteration in the shade,
+tint, or hue of a colour when pigments are combined, also regulate
+the results due to mixing several colours of textile fibres.</p>
+
+<p>Strictly speaking, white and black cannot be designated
+colours, being merely representative of the principles of light
+and darkness, and acting, in the multiplication of shades and
+tints, as the great modifiers of colour. Such is their province in
+the <i lang="fr">rôle</i> of colour production. In design, they are indispensable
+in mellowing certain combinations of hues, and in giving
+precision and clearness to specific sections of a pattern. As
+ground shades they are also useful. Light colours appear
+bright and distinct on black surfaces; while deep colours,
+such as blues, purples, and reds, appear intense and clear on
+white materials. So that by a proper use of these shades it is
+possible, in the first place, by the process of mixing them with
+bright colours, to produce a variety of hues; and, in the
+<span class="pagenum" id="Page_26">[Pg 26]</span>
+second place, by introducing them into the warp and weft of
+the pattern, to impart smartness and lustre to the colours
+employed.</p>
+
+<p>18. <i>Derivatives of Red: their Qualities and their Province
+in Textiles.</i>—By the derivatives of a colour, are signified those
+shades and tints which result from mixing it with various
+quantities of white or black. Those obtained from red are both
+numerous and important, being specially useful in the production
+of woven effects. They comprise both ground and fancy hues.
+First, in the category of the derivatives of this primary, are
+those shades produced by toning it with black. A few typical
+specimens of these are given in <abbr title="Numbers">Nos.</abbr> 1, 2, and 3, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a> The
+brightest shade (<abbr title="Number">No.</abbr> 3) is compounded of three parts of red and of
+one part of black; the medium shade (<abbr title="Number">No.</abbr> 2) of equal quantities
+of red and black; while in the dark brown (<abbr title="Number">No.</abbr> 1) black preponderates,
+the proportions being one part of red to three parts
+of black. Such shades of brown may be used as ground colours,
+but the two latter are the most appropriate for this purpose.
+Shade 3 is, however, frequently employed with good results
+in dress fabrics for the foundation of the texture. Some excellent
+colourings ensue from their combination. The two extremes—Shades
+1 and 3—when employed in the same style give a softly
+toned pattern. A less pronounced contrast ensues from a compound
+of Shades 1 and 2, or Shades 2 and 3. In combinations
+of this kind, there should usually be a larger quantity
+of one colour element than another. Another method of combining
+these shades consists in introducing the three into one
+pattern. For example, if twelve threads of Shade 1, eight
+threads of Shade 2, and four threads of Shade 3, were woven
+together and checked over in the weft by a similar arrangement
+of yarns, a neat design would be obtained. It might
+be changed by taking four threads of Shade 1 instead of
+twelve, and twelve threads of Shade 3 instead of four. In the
+former style the dark brown would preponderate, but in the
+latter the light brown, the quantity of the medium hue being
+the same in each instance. These illustrations demonstrate
+the utility of these shades and the systems on which they
+are amalgamated in pattern construction.</p>
+
+<p><span class="pagenum" id="Page_27">[Pg 27]</span>
+The tints <abbr title="Numbers">Nos.</abbr> 4, 5, and 6, on <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>, are characterized
+by brilliance and intensity of tone, making them adapted
+for imparting lustre and richness to design. Like the colour
+from which they obtain their specific tint, they are ostentatious
+and potent in effect. While the shades given in <abbr title="Numbers">Nos.</abbr> 1, 2, and
+3 are all darker in tone than the original red, these tints are
+lighter on account of the entrance of white into their composition.
+Thus they are made up as follows:&#x2060;—</p>
+
+<p class="indent5 unindent">
+Tint 4, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>—1 part of red and 3 parts of white.<br>
+Tint 5, &ensp; „ &ensp; „ &ensp;—2 parts of red and 2 parts of white.<br>
+Tint 6, &ensp; „ &ensp; „ &ensp;—3 parts of red and 1 part of white.
+</p>
+
+<p>Bright tints of this kind are extensively used in figured
+weaving, as in the manufacture of vestings, silk neckties, dress
+fabrics, and trimmings. Sometimes in the latter description of
+textures they form the pattern proper. In the ordinary run of
+woollen and worsted cloths they are, however, only sparingly
+employed, and that in the form of twist yarns. Amongst the
+varieties of twists which can be produced by combining two or
+more of these shades and tints of red, the following are selected
+as suggestive illustrations:&#x2060;—</p>
+
+<p class="hangwide">&ensp;I.—One thread of Shade 1 twisted with one thread of Tint
+4, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a></p>
+
+<p class="hangwide">&thinsp;<abbr title="Two">II.</abbr>—One thread of Shade 1 twisted with one thread of Tint
+6, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a></p>
+
+<p class="hangwide">III.—One thread of Shade 2 twisted with one thread of Tint
+5, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a></p>
+
+<p class="hangwide">IV.—One thread of Shade 3 twisted with one thread of Tint
+4, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a></p>
+
+<p class="hangwide">&ensp;V.—One thread of Shade 1; one thread of Shade 3; and one
+thread of Tint 4, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>, twisted together.</p>
+
+<p>Each of these compound yarns, in worsted, woollen, or cotton
+materials, is capable, when judiciously applied, of contributing to
+the quality of woven pattern.</p>
+
+<p>Another section of manufacturing in which these derivatives
+are employed is in the blending process, or in the production
+of fancy mixture yarns.</p>
+
+<p>19. <i>Blue: its Properties and Uses.</i>—Blue (<abbr title="Number">No.</abbr> 2, <a href="#plate03">Plate <abbr title="Three">III.</abbr></a>) is
+<span class="pagenum" id="Page_28">[Pg 28]</span>
+one of the most valuable colours used by textile designers. In
+dark shades it is utilized for the ground of patterns; in medium
+shades it is employed for mellowing and toning purposes; while
+bright blues convey freshness and force of colouring; so that
+this primary has three distinct functions in textile designing.
+In each of these, it will be indicated what its properties are
+as a colour, and the relation it sustains to other shades with
+which it may be combined.</p>
+
+<p>Unlike red, which is decidedly a warm colour, the quality
+of blue is cold and retiring: this distinguishes it from yellow,
+orange, and red, which produce a sensation of warmth.
+Resembling violet and purple, it is indistinct and neutral in
+a declining light, but strong and brilliant in a bright light;
+hence, when applied to light grounds, it is not only pronounced
+in hue, but is quite distinct from other shades, while on a dark
+or black surface it is both mellow and lustrous in effect.</p>
+
+<p>Its property of “coldness” renders it a useful shade for subduing
+the redness of tone of some colourings; for it in some
+degree neutralizes the warm hue of the browns, maroons, russets,
+or other shades forming the pattern in which red is prevalent.
+This does not, however, indicate that red and blue harmonize;
+on the contrary, whenever these two colours are associated in
+large quantities, the resultant composition is somewhat incongruous;
+but that when combined with browns and russet
+olives, or shades in which the red tint is assimilated by the
+quantity of black they contain, blue can be made to yield
+excellent coloured effects. Pure blue, like pure red, is not so
+largely used as its derivatives, still it has a place in textile
+designing. This is principally as a fancy yarn, when it gives
+freshness and bloom to the pattern. It is also employed as a
+ground colour in the manufacture of fine silk fabrics, and as the
+figuring colour in certain makes of fancy worsteds.</p>
+
+<figure class="figcenter illowp48" id="plate04" style="max-width: 28.1875em;">
+  <img class="w100" src="images/plate04.jpg" alt="Tones and tint of primaries">
+  <figcaption style="color: blue;">
+      <p>Plate <abbr title="four">IV</abbr><br>
+      <span class="allsmcap">TONES AND TINTS OF THE “PRIMARIES”</span></p>
+<table class="smaller">
+<tr>
+<td class="tdr">1. 2. 3.</td>
+<td class="tdl">Tones of Red</td>
+</tr>
+<tr>
+<td class="tdr">4. 5. 6.</td>
+<td class="tdl">Tints of Red</td>
+</tr>
+<tr>
+<td class="tdr">7. 8. 9.</td>
+<td class="tdl">Tones of Blue</td>
+</tr>
+<tr>
+<td class="tdl">10. 11. 12.</td>
+<td class="tdl">Tints of Blue</td>
+</tr>
+<tr>
+<td class="tdl">13. 14. 15.</td>
+<td class="tdl">Tones of Yellow</td>
+</tr>
+<tr>
+<td class="tdl">16. 17. 18.</td>
+<td class="tdl">Tints of Yellow</td>
+</tr>
+</table>
+  </figcaption>
+</figure>
+
+<p>20. <i>Derivatives of Blue and their Application to Woven
+Textures.</i>—If blue is mixed with black, shades of an indigo
+character result; but, if mixed with white, peacock blues,
+lavenders, and pale blues are formed. Some few examples in
+both these types of derivatives may be considered. From the
+series of dark or shaded blues three examples have been selected,
+<span class="pagenum" id="Page_29">[Pg 29]</span>
+namely, those in <abbr title="Numbers">Nos.</abbr> 7, 8, and 9, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a> The first consists of
+one part blue and three parts black; the second (<abbr title="Number">No.</abbr> 8) of two
+parts blue and two parts black; and the third (<abbr title="Number">No.</abbr> 9) of three
+parts blue and one part black. Shade 1 (indigo) is a useful colour
+for piece-dye goods, as well as for the grounds of fancy fabrics.
+By studying this method of mixing, it will be observed how a
+pure and intense colour may be gradually darkened in shade, or—if
+white is added—gradually lightened in tint, until it closely
+resembles black or white, as the case may be. This system of
+varying the tone of a colour makes it feasible, by a proper assortment
+of hues, to produce stripes or checks in light or dark shades.
+Take, for example, the three blues given in <abbr title="Numbers">Nos.</abbr> 7, 8, and 9 on
+this Plate. If these are put together thus: eight threads of
+Shade 7, eight threads of Shade 8, and eight threads of Shade 9,
+a shaded blue check will result, which in worsted, woollen,
+or cotton yarns gives a satisfactory pattern. Let the warp
+thus arranged be crossed with similar quantities of the respective
+shades, and checks of the several blues will be formed in the
+fabric. This plan of colouring produces checks of equal proportions
+of the different shades; but, if needful, these might be
+easily got in various dimensions, say, for instance, the darkest
+check about three-quarters of an inch in size, and the remaining
+two checks half an inch.</p>
+
+<p>A few of the principal tints of blue, got by mixing this primary
+with white, in the same proportions as the shades just described
+were produced by mixing it with black, are <abbr title="Numbers">Nos.</abbr> 10, 11, and
+12, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a> The white has given them a softened and
+mellowed tone, having neutralized that forcible and striking
+attribute which characterizes pure blue. On comparing them
+with the original colour from which they result (<abbr title="Number">No.</abbr> 2, <a href="#plate03">Plate <abbr title="Three">III.</abbr></a>),
+the degree to which white subdues and mellows bright hues
+with which it is blended will be evident. Tints of this class
+are used in various ways in designing. Some styles in
+silk handkerchiefs are producible by the exact depth of
+hues seen in the illustration—these weights of colours forming
+congruous and evenly-balanced patterns. They are also
+largely employed in cotton textures. One example of this type
+of combination is given in <a href="#plate07a"><abbr title="Number">No.</abbr> 1, on Plate <abbr title="Seven">VII.</abbr></a> This is a sketch
+<span class="pagenum" id="Page_30">[Pg 30]</span>
+of a fabric made of cotton yarns. The warp is light blue—Tint
+10, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>—and the weft a deeper blue, or Tint 12. The
+neatness of this colouring is due to the soft contrast between
+the tints of the warp and weft yarns.</p>
+
+<p>21. <i>Shades and Tints of Blue mixed with Shaded and Tinted
+Red and Yellow.</i>—In the styles in which blue is employed for
+ground purposes, indigo shades are invariably used. Blue, however,
+is not a foundation colour that admits of much diversity
+of tinting. To succeed in its application to the grounds
+of patterns, a good range of browns, olives, and greys is
+important. With shades of the olive class it gives the most
+marked contrasts. This is due to yellow being the prevailing
+tint of this compound hue. But it also mingles harmoniously
+with certain tints of grey and brown. Patterns in which these
+shades are arranged as in Tables <a href="#Table_5"><abbr title="Five">V.</abbr></a> and <a href="#Table_6"><abbr title="Six">VI.</abbr></a>, in woollen,
+worsted, cotton, or silk yarns, illustrate the methods of combining
+blue effectively with different shades and tints of red and
+yellow. In <a href="#Table_1">Table <abbr title="One">I.</abbr></a> the combinations of shades are included;
+but in <a href="#Table_2">Table <abbr title="Two">II.</abbr></a> will be found the tints of red, blue, and yellow.
+The colours are given in groups of six threads, and would,
+providing the arrangements appended were carried out in the
+weft, produce a series of clearly developed check effects.</p>
+
+<p class="p2 center"><a id="Table_5"></a>
+<span class="smcap">Table <abbr title="Five">V.</abbr></span><br>
+<br>
+<span class="smcap">Compounds of Shades or Tones of Colour.</span>
+</p>
+
+<p>
+<i>(a) Shades of Blue and Red (<a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>).</i>
+</p>
+
+<p class="center">
+<abbr title="Example">Ex.</abbr> 1. Dark shades.<br>
+Black preponderating.
+</p>
+
+<p class="indent20 unindent">
+6 threads of dark blue (Shade 7).<br>
+6 threads of dark brown (Shade 1).
+</p>
+
+<p class="center">
+<abbr title="Example">Ex.</abbr> 2. Medium shades.<br>
+Black and Blue, and Black and Red equally mixed.
+</p>
+
+<p class="indent20 unindent">6 threads of medium blue (Shade 8).<br>
+6 threads of medium brown (Shade 2).
+</p>
+
+<p><span class="pagenum" id="Page_31">[Pg 31]</span></p>
+
+<p class="center">
+<abbr title="Example">Ex.</abbr> 3. Lightish shades.<br>
+Blue and Red preponderating.
+</p>
+
+<p class="indent20 unindent">6 threads of toned blue (Shade 9).<br>
+6 threads of light brown (Shade 3).
+</p>
+
+<p>
+<i>(b) Shades of Blue and Yellow (<a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>).</i>
+</p>
+
+<p class="center">
+<abbr title="Example">Ex.</abbr> 1. Dark shades.<br>
+Black preponderating.
+</p>
+
+<p class="indent20 unindent">6 threads of dark blue (Shade 7).<br>
+6 threads of dark olive (Shade 13).
+</p>
+
+<p class="center">
+<abbr title="Example">Ex.</abbr> 2. Medium shades.<br>
+Black and Blue, and Black and Yellow equally mixed.
+</p>
+
+<p class="indent20 unindent">6 threads of medium blue (Shade 8).<br>
+6 threads of medium olive (Shade 14).
+</p>
+
+<p class="center">
+<abbr title="Example">Ex.</abbr> 3. Lightish shades.<br>
+Blue and Yellow preponderating.
+</p>
+
+<p class="indent20 unindent">6 threads of toned blue (Shade 9).<br>
+6 threads of toned olive (Shade 15).
+</p>
+
+<p class="p2 center"><a id="Table_6"></a>
+<span class="smcap">Table <abbr title="Six">VI.</abbr></span><br>
+<br>
+<span class="smcap">Compounds of Tints of Colour.</span>
+</p>
+
+<p>
+<i>(a) Tints of Blue and Red (<a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>).</i>
+</p>
+
+<p class="center">
+<abbr title="Example">Ex.</abbr> 1. Very light tints.<br>
+White preponderating.
+</p>
+
+<p class="indent20 unindent">6 threads of pale lavender (Tint 10).<br>
+6 threads of pale salmon (Tint 4).
+</p>
+
+<p class="center">
+<abbr title="Example">Ex.</abbr> 2. Light tints.<br>
+Blue and White, and Red and White equally mixed.
+</p>
+
+<p class="indent20 unindent">6 threads of lavender (Tint 11).<br>
+6 threads of bright salmon (Tint 5).
+</p>
+
+<p class="center">
+<abbr title="Example">Ex.</abbr> 3. Deep tints.<br>
+Blue and Red preponderating.
+</p>
+
+<p class="indent20 unindent">6 threads of tinted blue (Tint 12).<br>6 threads of tinted red (Tint 6).
+</p>
+
+<p><span class="pagenum" id="Page_32">[Pg 32]</span>
+<i>(b) Tints of Blue and Yellow (<a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>).</i>
+</p>
+
+<p class="center">
+<abbr title="Example">Ex.</abbr> 1. Very light tints.<br>
+White preponderating.
+</p>
+
+<p class="indent20 unindent">6 threads of very pale yellow (Tint 16).<br>
+6 threads of pale lavender (Tint 10).
+</p>
+
+<p class="center">
+<abbr title="Example">Ex.</abbr> 2. Light tints.<br>
+Blue and White, and Yellow and White equally mixed.
+</p>
+
+<p class="indent20 unindent">6 threads of lavender (Tint 11).<br>
+6 threads of pale yellow (Tint 17).
+</p>
+
+<p class="center">
+<abbr title="Example">Ex.</abbr> 3. Deep tints.<br>
+Blue and Yellow predominating.
+</p>
+
+<p class="indent20 unindent">6 threads of tinted blue (Tint 12).<br>
+6 threads of tinted yellow (Tint 18).
+</p>
+
+<p class="p2">22. <i>Methods of Obtaining Well-balanced Colourings.</i>—From
+these Tables it will be evident that if the shade of blue is
+modified, that of the combining colour is also changed. Unless
+this rule is adhered to, the arrangement adopted will give incongruous
+results. Only a certain depth of blue harmonizes with
+a corresponding depth of brown and olive; if one predominates
+over the other, the colouring becomes deficient and
+displeasing to the eye. For example, if Shades 1 and 9 and
+Tints 4 and 12 were blended, the result would not be so mellow
+as if Shades 1 and 7 and Tints 4 and 10, as in the Tables,
+were combined. The reason for this is that, in the first instance,
+a shade of red in which black preponderates is used with a
+shade of blue in which blue preponderates; while, in the second
+instance, a tint of red in which white preponderates is associated
+with a tint of blue in which blue preponderates; whereas, to
+produce a perfect balance of colour—that is, providing the
+quantities of the respective colours are equal—it is necessary for
+the shades or tints combined to contain exactly the same quantities
+of black and white, as in the combinations of Shades 1 and 7,
+and Tints 4 and 10 of <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a></p>
+
+<p>In no combination given in Tables <a href="#Table_5"><abbr title="Five">V.</abbr></a> and <a href="#Table_6"><abbr title="Six">VI.</abbr></a> is there a lack
+of harmony; indeed, considering the principle on which they
+<span class="pagenum" id="Page_33">[Pg 33]</span>
+have been obtained, this is almost impossible. Thus, take <abbr title="Example">Ex.</abbr> 1
+in <a href="#Table_5">Table <abbr title="Five">V.</abbr></a> Here, dark shades of blue and brown are associated.
+In both colours black preponderates; that is to say, the former
+is composed of three parts of black and two parts of blue, and the
+latter of three parts of black and two parts of red. Providing
+the primaries blue and red (<abbr title="Numbers">Nos.</abbr> 1 and 2, <a href="#plate03">Plate <abbr title="Three">III.</abbr></a>) harmonize,
+these shades, which are their derivatives, will also mix well
+together. A test to which they can be submitted is to view
+them side by side. If slips of these shades are thus combined,
+they do not appear incongruous and harsh in tone, but possess
+a soft and mellow aspect, and in this consists the true characteristics
+of harmonious colourings. As the tints are worked out
+on the same system as the shades, they form useful compounds.
+In order that this important element of congruous colour effects
+may be clearly understood, let <abbr title="Example">Ex.</abbr> 1 of <a href="#Table_6">Table <abbr title="Six">VI.</abbr></a> be also briefly
+examined. Such a combination can only yield an agreeable
+pattern. Whether these tints are blended in the wool or in
+the yarn, the resulting mixture is satisfactory. This arises
+from the weight or depth of colour of the respective tints
+being identical; in other terms, the intensity of the tinted red
+is precisely the same as that of the tinted blue. In dress
+stuffs, tennis flannels, fabrics for trimmings, silks, and extreme
+fancy textures, this blend of tints is invariably pleasing.
+Equally harmonious results may be arrived at by combining
+tinted red (<abbr title="Number">No.</abbr> 4) with tinted yellow (<abbr title="Number">No.</abbr> 16), or tinted blue
+(<abbr title="Number">No.</abbr> 10, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>) with tinted yellow. In each of these
+compounds, delicacy of tint and mellowness of hue are the
+prevailing qualities.</p>
+
+<p>23. <i>Uses of Blue in Twist Yarns.</i>—Having now treated of
+blue as a ground colour, and also as a shade for blending with
+other hues to tone down a style or subdue its coloured aspect,
+it only remains to indicate its utility as a colour for twist yarns.
+It is a valuable shade for this purpose. As it is a bright but not
+a showy colour, it is particularly suitable for fancy two- or three-ply
+yarns. Twists in which red, yellow, or orange are used, have
+a tendency to overpower the general colouring of the pattern in
+which they appear, but this is not the case in fancy yarns in
+which blue is the principal colour. Such twists, while imparting
+<span class="pagenum" id="Page_34">[Pg 34]</span>
+lustre and freshness to the design, in no wise detract
+from its beauty of colouring, though that may be of a comparatively
+subdued character. The following are a few examples
+in two-ply yarns in which blue threads are employed:
+black and blue; white and blue; brown (<abbr title="Number">No.</abbr> 1) and tinted blue
+(<abbr title="Number">No.</abbr> 10); dark blue (<abbr title="Number">No.</abbr> 7) and tinted red (<abbr title="Number">No.</abbr> 4); blue and
+yellow; dark blue and shaded red (<abbr title="Number">No.</abbr> 3, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>); and
+medium blue and white.</p>
+
+<p>24. <i>Points in the Application of Blue and Red to Textiles
+Summarized.</i>—The analyses which have been made of the use
+of blue and red in woven designs, have demonstrated that, whenever
+primary colours are applied to textile fabrics in their purity
+and natural intensity, it is in comparatively small quantities.
+Brilliance of hue causes the application of primaries in large
+patches to textile surfaces to be undesirable. In dress fabrics,
+bright blue, red, and yellow have an important place. Mantlings,
+shawls, wraps, and travelling rugs also provide scope for a
+liberal use of these shades; but in treating designs with colour
+for fabrics of the coating and trousering class, subdued and
+indefinite shades prove the most useful. Red and blue are
+valuable to impart tone and newness of character to the style.
+The groundwork of the pattern should first have attention—the
+intensity and strength of the bright colours depending on the
+mode of application. Should the ground colouring of a pattern
+be strong and harsh, the addition of green or blue will, in some
+cases, give it a mellow quality; or should it lack brightness, then
+red, orange, or yellow, if applied in small quantities and properly
+distributed, will relieve the heaviness of the colouring and impart
+the requisite freshness of aspect. Success in the use of pure
+colours is determined by the quantities in which they occur, and
+by the nature of the shades with which they are associated.
+Bright red, however sparingly employed, if applied to a mixture
+of brown or russet shades, cannot but form an incongruous
+colouring; but if applied to an assortment of shades in which
+soft-tinted blues and greens are conspicuous, both harmony and
+contrast of composition would result.</p>
+
+<figure class="figcenter illowp60" id="plate05" style="max-width: 43.75em;">
+  <img class="w100" src="images/plate05.jpg" alt="Plaid with yellow">
+  <figcaption style="color: blue;">
+      <p>Plate <abbr title="Five">V</abbr><br>
+      <span class="allsmcap">PLAID IN WHICH YELLOW IS THE BRIGHT OVER CHECKING COLOUR</span></p>
+      <p class="p0 xxs">(5013)</p>
+  </figcaption>
+</figure>
+
+<p>25. <i>Attributes of Yellow.</i>—This colour (<abbr title="Number">No.</abbr> 3, <a href="#plate03">Plate <abbr title="Three">III.</abbr></a>) is
+generally understood to be emblematical of purity and brightness.
+<span class="pagenum" id="Page_35">[Pg 35]</span>
+It is the most luminous tint in the spectrum. Purple is its complementary
+and contrasting hue. Intense yellow—rich, bright,
+and cheerful—has the same relation to light or whiteness as blue
+has to darkness. It lacks the lustrous quality of red and the
+retiring, mellow characteristic of blue, but possesses vividness
+and lustre. Luminosity and brilliance of hue limit its application
+to textile design; yet it has a sphere which no other
+colour can occupy. Thus, in patterns in which white yarns
+and light or delicate shades are employed, it is one of the
+most important fancy colours it is possible to introduce into
+the fabric. Mingled with such shades, it loses a degree of
+that prominence and individuality of tint which characterizes
+it when applied to patterns possessing dark and sombre
+grounds.</p>
+
+<p>Another quality of this primary is vividness—no colour being
+comparable with it in this sense. Orange possesses this attribute,
+but not so largely as positive yellow. Its characteristic freshness,
+but comparative lightness of hue, imparts to it a clear and
+decided tone on black or dark surfaces. Hence it is found
+that when yellow is blended with light and medium greys
+and lavenders, its property of lustre suffers in intensity;
+whereas, if it is applied to dark blue, dark brown, or black
+materials, its vivid attributes are forcibly distinguished. When
+these modifications, which this and other bright colours undergo
+according to the qualities of the several shades with which they
+may be combined, are clearly understood, the possible effect of
+their application to any pre-arranged scheme of ground colours
+may be estimated. Obviously there are three factors to be carefully
+considered when employing primary hues: first, the nature
+of the contrast resultant when the colours are placed on light
+materials; second, on medium-toned grounds; and third, on
+textures composed of dark yarns. Yellow is somewhat lessened
+in distinctiveness on the first, but improves in intensity on the
+dark grounds, being only slightly changed when arranged side
+by side with shades of a medium depth.</p>
+
+<p>26. <i>Province of Yellow in Woven Fabrics.</i>—Pure yellow is
+but sparingly used in textile designing. In tweeds and worsteds
+it is combined, to a limited extent, with other shades in the construction
+<span class="pagenum" id="Page_36">[Pg 36]</span>
+of fancy twist and mixture yarns. It is the principal
+colour in the following two- and three-ply yarns: black and
+yellow; blue and yellow; indigo blue and yellow; dark grey and
+yellow; black, purple, and yellow; black, medium grey, and
+yellow; and black, red, and yellow. When used in this form
+it may add lustre and freshness to an otherwise sombre
+style. It possibly gives the best results in tweeds, where the
+fibrous nature of the texture helps to minimize its excessive
+brightness. Yellow is also applied as a self-coloured yarn to
+certain styles of check patterns for woollen travelling mauds,
+shawls, and rugs. An example of a plaid pattern of this description
+is given in <a href="#plate05">Plate <abbr title="Five">V.</abbr></a> There are contrasts of dark green and
+red, dark green and blue, black and red, and also yellow as an
+intermediate colour between green and red, and as a checking
+colour on the black. Yellow is thus used for two purposes:
+first, as a divisible hue; contrasting with the green, and harmonizing
+with the red; and second, as the strongest contrast possible
+on the black. It gives what may be termed the chief checking
+lines to the plaid, and produces freshness and lustre in the
+style. These lines are of sufficient width considering the brightness
+and vividness of the colour, which are two qualities to be
+taken into account when using colours in combination with
+other bright shades.</p>
+
+<p>27. <i>Derivatives of Yellow.</i>—These are both numerous and
+important. When blended with blue, as previously explained,
+hues of green are formed, comprising myrtle green, sea
+green, emerald green, and grass green, all of which vary in
+tint according to the intensity of the bluish and yellowish
+elements entering into their composition. Yellow with red, on
+the other hand, yields an assortment of scarlet and orange hues.
+Yellow with white gives delicate tints of a straw, lemon, and
+primrose class (see <abbr title="Numbers">Nos.</abbr> 16, 17, and 18, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>); while with
+black it forms many shades of an olive character, such as
+those supplied in <abbr title="Numbers">Nos.</abbr> 13, 14, and 15 on the same Plate. If
+it should be mixed with grey, it produces various tints of drab;
+so that this primary is a very useful colour for blending with
+other hues in the production of compound shades.</p>
+
+<p>28. <i>Secondary Colours.</i>—The attributes and functions of the
+<span class="pagenum" id="Page_37">[Pg 37]</span>
+primaries in textiles have now been defined. The secondaries—colours
+resulting from mixing two primaries—possess quite
+distinct properties from the hues of which they are composed.
+Compared with the primaries red, yellow, and blue, they lack
+intensity and strength of hue. Still, they are potent colours,
+and, as a consequence, only produce harmonious combinations
+when judiciously employed. As a rule, the stronger and the
+more intense a colour, the greater the skill required in its
+application to pattern or design. To use the secondaries in
+large quantities with success, some practice in textile colouring
+is essential.</p>
+
+<p>Of these compound shades, orange is the most ostentatious,
+being tinged with red; purple possesses depth and fulness of
+hue; and green is suggestive of freshness. Each colour is
+largely used in woven manufactures, the methods of application
+depending on the type of the texture. In silk ribbons
+and neckties, they are used as pure colours, and are also
+applied to cotton and flannel shirting styles, linen vestings,
+and fancy worsted shawls; but when employed in the ordinary
+types of woollens and worsteds, they are somewhat subdued by
+mixing with white or black, or they may form one of the threads
+in a fancy twist yarn. The qualities of each colour will be
+considered separately.</p>
+
+<p>29. <i>Green: its Attributes and Derivatives.</i>—This is a useful
+secondary colour. In the Light Theory of Colouring, it is a
+primary hue; but it is already understood that, according to the
+Pigment Theory, green is not a simple, but a compound colour
+resulting from the admixture of the pigment yellow with the
+pigment blue. Greens may also be obtained by the same process
+in the dye vat. Thus the texture or material may primarily be
+treated with the blue colouring matter, such as indigo, and
+subsequently with the yellow dye-ware, such as weld or old
+fustic.</p>
+
+<p>In Nature, green is the most extensively distributed colour,
+but in the decorative arts, unless modified, it has not a wide
+application. As a colour it combines the qualities of its component
+hues—blue and yellow—for it is at once fresh, bright,
+and cheerful. When associated with the various shades and
+<span class="pagenum" id="Page_38">[Pg 38]</span>
+tints of red, harmonious and contrasting combinations ensue.
+Amongst the shades used in textiles derived from this secondary,
+are myrtle greens, olive greens, slate greens, and dark greens.
+Colours of this description are useful in textile work.</p>
+
+<p>The spectrum green is only applied to extreme fancies, and
+then chiefly as an extra, spotting, or figuring yarn; in tweeds
+and worsteds, however, it forms an appropriately coloured yarn
+for twisting with other threads of such shades as will neutralize
+a degree of its intensity and lustre. In fact, green is one of
+the most useful colours for twisting purposes employed in
+textile designing: such twists as black and green, scarlet and
+green, and white and green illustrating its utility in the production
+of fancy yarns for tweeds.</p>
+
+<p>Derivatives of green, due to its admixture with black, comprise
+a fair diversity of medium and dark shades which are
+employed as ground colours, and also for piece-dye textures.
+Three examples in such shades are <abbr title="Numbers">Nos.</abbr> 1, 2, and 3, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>
+In the first, black is the preponderating element, but in the
+third, green is the prevailing hue. With the red browns given
+in <abbr title="Numbers">Nos.</abbr> 1, 2, and 3 on <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>, they form perfect contrasts.
+The most pleasing combinations are those in which the greenish
+derivatives are blended in equal quantities with the reddish
+browns as follows: dark green (<abbr title="Number">No.</abbr> 1, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>) with dark
+brown (<abbr title="Number">No.</abbr> 1, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>); medium green (<abbr title="Number">No.</abbr> 2, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>) with
+medium brown (<abbr title="Number">No.</abbr> 2, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>); and toned green (<abbr title="Number">No.</abbr> 3, <a href="#plate06">Plate
+<abbr title="six">VI.</abbr></a>) with light brown (<abbr title="Number">No.</abbr> 3, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>). An endless variety of
+striped and checked patterns in woollen, worsted, and cotton
+materials is got by combining these shades on the lines just
+indicated. Some excellent ground twists result from combining
+dark brown (<abbr title="Number">No.</abbr> 1, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>) and toned green (<abbr title="Number">No.</abbr> 3, <a href="#plate06">Plate
+<abbr title="Six">VI.</abbr></a>); dark green (<abbr title="Number">No.</abbr> 1, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>) and light brown (<abbr title="Number">No.</abbr> 3, <a href="#plate04">Plate
+<abbr title="Four">IV.</abbr></a>); and medium green (<abbr title="Number">No.</abbr> 2, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>) and medium brown
+(<abbr title="Number">No.</abbr> 2, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>).</p>
+
+<p>30. <i>Tints of Green.</i>—The admixture of green with white results
+in the formation of tints of pea-green. (See <abbr title="Numbers">Nos.</abbr> 4, 5, and 6,
+<a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>) These blend harmoniously with the tinted reds
+given on <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a> For example, the pea-green, <abbr title="Number">No.</abbr> 4, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>,
+ when blended with the whitish pink, <abbr title="Number">No.</abbr> 4 of <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>,
+<span class="pagenum" id="Page_39">[Pg 39]</span>
+the pale green, <abbr title="Number">No.</abbr> 5, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>, with the rose colour, <abbr title="Number">No.</abbr> 5,
+<a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>, and the tinted green, <abbr title="Number">No.</abbr> 6, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>, with the
+tinted red, <abbr title="Number">No.</abbr> 6, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>, all form satisfactory contrasts. As
+the tints of the respective couplets perfectly balance, being of
+the exact depth of hue, they constitute mellow and choice
+combinations. Though these tints are not extensively employed
+in fancy woollen and worsted fabrics, still there are some
+classes of these textures in which they are used for ground
+purposes. One illustration of this kind is pattern <abbr title="Number">No.</abbr> 2 on <a href="#plate07b">Plate
+VII</a>. The twilled ground of the fabric is a similar tint to
+<abbr title="Number">No.</abbr> 4, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>, while the spotting yarns are two-ply, namely,
+tan and white, and crimson and white twists. The white
+feature of the colouring serves a twofold purpose: first, it
+neutralizes and subdues the intensity of the crimson and
+tan threads; and, second, it imparts precision to the mottled
+figuring.</p>
+
+<p>31. <i>Orange: its Shades and Tints.</i>—Next to red, orange
+(<abbr title="Number">No.</abbr> 5, <a href="#plate03">Plate <abbr title="Three">III.</abbr></a>) is the most intense, showy, and potent colour.
+It is closely allied to both red and yellow, of which hues it
+is composed. Orange is more luminous, but less intense than
+pure red, and is warmer, but not so bright in hue as yellow.
+Its potency of hue causes it to suffer little impoverishment
+either in lustre or intensity from juxtaposition with certain
+shades. With colours of a reddish or yellowish hue, it undergoes
+the most marked degree of modification; with blues and
+greens, and also with their derivatives, its quality is not
+perceptibly diminished. Whether distributed on dark or light
+surfaces, it stands out with lustre and freshness, and hence is
+one of the most appropriate colours for imparting brightness, or
+for giving to any combination of shades, lacking these qualities,
+a rich appearance.</p>
+
+<p>Shades of orange (<abbr title="Numbers">Nos.</abbr> 7, 8, and 9, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>) are designated
+brownish olives, possessing warmer attributes than the shades
+derived from yellow, but wanting that strength and richness of
+hue characterizing the russet browns resulting from mixing red
+with black. As ground colours they are of utility to the textile
+colourist. With shades of green they form complementary
+combinations, as the following examples illustrate:&#x2060;—</p>
+<span class="pagenum" id="Page_40">[Pg 40]</span>
+
+<p class="hangwide">I. Dark brownish olive (<abbr title="Number">No.</abbr> 7) with dark green (No 1,
+<a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>).</p>
+
+<p class="hangwide"><abbr title="Two">II.</abbr> Medium brownish olive (<abbr title="Number">No.</abbr> 8) with toned green (<abbr title="Number">No.</abbr> 2,
+<a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>).</p>
+
+<p class="hangwide">III. Light brownish olive (<abbr title="Number">No.</abbr> 9) with medium green (<abbr title="Number">No.</abbr> 3,
+<a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>).</p>
+
+<p class="unindent">These shades also combine satisfactorily with the dark and deep
+blues given in <abbr title="Numbers">Nos.</abbr> 7, 8, and 9 of <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a></p>
+
+<p>From the orange tints (<abbr title="Numbers">Nos.</abbr> 10, 11, and 12, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>) it will be
+noticed that by mixing white with this secondary, salmon and
+gold colours are obtained. They are useful in making twist
+threads, and are also employed, to a considerable extent, in silk
+yarns in the manufacture of vestings, spotted textures, neckties,
+and fancies. Satisfactory styles result from combining
+them with either tints of green or blue.</p>
+
+<p>32. <i>Purple.</i>—There is no colour comparable with purple
+(<abbr title="Number">No.</abbr> 6, <a href="#plate03">Plate <abbr title="Three">III.</abbr></a>) as regards depth of hue. Its characterizing
+qualities are softness, bloom, and richness of tone. It is a
+composition of the warm and the cold, and the showy and the
+quiet elements of the spectrum, namely, of red and blue.</p>
+
+<p>It only yields congruous combinations with a limited range of
+shades, and these generally belong to the derivatives of yellow.
+Purple and pure yellow form a very pronounced contrast—an
+example of which obtains in the common pansy. In this flower,
+the deep but lustrous tone of the purple opposes the luminous
+and pure hue of the yellow. From this natural combination of
+these tints, it is possible to learn with what class of colours
+purple will form the most effective contrasts. These are shades
+in which yellow preponderates, such as tans, light olives,
+and olive browns. To give bloom and richness of aspect to
+combinations of fawns, olives, and similar shades, purple, in
+conjunction with white, may be employed. Some excellent
+tapestries, bordered rugs, and travelling mauds are produced
+in which this hue is one of the principal colours.</p>
+
+<figure class="figcenter illowp47" id="plate06" style="max-width: 19.8125em;">
+  <img class="w100" src="images/plate06.jpg" alt="Tones and tints of secondaries">
+  <figcaption style="color: blue;">
+      <p>Plate <abbr title="Six">VI</abbr><br>
+   <span class="allsmcap">TONES AND TINTS OF THE “SECONDARIES”</span><br>
+    <span class="smaller">1. 2. 3. Tones of Green<br>
+   4. 5. 6. Tints of Green<br>
+   7. 8. 9. Tones of Orange<br>
+  10. 11. 12. Tints of Orange<br>
+  13. 14. 15. Tones of Purple<br>
+  16. 17. 18. Tints of Purple</span></p>
+  </figcaption>
+</figure>
+
+<p>The derivatives of purple are applied to dress fabrics, but
+are rarely used in textures for men’s wear, except for line
+striping and checking purposes. The examples given in the
+tints and shades of this colour, in <abbr title="Numbers">Nos.</abbr> 13 to 18, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>,
+<span class="pagenum" id="Page_41">[Pg 41]</span>
+inclusive, show that its admixture with white produces hues
+of a lilac class, and with black, hues of a deep indigo blue
+character. Materials dyed alizarin blue possess a similar
+purplish bloom as these shades, being warmer and redder in
+tone than the pure indigoes they are dyed to imitate.</p>
+
+<p>Though purple and its derivatives are not largely employed
+along with other colours in the construction of fancy patterns,
+yet they are of utility in the blending department of a woollen
+factory.</p>
+
+<div class="p2 footnotes"><h4>FOOTNOTES:</h4>
+
+<div class="blockquot">
+<div class="footnote"><p class="unindent"><a id="Footnote_7_7" href="#FNanchor_7_7" class="label">[7]</a> Tartans are special forms of checks in the colouring of which this principle
+is not observed.</p></div></div>
+</div>
+<hr class="chap x-ebookmaker-drop">
+
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_42">[Pg 42]</span></p>
+  <h2 class="nobreak" id="CHAPTER_III">
+    CHAPTER <abbr title="Three">III.</abbr>
+  </h2>
+   <h3>
+    CONTRAST AND HARMONY.
+  </h3>
+</div>
+
+<div class="blockquot">
+<p>33. Colours Affected by Adjacent Colours—34. How Colours are Changed
+by Juxtaposition—35. Contrast—36. Examples in Contrasts—37. Economic
+Contrasts—38. Two Kinds of Contrasts—39. Poly-chromatic Contrasts—40.
+Mono-chromatic Contrasts—41. Toned and Tinted Contrasts—42. Comparison
+of Contrasts by Shade and Contrasts by Colour—43. Shaded and
+tinted Compositions—44. Bright Colour Contrasts Modified with Black and
+White—45. Successive and Simultaneous Colour Effects—46. Methods of
+Neutralizing the Effects of Strong Colour Contrasts—47. Harmony—48.
+Principles of Harmony.</p>
+</div>
+
+<p class="unindent">33. <i>Colours Affected by Adjacent Colours.</i>—The intensity,
+potency, and hue of a colour may apparently undergo change
+by placing it in juxtaposition with other colours. The process
+of colour modification has been considered, when it was
+indicated in what manner hues are subjective to change in
+proportion to the quantity of black, white, or a colour which
+forms part of their composition; but the behaviour of colours
+when in contact or close together remains to be explained.
+Change of hue and tone of colour originated by the laws of
+contiguity is both varied and subtle. Trained and practical
+colourists realize some difficulty in determining the precise
+nature of the alteration, but it is none the less evident.
+That the attributes of colours are somewhat modified when
+the hues with which they are blended are combined, is an
+essential principle of shade compounds. If, for example, a
+series of small scarlet spots were woven on black, grey, and
+white grounds in succession, the hue of the scarlet, when the
+several fabrics were compared, would prove to be different
+in appearance in each sample, though the same scarlet yarn
+were employed in the production of the respective textures.
+<span class="pagenum" id="Page_43">[Pg 43]</span>
+Cutting away the grounds and comparing the spots from
+each on a common surface would show that identically the
+same scarlet had been used in the three fabrics: yet so apparent
+is their dissimilarity of hue that a casual examination would
+pronounce them distinct shades. Thus, on the black surface
+the spots gain intensity and lustre; on the grey they appear
+murky and dingy; whereas on the white surface the spots
+are bright, but evidently pale and washy as compared with
+those on the black ground. On varying the colour of the
+spots a different set of modifications ensues. Taking blue as
+the spotting colour, the black ground neutralizes a degree of
+its bloom and brightness; on the grey it suffers in lustre,
+but retains its precision of colour, and increases in richness
+and fulness of tone on the white fabric. Continuing this idea:
+if a batch of red threads were interspersed in a white warp, a
+degree of the colour quality would be subdued by the white
+threads; but should similar yarns be introduced into a black
+warp, an augmentation in the intensity of the red would be
+observed, because of the contrast thus created between the
+sombreness of the black and the rich brightness of the red: a
+contrast which, if the quantity of the red be large, is sufficient
+to give a copper-coloured cast to the black threads with which
+the red is in immediate contact. A law of colours is, that if
+the fancy shade is lighter than the ground colour, it will
+increase in brightness of tone; but if, on the other hand, the
+“fancy” is darker than the coloured surface on which it is
+distributed, it will suffer in tone. Moreover, if two colours,
+such as light and dark olive, were arranged together in the
+same warp, the former would appear lighter and the latter
+darker than they really are. This illusory alteration is entirely
+attributable to contrast. Colours of contrasting qualities and
+tones undergo two modifications when juxtaposed; first, they
+alter in depth, and, second, in nature of hue. When yellow
+and blue yarns are woven together, each is subject to this twofold
+change produced by contrast; first, as to tone, the yellow
+becomes brighter and the blue deeper; second, as to hue, each
+is tinged with the complementary colour of the other.</p>
+
+<p>34. <i>How Colours are Changed by Juxtaposition.</i>—It is a
+<span class="pagenum" id="Page_44">[Pg 44]</span>
+generally accepted principle of colours that when two surfaces
+of different shades are placed in contiguity, each is changed as
+though it had been mingled with the complementary of the
+other. Chevreul relates an incident, in his Treatise on Colours,
+which so clearly sets forth this important rule that it may be
+stated here. Certain merchants requested a firm of manufacturers
+to ornament red, violet blue, and blue woven stuffs
+with black spots or figures. When the goods were produced,
+the merchants complained that the spots were not black, as
+ordered, but that those on the red fabrics were tinged with green,
+on the violet with dark greenish yellow, while those developed
+on the blue were toned with a chocolate or coffee-coloured
+shade. Chevreul,&#x2060;<a id="FNanchor_8_8" href="#Footnote_8_8" class="fnanchor">[8]</a> in order to prove that the spots were perfectly
+black, covered the separate grounds with white paper, when it
+was at once discovered that the changes in the colours of the
+spots were entirely due to the contrast ensuing between the
+black shades and the respective grounds on which the spots
+had been arranged. All this conclusively shows that colour
+is a modifier of colour, and hence those hues which possess
+bloom and richness of tone on one species of coloured surface
+may be quite different on another. It is a good plan to combine
+the shades in the precise order in which they are intended to
+occur on a black ground. Classification in this way enables
+the colourist to estimate at a glance, without putting the
+pattern into the loom, the general tone of the shades.</p>
+
+<p>A common law of Colouring is, that the general effect of
+combining colours is that they appear further apart in the
+chromatic scale. Thus, when orange and red are combined,
+the former does not become reddish or the latter orangish, but
+the red seems to approach purple and the orange to assume a
+greenish cast. Complementary colours—<i>i.e.</i> those farthest apart
+in hue—are the least affected by association, as is evidenced
+by the results of such contrasts as red and green, blue and
+orange, and yellow and purple. An illustration may elucidate
+this primary principle of colour combinations. If a striped fabric
+were composed of bands of rose (Tint 4, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>) and lavender
+(Tint 10, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>) colours, one hue would help to give
+<span class="pagenum" id="Page_45">[Pg 45]</span>
+prominence to the other, because they strongly contrast with
+each other. On the other hand, if the same rose tint were
+combined with straw or primrose (Tint 16, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>), then
+the individuality of the separate colours would suffer, for, being
+similar in character, they would neutralize each other’s attributes,
+and would impinge upon one another. Hence, if in colouring
+textiles, it is required to preserve the intrinsic attributes of a
+shade, it should be combined with such colours as will differ
+most decidedly from it in hue and other qualities; whereas,
+if it is sought to change, by the law of contrast, any particular
+shade, it should be brought into contiguity with potent colours
+more or less allied to it in tone and hue.</p>
+
+<figure class="figcenter illowp63" id="plate07a" style="max-width: 43.75em;">
+  <img class="w100" src="images/plate07a.jpg" alt="Blue texture">
+  <figcaption style="color: blue;">
+    <p class="center">Plate <abbr title="Seven">VII</abbr><br>
+       <span class="allsmcap">1. BLUE TEXTURE</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp60" id="plate07b" style="max-width: 43.75em;">
+  <img class="w100" src="images/plate07b.jpg" alt="Fancy twist yarn">
+  <figcaption style="color: blue;">
+      <p><span class="allsmcap">2. FANCY-TWIST YARN SPECIMEN</span></p>
+  </figcaption>
+</figure>
+
+<p>35. <i>Contrast.</i>—What is termed “contrast” is that principle
+or quality of tints which produces a change in their lustre,
+depth, saturation, and hue, when in immediate contact with
+each other.</p>
+
+<p>Contrast may be explained by considering the effect of black
+and grey yarns in a woven style to which white is subsequently
+added. There is contrast in the pattern before the white is
+introduced, but it lacks precision and force. The addition of
+white imparts lustre to the grey, and fulness of tone to the
+black. Correctly speaking, neither the black nor the grey
+are changed by the white; they are, as it were, developed by
+it. White, in this instance, has the same function as in shaded
+drawings, in which clearness and boldness are given to form
+and outline by increasing the dark element of some parts
+and the light element of others. What may be designated a
+Tempered Contrast, originates when a quantity of grey intervenes
+in a mixture of black and white. In the shading of a
+round surface, this kind of contrast, in neutral tints, is developed
+to perfection, undue harshness of effect being neutralized by
+the gradual toning of black into white; but in the shading of
+angular objects, the sudden transitions from the extreme light
+to the extreme dark end of the scale of shades, produce good
+illustrations of the characteristics of Decided Contrasts. A
+pattern composed solely of black and white yarns is full of
+this kind of contrast, but by adding grey a toning element
+is introduced which forms a mellowed or tempered combination.
+<span class="pagenum" id="Page_46">[Pg 46]</span>
+Decided or “hard” contrasts, resulting from the use
+of positive (primary and secondary) colours, are exactly the
+reverse of graduated ones; they are inartistic, and deficient
+in softness which constitutes good colouring; on the other
+hand, toned contrasts possess richness and mellowness. Contrasts
+obtained by combining pure colours may be harsh and
+displeasing to the eye. Red and blue, for example, form a
+strong colour contrast, but this may be subdued by changing
+them to tones or tints. This will be seen by combining
+the following derivatives of these primaries: dark brown
+(Shade 1, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>) and dark blue (Shade 7, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>), and
+rose pink (Tint 5, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>) and blue lavender (Tint 11,
+<a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>). On account of the colours in these cases being
+either shades or tints, they produce mellow or tempered and
+not harsh or pronounced contrasts.</p>
+
+<p>36. <i>Examples in Contrasts.</i>—On <a href="#plate08a">Plate <abbr title="Eight">VIII.</abbr></a> and in <abbr title="Numbers">Nos.</abbr> 1 and
+2, two illustrations in contrast are given. In <abbr title="Number">No.</abbr> 1 the two
+ground colours, pale blue and straw, form a passable contrast, but
+the small lines of orange impart harshness of effect to the stripe.
+The strength of hue of this colour is not suitable for the
+stripings on which it is placed. Providing only three colours
+were allowable in this composition, then to prevent the orange
+from being too pronounced, it should be softened or tempered as
+in the illustration, <abbr title="Number">No.</abbr> 2, <a href="#plate08a">Plate <abbr title="Eight">VIII.</abbr></a> While in this latter
+example the pale blue and straw remain the same, yet the
+mellowing of the orange into a paler tint produces a strip of
+colouring in which each element, being of similar depth of
+tone, is equally prominent and effective. Comparing these
+illustrations further, it is obvious that in <abbr title="Number">No.</abbr> 1 the orange
+characteristic first strikes the eye. The slight hardness of tone
+does not arise from any want of beauty in the separate colours,
+but from the relative undue strength and vividness of the shade
+of orange. Providing this hue were replaced by green, an
+imperfect contrast would be formed; for green, while detracting
+from the lustre of the pale yellow or straw, would also harmonize
+indifferently with the lavender or tempered blue. From these
+illustrations it will be evident that in a satisfactory blend of
+colours all hues contribute to the attractiveness of the <i lang="fr">ensemble</i>;
+<span class="pagenum" id="Page_47">[Pg 47]</span>
+but in an imperfect contrast one or more colours may subtract
+from the lustre of adjacent hues, and partially neutralize their
+effect.</p>
+
+<p>37. <i>Economic Contrasts.</i>—Economic Contrasts comprise the
+production of the most effective styles with a minimum variety
+of hues. It does not follow because a pattern contains a diversity
+of shades that it will be attractive. Just as it frequently
+happens that the most permanently beautiful patterns result
+from the simple but unique methods of amalgamating forms, so
+by the artistic arrangement of a few choice colours excellent
+contrasts may be produced. To multiply the diversity of hues
+in any combination without marked increase of beauty is
+calculated to be more detrimental than beneficial to the style.
+An economic method of colouring consists in blending shades or
+tints of the same colour, and freshening or brightening the style
+by the use of “extras” or “fancies.” To practise economy in colour
+compounds, the first care should always be to obtain appropriate
+ground shades: if these produce harmony and possess a rich
+though subdued bloom, but few bright colours will be necessary
+to impart freshness and lustre to the style. On the other hand,
+an indifferent selection of foundation shades implies the employment
+of an increased range of fancies to tone, strengthen, and
+brighten the contrasts.</p>
+
+<p>38. <i>Two Kinds of Contrasts.</i>—All types of colour compounds
+may be included under two heads: namely, Mono-chromatic and
+Poly-chromatic Contrasts. The former comprise all species of
+contrasts due to a diversity of tint or shade in one colour; the
+latter comprise all kinds of contrasts arising from combining two
+or more distinct colours. The strongest and most effective
+colourings occur in poly-chromatic contrasts; while soft, subdued,
+and graduated tonings are largely characteristic of analogous
+colour contrasts. Blends of scarlet and green, yellow and blue,
+and orange and purple are colour couplets which illustrate the
+principles of contrast due to a diversity of hues; but blends of
+two shades of brown, blue, or slate, form contrasts belonging to
+the mono-chromatic class. In textile designing both these types
+of colouring obtain. They are frequently present in the same
+pattern, for a style may contain contrasts in shade, as well as
+<span class="pagenum" id="Page_48">[Pg 48]</span>
+contrasts in hue. For example, if two shades of brown, forming
+the bulk of a pattern, are brightened by extra threads of scarlet
+and blue, its colour elements are a co-mixture of both kinds of
+contrasts defined above.</p>
+
+<p>39. <i>Poly-chromatic Contrasts.</i>—A suggestive illustration of
+this species of colour arrangement is given on <a href="#plate08b">Plate <abbr title="Eight">VIII.</abbr></a> in
+<abbr title="Number">No.</abbr> 3. It is a scrap of textile ornament, borrowed from a
+Japanese work on decorative fabrics found in a Buddhist temple.
+A more vigorous combination of colours, possessed of greater
+potency and lustre, it would be difficult to conceive. With such
+chromatic science have the various hues been associated that
+each retains, unaffected, its individual strength and vividness.
+Considering that this group of forms contains no fewer than
+seven colours, in addition to black and white, and that the
+ground shade is a deep purple, the lustre of the separate
+hues is exceptional and a forcible quality of the design.
+Purple, as a rule, is a shade that, in virtue of its potency,
+alters all colours with which it may be mingled that are
+in any way akin to it, such as greens, blues, and reds; but it
+forms strong and decided contrasts with yellow, orange, and
+their derivatives. It becomes, therefore, an interesting inquiry,
+why in this blend of hues, green and blue lose none of their
+freshness and saturation. The method of arranging the colours,
+or the plan of combination—comprising the couplets scarlet
+and orange, deep and pale greens, and deep and pale blues—supplemented
+by the ingenious touches of black and white,
+are elements at the base of the colour emphasis characterizing
+the entire pattern. For the purpose of making the sequent
+analysis as lucid and instructive as possible, one of the four
+triple-leaved conventional forms surrounding the central diamond
+figure may be isolated, and its colourings alone considered; for
+each of these not only comprises every kind of hue entering into
+the design, but also illustrates the system of colour-mingling
+adopted throughout the design. Starting with the minute spots
+of scarlet—they are contingent, on the one side, with the purple
+ground: and, on the other side, with the small curved strips of
+orange. If the eye is allowed to single out and rest upon these
+scarlet sections where they are in contiguity with the purple,
+<span class="pagenum" id="Page_49">[Pg 49]</span>
+it will be noticed that the scarlet gains a crimsonish hue; but
+the eye takes simultaneous cognizance of the whole series of
+hues—a feature of the pattern which markedly contributes to
+the freshness of the individual colours. As a result of the
+incompetency of the eye to view the colours separately, and also
+on account of the method of arranging the colours, green at once
+associates itself in the mind of the observer with scarlet, and
+orange with pale green and deep blue. The law of contrasts
+brings the complementary colours in affinity, and, as a consequence,
+develops strength and fulness of hue. Impingement
+of colours is by this means avoided. The white edging of the
+leaves prevents the purple ground from affecting the purity of
+the pale blue, and also imparts clearness of outline to the
+ornament in general.</p>
+
+<p>The lessons to be learnt from this colouring may be summarized
+as follows: First, pure complementary colours, when
+adjacent, do not neutralize, but develop the qualities of each other;
+second, that by an appropriate use of white and black, as agents
+for separating colours, kindred hues may be arranged to produce
+an attractive contrast; and third, a medium shade of green gives
+lustre to scarlet, and palish green and deepish blue are complementary
+to orange.</p>
+
+<p>Some useful ideas may be gleaned from this example in Colour
+Contrasts for textile purposes. Thus, the small figures composed
+of the tints, as arranged in one of the conventionalized leaves
+of this design, may be grouped on a sateen system in a style
+for fancy vestings. It is suggestive in other ways. Ideas
+for cotton stripes or checks of a flannelette class may, for
+example, be obtained from it. Stripes of the blue shades here
+given, placed on a white ground, and brightened with a few
+threads of the orange hue, would form harmonious colouring.
+Again, a fabric of a dress-stuff description, in which the same
+arrangement of tints is observed, but the colours softened or
+tempered with black, could be appropriately coloured on this
+system. In such an instance scarlet would be replaced by dark
+brown (Shade I, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>); orange by reddish olive (Shade 9,
+<a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>); medium green by deep green (Shade 2, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>); pale
+green by toned green (Shade 3, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>); blue by dark blue
+<span class="pagenum" id="Page_50">[Pg 50]</span>
+(Shade 7, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>); and pale blue by toned blue (Shade 9,
+<a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>). It is evident from this group of shades that such a
+brilliant blend of hues as that composing the design given in
+<abbr title="Number">No.</abbr> 3, <a href="#plate08b">Plate <abbr title="Eight">VIII.</abbr></a>, may be turned to useful account; for in this
+instance it has been made to form the base of a new scheme of
+combining a number of dark colours adapted to a dress-stuff style.
+Of course it will be noticed that the modified colours are related
+in hue to the pure colours of the specimen of colour contrast
+considered; hence it follows that if the original colouring is
+characterized by balance of tone and harmony, the resultant
+blend of shades must possess similar qualities mellowed and
+tempered in intensity.</p>
+
+<p>One further thought on this plan of colour-mingling should be
+alluded to. In the foregoing example in shade-deduction from a
+combination of bright hues, dark colours have been employed; but
+it is equally feasible to appropriate tints as follows: rose (Tint 6,
+<a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>) for scarlet; pinkish orange (Tint 11, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>) for
+orange; pale blue (Tint 11, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>) for blue; lavender (Tint
+10, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>) for light blue; pale green (Tint 5, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>) for
+green; and very pale green (Tint 4, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>) for light green.
+This series of tints, when associated with suitable quantities of
+white, might be applied to textiles with satisfactory results, more
+especially if the system of grouping given in <abbr title="Number">No.</abbr> 3, <a href="#plate08b">Plate <abbr title="Eight">VIII.</abbr></a>,
+were adopted. Illustrations, based on this interesting specimen
+of colour amalgamation, have been multiplied because they
+indicate how useful “hints” in harmonious colouring may be
+gleaned from an apparently extravagant though elegant arrangement
+of hues.</p>
+
+<figure class="figcenter illowp40" id="plate08a" style="max-width: 37.5em;">
+  <img class="w100" src="images/plate08a.jpg" alt="Colour contrasts-stripes">
+  <figcaption style="color: blue;">
+    <p class="center">Plate <abbr title="Eight">VIII</abbr><br>
+       <span class="allsmcap">EXAMPLES IN COLOUR CONTRASTS</span><br>
+       <span class="smaller">1, 2. Stripes.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp89" id="plate08b" style="max-width: 31.25em;">
+  <img class="w100" src="images/plate08b.jpg" alt="Bright colours">
+  <figcaption style="color: blue;">
+      <p><span class="smaller">3. Figuring in Bright Colours.</span></p>
+  </figcaption>
+</figure>
+
+<p>40. <i>Mono-chromatic or Analogous Contrasts.</i>—This kind of
+colour contrast is extensively applied to all classes of decorative
+work. Nature abounds with suggestive illustrations of the
+principles of these colourings, a few of which may be described.
+Amongst flowers and plant forms which exhibit contrasts in
+reddish hues, the rose and stem of a forced rhubarb are
+particularly good. Take the rose first. What a beautiful
+delicate series of red tints it contains, and how mellow and
+rich are its finely gradated tones! There is an entire absence
+of harshness or even tendency to hardness of tinting in its
+<span class="pagenum" id="Page_51">[Pg 51]</span>
+colour composition. Ruskin, writing on gradation of hues,
+observes: “The victorious beauty of the rose as compared with
+other flowers depends wholly on the delicacy and quantity of
+its colour-gradations, all other flowers being either less rich in
+gradation, not having so many folds of leaf, or less tender, being
+patched and veined instead of flushed.” A stem of rhubarb also
+contains an infinite variety of gradations of crimson. At the base,
+it commences with a saturated crimson which alters in intensity
+to a palish pink. Not only are examples in red contrasts discovered
+in natural forms, but also shadings and tintings of green,
+blue, and brown. In the flimsy, delicate petals of the harebell
+several gradations of blue occur, running from a deep to a palish
+tint. For browns, the foliage of autumn only need be referred
+to. The leaves teem with diversity of shade, yet all the colours
+are of a brownish cast, varying from bright tan to rich russet.
+Some species of sandstone and pebbles exhibit useful gradations
+of fawn, such as cool and warm colours, especially suitable for
+application to textile patterns.</p>
+
+<p>The chief characteristics of graduated contrasts—which compose
+a large variety of colourings in decorative design—are
+softness and mellowness of toning, combined with lustre and
+force of effect. Compared with hue contrasts, they may lack
+strength and precision of emphasis, but they possess a soft,
+saturated fulness which makes them useful in the production of
+fancy textures.</p>
+
+<p>41. <i>Toned and Tinted Contrasts.</i>—Mono-chromatic compositions
+may be considered under two varieties, namely, Toned
+and Tinted Contrasts. The former comprise all associations of
+shades in which the colours have been toned or darkened by
+admixture with black; while the latter are composed solely of
+colours which have been tinted with white. These contrasts
+comprise the most valuable assortments of colours seen in fabrics
+produced for wearing purposes. Their quiet and mellow toning
+makes them of great utility in textile designing. Probably
+the largest proportion of fancy textures manufactured for men’s
+wear, results from this sort of colour composition.</p>
+
+<p>Illustrations in this type of colouring deserve to be carefully
+considered. The first example which will be alluded to is
+<span class="pagenum" id="Page_52">[Pg 52]</span>
+on <a href="#plate09a">Plate <abbr title="Nine">IX.</abbr></a>, <abbr title="Number">No.</abbr> 1. It is a toned contrast, being a mixture of
+the three browns, Shades 1, 2, and 3 on <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a> The style is
+suitable for either woollen or worsted materials, and is of a check
+description. The mode of sketching shows the effect due to the
+simple twilled weave used in its construction, as well as the
+peculiar form of check resulting from the plan of blending the
+shades. But it is the colour element of this fabric, with its
+gradated contrasts, that is at this stage most important. The
+three shades of brown have been combined thus in both warp and
+weft: 8 threads of dark brown, 8 threads of medium brown,
+8 threads of light brown, and 8 threads of medium brown. The
+medium shade thus alternates with the dark and light colours,
+maintaining one depth of contrast throughout the pattern.
+Blues (Shades 7, 8, and 9, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>), greens (Shades 1, 2. and 3,
+<a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>), or olives (Shades 7, 8, and 9, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>) might have
+been selected with similar results as the browns of this illustration.
+Three greys would also have shown the principle of this
+type of contrast, for compositions of dark, medium, and light
+greys form an endless diversity of textile patterns. But to
+return to this brown example. The contrast is of a mellow
+kind. There is no marked distinction between the shades, the
+three composing a softly-toned coloured effect. This characteristic
+of the style is of course attributable to the several shades
+being derivatives of the same hue—the red element predominating
+in each. Whatever kind of shaded or tinted contrasts
+are considered, they are characterized by the same tone of
+colouring seen in this pattern.</p>
+
+<p>In order to show the precise nature of this class of contrast
+in tints instead of shades, another illustration is that in <abbr title="Number">No.</abbr> 2
+on <a href="#plate09b">Plate <abbr title="Nine">IX.</abbr></a>, composed in this instance of three lilac tints
+similar to those given in <abbr title="Numbers">Nos.</abbr> 16, 17, and 18, on <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>
+Again, the plan of the weave of the fabric is cassimere twill,
+but the system of colouring has been diversified; thus, it consists
+of 16 threads of the deep tint, 8 threads of the medium tint,
+16 threads of the light tint, and 8 threads of the medium tint.
+While this arrangement forms a somewhat more varied style
+than the preceding method of combination, the tints of which it
+is composed are distributed in equal quantities, producing a
+<span class="pagenum" id="Page_53">[Pg 53]</span>
+uniform colouring. Its quality of mellowness is even more pronounced
+than that of <abbr title="Number">No.</abbr> 1. Being a light pattern, it possesses
+a unique delicacy of toning. This applies to all compositions of
+tints, which, when properly graduated, constitute the most
+mellow type of colouring producible.</p>
+
+<p>These illustrations in Toned and Tinted Contrasts are typical
+of the general effects obtainable by combining colours of the
+same hue but of different degrees of lightness and shade; they
+show that while effective compositions may be acquired with
+shades or tints, yet they are usually deficient in that force of
+contrast characterizing patterns containing a variety of hues.</p>
+
+<p>42. <i>Comparison of Contrasts by Shade and Contrasts by
+Colour.</i>—Relatively considered, contrasts in several colours are
+more definite and brilliant than contrasts in shades or tints;
+hence the former are applied to all classes of decorative fabrics,
+while the latter constitute the bulk of the colouring in textures
+made for wearing purposes. Of course, both systems of colouring
+largely overlap each other, making it impossible to limit
+the classes of fabrics in which each finds expression; still, in the
+general run of styles, tempered colours are the most appropriate
+for the ground or foundation of wearable textures; while, on
+the other hand, bright and positive colours impart the most
+telling precision to ornamental forms. Hence it may be affirmed
+to be a common law in textile colouring, that shades and tints
+compose a large proportion of styles intended for garments,
+whereas the special province of hue contrasts is in the development
+of figured designs. Tartan checks or plaids (see <a href="#plate05">Plates <abbr title="Five">V.</abbr></a>
+and <a href="#plate10"><abbr title="Ten">X.</abbr></a>) are amongst the principal exceptions to this rule.</p>
+
+<p>43. <i>Shaded and Tinted Compositions.</i>—These may either
+result from the use of one or more colours. First, suppose an
+instance in which blue shades are combined with blue tints, or
+in which the same hue prevails throughout the whole of the
+colouring. Thus, take the three shades given in <abbr title="Numbers">Nos.</abbr> 7, 8, and
+9, and combine them to form a striped pattern with the three
+tints, <abbr title="Numbers">Nos.</abbr> 10, 11, and 12, on <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a> Providing they are
+arranged in the order here mapped out, they would constitute a
+perfectly toned shade of blue. The gradations would run from
+a deep shade to a light tint, or from an extreme dark to an
+<span class="pagenum" id="Page_54">[Pg 54]</span>
+extreme light blue. An idea of how shaded patterns are arrived
+at in woven textures, in one hue of colour, may be gleaned from
+this example, for it is evident from the elements of its arrangement
+that a shaded effect may be produced in all kinds of hues,
+such as brown, olive, and green, if they are capable of yielding a
+sufficient diversity of toning.</p>
+
+<p>But, in addition to this method of associating tints and
+shades, these colour derivatives are also combined in distinct
+hues, forming a varied assortment of colourings. A ground
+pattern, for example, consists solely of an arrangement of
+shades; but, in order to give brightness to the style, a few fancy
+threads of tints derived from other hues—possibly of opposite,
+or may be of complementary, qualities to those from which the
+shades have originated—may be called into requisition. This
+principle of colouring may be clearly demonstrated by referring
+to the brown check pattern given in <abbr title="Number">No.</abbr> 1, <a href="#plate09a">Plate <abbr title="Nine">IX.</abbr></a> To impart
+a degree of freshness to this design, blue tinted threads
+might be employed, say about two between each shade. Exactly
+the same tint should not be introduced between the checks of the
+several shades. For the darkest shade the deepest tint should
+be used, for the medium shade the medium tint, and for the
+light shade the light tint; in other terms, whatever the nature
+of the shade, a corresponding tint is requisite. Balance of
+colouring and of contrast is only attainable by strict adherence
+to this rule. If the same tint were used for all the shades, it
+would appear stronger and more pronounced in some sections
+of the pattern than others. The blue tint which produces
+exactly the desired contrast when associated with the light
+brown of this pattern, would have a very different effect if
+placed on the dark brown: so that in applying tints to a good
+blend of shades, or shades to a good blend of tints, to secure
+diversity and freshness of pattern, combined with uniformity of
+contrast, care must be exercised in the selection and appropriation
+of these fancy or brightening elements, otherwise they are
+likely to prove more or less effective in some instances than
+calculated, and to destroy the harmony of the whole colouring.</p>
+
+<figure class="figcenter illowp100" id="plate09a" style="max-width: 43.75em;">
+  <img class="w100" src="images/plate09a.jpg" alt="Contrasts in Tone">
+  <figcaption style="color: blue;">
+      <p>Plate <abbr title="Nine">IX</abbr><br>
+       <span class="allsmcap">MONO-CHROMATIC CONTRASTS</span><br>
+       <span class="smaller">1. Contrasts in Tones</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp100" id="plate09b" style="max-width: 43.75em;">
+  <img class="w100" src="images/plate09b.jpg" alt="Contrasts in tints">
+  <figcaption style="color: blue;">
+      <p><span class="smaller">2. Contrasts in Tints</span></p>
+  </figcaption>
+</figure>
+
+<p>The methods of acquiring Colour Contrasts by combining
+tints and shades may be summarized as below: <abbr title="One">I.</abbr> Compositions
+<span class="pagenum" id="Page_55">[Pg 55]</span>
+of several Shades or Tones of the same Hue;&#x2060;<a id="FNanchor_9_9" href="#Footnote_9_9" class="fnanchor">[9]</a> <abbr title="Two">II.</abbr> Compositions
+of several Tints of the same Hue;&#x2060;<a href="#Footnote_9_9" class="fnanchor">[9]</a> <abbr title="Three">III.</abbr> Compositions of Shades
+of different Hues; <abbr title="Four">IV.</abbr> Compositions of Tints of different Hues;
+V. Compositions of Shades and Tints of the same Hue; and <abbr title="Six">VI.</abbr>
+Compositions of Shades and Tints of different Hues.</p>
+
+<p>44. <i>Bright Colour Contrasts Modified with Black and White.</i>—Some
+elaborate check patterns for dress and other materials
+consist of bright colours. An example of this type of contrast
+is supplied on <a href="#plate10">Plate <abbr title="Ten">X</abbr></a>. The colouring is harmonious and
+choice; showing that the most potent colours may be used in
+textiles with satisfactory results.</p>
+
+<p>However this pattern is examined, it is lustrous and rich in
+composition. Possibly the black and white introduced into the
+texture mellow and soften the general colouring, for they undoubtedly
+subdue the strength of the contrast arising from three
+such positive hues being in immediate affinity with each other.
+It is already understood that these shades are of great utility as
+mellowing agents when combined with bright colours. They
+prevent the sharp contrast which sometimes ensues when several
+lustrous hues are in close proximity with each other. Blue and
+red in certain forms constitute a harmful contrast, the two producing
+anything but delicate harmony. Vigorous as the contrast
+is, in this instance it is not harsh or defective. There are several
+elements which are conducive to its harmony. First, there are
+the black and white threads just alluded to; second, the quantities
+in which the several colours are associated; and third, the
+peculiar effect due to the plan of interlacing the warp and weft
+threads in the construction of the texture. Weaving largely
+multiplies the effects due to a combination of colours, as is
+instanced by this pattern, which, though only comprising four
+distinct colours, and white and black, contains many varieties
+of colouring. These result from the different colours crossing
+and blending with each other in the formation of the check.
+At intervals, the scarlet weft covers the scarlet, blue, green,
+yellow, white and black warp yarns, producing a specific effect
+in every transition. Analysis shows the various effects to
+comprise solid checks of red, green, blue, yellow, black, and
+<span class="pagenum" id="Page_56">[Pg 56]</span>
+white; and mingled checks of the following shade couplets:
+blue and red; yellow and red; green and red; blue and yellow;
+blue and black; blue and white; red and black; red and white;
+yellow and black; yellow and white; and black and white.
+What a variety of lessons in colouring such a woven sample
+teaches! The black and white on the red adds mellowness to
+this bright colour, in addition to giving diversity of effect. The
+white in other sections in contiguity with the medium green, and
+crossing the yellow, has a like toning quality. The black against
+the yellow enhances its brightness, but in juxtaposition with the
+blue forms a soft shading, the latter making a clear definition of
+colour with the shaded green effect to which it is adjacent.</p>
+
+<p>The quantities or proportions in which these colours are distributed
+in the pattern should be observed. Any increase or even
+variation in the quantities of each colour would produce a
+different harmony of composition. Regard must, therefore, be
+paid to the nature and potency of colours in determining their
+scheme of association in textile design.</p>
+
+<p>45. <i>Successive and Simultaneous Colour Effects.</i>—In the above
+pattern, both successive and simultaneous contrasts are found. A
+simultaneous contrast is a blend or group of colours in which the
+several hues are in proximity. The intermingled checks of red
+and blue, yellow and blue, etc., are all illustrative of this type of
+contrast. In successive contrasts, there may be the same colours,
+but instead of being in juxtaposition they are separated; and,
+consequently, do not act in perfect unison on the eye, but each
+independently.</p>
+
+<p>Comparison of the results of these contrasts shows, that colours
+suffer the most in lustre and purity of hue when in “simultaneous”
+association. Several examples of this kind occur in the
+pattern given. For instance, in those sections in which the red
+and green are intermingled in equal proportions, both colours
+undergo an apparent change in hue. In reality, it is simply the
+fundamental law of all colour contrasts asserting its influence on
+the colouring as a whole, whereby each hue is modified.</p>
+
+<p>Amongst some of the most salient principles of textile colouring
+emphasized by this design that should be specially noticed,
+are these: Colours are modified the most largely in hue when in
+<span class="pagenum" id="Page_57">[Pg 57]</span>
+actual contact; the stronger two or more colours, the less are
+they changed by simultaneous contrast; bright colours on a dark
+ground increase in luminosity, but are impoverished if applied to
+light grounds; and lastly, that intense colours gain in saturation
+on light grounds, but suffer in this quality on medium and dark
+surfaces.</p>
+
+<p>46. <i>Methods of Neutralizing the Effects of Strong Colour Contrasts.</i>—It
+has been pointed out that when any positive colours
+are in immediate proximity, each suffers somewhat in purity of
+hue. To obviate, or partially neutralize, this sequence of colour
+association, some ingenious methods and technical devices are
+adopted. As already explained, colours change the most in hue
+by juxtaposition, so that the object to be attained is to separate
+them without bringing the divisional lines into prominence. It
+is not always feasible, in figured and fancy fabrics, to have the
+colours detached; they frequently intermingle, and it is at the
+points of actual contact where the skill of the colourist in obviating
+a defective contrast, due to the proximity of two or more
+brilliant hues, is exercised. <abbr title="Number">No.</abbr> 1, <a href="#plate11a">Plate <abbr title="Eleven">XI.</abbr></a>, illustrates this feature
+of colouring. This pattern is composed of red and blue, and
+contains small quantities of a third hue which are of value to
+the harmony and contrast of the design. If the red had been
+allowed to actually touch the blue ground, the figuring would
+have lacked precision, and the colouring congruity of toning.
+Moreover, as green is the contrasting colour of scarlet, it has
+developed the figuring, and mellowed the effect of red on this
+deep blue ground. Minus this intermediate colour, the contrast
+would have been harsh, if not defective; but by its employment
+richness has been given to the red and softness of tone to the
+blue. Let it be supposed that red and blue were substituted in
+succession by green and tan (Shades 6, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>, and 3, <a href="#plate04">Plate
+IV.</a>); by olive and rose (Shade 15, and Tint 5, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>); and
+by lilac and primrose (Tint 16, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>, and Tint 16, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>).
+Tan, rose, and primrose to compose the figuring, and green, olive,
+and lilac the ground in the new colourings. Now, in order to
+prevent impingement of hues, divisional colours to take the place
+of the green in the illustration should be selected, which, while
+contrasting with the several hues employed for the figuring,
+<span class="pagenum" id="Page_58">[Pg 58]</span>
+should also harmonize with the ground colours. For the first
+couplet, the pale blue (Tint 10, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>) may be used; for the
+olive and rose combination, pea-green (Tint 4, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>); while
+for the lilac and rose blend, the salmon in Tint 11, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>, will
+be found useful. In each of these instances there is harmony
+and contrast of colours, which would prominently develop the
+figured sections of the design. To show these results, paint
+two pieces of paper similar in hue to Shades 6, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>, and
+3, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a> Having done this, place the tan sample—which
+should be smaller than its companion—on the green slip, and then
+surround it with a narrow slip of rose, Tint 4 of <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a> On
+adding this last colour, a tasteful contrast will be formed by
+the green spot and the rose edging; and also soft, mellow
+harmony produced by this tint and the tan groundwork.
+Should each of the colourings alluded to be similarly experimented
+with, they would constitute equally pleasing combinations.
+As important principles underlie this kind of colour
+arrangement, it is advisable that numerous experiments o£ this
+class should be made by the reader; for, in order to educate the
+eye for colour contrast and harmony, practice in the combination
+of hues is essential.</p>
+
+<p>47. <i>Harmony.</i>—Some colourists have propounded theories of
+harmony which are quite untenable in practice. For example, one
+scheme is based on the supposition that if the primaries are blended
+in the proportions of 3 parts of red, 5 parts of yellow, and 8 parts
+of blue, harmony of composition ensues. There can be no doubt
+that the ratio of quantities materially affects the congruity of
+tone of all shade assortments; but in designing it is not feasible
+to work to any set of proportions. Colour harmonies are not to
+be acquired by rigid adherence to a mathematical system of
+arrangement. Theories of this kind cannot be said to be of
+much technical value. Acute and cultured discriminative power
+for colour is of more consequence in this art than theoretical
+directions; the acquirement of what Rood calls “a delicate
+colour emphasis” is difficult even when there is natural aptitude
+for colouring. Systematic study of the works of designers of
+acknowledged capacity, and of all accessible rare and well-coloured
+woven specimens in harmony of tinting, should be
+<span class="pagenum" id="Page_59">[Pg 59]</span>
+made. Adopting this course, the student will acquire a ready
+capacity for blending hues by such methods, as to compose
+choice and harmonious results.</p>
+
+<figure class="figcenter illowp44a" id="plate10" style="max-width: 25.9375em;">
+  <img class="w100" src="images/plate10.jpg" alt="Bright colouring in plaids">
+  <figcaption style="color: blue;">
+     <p>Plate <abbr title="Ten">X</abbr><br>
+     <span class="allsmcap">SPECIMEN OF BRIGHT COLOURING IN PLAIDS</span></p>
+  </figcaption>
+</figure>
+
+<p>48. <i>Principles of Harmony.</i>—Though Colour Harmony is
+intricate, and more or less incapable of being reduced to rigid
+principles, yet its general qualities may be clearly defined. For
+instance, certain colours when amalgamated fail to produce congruous
+patterns; whereas other colours invariably constitute
+harmonious compositions.</p>
+
+<p>Harmony, moreover, is only attainable when the several
+colours are combined in such proportionate quantities, and on
+such principles of shade-association, that each hue employed will
+conduce to the mellowness of the whole pattern. Should any
+colour be conspicuous, it is sufficient to detract from the
+harmony of the entire colouring. Balance of hues is an important
+essential; and it is generally a feature dependent on the
+proportions in which the several colours are combined. Examine,
+for example, the blue-green and scarlet check on <a href="#plate11b">Plate <abbr title="Eleven">XI.</abbr></a>, <abbr title="Number">No.</abbr> 2.
+Red is so much more potent than green, that when these two
+hues are associated in the same pattern, the former requires to
+be used less extensively than the latter. The common rule is
+that those colours which are the intensest and strongest in hue
+should be sparingly employed. When the various shades are of
+equal depth, the quantities may be more uniform, being only
+varied to such an extent as to impart precision to the leading
+features of the design.</p>
+
+<p>Apart from hints that may be given in harmonious colouring,
+and knowledge that may be acquired by study and experiment
+in blending hues, in order to excel in this art the designer must
+possess natural aptitude for the work.</p>
+
+<div class="p2 footnotes"><h4>FOOTNOTES:</h4>
+
+<div class="blockquot">
+<div class="footnote"><p class="unindent"><a id="Footnote_8_8" href="#FNanchor_8_8" class="label">[8]</a> Chevreul: <cite>The Laws of Contrast of Colour</cite>, p. 120.</p></div>
+
+<div class="footnote"><p class="unindent"><a id="Footnote_9_9" href="#FNanchor_9_9" class="label">[9]</a> <i>Analogous Colours.</i></p></div></div>
+</div>
+<hr class="chap x-ebookmaker-drop">
+
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_60">[Pg 60]</span></p>
+  <h2 class="nobreak" id="CHAPTER_IV">
+    CHAPTER <abbr title="Four">IV.</abbr>
+  </h2>
+   <h3>
+    COLOUR STANDARDIZATION.
+  </h3>
+</div>
+
+<div class="blockquot">
+<p>49. Objects of Standardization in Colouring—50. Systems of Colour
+Standardization—51. Standardization by Selected Colours—52. Analysis of
+Standardization Scheme, Plate <abbr title="Twelve">XII.</abbr>—53. Use of Standards in Blending—54.
+Applications of the Scheme.</p>
+</div>
+
+<p class="unindent">49. <i>Objects of Standardization in Colouring.</i>—There are
+several difficulties in formulating a scheme of colour standardization
+applicable to any particular branch of woven design.
+This arises, firstly, from the tone of colouring which obtains in
+decorative, dress, suiting, and other fabrics. The manufacturer
+of each of these styles of textures should select standards of
+different degrees of brightness. In the second place, the colourist
+must have free scope—he should not on any account be fettered—in
+his work. Standardization may appear to impose restrictions.
+But on considering the several, branches of textiles, it
+is obvious that certain elemental ranges of shades are mainly
+used in the several departments of woven manufactures, as, for
+example, in fabrics for men’s wear, women’s wear, decorative and
+other purposes. This not only suggests the possibility, but
+renders it feasible—without placing limitation upon the originative
+faculty of the designer—of adopting in practice a standard
+set or series of selected colours from which other shades may, by
+the process of blending, be acquired.</p>
+
+<p>This may be done with the object of (1) economy of colour
+production, a limited set of colours yielding an unlimited set of
+distinct shades; (2) the substitution of uncertainty of “colour” or
+“shade” due to independent dyeings, by certainty of result due
+to mixing; and (3) the manufacture of yarns by blending from
+a set of fixed colours which may be stocked, producing new shades
+as varied and solid in appearance as those obtainable in dyeing.</p>
+
+<p><span class="pagenum" id="Page_61">[Pg 61]</span>
+In the ordinary method of obtaining new shades by blending,
+there is an absence of a scale of fixed colours; neither in the
+blending is there a base of proportions, nor in the colours
+combined a standard scheme of colour gradation. But in
+standardization there is a distinct range of colours, each of
+which is toned or graded to the same degree.</p>
+
+<p>50. <i>Systems of Colour Standardization.</i>—There are two
+systems on which Colour Standardization may be effected, namely,
+(1) the primaries, secondaries, and tertiaries may be adopted as the
+initial colours; and (2) a series of initial colours may be determined
+upon, each colour being graded from light to dark, and forming
+a number of intermediate shades between the two extremes.</p>
+
+<p>Defining the first system, the Primary and Secondary colours
+have each three distinctive hues, that is, the pure or spectrum
+hue, and the two obtained by modification.</p>
+
+<p class="indent5 unindent smaller">
+Red, tinged with blue, forms crimson.<br>
+Red, tinged with yellow, forms scarlet.<br>
+Yellow, tinged with red, becomes slightly orange in tone.<br>
+Yellow, tinged with blue, becomes slightly green in tone.<br>
+Blue, tinged with red, becomes slightly purple in tone.<br>
+Blue, tinged with yellow, becomes slightly green in tone.
+</p>
+
+<p class="unindent">thus changing the hue, but to such a small degree that the
+original colour predominates.</p>
+
+<p>The Secondaries and Tertiaries are subjective to similar
+changes without eliminating the definite or spectrum colour.&#x2060;<a id="FNanchor_10_10" href="#Footnote_10_10" class="fnanchor">[10]</a></p>
+
+<p>On this principle, eighteen base colours are obtained, all of
+which, by the addition of white in variable quantities, may form
+a series of tints, and by the addition of black, a series of tones; or
+they may be softened in brilliancy by the addition of neutral grey.</p>
+
+<p>In such a scheme, it would probably only be found desirable
+to modify the Tertiaries by mixing with black and white
+respectively.</p>
+
+<p>The question of the brilliance of the initial colours is one that
+has to be fixed according to the application of the scheme. To
+mix pure white with the colours described would give, in many
+instances, useful tints for the dress and decorative trades, and
+also, if mixed with black, suitable tones for the same fabrics;
+<span class="pagenum" id="Page_62">[Pg 62]</span>
+but for ordinary textile purposes the pure elemental colours are
+too bright. These would require to be dulled or subdued by
+adding neutral grey to a definite scale of gradation.</p>
+
+<p>51. <i>Standardization by Selected Colours.</i>—The second method
+of Standardization consists, as stated, in selecting a series of
+recognized workable colours and graduating them to six or more
+degrees. The principal colours are blue, green, and brown, with
+the addition of blue green, olive, and heliotrope, or colours which,
+with their gradations, are generally found most appropriate in
+fabrics for wearing purposes. (See series A to J, <a href="#plate12a">Plate <abbr title="Twelve">XII.</abbr></a>)</p>
+
+<p>Having fixed upon the initial colour in each set, the question
+of toning or gradation is all-important. A uniform scale of
+gradation must be adhered to in each group. If this is departed
+from, mixing would result in a want of balance of gradation.</p>
+
+<p>The base for the standard series of tones and tints are neutral
+greys (see <a href="#plate12a">Plate <abbr title="Twelve">XII.</abbr></a>). Here the mixing of black and white may
+be made to give ten or twelve or more tones with similar degrees
+of difference. A scheme of gradation formed in this way is,
+applicable to any type of blend composed of a dark and a light
+shade, corresponding to black and white in the grey. Between
+the two extreme colours, several shades may be introduced, and
+yet uniform toning maintained; for whichever series of colours is
+selected, it will be seen that the movement from a dark shade to
+a lighter, in any part of the series, is correct as to depth and
+tone. This must be an absolute law in mixing the same number
+of colours in any series, or any group, providing that the scale
+of tones has been accurately produced in each kind of colour.</p>
+
+<p><a id="par52"></a>52. <i>Analysis of Standardization Scheme, Plate <abbr title="Twelve">XII.</abbr></i>—The
+chart contains in specimens 1 to 6, series A to J, the simple or
+dyed colours which have been selected as the base or scale
+standards. These are varied in two ways, the specimens 7 and 8
+being tinted with white, and 9 and 10 toned with black in the
+following proportions:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdl">Tint <abbr title="Number">No.</abbr> 7,</td>
+ <td class="tdr">5</td>
+ <td class="tdc">per cent.,</td>
+ <td class="tdl">Standard <abbr title="Number">No.</abbr> 1.</td>
+</tr>
+<tr>
+ <td></td>
+ <td class="tdr">95</td>
+ <td class="tdc">„</td>
+ <td class="tdl">White.</td>
+</tr>
+<tr>
+ <td class="tdl">Tint <abbr title="Number">No.</abbr> 8,</td>
+ <td class="tdr">60</td>
+ <td class="tdc">„</td>
+ <td class="tdl">Standard <abbr title="Number">No.</abbr> 1.</td>
+</tr>
+<tr>
+ <td></td>
+ <td class="tdr">40</td>
+ <td class="tdc">„</td>
+ <td class="tdl">White.</td>
+</tr>
+<tr>
+ <td class="tdl">Tone <abbr title="Number">No.</abbr> 9,</td>
+ <td class="tdr">40</td>
+ <td class="tdc">„</td>
+ <td class="tdl">Standard <abbr title="Number">No.</abbr> 6.
+    <span class="pagenum" id="Page_63">[Pg 63]</span></td>
+</tr>
+<tr>
+ <td></td>
+ <td class="tdr">60</td>
+ <td class="tdc">„</td>
+ <td class="tdl">Black.</td>
+</tr>
+<tr>
+ <td class="tdl">Tone <abbr title="Number">No.</abbr> 10,</td>
+ <td class="tdr">5</td>
+ <td class="tdc">„</td>
+ <td class="tdl">Standard <abbr title="Number">No.</abbr> 6.</td>
+</tr>
+<tr>
+ <td></td>
+ <td class="tdr">95</td>
+ <td class="tdc">„</td>
+ <td class="tdl">Black.</td>
+</tr>
+</table>
+
+
+<p>These tints and tones could be carried out to six in each, when
+suitable proportions would be as follows:&#x2060;—</p>
+
+
+<table class="autotable">
+<tr>
+ <td class="tdl" rowspan="2">Tints</td>
+ <td class="tdl">⎧</td>
+ <td class="tdl">Colour</td>
+ <td class="tdr">5</td>
+ <td class="tdr">20</td>
+ <td class="tdr">40</td>
+ <td class="tdr">60</td>
+ <td class="tdr">80</td>
+ <td class="tdr">95</td>
+</tr>
+<tr>
+ <td class="tdl">⎩</td>
+ <td class="tdl">White</td>
+ <td class="tdr">95</td>
+ <td class="tdr">80</td>
+ <td class="tdr">60</td>
+ <td class="tdr">40</td>
+ <td class="tdr">20</td>
+ <td class="tdr">5</td>
+</tr>
+<tr>
+ <td class="tdl" rowspan="2">Tones</td>
+ <td class="tdl">⎧</td>
+ <td class="tdl">Colour</td>
+ <td class="tdr">95</td>
+ <td class="tdr">80</td>
+ <td class="tdr">60</td>
+ <td class="tdr">40</td>
+ <td class="tdr">20</td>
+ <td class="tdr">5</td>
+</tr>
+<tr>
+ <td class="tdl">⎩</td>
+ <td class="tdl">Black</td>
+ <td class="tdr">5</td>
+ <td class="tdr">20</td>
+ <td class="tdr">40</td>
+ <td class="tdr">60</td>
+ <td class="tdr">80</td>
+ <td class="tdr">95</td>
+</tr>
+</table>
+
+<p class="p2">In the second method, the colours are blended crossways in
+equal proportions. <abbr title="Number">No.</abbr> 1, Series A, and <abbr title="Number">No.</abbr> 1, Series B, give
+<abbr title="Number">No.</abbr> 1, X<i>a</i>, X<i>b</i>, etc. Similarly, <abbr title="Number">No.</abbr> 1, Series B, and <abbr title="Number">No.</abbr> 1, Series
+C, equal <abbr title="Number">No.</abbr> 1, X<i>b</i>, so that whether blending shades in each
+series, 1 A, 2 A, etc., or blending two shades in adjacent series,
+1 A, 1 B, etc., that is two shades of the same colour in the former,
+and two shades of contiguous colours in the latter, for practical
+purposes, solid shades would be acquired.</p>
+
+<p>The chromatic scale is compiled as follows:&#x2060;—</p>
+
+<ul class="indent5">
+  <li>A. Blue.</li>
+  <li>B. Green blue.</li>
+  <li>C. Blue green.</li>
+  <li>D. Green.</li>
+  <li>E. Yellow green.</li>
+  <li>F. Yellow brown.</li>
+  <li>G. Brown.</li>
+  <li>H. Red brown.</li>
+  <li>I. Purple.</li>
+  <li>J. Red blue.</li>
+</ul>
+
+<p>It will be observed that there is no such decided change in
+hue or tone between any two adjacent colours as to produce,
+when mingled in equal quantities, an apparent mixture. This
+is an important elemental feature of any scheme of Colour
+Standardization—the several colours must be accurately graded.
+If, for example, any two shades are too far apart in the chromatic
+scale, the blending of them would produce a mixture effect. In
+other words, if the difference in tone or the difference in hue is
+pronounced, mixtures and not solid shades are formed.</p>
+
+<p>53. <i>Use of Standards in Blending.</i>—In both the Woollen and
+Worsted trades, blending is an important department of yarn
+manufacture. Solid shades are obtainable in piece-dyes, but
+<span class="pagenum" id="Page_64">[Pg 64]</span>
+mixtures have to be acquired by the blending of coloured
+materials. The designer and colourist has resource to the combination
+of colour units in the blending of fibres in the production
+of shades and mixtures possessing novelty of tone. In this task
+he has two considerations: (1) the choice of the separate or
+distinct colours which, prior to blending, must form, in juxtaposition,
+harmony and contrast; and (2) the proportionate
+quantities in which they are to be combined. The latter, as
+every colourist has proved, may destroy the value of the former.
+Much of the success of colouring, whether in the material or the
+yarn, depends upon the relative weight, intensity, and proportions
+in which the colours are united. Now, when a scheme of
+standardization has been formed, and is used, the proportionate
+parts or quantities are according to a fixed mathematical scale,
+but the discovery of the correct colours to blend according to any
+series of these proportions is left to the trained faculty of the
+designer or expert, who must have regard to the fabrics and style
+of design to which they are to be applied.</p>
+
+<p>The proportionate scale which is used does not affect the
+latitude for the exercise of the faculty for colour combination,
+but rather presents conditions which are so varied and yet
+definable, as to give a certainty of result as to depth and nature
+of colouring due to the process of blending.</p>
+
+<p>There are two great principles on which the art of Colour
+Blending in the raw materials is accomplished, namely&#x2060;—</p>
+
+<p class="hangwide">(1) The origination of blends or mixtures in which tone
+gradation is practised.</p>
+
+<p class="hangwide">(2) The origination of mixtures composed of several Colours
+to produce different hues or shades, but these to be of
+the same weight or tone.</p>
+
+<p>In both, it is a problem of how the colour modification is to be
+attained. From the explanation given, it is obvious that in the
+first principle of blending, a fixed scale of proportions may be
+practised, so that the real essence of the work consists in selecting
+colours which harmonize with each other and coincide with the
+proportions adopted; or, in other words, the relative contrasts of
+colour must be in accordance with the relative proportions. That
+is to say, if a bright colour, though harmonizing with other
+<span class="pagenum" id="Page_65">[Pg 65]</span>
+colours in the mixture, is used in too large a measure, the mixture
+will be unsatisfactory.</p>
+
+<figure class="figcenter illowp80" id="plate11a" style="max-width: 43.75em;">
+  <img class="w100" src="images/plate11a.jpg" alt="Figured Pattern">
+  <figcaption style="color: blue;">
+      <p>Plate <abbr title="Eleven">XI</abbr><br>
+        <span class="allsmcap">RED, GREEN AND BLUE COLOURING</span><br>
+        <span class="smaller">1. Figured Pattern</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp70" id="plate11b" style="max-width: 31.25em;">
+  <img class="w100" src="images/plate11b.jpg" alt="Check pattern">
+  <figcaption style="color: blue;">
+      <p><span class="smaller">2. Check Pattern</span></p>
+  </figcaption>
+</figure>
+
+<p>54. <i>Applications of the Scheme.</i>—In this scheme there is
+ample scope for the colouring of many classes of woven fabrics.
+Bright or brilliant hues would be added as required. The
+scheme is, however, sufficiently complete for the ordinary styles
+of woollen, worsted, and other classes of fabrics. For costumes,
+vestings, cottons, and silks, richer colours would be desirable. If,
+for example, the principle of colouring was in relation to cottons
+and silks, then the “tints” of the standards would be found
+chiefly applicable, white and light grounds being mainly used;
+on the other hand, for fabrics with dark or medium grounds, the
+“tones” of the standards would be selected.</p>
+
+<p>This standard scheme of colours, systematically toned, forms a
+practical workable base of colouring, one which, in the first place,
+in the use of the pure colours, makes it feasible, in the production
+of patterns, to obtain (<i>a</i>) ranges in which the contrast of colour in
+each pattern is absolutely uniform, and (<i>b</i>) ranges in which there
+may be perfect gradation from the dark to a light shade, and
+yet the same quality of contrast of colour in each pattern in the
+range.</p>
+
+<p>In the second place, the scheme provides, by the mixture with
+black, grey, and white in succession, a means of acquiring a wide
+range of mixtures, each series of which runs by natural and
+constant degrees from a comparatively light to a dark result.</p>
+
+<p>Third, it is possible by this system, in blending two or more
+colours, to acquire (<i>a</i>) graded series of mixtures of exactly corresponding
+depths of tone; and (<i>b</i>) varieties of mixtures in light,
+medium, and dark shades of similar depth of tone, but of
+different hues.</p>
+
+<p>And lastly, the system is applicable to the production of distinct
+colours, such as would possess similar qualities to colours dyed
+in the wool, yarn, or piece.</p>
+
+<div class="p2 footnotes"><h4>FOOTNOTES:</h4>
+
+<div class="blockquot">
+<div class="footnote"><p class="unindent"><a id="Footnote_10_10" href="#FNanchor_10_10" class="label">[10]</a>
+ See also <abbr title="paragraphs">Pars.</abbr> <a href="#par8">8</a> and <a href="#par9">9</a>.</p></div></div>
+</div>
+<hr class="chap x-ebookmaker-drop">
+
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_66">[Pg 66]</span></p>
+  <h2 class="nobreak" id="CHAPTER_V">
+    CHAPTER <abbr title="Five">V.</abbr>
+  </h2>
+   <h3>
+    MIXTURES.
+  </h3>
+</div>
+
+<div class="blockquot">
+<p>55. Varieties of Mixture Patterns—56. Elements of Mixture Colouring—57.
+Importance of Pure Materials—58. Several Classes of Mixtures Compared—59.
+Simple Blends—60. Blends of Wools and Pigments Compared—61.
+Modes of Testing Compositions of Colours—62. Mixtures composed of Two
+Shades—63. Compounds of Two Colours in which White is used—64. Illustrations
+in Mixtures composed of White and a Second Colour—65. Mixtures
+composed of Black and another Colour—66. Grey Mixtures—67. Bloomed
+Greys—68. Coloured Greys—69. Two-Coloured Mixtures—70. Multi-Shade
+Mixtures—71. Twist-Yarn Mixtures—72. Marls—73. Weave Mixtures.</p>
+</div>
+
+<p class="unindent"><a id="para55"></a>55. <i>Varieties of Mixture Patterns.</i>—There are five methods of
+making mixture patterns, namely, (<i>a</i>) by carding several colours
+of fibrous materials together, producing <i>mixture woollen</i> yarns;
+(<i>b</i>) by combining in the process of <i>drawing</i> two or more slivers
+of different colours, producing <i>mixture worsted</i> yarns; (<i>c</i>) by
+combining in the process of <i>roving</i> two or more slivers of
+different colours, producing “<i>marl</i>” <i>worsted</i> yarns; (<i>d</i>) by using
+fancy yarns; and (<i>e</i>) by mixing two or more classes of threads
+in the weaving process. Each system is extensively practised;
+but the most intermingled effects ensue from blending the various
+coloured elements in the fibrous form. This system of producing
+mixtures yields a yarn in which the separate particles of colour,
+however diverse, are uniformly distributed throughout its length.
+Carding affords every facility for obtaining a softly toned blend,
+or one in which the filaments of distinct colours are perfectly
+mixed and intermingled. The shades are, as it were, united in
+this instance in the powdered or most minute particled form
+possible in textile compositions; whereas the methods of combining
+twist yarns, and of weaving shades of distinct colours
+together to compose mixture effects, consist of blending comparatively
+<span class="pagenum" id="Page_67">[Pg 67]</span>
+larger particles of colours. Perfect promiscuity, as a
+consequence, characterizes mixtures produced in the willowing
+and carding processes. These compositions are also distinguished
+by softness and mellowness of tone, entirely foreign to corresponding
+effects got by other methods. So completely are the
+elements associated on this system, that if blue and yellow wools
+were compounded they would constitute a green mixture, not so
+pure, however, as if pigments were amalgamated, for reasons
+alluded to in the sequel, but still they form a suggestion of this
+process of combination. If the same colours were united in the
+yarn state, even in the form of twist threads, they would still
+appear as separate hues; in other words, the yellow would
+remain yellow, and the blue would remain blue. To borrow an
+illustration, these methods of compounding fragments of colours
+in the manufacture of so-called mixture patterns may be compared
+with chemical and mechanical mixtures of substances; for just
+as in the former the bodies unite to compose a third substance,
+and in the latter they are mixed but not changed, so in
+blending colours in the fibre the mixing may be so complete as
+to yield an additional shade, but in blending them in the thread
+each hue retains its individuality. Twist-yarn mixtures possess
+a motley appearance of a broader character than those of
+blends in the wool or material, but still the richness of intermingling
+of tints is not wanting. In self-coloured yarn patterns
+of a mixture class the patchy character and detachment of
+individual colours are increased, while the mellowness and toned
+softness of the composition are diminished.</p>
+
+<p>56. <i>Elements of Mixture Colouring.</i>—All mixtures require
+mellow treatment as to colour constituents. Patterns of this
+order should not be characterized by a patchy, but by a tinted
+appearance; every hue employed should be useful in composing
+an indefinite series of minute and closely mingled colour effects.
+To produce such styles no single hue should be allowed to obtain
+greater distinction or more prominence than other adjacent
+colours. Bright colours like red, crimson, blue, and yellow,
+seldom require to be used in large quantities. Black and white,
+browns, tans, medium blues, medium greens, olives, and other
+toned and tinted colours, form the main colouring of mixture
+<span class="pagenum" id="Page_68">[Pg 68]</span>
+compositions: the more potent hues find a province in enriching
+and imparting lustre into these patterns.</p>
+
+<p>The principal colours should generally be of a tempered type;
+still, it is important to use bright and decided hues. Murky, dull,
+and insipid shades should be avoided, as they are only capable
+of yielding dingy effects. The fragmentary nature of mixture
+colourings largely affects the lustre of the pattern resultant.
+Two colours which, when combined in large quantities, may
+possess congruous attributes, on being broken up into particles
+and intermingled lose lustre. In blending colours in the natural
+state, the separate hues are distinguishable after carding, for
+each, in the carded sliver, helps to constitute quite a new and
+additional shade. If, for example, claret, fawn, and bright
+orange wools, in quantities of four parts of claret and one part
+of fawn and one part of the orange were scribbled together,
+neither the orange, fawn, nor claret would in the resulting “blend”
+possess precisely its original hue. Traces of each would be noticeable,
+but a species of indefinite drabbish-brown mixture, streaked
+with filaments of orange, would be the composition obtained.</p>
+
+<p>57. <i>Importance of Pure Materials.</i>—Bright and lustrous
+mixtures can only be secured by using pure wools. Such colourings
+are not feasible in the low materials used in making some
+classes of woven goods. Scotch mixtures will always excel in
+brilliant tinting so long as fibres of a mungo, shoddy, and extract
+class are rejected by manufacturers north of the Tweed. Having
+a good foundation to work upon—a fibre that will not only take
+a vivid colour but retain it—Scotch textures, notably Bannockburn
+and heather mixtures, are unsurpassed in lustre and mellowness
+of toning. Mixtures made in centres of the low woollen
+industry are not comparable with them as regards freshness of
+colouring. Of course, a passable imitation of the pure wool
+production is made, but the fabric lacks not only bloom and
+fulness of colouring, but quality and softness of handle. How is
+it feasible to get these elements of good mixtures developed
+to the same degree in these inferior articles, made of materials
+which in some instances have been utilized time after time in
+made up garments, and as frequently ground up or reduced to
+filaments, scribbled, spun into yarn, and woven into a marketable
+<span class="pagenum" id="Page_69">[Pg 69]</span>
+fabric, as are obtainable in the genuine woollen texture?
+If mixtures bright in colouring are to be acquired, resource must
+be had to wools of a sound quality. Stress is laid upon these
+points because they lie at the basis of good colouring in mixture
+styles; and also on account of the necessarily futile attempts
+made by some manufacturers to secure corresponding richness
+of composition in a mungo, or partially mungo production, as
+characterizes an all-wool article, which it is important to understand
+is totally impossible, for the simple fact that the better
+the raw material, the more lustrous the coloured effects secured.</p>
+
+<p class="unindent muchsmaller">[TN: Row labels, top to bottom, for Plate XII panels<br>
+rows 7 and 8: Tints or Admixtures with White<br>
+rows 1 through 6: Standard Shades<br>
+rows 9 and 10: Tones or Admixtures with Black]</p>
+
+<div class="break">
+<figure class="figcenter illowp54a" id="plate12a" style="max-width: 31.5625em;">
+<table style="color:blue;">
+<tr class="smallest">
+<td class="tdc colwidth"><b>Neutral<br>Greys</b></td>
+<td class="tdc colwidth"><i>X A</i></td>
+<td class="tdc colwidth"><b>Shade A -<br>Blue</b></td>
+<td class="tdc colwidth"><i>X B</i></td>
+<td class="tdc colwidth"><b>Shade B -<br>Green Blue</b></td>
+<td class="tdc colwidth"><i>X C</i></td>
+<td class="tdc colwidth"><b>Shade C -<br>Blue Green</b></td>
+</tr>
+</table>
+  <img class="w100" src="images/plate12a.jpg" alt="part 1 of plate 12">
+  <figcaption style="color:blue;">
+      <p class="xxs">X A Series - Mixtures of Neutral Grey and Standard A<br>
+        X B Series - Mixtures of Standards A and B<br>
+        X C Series - Mixtures of Standards B and C</p>
+  </figcaption>
+</figure>
+</div>
+
+<div class="break">
+<table style="color:blue;">
+<tr class="smallest">
+<td class="tdc colwidth"><i>X D</i></td>
+<td class="tdc colwidth"><b>Shade D -<br>Green</b></td>
+<td class="tdc colwidth"><i>X E</i></td>
+<td class="tdc colwidth"><b>Shade E -<br>Yellow Green</b></td>
+<td class="tdc colwidth"><i>X F</i></td>
+<td class="tdc colwidth"><b>Shade F -<br>Yellow Brown</b></td>
+<td class="tdc colwidth"><i>X G</i></td>
+</tr>
+</table>
+<figure class="figcenter illowp56a" style="max-width: 32.8125em;">
+  <img class="w100" src="images/plate12b.jpg" alt="part 2 of plate 12">
+  <figcaption style="color:blue;">
+      <p class="xxs">X D Series - Mixtures of Standards C and D<br>
+        X E Series - Mixtures of Standards D and E<br>
+        X F Series - Mixtures of Standards E and F</p>
+  </figcaption>
+</figure>
+</div>
+
+<div class="break">
+<figure class="figcenter illowp56a" style="max-width: 32.75em;">
+<table style="color:blue;">
+<tr class="smallest">
+<td class="tdc colwidth"><b>Shade G - <br>Brown</b></td>
+<td class="tdc colwidth"><i>X H</i></td>
+<td class="tdc colwidth"><b>Shade H -<br>Red Brown</b></td>
+<td class="tdc colwidth"><i>X I</i></td>
+<td class="tdc colwidth"><b>Shade I -<br>Purple</b></td>
+<td class="tdc colwidth"><i>X J</i></td>
+<td class="tdc colwidth"><b>Shade J -<br>Warm Blue</b></td>
+</tr>
+<tr class="smallest">
+<td colspan="4"></td>
+<td colspan="3" class="tdc">Intermediate Shades produced by mixing the
+       standard shades A<sub>1</sub> and B<sub>1</sub>, A<sub>2</sub> and B<sub>2</sub>, etc.</td>
+</tr>
+</table>
+  <img class="w100" src="images/plate12c.jpg" alt="part 3 of plate 12">
+  <figcaption style="color:blue;">
+      <p class="xxs">X G Series - Mixtures of Standards F and G<br>
+        X H Series - Mixtures of Standards G and H<br>
+        X I Series - Mixtures of Standards H and I<br>
+        X J Series - Mixtures of Standards I and J</p>
+  </figcaption>
+</figure>
+
+<p class="center" style="color:blue;">Plate <abbr title="Twelve">XII.</abbr> <span class="allsmcap">CHART Of SCHEME OF COLOUR STANDARDIZATION</span>.<br>
+    <span class="small">Originated and Compiled by the Author and Mr. Thomas Hollis</span></p>
+</div>
+
+<p>58. <i>Several Classes of Mixtures Compared.</i>—The diversity of
+mixtures, acquired by blending several shades of fibres, is very
+large, comprising an infinite range of light, medium, and dark
+effects, in both woollen and worsted fabrics. There is, however,
+one quality characteristic of every species of this type of
+mixtures, namely, a rich, mottled aspect of colouring. Whether
+considered in the fibrous state or in the woven fabric, this mingled
+but continuous poly-tinted appearance is noticeable. Where the
+separate hues occur, and are lost to view, or how numerous they
+are, it is only possible to determine after careful examination.
+All the hues are scattered equally throughout the mixture,
+hence the blend in every part possesses similar qualities of bloom
+and diversity of tinting. These mixtures may be distinguished
+from those obtained by other processes, by the manner in which
+the various colourings are intermingled.</p>
+
+<p>If a mixture fabric made on this system were compared, by
+analysis, with one got by using twist yarns, or by threads of
+divers colours in both warp and weft, some interesting results
+would be obtained. To dissect a mixture fabric produced by
+“blending,” the yarns of which the texture is composed would
+require to be reduced to the original filaments. The proportions
+in which the colours are combined, are far more difficult to arrive
+at than the nature of their hues. Having by this method
+secured the exact colour elements, some data has been discovered
+upon which to base experiments, which, if properly conducted,
+will lead to the determination of the quantities in which the
+colours have been combined in the production of the composition.
+Ordinary twist-yarn mixtures do not offer so many difficulties
+<span class="pagenum" id="Page_70">[Pg 70]</span>
+to the analyzer. First, as to their colour constitution: this is
+easy to discover if the different kinds of threads are classified,
+which can be done by unravelling the texture. Next, ascertain
+the colour composition of each by untwining the twists or
+separating the threads used in their construction. By adopting
+this system,of analysis, both the exact hue of the colours and
+the quantities in which they have been combined may be
+obtained. The reason why the routine of dissection is, in this
+case, comparatively simple, is because the coloured factors of the
+fabric may be feasibly separated, whereas in the preceding class
+of mixtures the isolation of the various hues of the filaments
+employed is more difficult to effect. To discover the composition
+of a mixture in which self-coloured yarns have been used, it is
+only necessary to ascertain the methods of warping and wefting,
+or the plan of combining the yarns in the production of the
+fabric. Evidently, in these two last styles of mixtures, exact
+analysis of the colourings, both as to quantities and hues, is quite
+feasible, but in the first kind the proportions, as well as the
+precise colours, are difficult to acquire.</p>
+
+<p>59. <i>Simple Blends.</i>—The most economical species of mixtures
+belonging to this class is that obtained by combining any one
+colour with white. Mixtures of this kind may be defined as
+tinted wools, for the process of production exactly coincides
+with that of forming tints with pigments. They differ, however,
+from the latter in appearance. A tint obtained by mixing
+red with white, for example, constitutes quite an even surface
+of pink; but mix white and red wools in similar quantities,
+and something more than a rose compound is produced, namely,
+a mottled, intermingled colouring, whether seen in the material,
+yarn, or piece. Equal quantities of blue and white, green and
+white, and orange and white wools, all form colourings streaked
+with their composing hues. It will be evident that this class
+of colour amalgamation opens up a wide field for investigation.
+First, there is the range of colours with which white
+may be associated, comprising both positive and tempered hues
+of a primary, secondary, and tertiary character. Second, there
+is the considerable diversity of proportions in which the elements
+forming the mixtures may be combined; for either the white
+<span class="pagenum" id="Page_71">[Pg 71]</span>
+or colour may preponderate, or the two shades may be equally
+mixed. In addition to these mixtures, which are of the most
+elementary class, there are those resulting from blending black
+with other colours, and from compounding materials of two
+or more colours. The two former kinds are utilized in the
+manufacture of yarns for serge dress textures, for which
+fabrics they are particularly well adapted. The tints and shades
+on <a href="#plate04">Plates <abbr title="Four">IV.</abbr></a> and
+ <a href="#plate06"><abbr title="Six">VI.</abbr></a> illustrate the results obtained by this
+scheme of blending. In combining wools, however, or other
+materials, though the same proportionate quantities of tinting
+and toning elements were used as in forming these examples,
+still compounds of a somewhat different character would ensue,
+arising from the colour factors being of a fibrous character.</p>
+
+<p>60. <i>Blends of Wools and Pigments Compared.</i>—It is important
+that the dissimilarity between wool and pigment
+mixtures should be thoroughly understood; for it will be
+quite evident from the nature of these substances that, though
+in each the same quantities of similar colours were blended,
+yet the resulting compositions would be characterized by many
+features of difference. To these reference will next be made.
+When two or more shades of wools are amalgamated, each
+colour—however well the materials are grouped and intermingled
+in scribbling, carding, and spinning—retains its individuality
+of hue, which, of course, is opposed to the law of
+pigment combinations, in which all traces of the original colours,
+as separate hues, disappear by admixture. Still, when fibrous
+materials are associated, a sort of new shade, streaked more
+or less with its composing elements, is obtained. For example,
+a species of bluish-fawn mixture would result from blending
+wools as follows:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr">9</td>
+ <td class="tdl">parts</td>
+ <td class="tdc">of</td>
+ <td class="tdl">dark brown.</td>
+ <td class="tdr">6</td>
+ <td class="tdl">parts</td>
+ <td class="tdc">of</td>
+ <td class="tdl">fawn.</td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">„</td>
+ <td class="tdc">„</td>
+ <td class="tdl">pale blue.</td>
+ <td class="tdr">4</td>
+ <td class="tdc">„</td>
+ <td class="tdc">„</td>
+ <td class="tdl">green.</td>
+</tr>
+</table>
+
+<p class="unindent">But while the resultant composition in this example might be
+designated a kind of fawn, yet, if it should be closely examined,
+the brown, pale blue, and green would be discovered, which
+give bloom and saturation of tone to the whole shade. Providing
+the same elements were mixed in pigments, they would
+<span class="pagenum" id="Page_72">[Pg 72]</span>
+yield quite a different result. In only one particular would
+it correspond to its wool contemporary—it would be a fawn
+shade; more murky and dingy, however, and scarcely recognizable
+as being composed of exactly the same colours in like
+proportions. When paints are mixed, all colours, as individual
+hues, are totally obliterated, hence a shade is formed in this
+instance in which the green and blue can hardly be distinguished,
+the brown and fawn with which they are associated
+largely neutralizing their effect.</p>
+
+<p>Of course their presence is perceivable, but not to the same
+degree as in wool mixtures, for the simple reason that, whereas
+in this latter instance, the fibres of blue and green are mixed
+and grouped with those of brown and fawn, and the four
+colours in association form a brownish-fawn mixture, tinted
+with each of its colour elements, in the case of pigments the
+particles of various colourings entirely disappear, and combine
+to constitute a perfectly new shade of somewhat indescribable
+qualities. It follows that, in one sense, fibrous blends of colours
+are more effective than those of pigments, for they not only
+possess the nature of new shades, but the several hues of which
+they are composed are kept unchanged, enhancing the beauty
+and intensity of the whole combination. Each colour of
+filament remains, and is traceable in the mixture as a separate
+hue, and thus a pleasing and attractive compound is obtained;
+one, moreover, only producible by blending different colours
+of fibrous materials. These effects are alone seen in woven
+textures, and in that class of fabrics in which the colours
+have been blended prior to weaving or in the carding operations.
+Should twist yarns be employed instead of various
+hues of fibres, a more patchy colouring results (see Pattern 2,
+<a href="#plate07b">Plate <abbr title="Seven">VII.</abbr></a>); one, indeed, in which the colour factors are more
+prominently separated, and hence devoid of those qualities of
+neatness and softness invariably associated with mixtures produced
+in the processes of scribbling, carding, and spinning.
+Passing to mixtures got in the loom by self-coloured yarns, a
+still further divergence from a one-shade mixture, resulting from
+blending several colours, is obtained; for here the several tints
+employed remain quite detached and distinct. Undoubtedly,
+<span class="pagenum" id="Page_73">[Pg 73]</span>
+in woven fabrics, the most elegant style of mixture is that
+secured by combining the colours in the material form, or in
+mixing them in the production of the thread; which method
+produces a promiscuous shade, tinted, freshened, and brightened
+with every element of colour entering into its composition; and
+which constitutes, moreover, quite an evenly-balanced colouring.</p>
+
+<p>61. <i>Modes of Testing Compositions of Colours.</i>—Two methods
+of testing the effect of combining different shades may be
+practised. First, the most handy system consists in mixing
+various colours of pigments. Although it is barely possible to
+represent in this manner the precise result any compound of
+shades would have in textile materials when scribbled, carded,
+and spun into yarn, still a fairly accurate idea of the tone
+and general aspect of a mixture of tints may thus be arrived
+at. Tests of this kind also serve another purpose—they foster
+a taste for colouring, and develop the faculty of judging the
+depth and brilliance of the tone and tint of mixtures in
+general. This method of testing new sets of colours for
+mixtures is important. The pigments should be used in solution,
+which, for convenience, may be kept in small bottles, so
+that, in mixing, the minutest quantities can be readily and
+accurately measured off. When thus working with liquid
+colours, in order to properly test any group of shades, a
+surface should first be prepared of the principal colour in the
+mixture. Should this be black, brown, or any other dark
+colour, it will be necessary to mix the bright colours with
+white. After the body of the mixture—that is, in this instance,
+the black or dark brown—has been obtained, the whole should
+be completed by stippling on to it the other colours in
+succession, care being exercised not to apply a new colour
+before that previously used has become perfectly dry. Let an
+illustration be considered. A mixture of colours which it is
+required to put through this test is compounded thus:&#x2060;—</p>
+
+<table>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdl pad6">parts</td>
+ <td class="tdc">of</td>
+ <td class="tdl pad6">black.</td>
+ <td class="tdr pad1">2</td>
+ <td class="tdl pad6">parts</td>
+ <td class="tdc">of</td>
+ <td class="tdl pad6">medium green.</td>
+</tr>
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">„</td>
+ <td class="tdc">„</td>
+ <td class="tdl pad6">scarlet.</td>
+ <td class="tdr pad1">1</td>
+ <td class="tdl pad6">part</td>
+ <td class="tdc">of</td>
+ <td class="tdl pad6">white.</td>
+</tr>
+</table>
+
+<p>The first process would be to prepare the black surface,
+employing for the purpose four parts from the bottle containing
+<span class="pagenum" id="Page_74">[Pg 74]</span>
+this pigment in the liquid form. After this has been done,
+the scarlet, which requires to be first mixed with white, would be
+stippled over the black, leaving intervals or small patches of the
+black ground uncoloured. The scarlet dried, two parts of green
+would be similarly added, and lastly one part of white. In each
+addition of colour minute spaces should be left of black, and
+when the last tint has been applied, there should be distinct
+streaks of the several colours, the black, of course, largely preponderating.
+If this routine is carefully observed, almost any
+variety and proportions of colours may be represented. Necessarily
+there is an absence in the blend thus acquired of that
+mingled colouring so characteristic of wool mixtures, but still
+the result is sufficiently accurate to enable the colourist to
+form a just conception of the value of any shade composition.</p>
+
+<p>Now for the second method of experimenting with colour
+elements in the origination of new mixtures. Here, wools are
+used; small hand cards being constructed for the purpose.
+This is obviously the best system when the exact shades of
+wools can be acquired, but this is often both difficult and
+expensive. Where the spinning of mixture yarns is a speciality,
+it is, however, advantageous to have a small stock of wools in
+as many shades as possible, which the colourist can have
+access to and blend in any proportion his ingenuity may
+suggest.&#x2060;<a id="FNanchor_11_11" href="#Footnote_11_11" class="fnanchor">[11]</a> In adopting this practical system of experimenting,
+the several colours selected for combination ought first to be
+compared on a convenient surface, preferably black, and then
+the quantities of the separate tints determined upon. This
+accomplished, mixing would follow, which consists of placing
+the various samples on the wire of two hand cards, and then
+passing the teeth of one card between those of its companion
+till the filaments have become as perfectly mingled as if the
+work of mixing had been effected by the scribbling and
+carding operation. Assuming, for the purpose of illustration,
+the colours selected to be brown, blue, fawn, and sage-green,
+and the proportions as follows: 3 parts of brown to 1
+<span class="pagenum" id="Page_75">[Pg 75]</span>
+part of each of the remaining shades, then, providing the
+quantities have been weighed off, the several shades would
+be combined and mixed by the process just described. Care
+must be exercised not to overload the cards, or blending will
+only be imperfectly accomplished. Concluding that “carding”
+has been satisfactorily effected, a compound shade of a slatish
+or smokish class will be the result, which will contain visible
+traces of all the colour elements of its composition, namely,
+of brown, blue, fawn, and sage-green.</p>
+
+<p>Both the “pigment” and the “fibrous” systems of experimenting
+with colour for blending purposes should be extensively
+practised. The former may be adopted with success when wools
+are not accessible, while the latter gives a result identical in
+every respect to that acquired in manufacturing operations.</p>
+
+<p>62. <i>Mixtures composed of Two Shades.</i>—These are of three
+kinds; first, those in which white is a factor; second, those in
+which black is used; and third, those in which two fancy colours,
+other than black or white, are combined, as brown and lavender,
+purple and gold, and tan and drab. Mixtures of this kind may
+not only be economically produced, but are simple and neat in
+composition. Many of them are largely used in the production
+of both woollen and worsted yarns, and are produced in light,
+medium, and dark shades. In textures where a neat effect is
+requisite, they make most satisfactory combinations. Still, they
+lack diversity of tint; and, as compared with blends containing
+a larger assortment of colours, they are characterized by tameness.
+Of course their degree of freshness and lustre is proportionate
+to the brightness of the hues amalgamated. If these
+are washy and murky, the resulting combination will be
+unsatisfactory. While it is impossible to enumerate all the
+colours suitable for this species of blending, yet it may be
+remarked that one of the hues should, at any rate, possess bloom
+and force of tone; not necessarily harshness of hue, but fulness
+of tint and definite emphasis of shade, in order that it may be
+capable of affording colour character to the mixture in which it
+is used. Such colours as claret, maroon, deep purple, russet,
+chocolate, tan, warm olive, full-toned drab, blue, and green drab,
+are appropriate for this purpose.</p>
+
+<p><span class="pagenum" id="Page_76">[Pg 76]</span>
+63. <i>Compounds of Two Colours in which White is used.</i>—Blends
+of this class are both numerous and important. They are
+of many tones, depths, and intensities. Three illustrations are
+given on <a href="#plate13">Plate <abbr title="Thirteen">XIII.</abbr></a>, comprising light and medium compositions.
+The first specimen (<abbr title="Number">No.</abbr> 1) results from mixing 3 parts of
+white with 1 of brown; the second (<abbr title="Number">No.</abbr> 2) is composed of 3 parts
+of fawn and 2 of white; and the third (<abbr title="Number">No.</abbr> 3) consists of 3
+parts of reddish purple and 1 of white. In the first and last of
+these mixtures the proportions are the same, but in the former,
+white is the prevailing, and brown the subordinate tint, while
+in the latter, lavender is the main element, and white simply the
+secondary factor of the blend. This leads to the consideration
+that in forming such mixtures it is imperative to determine, in
+the first place, whether white or the colour element, whatever
+that may be, is to preponderate in the mixture about to be
+produced. Having decided upon this point, some calculation
+should be made as to the extent in which one element is to be
+overpowered by the other. The illustrations will assist us in the
+solution of this problem. Starting with the brown and white
+combination, it is quite apparent that, in this instance, it has
+been sought to acquire an effect of a light character, one, in a
+word, just tinged or toned with a brownish element. As a
+consequence, white should preponderate, but the point arises to
+what degree. If the proportions were four parts of brown to
+one part of white, the mixture would be too pale; if three parts
+of white and two parts of brown were combined, the mixture
+would assume a dark cast, for the brown element would be too
+potent; hence the proportions from which the illustration has
+been obtained are the most appropriate for producing a light-shaded
+compound. Results of this kind can only be arrived at
+by experiment. Theory merely expounds the principles of the
+art, practice alone can illustrate and verify them. With pigments,
+the reader may acquire much useful and reliable knowledge
+of these combinations; or by dyeing for himself in a small vessel
+a number of different shades, which is no difficult task, and
+using the hand cards alluded to in a previous paragraph, he
+may become a competent and skilful combiner of fancy shades
+for mixture yarns.
+</p>
+
+<figure class="figcenter illowp49" id="plate13" style="max-width: 20.5625em;">
+  <img class="w100" src="images/plate13.jpg" alt="Blend of wools">
+  <figcaption style="color: blue;">
+      <p>Plate <abbr title="Thirteen">XIII</abbr><br>
+        <span class="allsmcap">BLENDS OF COLOURED WOOLS</span></p>
+  </figcaption>
+</figure>
+
+<p><span class="pagenum" id="Page_77">[Pg 77]</span>
+64. <i>Illustrations in Mixtures composed of White and a
+Second Colour.</i>—Mixture 3, <a href="#plate13">Plate <abbr title="Thirteen">XIII.</abbr></a>, is compounded of reddish
+purple and white. It is suitable for either worsted or woollen
+yarns intended for dress goods made in the plain weave or in
+the simple twill. It also forms a yarn capable of giving good
+results when blended with Mixture 1 of the same Plate. Stripes
+and check patterns formed of these two mixtures, make very
+neat and attractive styles. The pinky aspect of Mixture 3
+causes it to be applicable to textures for ladies’ costumes, in
+which brightness and warmth of colouring are often a valuable
+acquisition to the fabric. The white beautifully softens the red
+purple, the two shades in union, and in the proportions rendered,
+forming a satisfactory mixture.</p>
+
+<p>The remaining sample in these mixtures (<abbr title="Number">No.</abbr> 2, <a href="#plate13">Plate <abbr title="Thirteen">XIII.</abbr></a>)
+is the most suitable for tweeds, yet considered. As a compound
+shade, it possesses many excellent features for both summer and
+autumn styles. Here, as already stated, white is the minor
+element of the composition. While in the two preceding
+examples it predominates, here it simply acts as a tinting factor
+which gives softness and mellowness to the green drab forming
+the bulk of the mixture. The utility of white for this purpose
+is thus clearly seen.</p>
+
+<p>Below are furnished some additional examples in this description
+of mixtures:&#x2060;—</p>
+
+<p class="indent35"><abbr title="One">I.</abbr></p>
+<p class="p0 unindent indent20">3 parts of light bluish drab.<br>
+1 part of white.</p>
+
+<p class="indent35"><abbr title="Two">II.</abbr></p>
+<p class="p0 unindent indent20">3 parts of tan.<br>
+1 part of white.</p>
+
+<p class="indent35"><abbr title="Three">III.</abbr></p>
+<p class="p0 unindent indent20">3 parts of olive brown.<br>
+1 part of white.</p>
+
+<p class="indent35"><abbr title="Four">IV.</abbr></p>
+<p class="p0 unindent indent20">3 parts of slatish fawn.<br>
+1 part of white.</p>
+
+<p class="indent35"><abbr title="Five">V.</abbr></p>
+<p class="p0 unindent indent20">2 parts of deep chocolate brown.<br>
+2 parts of white.</p>
+
+<p class="indent35"><abbr title="Six">VI.</abbr></p>
+<p class="p0 unindent indent20">4 parts of chocolate.<br>
+1 part of white.</p>
+
+<p class="indent35"><abbr title="Seven">VII.</abbr></p>
+<p class="p0 unindent indent20">6 parts of white.<br>
+4 parts of deep slatish blue.</p>
+
+<p class="indent35"><abbr title="Eight">VIII.</abbr></p>
+<p class="p0 unindent indent20">3 parts of white.<br>
+2 parts of fawn.
+</p>
+
+<p><span class="pagenum" id="Page_78">[Pg 78]</span>
+<abbr title="Numbers">Nos.</abbr> <abbr title="One">I.</abbr>, <abbr title="Two">II.</abbr>, and <abbr title="Three">III.</abbr> are specially suitable for yarns employed
+in the manufacture of dress and other thin fabrics of a bright
+and cheerful tone. <abbr title="Number">No.</abbr> <abbr title="Four">IV.</abbr> is an interesting compound after
+the nature of <abbr title="Number">No.</abbr> 2, <a href="#plate13">Plate <abbr title="Thirteen">XIII.</abbr></a>, but deeper and stronger in cast.
+Such mixtures are most useful in the production of fancy tweeds
+and woollen and worsted textures intended for men’s wear.
+Blends <abbr title="Five">V.</abbr> and <abbr title="Six">VI.</abbr> are also appropriate for tweed goods.
+They are both of a brownish character, but the latter is the
+darker and more pronounced in tone. <abbr title="Number">No.</abbr> <abbr title="Seven">VII.</abbr> might be
+defined as a slatish blue mixture. It makes a good fancy yarn,
+and, in fine worsted, a thread suitable for thin fabrics for
+costumes. The last of these combinations possesses a very
+mellow appearance. The fawn is a shade between olive and
+brown, approaching a species of tan. By altering the proportions
+to three parts of fawn and one part of white, an excellent
+mixture results, which might be used in combination with <abbr title="Number Eight">No.
+VIII.</abbr> in the production of checks and stripes and a large diversity
+of other patterns.</p>
+
+<p>65. <i>Mixtures composed of Black and another Colour.</i>—These,
+if anything, have a more extensive application than the mixtures
+just alluded to, and are probably more diversified in composition
+and colouring. They are largely employed in the production of
+yarns for dark and medium-shaded goods. As the illustrations
+furnished on <a href="#plate13">Plate <abbr title="Thirteen">XIII.</abbr></a> indicate, many useful combinations
+may be obtained on this method. The first example (<abbr title="Number">No.</abbr> 4,
+<a href="#plate13">Plate <abbr title="Thirteen">XIII.</abbr></a>) that may be considered, is a russet-brown mixture.
+Probably, the russet is a degree too warm, but, for some purposes,
+the blend is all that could be desired. Bloom, mellowness of
+cast, and rich fulness of tint are its chief characteristics. As a
+tweed mixture produced by using two colour factors, it is
+invaluable. It contrasts with the following mixture, <abbr title="Number">No.</abbr> 5 of
+the same Plate, which results from blending one part of black
+with one part of light olive. The olive used is more drab than
+orange, and in association with the black assumes a greenish
+cast. By combining yarns made of this mixture with yarns
+made of the preceding mixture, some good patterns might be
+produced, simple, but neat in composition; the streaks of russet
+in the one harmonizing and contrasting with the filaments of
+<span class="pagenum" id="Page_79">[Pg 79]</span>
+olive in the other. The qualities of bloom and warmth lacked
+by this latter example are possessed by the russet blend, while
+the mellow characteristic of the olive mixture, when associated
+with the russet, yields a compound colouring of tasteful
+properties.</p>
+
+<p>But one further illustration, <abbr title="Number">No.</abbr> 6,
+ <a href="#plate13">Plate <abbr title="Thirteen">XIII.</abbr></a>, in this species
+of blend calls for description, namely, a black and fawn combination
+in which fawn is the principal hue. It is illustrative
+of the diversity of effect that may be acquired by mixing two
+colour elements. As the fawn composes the bulk of the blend,
+it possesses, when viewed at some distance, a brownish tone, but
+on closer examination the small flakes of fawn colouring assume
+a rich bloom as well as a soft, mellow aspect.</p>
+
+<p>Other examples in this style of mixture, not illustrated, may
+be briefly described, the colourings of which are:&#x2060;—</p>
+
+<table>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="One">I.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">5</td>
+<td class="tdc pad6">parts of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">tan.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="two">II.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">part of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">tan.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="three">III.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">6</td>
+<td class="tdc pad6">parts of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">3</td>
+<td class="tdc">„</td>
+<td class="tdl">bluish green.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="four">IV.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">parts of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">5</td>
+<td class="tdc">„</td>
+<td class="tdl">dark purple.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="five">V.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">3</td>
+<td class="tdc">parts of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">sage green.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="six">VI.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">parts of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">3</td>
+<td class="tdc">„</td>
+<td class="tdl">drabbish fawn.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="seven">VII.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">parts of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">part of</td>
+<td class="tdl">lilac (medium shade).</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="eight">VIII.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">6</td>
+<td class="tdc">parts of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">part of</td>
+<td class="tdl">rose pink.</td>
+</tr>
+</table>
+
+<p>Combinations <abbr title="One">I.</abbr> and <abbr title="Two">II.</abbr> are quite dark. The former is a
+warmish, and the latter a somewhat cool colouring. Yarns from
+these two mixtures harmonize well when associated in the same
+pattern. The tan used in <abbr title="Number">No.</abbr> <abbr title="One">I.</abbr>
+ is similar to <abbr title="Number">No.</abbr> 3, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>,
+and the bluish green to <abbr title="Number">No.</abbr> 2,
+ <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>, but rather more blue in
+tone. Mixture <abbr title="Two">II.</abbr> is a medium colouring, suitable for suitings
+and the general run of fancy tweeds. Warmth, freshness, and
+lustre are its main and characterizing elements. <abbr title="Number">No.</abbr> <abbr title="Four">IV.</abbr> is a
+<span class="pagenum" id="Page_80">[Pg 80]</span>
+unique colouring. It forms an admirable dark thread. A fabric
+in which the warp is composed of yarns made of this mixture
+and woven with yarn from Blend <abbr title="One">I.</abbr> is an excellent combination
+of tints. Mixtures <abbr title="Five">V.</abbr> and <abbr title="Six">VI.</abbr> are both of a medium tone. <abbr title="Number Five">No.
+V.</abbr> is rather dull in tone as compared with <abbr title="Number">No.</abbr> <abbr title="Six">VI.</abbr>, but both are
+useful colourings. Blends <abbr title="Seven">VII.</abbr> and <abbr title="Eight">VIII.</abbr> are of a different
+character. In these examples the colour element is small, but
+comparatively light and lustrous in tint. The object has been
+to obtain a black composition just streaked with filaments of a
+bright shade. The quantity of lilac in <abbr title="Number">No.</abbr> <abbr title="Seven">VII.</abbr> is just sufficient
+to change the tone of the black, and to produce a compound
+approaching a species of grey, but bright and fresh in colouring.
+<abbr title="Number">No.</abbr> <abbr title="Eight">VIII.</abbr>, though very dark, is cheerful in quality, being suitable
+for a fancy yarn, or for thin textures for robes and costumes.
+It is unnecessary to multiply examples of mixtures in this class,
+as those furnished are typical of the endless variety of combinations
+which in practice are required by this scheme of colouring.</p>
+
+<p><a id="para66"></a>66. <i>Grey Mixtures.</i>—Amongst the most useful mixtures
+resulting from combining two shades are those known as greys.
+These are sometimes bloomed or enriched with purple or full-toned
+blue, but they are more frequently constituted of black
+and white simply. Ranges of fancy woollen and worsted
+patterns are rarely made without their use. For ground shades,
+and also for fancy colours in check and stripe patterns, they are
+of great utility. Some of the most important and common
+proportions are as follows&#x2060;<a id="FNanchor_12_12" href="#Footnote_12_12" class="fnanchor">[12]</a>:&#x2060;—</p>
+
+<table>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="One">I.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">6</td>
+<td class="tdc pad6">parts of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">part of</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="Two">II.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">5</td>
+<td class="tdc pad6">parts of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">part of</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="Three">III.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc pad6">parts of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">part of</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="Four">IV.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">3</td>
+<td class="tdc pad6">parts of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">part of</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="Five">V.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc pad6">parts of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">part of</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="Six">VI.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">part of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">„</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title=">Seven">VII.</abbr>
+<span class="pagenum" id="Page_81">[Pg 81]</span></td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc pad6">parts of</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">part of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="Eight">VIII.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">3</td>
+<td class="tdc pad6">parts of</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">part of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="nine">IX.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc pad6">parts of</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">part of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="Ten">X.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">5</td>
+<td class="tdc pad6">parts of</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">part of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="Eleven">XI.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">6</td>
+<td class="tdc pad6">parts of</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">part of</td>
+<td class="tdl">black.</td>
+</tr>
+</table>
+
+<p>The most useful of these combinations are <abbr title="Numbers">Nos.</abbr> <abbr title="Five">V.</abbr>, <abbr title="Six">VI.</abbr>, and
+<abbr title="Seven">VII.</abbr>, which are in many instances the only ones used. <abbr title="Number">No.</abbr> <abbr title="Five">V.</abbr>
+is called dark, <abbr title="Number">No.</abbr> <abbr title="Six">VI.</abbr> medium, and <abbr title="Number">No.</abbr> <abbr title="Seven">VII.</abbr> light grey.</p>
+
+<p>To produce a perfectly gradated shade it is necessary to use
+some five or seven greys, but in ordinary styles, for both woollen
+and worsted textures, it is not customary to employ a larger
+number than the three mixtures just named. The following is
+an arrangement for a shaded pattern in five greys:&#x2060;—</p>
+
+<table class="autotable small">
+<tr>
+<td class="tdr">5</td>
+<td class="tdc">or any</td>
+<td class="tdc">appropriate</td>
+<td class="tdc">number of</td>
+<td class="tdc">threads of <abbr title="Number">No.</abbr></td>
+<td class="tdl"><abbr title="Four">IV.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">5</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdl"><abbr title="Five">V.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">5</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdl"><abbr title="Six">VI.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">5</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdl"><abbr title="Seven">VII.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">5</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdl"><abbr title="Eight">VIII.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">5</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdl"><abbr title="Seven">VII.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">5</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdl"><abbr title="Six">VI.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">5</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdl"><abbr title="Five">V.</abbr></td>
+</tr>
+</table>
+
+<p>Mixtures <abbr title="One">I.</abbr>, <abbr title="Two">II.</abbr>, and <abbr title="Three">III.</abbr>, form very dark shades; and Mixtures
+<abbr title="Eleven">XI.</abbr>, <abbr title="Ten">X.</abbr>, and <abbr title="Nine">IX.</abbr>, form very light shades; and are only employed
+in the production of extreme fancies.</p>
+
+<p>67. <i>Bloomed Greys.</i>—These, as already explained, are greys
+tinted with some bright hue. The colours generally used for
+this purpose are very deep purple, rich blue, and red purple.
+The quantities of such hues are small, but sufficient to impart
+freshness of tone or lustre to the mixture. Blue is used
+chiefly in brightening light greys. For example, a much
+fresher light grey is formed by the following proportions than
+if black and white were alone used: 6 parts of white, 4 parts
+<span class="pagenum" id="Page_82">[Pg 82]</span>
+of black, and 1 part of blue. Though the blue only constitutes
+one-eleventh of the mixture, still it imparts freshness. An
+excellent medium grey, warmed with reddish purple, can be
+secured thus: 8 parts of black, 4 parts of white, and 3 parts
+of red purple. Deep purple is one of the most suitable hues for
+dark greys, as it possesses both the qualities of warmth and
+lustre, and is a most potent hue. Two examples follow in which
+it is used with satisfactory results:&#x2060;—</p>
+
+<table>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="One">I.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">6</td>
+<td class="tdc pad6">parts of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">deep purple.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">part of</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="Two">II.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">3</td>
+<td class="tdc pad6">parts of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">3</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">deep purple.</td>
+</tr>
+</table>
+
+<p>Both these mixtures possess richness and depth of tone, and
+are preferable to the common greys insomuch as they are
+fuller, more lustrous, and mellower in composition; <abbr title="Number">No.</abbr> <abbr title="One">I.</abbr> is a
+dark, and <abbr title="Number">No.</abbr> <abbr title="Two">II.</abbr> a medium shade.</p>
+
+<p>68. <i>Coloured Greys.</i>—Mixtures of this kind are mainly compounded
+of black and white, but the colouring element introduced
+may be so potent in hue as to impart quite a tinted aspect
+to the shade. It will be sufficient for the purposes of illustration,
+to treat of mixtures of this class in which red, blue, yellow,
+orange, green, and purple, or the primary and secondary hues,
+are used as the tinting factors. It is very rarely that more than
+one colour is employed in the same blend, as the examples given
+will show. Four standard coloured greys, in which red is the
+tinting element, are as follows:&#x2060;—</p>
+
+<table>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="One">I.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">part of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">„</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">„</td>
+<td class="tdl">red.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="Two">II.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc pad6">parts of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">part of</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">„</td>
+<td class="tdl">red.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="Three">III.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc pad6">parts of</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">part of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">„</td>
+<td class="tdl">red.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="Four">IV.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc pad6">parts of</td>
+<td class="tdl">red.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">part of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">„</td>
+<td class="tdl">white.</td>
+</tr>
+</table>
+
+<p>These proportions, giving typical results, will be adopted
+throughout the exposition of these mixtures; that is to say, when
+<span class="pagenum" id="Page_83">[Pg 83]</span>
+the tinting element is changed to blue or orange, the same
+quantities will be combined as in those furnished in the above
+examples.</p>
+
+<p>In <abbr title="Number">No.</abbr> 1 the shades are blended in equal proportions, hence
+there is no tint preponderating in the resultant mixture,
+which is a species of brownish grey, neat in composition, and
+one that is useful in textile designing. Black predominates in
+Mixture <abbr title="Two">II.</abbr>, resulting in the production of a more appropriate
+shade than that formed by <abbr title="Number">No.</abbr> <abbr title="One">I.</abbr> for autumn and winter
+cloths. Referring to <abbr title="Number">No.</abbr> <abbr title="Three">III.</abbr>—white is the chief element, hence
+a medium compound shade is acquired: somewhat pinky in
+appearance, owing to the entrance of white and scarlet into the
+blend, but still the whole is toned and increased in depth of
+composition by the admixture of black. It is, on account of
+its richness, more suitable for yarns for dress fabrics than for
+heavy goods for men’s wear. The same remark applies to
+Mixture <abbr title="Number">No.</abbr> <abbr title="Four">IV.</abbr>, in which red is the preponderating hue. But
+this is a bright and cheerful colouring, and one that makes an
+excellent fancy yarn. These reddish-grey mixtures all form
+valuable shades for winter styles, as they are decidedly cheerful
+and warm in aspect, and produce a kind of pattern both bright
+and comfortable in character.</p>
+
+<p>Grey, in conjunction with yellow, forms a species of drab
+mixture, which finds appropriate use in the manufacture of
+summer textures. Taking the same order of mixing as furnished
+in the red greys, the following results are obtained:&#x2060;—</p>
+
+<table>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="Five">V.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">part of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">„</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">„</td>
+<td class="tdl">yellow.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="Six">VI.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc pad6">parts of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">part of</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">yellow.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="Seven">VII.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc pad6">parts of</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">part of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">yellow.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="Eight">VIII.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc pad6">parts of</td>
+<td class="tdl">yellow.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">part of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+</tr>
+</table>
+
+<p>The equal quantities constitute quite a drab blend. In this
+example there is first the association of the black and white
+<span class="pagenum" id="Page_84">[Pg 84]</span>
+elements constituting mid grey, which receives additional lustre
+from co-mixture with yellow, which tinges the whole composition
+a drabbish olive. An agreeable variation may be made by
+employing a bright tan in the place of yellow. On allowing
+the black element to preponderate, as in <abbr title="Number">No.</abbr> <abbr title="Six">VI.</abbr> blend, a much
+darker result is attained, one, however, in which the olive cast
+is preserved, though the bulk of the composition is dark grey.
+A pleasing mixture ensues when white (<abbr title="Number">No.</abbr> <abbr title="Seven">VII.</abbr> blend) is
+made the maximum element. It is soft and bright in colouring,
+and of extensive utility in the production of fancy yarns and
+fine worsted textures. Perhaps when yellow is the main shade
+(<abbr title="Number">No.</abbr> <abbr title="Eight">VIII.</abbr> blend) the cast of the mixture assumes a too ochre-like
+aspect, but the yarn resulting from this composition has
+nevertheless its specific province in woven design.</p>
+
+<p>Black and white mixed with blue form a valuable series of
+mixtures, more or less applicable to all classes of fancy goods.
+When the quantities of the several shades are equal (1 part
+black, 1 white, 1 blue), the mixture formed is of a peacock blue
+tone, streaked with grey. This mixture may be applied both as
+a fancy and as a ground shade, according to the texture being
+produced. Increasing the black (2 parts of black, 1 white, and
+1 blue) results in the formation of a dark bluish grey, applicable
+to a large variety of fabrics. By giving preponderance to
+the white (2 parts of white, 1 black, and 1 blue), a slatish blue
+grey is obtained, which, in combination with certain brown
+mixtures, is capable of forming elegantly coloured patterns.
+When the blue element is the principal hue (2 parts of blue,
+1 black, and 1 white), the mid grey, constituting one-half of
+the compound, assumes a mellow, quiet blue tone, making a
+mixture specially appropriate for goods, in which cheerful but
+soft colouring is an important feature of the design.</p>
+
+<p>It is evident, from these examples, that a wide field of
+colouring is opened up in the admixture of black and white with
+the primary colours. In the illustrations considered, only four
+sets of proportions have been dealt with, but by multiplying
+these it will be obvious that an endless diversity of results, even
+with these five shades—black, white, red, yellow, and blue—can
+feasibly be acquired. But when it is taken into account that
+<span class="pagenum" id="Page_85">[Pg 85]</span>
+other hues besides those named are used in combination with
+black and white, it will at once be seen that the possibilities of
+this preliminary method of combining colours for textile work are
+largely increased. The subject cannot be followed further than
+the secondary colours at this stage: these, in conjunction with
+the primary combinations just described, will give a fairly comprehensive
+view of the styles of compound shades obtained in
+practice by this system.</p>
+
+<p>In the first place, allusion may be made to the admixture of
+orange with black and white. Should the quantities be equal
+(1 part black, 1 white, and 1 orange), a drabbish grey is produced,
+a degree warmer in hue than if yellow were the colouring factor.
+On doubling the quantity of the black element (2 parts black, 1
+white, and 1 orange) a greyish olive mixture tinged with a
+reddish tone is formed; while a light fawn mixture is produced
+if the white preponderates (2 white, 1 black, and 1 orange).
+A tannish grey composition, suitable for fancy yarns, results
+from the proportionate quantities being 2 parts of orange, 1 part
+of black, and 1 part of white.</p>
+
+<p>Green, when associated with black and white on this system,
+does not constitute mixtures well adapted for yarns for fabrics
+of a heavy description, but yields compounds useful in the
+decoration of dress and other thin textures. These blends
+partake of a species of mellow, mingled, greenish grey. Such
+blends are more pleasing to the eye in woven fabrics than solid
+green, possessing a softer, quieter, and a more satisfactory tone.
+Beginning with white, black, and green, equally compounded, a
+mixture is obtained that may be appropriately described as a
+slatish green, the grey element imparting to the blend a rich
+mellow cast. By increasing the black factor (2 black, 1 white,
+and 1 green), the slatish tone is augmented, because it is due
+to the association of this shade with the green element of the
+blend. As black is, in this instance, the principal shade, the
+mixture, while mellow and greenish, is decidedly deep and full
+in tone. The employment of white as the leading shade (2
+parts of white, 1 black, and 1 green) yields an interesting combination
+between a pea and a slate green. If the yarn made
+from this mixture, were associated in the same pattern with
+<span class="pagenum" id="Page_86">[Pg 86]</span>
+that resulting from blend <abbr title="Number">No.</abbr> <abbr title="Three">III.</abbr> of the red series, an exquisite
+assortment of tints would be obtained. It is by blending the
+yarn product of one combination with that of others that
+attractive colourings are arrived at. When the proportions
+are 2 parts of green, 1 part of black, and 1 part of white, the
+compound has too greenish a cast to be of extensive use in
+textile designing, hence this mixture is chiefly used in the form
+of a fancy or lively thread.</p>
+
+<p>Allusion has now only to be made to the purple-grey combinations.
+First, when the proportions are 1 part of black,
+1 part of white, and 1 part of purple, a distinctly purple grey
+is produced, owing to the extraordinary potency and diffusiveness
+of this secondary. Making black the predominant
+factor, a more useful compound from a textile standpoint is
+acquired; perhaps slatish in cast, but, nevertheless, warm and
+cheerful in tint. Should white preponderate, a pure slatish grey,
+just tinged with the warm, lustrous hue of purple, ensues. These
+two last combinations, in addition to the mixture resulting from
+compounding 2 parts of purple, 1 part of black, and 1 part of
+white, are chiefly useful in the form of fancy threads. If purple
+is employed in grey mixtures, for tweeds, and other medium and
+heavy textures, it must be in lesser proportions than here given,
+indeed on the principle indicated in the examples supplied in
+<a href="#para66">Paragraph 66</a>.</p>
+
+<p>Many other colours besides the primaries and the secondaries
+are blended with black and white in the production of mixture
+yarns, but the illustrations that have been treated of, will enable
+the reader to arrive at methods of combining other tints or
+shades, than those supplied in these mixtures—the most useful
+of all compound shades—namely, light, medium, and dark
+greys.</p>
+
+<p>69. <i>Two-Colour Mixtures.</i>—Next to the series of blends obtained
+by combining black or white with another colour, mixtures resulting
+from associating two colour elements are the most
+commonly produced. In addition to being the least costly of all
+fancy mixtures, into which black and white are not imported,
+they are neat, simple, and elegant in composition. Examples are
+given in <abbr title="Numbers">Nos.</abbr> 7, 8, and 9,
+ <a href="#plate13">Plate <abbr title="Thirteen">XIII.</abbr></a> The first is compounded
+<span class="pagenum" id="Page_87">[Pg 87]</span>
+of 3 parts of bright brown and 2 parts of lavender; the second
+of 4 parts of claret and 1 part of gold; and the third of 3 parts
+of tan and 1 part of drab. In mixtures of this class, one shade
+should always be chosen for constituting the bulk of the compound;
+and this, of course, should be of such a character as to
+be suitable for application to fabrics intended for wearing purposes.
+Turning to these examples, it will be seen that shades of
+this kind have been adopted as the principal factors, for in one
+instance, dark brown is the body colour, in another claret, and in
+the third instance, tan. So that this law of using a comparatively
+mellow and unostentatious colour for the bulk of the combination
+has, in this type of mixtures, almost universal application.
+Alluding specially to the brown-and-lavender blend, the object
+here has been to secure an intermingled shade of rather more
+than medium depth. Both colours are prominent, yet they
+constitute quite a new shade of recognized utility in textile
+manufacturing. In the claret-and-gold mixture, claret largely
+predominates, and imparts depth and body of tone to the resulting
+compound. The function of the gold-coloured fibres is
+essentially to brighten and freshen the whole. The last example
+is quite a distinct species, having no common elements with the
+two preceding, beyond the fact that it only contains two factors
+of colouring, tan and drab. As these shades are more or less
+allied in hue, the mixture acquired by combining them is slightly
+wanting in diversity of tinting; yet it is a style of blend admirably
+adapted for producing fancy yarns for light goods in
+woollen materials. Two shades of brown, blue and slate, and
+olive and drab, similarly blended, would all form creditable
+mixtures. Some of the Bannockburn blends only contain two
+colours, though apparently full of variety of tinting. The
+peculiar nature of the wool fibre substantially contributes to the
+richness and elegance of these two-colour compounds.</p>
+
+<p>70. <i>Multi-Shade Mixtures.</i>—The general principles of the art
+of blending have now been explained, and it is not needful to
+treat extensively of the remaining kinds of mixtures. By the
+aid of further illustrations, the methods of combining any
+reasonable number of colours in the constitution of “stock” for
+fancy yarns, may be indicated. First, consider the claret-brown
+<span class="pagenum" id="Page_88">[Pg 88]</span>
+blend given in <abbr title="Number">No.</abbr> 10,
+ <a href="#plate13">Plate <abbr title="Thirteen">XIII.</abbr></a>, and composed of 4 parts of
+claret, 1 part of drab, and 1 part of gold. The colours combined
+not only harmonize when mixed, but also when separated. If
+any one of the colours were removed, the combination would be
+incomplete, showing the perfect union of the tints selected.
+Should four colours be blended, increased freshness and lustre of
+combination may be acquired, as is instanced by <abbr title="Number">No.</abbr> 11, which
+consists of 4 parts of black, 2 parts of drab, 1 part of scarlet, and
+1 part of white. As in the previous example, a dark shade is
+here employed for the bulk of the mixture, the other tints combining
+to impart brightness to the whole colouring. The touch
+of scarlet is very appropriate, giving warmth and tone; the
+drab is useful as a filling-in factor, while the black and the white
+give that general mellowness which characterizes the whole
+blend. Another example, <abbr title="Number">No.</abbr> 12, of a dark description is a
+compound of three colours, blended thus:&#x2060;—</p>
+
+<p class="indent35 unindent">
+2 parts of purple.<br>
+1 part of orange.<br>
+½ a part of warm slate or smoke colour.
+</p>
+
+<p>The orange should be verging on scarlet, and the purple possess
+a claret-like hue. A pleasing mixture is thus acquired, one in
+which the distinguishing features are mellowness and beauty
+of tone, combined with warmth and richness of composition.
+Purple and smoke colour are utilized in furnishing that peculiar
+varied tinting that constitutes the main element of the mixture,
+while the orange introduced affords brilliance, bloom, and warmth
+of hue. Other combinations are as follows:&#x2060;—</p>
+
+<p class="center"><span class="smcap">Dark Blends.</span></p>
+
+<table>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="One">I.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc pad6">parts of</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">light brown.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">part of</td>
+<td class="tdl">lavender.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="Two">II.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc pad6">parts of</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">part of</td>
+<td class="tdl">sage.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">scarlet.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="Three">III.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">6</td>
+<td class="tdc pad6">parts of</td>
+<td class="tdl">maroon.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">part of</td>
+<td class="tdl">medium green.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">scarlet.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">bright blue.</td>
+</tr>
+</table>
+
+<p class="p2 center"><span class="pagenum" id="Page_89">[Pg 89]</span>
+<span class="smcap">Medium Blends.</span></p>
+
+<table>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="One">I.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc pad6">parts of</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">light olive.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="Two">II.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc pad6">parts of</td>
+<td class="tdl">claret.</td>
+</tr>
+<tr>
+<td class="tdr">3</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">part of</td>
+<td class="tdl">gold colour.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="Three">III.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">8</td>
+<td class="tdc pad6">parts of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdr">3</td>
+<td class="tdc">„</td>
+<td class="tdl">orange.</td>
+</tr>
+</table>
+
+<p class="p2 center"><span class="smcap">Light Blends.</span></p>
+
+<table>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="One">I.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc pad6">parts</td>
+<td class="tdl">mid brown.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">part of</td>
+<td class="tdl">drab.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="Two">II.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc pad6">parts of</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">part of</td>
+<td class="tdl">fawn.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><abbr title="Three">III.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc pad6">parts of</td>
+<td class="tdl">chocolate.</td>
+</tr>
+<tr>
+<td class="tdr">5</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">orange.</td>
+</tr>
+</table>
+
+<p>71. <i>Twist-Yarn Mixtures.</i>—Recurring to the three great
+classes of mixtures defined at the beginning of this chapter,
+twist-yarn mixtures were included in the second group. For
+many reasons they are not so extensively produced as raw-material
+mixtures: thus, they are more costly; they do not
+generally yield such elegant effects; and they lack that brilliance
+of colouring so universally characteristic of the latter description
+of mixtures. The twist used for this purpose includes two-,
+three-, and four-ply yarns, and curl, knop, cloud, and other fancy
+threads. Black and white twist mixtures in woollen, worsted,
+and cotton goods are extremely common. A more marked, and
+perhaps more streaky class of effects, is obtained by using these
+yarns than by employing mixture threads. If the twists were
+of the cloud kind, real spangles, more or less elongated, of black
+and white shades would be formed in the woven fabric; whereas
+if curl twists were adopted, loops of black and white would be
+irregularly spread over the surface of the cloth. Generally, the
+most elementary weaves are used in the construction of these
+<span class="pagenum" id="Page_90">[Pg 90]</span>
+goods, such as the plain make, and the common four-end and
+six-end twills. In worsteds, large quantities of these mixtures
+are made, the finest of these threads yielding a satisfactory species
+of intermingled colouring.</p>
+
+<p>72. <i>Marls.</i>—A series of grey and coloured mixtures obtained
+by the second method of blending (Class C, <a href="#para55">Par. 55</a>) is illustrated
+in <a href="#plate14">Plate <abbr title="Fourteen">XIV</abbr></a>. These yarns show the principle of obtaining a
+marl mixture worsted thread, after combing and drawing, or in
+the operation of roving. An intermediate style of mixture is
+thus produced between that due to blending coloured slivers in
+drawing, and that due to folding or twisting two or more coloured
+yarns into a compound thread. The blending of the coloured
+elements is not, on this system, so complete as by the first
+method; nor yet are the specks of colour so distinct as in mixture
+yarns obtained in twisting. “Marls” made in this way are
+combined in stripe and check patterns with similar mixture
+yarns developed by doubling or folding.</p>
+
+<p>The proportionate quantities of black and white in Series A
+and A′, and of black and a colour in Series B, B′ are as
+follows:&#x2060;—</p>
+
+<p class="center">
+<span class="smcap">Plate <abbr title="Fourteen">XIV.</abbr></span><br>
+<br>
+<span class="smcap">Marls, Series A and B.</span>
+</p>
+
+<table class="muchsmaller">
+<tr>
+<td class="tdr">Specimen</td>
+<td></td>
+</tr>
+<tr>
+<td class="tdr vlt"><abbr title="One">I.</abbr>=</td>
+<td class="lefthang">1 black thread twisted with 1 marl thread
+          =25% white or colour and 75% black.</td>
+</tr>
+<tr>
+<td class="tdr vlt"><abbr title="Two">II.</abbr>=</td>
+<td class="lefthang">1 black thread twisted with 1 marl thread
+          =50% white or colour and 50% black.</td>
+</tr>
+<tr>
+<td class="tdr vlt"><abbr title="Three">III.</abbr>=</td>
+<td class="lefthang">1 black thread twisted with 1 marl thread
+           =75% white or colour and 25% black.</td>
+</tr>
+<tr>
+<td class="tdr vlt"><abbr title="Four">IV.</abbr>=</td>
+<td class="lefthang">1 marl = white or colour 25% and black
+ 75%; twisted with 1 marl thread = 25% white or colour and 75% black.</td>
+</tr>
+<tr>
+<td class="tdr vlt"><abbr title="Five">V.</abbr>=</td>
+<td class="lefthang">1 white thread twisted with 1 marl thread =25%
+  white or colour and 75% black.</td>
+</tr>
+<tr>
+<td class="tdr vlt"><abbr title="Six">VI.</abbr>=</td>
+<td class="lefthang">1 white thread twisted with 1 marl thread =50%
+       white or colour and 50% black.</td>
+</tr>
+</table>
+
+<p class="center">
+<span class="smcap">Marls, Series A1 and B1.</span>
+</p>
+
+<table class="muchsmaller">
+<tr>
+<td class="tdr">Specimen</td>
+<td></td>
+</tr>
+<tr>
+<td class="tdr vlt"><abbr title="One">I.</abbr> =</td>
+<td class="tdl">1 marl thread = white 25%, black 75%;
+      twisted with 1 marl thread = white 25%, black 75%.</td>
+</tr>
+<tr>
+<td class="tdr vlt"><abbr title="Two">II.</abbr> =</td>
+<td class="tdl">1 marl thread = white 50%,
+      black 50%; twisted with 1 marl thread = white 25%, black 75%.</td>
+</tr>
+<tr>
+<td class="tdr vlt"><abbr title="Three">III.</abbr> =</td>
+<td class="tdl">1 marl thread = white 50%, black 50%;
+       twisted with 1 marl thread = white 50%, black 50%.</td>
+</tr>
+<tr>
+<td class="tdr vlt"><abbr title="Four">IV.</abbr> =</td>
+<td class="tdl">1 marl thread = white 75%, black 25%;
+      twisted with 1 marl thread = white 50%, black 50%.</td>
+</tr>
+<tr>
+<td class="tdr vlt"><abbr title="Five">V.</abbr> =</td>
+<td class="tdl">1 marl thread = white 75%, black 25%;
+      twisted with 1 marl thread = white 75%, black 25%.</td>
+</tr>
+<tr>
+<td class="tdr vlt"><abbr title="Six">VI.</abbr> =</td>
+<td class="tdl">1 white thread twisted with 1 marl thread = white 75%, black 25%.</td>
+</tr>
+</table>
+
+<p>In <abbr title="Numbers">Nos.</abbr> <abbr title="One">I.</abbr> to <abbr title="Five">V.</abbr>, Series A′ and B′, each yarn is composed of
+two marl threads twisted together, but <abbr title="Number">No.</abbr> <abbr title="Six">VI.</abbr> consists of a
+white thread twisted with a marl; and in Series A and B, <abbr title="Numbers">Nos.</abbr>
+<abbr title="One">I.</abbr>, <abbr title="Two">II.</abbr>, and <abbr title="Three">III.</abbr> are composed of a marl and black: <abbr title="Number">No.</abbr> <abbr title="Four">IV.</abbr> of
+two marls, and <abbr title="Numbers">Nos.</abbr> <abbr title="Five">V.</abbr> and <abbr title="Six">VI.</abbr> of a marl and white.
+</p>
+
+<figure class="figcenter illowp53" id="plate14" style="max-width: 22.125em;">
+  <img class="w100" src="images/plate14.jpg" alt="Specimens of Marl yarns">
+  <figcaption style="color: blue;">
+      <p>Plate <abbr title="fourteen">XIV</abbr><br>
+      <span class="allsmcap">SPECIMENS OF “MARL” YARNS</span></p>
+  </figcaption>
+</figure>
+
+<p><span class="pagenum" id="Page_91">[Pg 91]</span>
+73. <i>Weave Mixtures.</i>—These are least manufactured of any of
+the three classes of mixtures. They result from intermingling
+self-coloured yarns in the loom. Plain and other elementary
+weaves are alone suitable for producing these effects. It is usual
+to have the warp of one colour, such as grey, and the weft of two
+or more colours; or the warp of two or more colours, and the
+weft of one. In neither of the two foregoing classes of mixtures
+could anything approaching a repetition of effect be traced in
+the woven sample, whose surface is invariably one mass of
+mottled tinting. For an analysis of the principles on which
+these patterns are acquired, the reader is referred to <cite>Woollen
+and Worsted Cloth Manufacture</cite>.</p>
+
+<div class="p2 footnotes"><h4>FOOTNOTES:</h4>
+
+<div class="blockquot">
+<div class="footnote"><p class="unindent"><a id="Footnote_11_11" href="#FNanchor_11_11" class="label">[11]</a>
+ In the Standardization Colour Scheme these initial colours, as the principal
+in the blend, are stocked. Bright or fancy colours might be dyed, in addition,
+for toning purposes.</p></div>
+
+<div class="footnote"><p class="unindent"><a id="Footnote_12_12" href="#FNanchor_12_12" class="label">[12]</a>
+ See also <a href="#par52">Par. 52</a> and <a href="#plate12a">Plate <abbr title="Twelve">XII.</abbr></a></p></div></div>
+</div>
+<hr class="chap x-ebookmaker-drop">
+
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_92">[Pg 92]</span></p>
+  <h2 class="nobreak" id="CHAPTER_VI">
+    CHAPTER <abbr title="Six">VI.</abbr>
+  </h2>
+   <h3>
+    ELEMENTS OF TEXTILE COLOURING—STRIPES.
+  </h3>
+</div>
+
+<div class="blockquot">
+<p>74. Colours applied to Textiles on Various Systems—75. Types of Woven
+Colouring—76. Single Weave Colourings—77. Colour-in relation to Backed,
+Double, and Compound Cloths—78. Colour applied to Single-make Figured
+Fabrics—79. Fancy Shades applied to Backed and Double Weave Combination
+Designs—80. Colour in Designs in which the Figures are produced by the
+Weft Yarns—81. Figured Effects obtained by Warp Colouring—82. Colour in
+Textiles Figured by both Warp and Weft Yarns—83. Pattern Design—84.
+Styles due to Colouring only—85. Stripes—86. Checks—87. Mixtures—88.
+Figures—89. Classes of Striped Patterns—90. Hairlines—91. Compound
+Hairlines—92. Stripes composed of Longitudinal and Transverse Lines—93.
+Stripes composed of Two Colours—94. Stripes composed of Three or more
+Colours—95. Irregular Stripes composed of Black and White Yarns—96.
+Irregular and Indefinite Stripes in Two Colours—97. Irregular Stripes—Shades
+in Two Colours—98. Shaded Stripes in Two Colours—99.
+Irregular Stripes containing several Colours—100. Shaded Stripes in several
+Colours.</p>
+</div>
+
+<p class="unindent">74. <i>Colours applied to Textiles on Various Systems.</i>—There
+are numerous methods of introducing colours and fancy shades
+into woven patterns. According to the kind of fabric being
+produced, the nature of the materials composing it, and its
+structural arrangement, the scheme of colouring practised varies.
+Suitings, trouserings, mantlings, dresses, vestings, shawls, rugs,
+carpets, and other important typical textures, are all coloured on
+distinct principles. Worsteds are not treated in a colour sense
+precisely on the same system as woollens, nor silks as cottons.
+Simple weaves allow of more varied colouring than diagonals
+and other intricate crossings; figured designs of a floral or
+geometrical character, than those resulting from combining
+several small weaves; single-make than double- and treble-make
+patterns; ordinary decorative fabrics, than plushes and lenos,
+and so on. Yet there are some principles of textile colouring
+common to all species of woven design. Certain methods of
+<span class="pagenum" id="Page_93">[Pg 93]</span>
+grouping yarns in elementary plans of interlacing warp and
+weft yield, under all conditions, the same style of effects. As a
+well-known combination of lines makes the key pattern, so in
+textile designing there are methods of classifying and uniting
+shades which cannot but produce one form of pattern. While
+in subsequent chapters it will be needful to specialize and indicate
+the complex modes of colouring practised by the weaver,
+here the general principles of the art will be simply expounded.</p>
+
+<p>75. <i>Types of Woven Colourings.</i>—All varieties of textile
+colourings may be classified under two great heads, which are
+capable of subdivision, as in the Table appended.</p>
+
+<p class="p2 center"><a id="Table_7"></a>
+<span class="smcap">Table <abbr title="Seven">VII.</abbr></span><br>
+<br>
+<span class="smcap">Illustrating the Types of Woven Colourings.</span><br>
+<br>
+<span class="allsmcap"><abbr title="One">I.</abbr> COLOUR IN SIMPLE AND FANCY WEAVES.</span>
+</p>
+
+<div class="blockquot">
+<p>(<i>A</i>) <i>Single-make Cloths.</i>—Woollen, worsted, cotton, linen, and
+silk textures, in plain, twilled, mat, sateen, corkscrew, leno,
+diaper, and other weaves.</p>
+
+<p>(<i>B</i>) <i>Backed, Double, and Compound Cloths.</i>—Effects produced
+principally for men’s wear, in both woollen and worsted yarns;
+also rugs, travelling maudes, winter mantlings, and blankets.</p>
+</div>
+
+<p class="center allsmcap">
+<abbr title="Two">II.</abbr> COLOUR IN FANCY AND FIGURED PATTERNS.
+</p>
+
+<div class="blockquot">
+<p>(<i>A</i>) <i>Single Fabrics.</i>—Stripes, checks, and drafted patterns for
+dresses, mantlings, ulsterings, blouses, and other textures.</p>
+
+<p>(<i>B</i>) <i>Backed, Double, and Combination Patterns.</i>—Woollen
+and worsted patterns for men’s garments; shawls, mantlings,
+rugs, “Kidder,” Scotch, and other carpets; also damasks and
+decorative fabrics.</p>
+
+<p>(<i>C</i>) <i>Figured Patterns Coloured in the Weft.</i>—Vestings, dresses,
+matelasses, and cords.</p>
+
+<p>(<i>D</i>) <i>Figured Patterns Coloured in the Warp.</i>—Spotted and
+figured styles of various descriptions in simple and complex
+makes, fancy dress patterns, mantles, plushes, velvets, astrachans,
+and carpets.</p>
+
+<p>(<i>E</i>) <i>Patterns in which the Figure is developed by both Warp and
+Weft Colouring.</i>—Silk and worsted robes, and elaborately ornamented
+patterns in an endless diversity of textures and materials.</p>
+</div>
+
+<p class="p2"><span class="pagenum" id="Page_94">[Pg 94]</span>
+76. <i>Single-Weave Colourings.</i>—The single-make cloths, named
+in Group A of the first class of coloured effects, are textures not
+only single in structure, <i>i.e.</i>, not backed, but composed of one
+weave of a simple character. Here some of the most elementary
+types of textile colouring occur. Many of the patterns produced
+in these weaves are due to the arrangement of the shades of the
+warp and weft. They form a species of woven design which is
+purely technical in construction. The artistic knowledge requisite
+to their origination is exercised in the selection and
+combination of colours. As regards the elements which give the
+pattern its form or outline, these are solely of a technical nature,
+and relate to dexterity and ingenuity in the invention of novel
+plans of cloth construction, and of applying to such makes those
+schemes of colouring which will most effectively develop their
+structural composition. This class of textile pattern may be
+described as Woven Colour Design, for it is one in which the
+all-important principle consists in devising new systems of
+shade arrangement and distribution. When considering pattern
+as obtained in simple weaves, this feature of design is the
+most prominent for examination. Scotch tweeds, as well as
+various classes of fancy woollens for suitings, trouserings, and
+flannels, some styles of cotton fabrics, and a considerable diversity
+of worsted, silk, and linen fabrics, are examples in this style of
+pattern. The more or less complex nature of these textiles is
+determined by the intricacy of the weave employed, and the
+plan of grouping the shades. Irregular makes or crossings, such
+as diagonals, fancy twills, diamond and broken weaves, are more
+difficult to treat with colour than simple twills and hopsacks.
+The comprehensiveness of this type of textile colouring will be
+evident when it is mentioned that in the plain weave, and the
+cassimere twill, there is practically no limit to the variety of
+patterns obtainable in stripes, checks, diagonals, small figures,
+mixtures, spotted, and other styles.</p>
+
+<p>77. <i>Colour in relation to Backed, Double, and Compound
+Cloths.</i>—The fabrics named in Section B of Part <abbr title="One">I.</abbr> of <a href="#Table_7">Table <abbr title="Seven">VII.</abbr></a>
+are much more intricate in structure than those alluded to in
+the previous paragraph, and hence require greater technical skill
+in colour treatment. As these cloths are multi-ply in the weft,
+<span class="pagenum" id="Page_95">[Pg 95]</span>
+in the warp, or in both warp and weft, they can only be
+economically and advantageously coloured when their build or
+structure is thoroughly understood. The yarns employed in the
+composition of the face pattern have to be kept distinct from
+those forming the back of the fabric, and <i lang="la">vice versâ</i>. Frequently,
+the colouring of the face forms a different style from that on the
+back, in which case a combination of at least two principles of
+colouring takes place.</p>
+
+<p>The range of patterns in these makes is very diversified, but
+it is confined to a somewhat limited class of goods, as indicated
+in the Table. Winter fabrics for men’s and women’s wear are
+the principal goods to which these weaves are applied, so that
+for climatic reasons light and fancy patterns are only exceptionally
+in demand, a fact which somewhat simplifies the application
+of colour to these styles. Some heavy tartan travelling rugs
+and wraps are also constructed in this type of weave. In the
+ordinary backed textures composed of one make on the face, the
+patterns are mostly of a simple stripe or check arrangement, but
+in rugs and heavy cloths elaborate and complex blends of shades
+obtain.</p>
+
+<p>78. <i>Colour applied to Single-make Figured Fabrics.</i>—These
+form the A Group of textures given in Part <abbr title="Two">II.</abbr> of the Table.
+In addition to the effect in this instance due to association of
+colours, there is design or pattern produced by a combination of
+weaves differing in structure or build, and moreover in appearance
+in the woven fabric. The weaves may be arranged to form
+stripes, checks, and figures. The classes of goods to which these
+designs are applied are numerous, including trouserings and
+coatings in woollen and worsted yarns, fancy dress goods, mohair,
+silk, and other classes of mantlings, ulsterings, silk handkerchiefs,
+cotton textures, and decorative fabrics. The principles involved
+in this type of textile designing comprise the application of
+colour in the development of simple weave effects, and its introduction
+into designs composed of several weave elements to give
+precision and smartness of figuring. Before colour can be
+suitably applied here, its effect on the elementary crossings must
+be clearly apprehended. The designs containing various makes,
+such arrangements of fancy shades have to be used as will
+<span class="pagenum" id="Page_96">[Pg 96]</span>
+emphasize exactly the several parts of the whole style, and not
+result in the suppression of some sections and in too bold a
+development of others. The larger the number of weaves entering
+into any single design, the greater the intricacy of colour
+application. When colour, in relation to the <i>A</i> Group of fabrics
+in the first section of the Table, is understood theoretically and
+practically, its functions and scope in this branch of designing
+may be readily mastered.</p>
+
+<p>79. <i>Fancy Shades applied to Backed and Double Weave
+Combination Designs.</i>—Winter goods of a figured order for
+apparel are included in Group <i>B</i> of the Figured Patterns. This
+class of textiles also comprises some styles of shawls, mantlings,
+and rugs. Many types of striped trouserings, in which two
+double makes occur, come within the scope of this useful group
+of textiles. Generally, if the method of colouring is simple, the
+combination of weaves is diversified; but should the latter only
+comprise a few elements of weaving, more complex schemes of
+colouring are requisitioned. This order of patterns, moreover,
+includes certain species of textile effect not producible by having
+recourse to any other principle of weaving, but those appertaining
+to double-cloth combinations. Regarding the style
+of figuring feasible, it may be either elementary or elaborate
+in arrangement. Every description of ornamentation can be
+developed, from the simplest rectangular pattern to the most
+fantastic and complex blend of floral and other forms. It is
+this feature of this principle of design and colouring which
+makes it useful in the production of various kinds of reversible
+fabrics—textures figured and wearable on both sides, such as
+shawls, Austrian blankets or rugs, and carpets. Yet while the
+application of colour to these designs may yield these elaborate
+loom productions, the same scheme of colouring applied to the
+identical type of weave designs, may give such patterns as
+obtain in fancy trouserings, suitings, mantlings, and ulsterings
+of infinite variety of style. The structure and weave composition
+of these fabrics, and modes of gaining effects in them by colour,
+will be explained in detail later.</p>
+
+<p>80. <i>Colour in Designs in which the Figures are produced by the
+Weft Yarns.</i>—In Group <i>C</i> the Textiles mentioned are vestings,
+<span class="pagenum" id="Page_97">[Pg 97]</span>
+dresses, matelasses, and curl fabrics. This is an interesting type
+of weave design in which colour is of great utility in developing
+the integral parts of the figures composing the pattern. Warp
+yarns in these goods are only of secondary importance, the
+figured elements of the styles being solely the product of the
+weft yarns. These are, therefore, of various shades, while the
+warp is generally, although not necessarily, of one colour.
+Strictly speaking, these fabrics may be several fold in the weft,
+but they are invariably single in the warp. The extreme fancy
+character of the textures to which this principle of designing
+and colouring is applicable, is indicative of its scope. It is
+specially useful in fancy vesting styles, and is absolutely
+essential to the construction of one important class of matelasses,
+and also invaluable in the weaving of some kinds of curl cloths
+made for mantlings.</p>
+
+<p>81. <i>Figured Effects obtained by Warp Colouring.</i>—This is
+the reverse of the preceding principle of intertexture. All the
+fabrics enumerated in Class <i>D</i> are constructed on this system.
+They have one weft and several warps, the number of the latter
+varying according to the multiplicity of colours forming the
+pattern. Warp colouring is applicable to an extensive variety of
+fabrics. Commencing with the simplest type first, this system
+of colouring plays an important part in spotted designs, or
+patterns in which the distinguishing feature is a series of spots
+or minute specks of bright colours. These effects appear in
+suitings, mantlings, dresses, and cotton goods, including fabrics
+for small-ware purposes. Very elaborate dress styles are also
+figured by several sets of warp colourings. Here the weft is
+a sort of binding agent, uniting into one compact and firm
+fabric the various elements of warp colouring. Velvets and
+figured plushes, comprising astrachans and pile goods made in
+imitation of animal skins, in addition to Brussels, Axminster,
+and velvet-pile carpets, owe their design composition to the
+employment of two or more layers of warp threads.</p>
+
+<p>82. <i>Colour in Textiles Figured by both Warp and Weft Yarns.</i>—This
+is the most comprehensive of all classes of textiles to
+which colour is related. The most elaborate patterns made in the
+loom, and the most costly, are the product of combining both warp
+<span class="pagenum" id="Page_98">[Pg 98]</span>
+and weft colouring. It is quite evident, on consulting <a href="#Table_7">Table <abbr title="Seven">VII.</abbr></a>
+of the different types of textile colouring, that, in theory,
+the <i>E</i> Group of fabrics results from combining the systems of
+weaving included in Groups <i>C</i> and <i>D</i>, but, in practice, as
+subsequent analysis will demonstrate, other details of designing
+and colouring are involved in the execution of this class of
+fabrics than those here comprised. As this species of colouring
+finds expression in all the types of figured woven effects specialized
+in the above mentioned styles of fabrics, it is useless to
+attempt further classification. These styles are intricate in
+build and unique in principles of intertexture. Usually, they
+are neither purely double, nor yet purely single in construction,
+but embrace schemes of designing and colouring, such as may
+only be mastered by those who previously study the former
+fabrics to which colour is applied, and which are named in
+<a href="#Table_7">Table <abbr title="Seven">VII.</abbr></a></p>
+
+<figure class="figcenter illowp100" id="fig5a" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig5a.jpg" alt="plain weave">
+  <figcaption>
+      <p><span class="smcap">Fig. 5.</span>—<i>A</i>, <i>B</i>, <i>C</i>.</p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp100" id="fig5b" style="max-width: 93.5625em;">
+  <img class="w100" src="images/fig5b.jpg" alt="twill weave">
+  <figcaption>
+      <p><span class="smcap">Fig. 5.</span>—<i>D</i>, <i>E</i>, <i>F</i>.</p>
+  </figcaption>
+</figure>
+
+<p>83. <i>Pattern Design.</i>—This style of pattern results solely
+from the methods of grouping fancy warp or weft yarns, or
+both these elements of textile fabrics. It may be appropriately
+designated “Colour” to distinguish it from “Weave” design;
+<span class="pagenum" id="Page_99">[Pg 99]</span>
+for, if the colours are removed from such patterns, all effect is
+destroyed. Colour here yields both the form of the design and
+the beauty of the style. No type of textile designing is more
+extensively utilized than this, for the styles resultant are
+characterized by neatness and by great utility. Pattern design
+relates not only to the artistic grouping or blending of shades,
+but to their arrangement. The latter is a factor which has to be
+suited to the build of the weave. The same plans of colours
+are capable of yielding quite distinct effects in two different
+weaves. <a href="#fig5a">Fig. 5, <i>A</i>, <i>B</i>, and <i>C</i></a>, and <a href="#fig5b">Fig. 5, <i>D</i>, <i>E</i>, and <i>F</i></a>, demonstrate
+this important principle of textile colouring. The weaves
+(marked ⊡’s for weft) are plain in <a href="#fig5a">Fig. 5, <i>A</i>, <i>B</i>, <i>C</i></a>, and [2\2] or
+cassimere twill in <a href="#fig5b">Fig. 5, <i>D</i>, <i>E</i>, <i>F</i></a>. The effects of different marks
+in the sketches, and also the methods of warping and wefting,
+or the order of colouring, are stated in the following Table:&#x2060;—</p>
+
+<p class="p2 center"><a id="Table_8"></a>
+<span class="smcap">Table <abbr title="Eight">VIII.</abbr></span>
+</p>
+
+<p class="hanging smcap">Illustrating the effects on the Plain and [2\2] Twill
+Weaves of the changing of the order of Warping
+and Wefting.</p>
+
+<table class="smaller">
+<tr>
+<td class="tdc t l r b" colspan="2">Section.</td>
+<td class="tdc t r b">Warp.</td>
+<td class="tdc t r b">Weft.</td>
+<td class="tdc t r b">Effect in Sketches.</td>
+</tr>
+<tr>
+<td class="tdc l b" rowspan="3"><i>A</i> and <i>D</i> Fig. 5</td>
+<td class="tdl r">⎧</td>
+<td class="tdl r">1 thread grey</td>
+<td class="tdl r">White</td>
+<td class="tdl r">◻’s = white</td>
+</tr>
+<tr>
+<td class="tdl r">⎨</td>
+<td class="tdl r">1 thread white</td>
+<td class="r"></td>
+<td class="tdl r">▥’s = grey warp over white weft.</td>
+</tr>
+<tr>
+<td class="tdl r b">⎩</td>
+<td class="r b"></td>
+<td class="r b"></td>
+<td class="tdl r b">⊡ = white weft over grey and white warps.</td>
+</tr>
+<tr>
+<td class="tdc l b" rowspan="3"><i>B</i> and <i>E</i> Fig. 5</td>
+<td class="tdl r">⎧</td>
+<td class="tdl r">White</td>
+<td class="tdl r">1 pick grey</td>
+<td class="tdl r">◻’s = white warp over grey and white wefts.</td>
+</tr>
+<tr>
+<td class="tdl r">⎨</td>
+<td class="r"></td>
+<td class="tdl r">1 pick white</td>
+<td class="tdl r">▦’s = grey weft over white warp.</td>
+</tr>
+<tr>
+<td class="tdl r b">⎩</td>
+<td class="r b"></td>
+<td class="r b"></td>
+<td class="tdl r b">⊡’s = white weft over white warp.</td>
+</tr>
+<tr>
+<td class="tdc l b" rowspan="4"><i>C</i> Fig. 5</td>
+<td class="tdl r">⎧</td>
+<td class="tdl r">1 thread grey</td>
+<td class="tdl r">1 pick grey</td>
+<td class="tdl r">◻’s = white warp over grey weft.</td>
+</tr>
+<tr>
+<td class="tdl r">⎨</td>
+<td class="tdl r">1 thread white</td>
+<td class="tdl r">1 pick white</td>
+<td class="tdl r">▥’s = grey warp over white weft.</td>
+</tr>
+<tr>
+<td class="tdl r">⎪</td>
+<td class="r"></td>
+<td class="r"></td>
+<td class="tdl r">⊡’s = white weft over white warp.</td>
+</tr>
+<tr>
+<td class="tdl r b">⎩</td>
+<td class="r b"></td>
+<td class="r b"></td>
+<td class="tdl r b">▦’s = grey weft over grey warp.</td>
+</tr>
+<tr>
+<td class="tdc l b" rowspan="4"><i>F</i> Fig. 5</td>
+<td class="tdl r">⎧</td>
+<td class="tdl r">1 thread grey</td>
+<td class="tdl r">1 pick grey</td>
+<td class="tdl r">◻’s = white warp over grey and white wefts.</td>
+</tr>
+<tr>
+<td class="tdl r">⎨</td>
+<td class="tdl r">1 thread white</td>
+<td class="tdl r">1 pick white</td>
+<td class="tdl r">▥’s = grey</td>
+</tr>
+<tr>
+<td class="tdl r">⎪</td>
+<td class="r"></td>
+<td class="r"></td>
+<td class="tdl r">⊡’s = white weft over grey and white warps.</td>
+</tr>
+<tr>
+<td class="tdl r b">⎩</td>
+<td class="r b"></td>
+<td class="r b"></td>
+<td class="tdl r b">▤’s = grey</td>
+</tr>
+</table>
+
+<p>The arrangement of the yarns in the examples is the same,
+but the weave structures are dissimilar. The plain make so
+<span class="pagenum" id="Page_100">[Pg 100]</span>
+determines the crossing of the warp and weft yarns, that the
+white picks always float under the grey threads and over
+the white threads, while the grey picks always float under
+the white and over the grey threads, hence the solidity of the
+respective lines of colour is uninterrupted, and a pattern produced
+of a simple stripe order. Coming to the twill weave, it
+distributes the colours differently. Each pick floats over and
+under two threads at a time, so that the picks at every interlacing
+cover, or are covered, by both a grey and a white thread.
+Let it now be shown what is the result of this. Supposing the
+first thread and pick to be grey (<a href="#fig5b">Fig. 5, <i>F</i></a>) and the second thread
+and pick white, then, if the effect of the interweaving of the
+first pick is traced, it will be obvious how it forms part of the
+minute diagonal pattern sketched in <a href="#fig5b">Fig. 5, <i>F</i></a>. This pick floats
+over a grey and a white, and then under a grey and a white
+thread, so that a small transverse line of grey is formed equal in
+length, not to a float over <i>two</i>, but <i>three</i> threads, for although
+the extent of the weft float is two, yet the grey thread adjoining
+it enlarges it in effect to three. Next take the second pick. It
+floats over the second and third threads, and, being white, makes
+a transverse line of this shade of similar dimensions to the
+preceding pick, because the fourth thread in the warp is white,
+and in the texture is added to the two-weft float. If picks
+three and four are examined, it will be noticed that they give
+like results, only the positions of the small lines of colours are
+moved one thread in each case to the right, causing the diagonal
+effect in the fabric to move to the right. Analyzing the first
+and second threads, it will be seen that they make short vertical
+lines, equal in length to flushing over three picks in succession.
+Take the first thread, which is grey: it is depressed on the
+first pick, being covered by the grey pick, then up twice; the
+second thread is also down on the first pick, then down on the
+second pick, being covered by the white weft, and afterwards
+elevated over picks three and four, forming a float of white of the
+same size as if the thread had flushed over three succeeding picks.</p>
+
+<p>These illustrations show how the structure of the weave
+modifies the effect of the colours. This relation of weave to
+colour, as regards systems of arranging fancy shades, is one of
+<span class="pagenum" id="Page_101">[Pg 101]</span>
+the technical elements of textile colouring. Weaving principles
+cannot be ignored; they must always be considered, as they are
+capable both of destroying or of beautifying a set of colours.</p>
+
+<p>Pattern design also relates to the invention of novel methods
+of grouping fancy threads, or to the assortment and distribution
+of the several colours in both warp and weft. Independent of
+the somewhat subtle question of harmony of tints which has
+to be considered here, such schemes of blending warp and weft
+threads of appropriate colours have to be devised as will give
+various styles in the same order of colourings and the same
+weave. By a modification of the plan of combining the yarns
+great variety of pattern may be obtained. Even when limited
+to this mode of producing pattern in the loom, novelty and force
+of style is feasible. The simplest alteration in the grouping of
+the threads frequently gives quite a new cast to the design.
+There are three features of Pattern Design that are intimately
+associated with the character of the pattern originated: <abbr title="One">I.</abbr> the
+selection of appropriate shades; <abbr title="Two">II.</abbr> their classification and arrangement
+as to quantity; and <abbr title="Three">III.</abbr> the invention of such a plan
+of combining these colours in the fabric as will be in accordance
+with the construction of the weave or design composing the cloth.</p>
+
+<p>84. <i>Styles due to Colouring only.</i>—The patterns produced
+wholly by varying the plan of associating colours in textiles
+may in a general sense be grouped under four heads, viz., Stripes,
+Checks, Mixtures, and small Figured Effects. These designs
+obtain in a large variety in all kinds of materials.</p>
+
+<p>85. <i>Stripes.</i>—Treating of each description of style analytically,
+stripe patterns may be primarily examined. They consist of
+bands or lines of different shades, varying in width, running
+lengthways of the fabric, that is, in the direction of the warp.
+The distinctive characteristic of a stripe is its line-like composition.
+All patterns of this order are nothing more than a blend of
+lines of divers shades and of various dimensions, extending from
+end to end of the piece. For trouserings, suitings, and some styles
+of dress and mantling cloths, no form of pattern is better adapted.
+The prominence of the several bands of colour, their solidity and
+distinctness, or their intermittent character and subdued or toned
+aspect, are all qualities depending on the structure of the fabric
+<span class="pagenum" id="Page_102">[Pg 102]</span>
+and its weave composition, which will be subsequently noticed.
+If the pattern in striped styles is principally a warp product,
+the weft is only a supplementary feature of the design, being
+employed, firstly, to bind the warp ends together and thus form
+a wearable fabric; and, secondly, to constitute an appropriate
+groundwork on which the warp colourings may be correctly
+developed. Proper emphasis of the colours composing the stripes
+is acquired by employing a suitable shade of weft, and by adopting
+that system of crossing or weaving which will, in addition to
+yielding the requisite strength and firmness of fabric, sufficiently
+interfere with the continuity of the fancy shades introduced into
+the warp. Stripes are of various dimensions and arrangements.
+Some are mere lines, and no wider than the diameter of the
+threads employed; others are many inches broad. One colour
+may be so introduced as to form bands of different widths.
+Thus, if brown and black were the colours at command, they
+could be so combined as to give styles of several descriptions in
+which the bands of the respective shades would always be of
+corresponding widths; or they might be combined on such a
+principle as to form sets of stripes of variable sizes. To a considerable
+extent, the character of these patterns is governed by
+the class of texture in which they appear. Instances of this
+occur in the various fabrics produced in the loom. Generally,
+for example, stripes for trouserings are not wide, but of small
+and medium sizes, and soft and neatly toned in colouring. For
+ulsterings, dresses, and mantlings, much broader effects, more
+elaborate in arrangement, and of greater force of colouring, are
+required. In cotton blouses, small styles are the most valuable,
+but in cotton fancies for dresses there are no definite limits to
+the width of the stripes and to the intricacy of the plan of
+colouring.</p>
+
+<p>86. <i>Checks.</i>—These may be considered as forming the second
+great class of patterns in which colour is the all-important
+element. Of course reference is only made at this time to that
+type of check in which the weave is a simple factor. No allusion
+is made to, or consideration taken of, weave compounds which of
+themselves will form a species of check. The checks now being
+examined are those resulting from adopting the same or a
+<span class="pagenum" id="Page_103">[Pg 103]</span>
+similar order of weft as warp colouring. In other words, if the
+arrangement of warp yarns were 10 threads of black and 2
+threads of white, the weft would be the same, forming a solid
+square of black, surrounded by a skeleton square of white. The
+term “check” is suggestive of the appearance of these styles
+and of the scheme of their construction. The warp colourings,
+however complicated in arrangement and diverse in composition,
+to produce a perfect check must be crossed or “checked,” as the
+operation is technically called, in precisely the same manner and
+by exactly the same shades in the weft. The plaids on <a href="#plate05">Plates <abbr title="Five">V.</abbr></a>
+and <a href="#plate10"><abbr title="Ten">X.</abbr></a> are typical examples of the principles of checking.
+Here it is evident that each set of colours in the warp when
+woven with corresponding shades of weft forms a square of
+colour perfectly solid. The blue threads of warp and weft make
+blue checks; the green, squares of this colour; and the black
+and yellow also checks of these shades. The size of the check is
+determined by the mode of grouping the yarns, the coarseness of
+the texture, and the thickness of the yarns of which it is composed.
+Many of the principles of woven colouring applicable to
+stripes also apply to checks, which strictly speaking are patterns
+striped both in transverse and lineal directions.</p>
+
+<p>87. <i>Mixtures.</i>—The mixtures implied here may be defined as
+small all-over effects in which the various colours used are so
+fully co-mingled that the particular part played by any one
+colour is not observable. They require the most mellow treatment
+of all coloured styles. Nothing of a loud character
+succeeds, nor appears attractive in these textures. Mellow, smart,
+and choice combinations are desired. The pattern should present
+not so much a patchy, as a rich and tinted appearance—every
+colour utilized in its formation associating with its neighbours
+to compose one indefinite blend of minute effects. To produce
+styles of this order no single colour should be distinct and louder
+than the rest, nor be allowed to intrude on the eye more than
+another—complete harmony of colouring and uniformity of
+tone are absolutely essential. But one shade more pronounced in
+tint or more powerful in hue—being of a deeper intensity than
+its associates—is sufficient to destroy the beauty of the whole
+combination. This being the case, the system of mixing the
+<span class="pagenum" id="Page_104">[Pg 104]</span>
+several shades must be such that all colours will be equally
+emphasized; for evidently lack of equality in the prominence
+of the various colour elements amalgamated, destroys the
+essential character of these useful and valuable styles.</p>
+
+<p>Mixtures obtain principally in woollen yarns, whose fibrous
+surfaces are well adapted for mixing the hues combined
+thoroughly, and without producing a fabric in which the
+colours form patches or spangles of variable sizes and shapes.
+All mixture effects are minute in character, and are produced
+for suitings, dress fabrics, etc. In softness and mellowness
+of tinting, these are not comparable with similar styles
+resulting from using mixture yarns, but they form such an
+important description of woven pattern as to deserve specific
+analysis.</p>
+
+<p>In Donegal (Pattern 1, <a href="#plate26a">Plate <abbr title="Twenty-six">XXVI.</abbr></a>) and other extreme
+fancy mixtures, specks of bright colour are obtained in the
+yarn, which give richness of character without that complete
+mixing of fibres which is the ordinary style of blend.</p>
+
+<p>88. <i>Figures.</i>—Necessarily these are very minute in dimensions
+and limited in form. Perhaps they might be also appropriately
+designated spotted patterns, but as the figures are of definable
+shapes, and are arranged on various bases, the former term
+appears the more suitable. This species of colouring is applied
+to cotton and woollen and worsted fabrics. Invariably the
+weaves are of an elementary grade. In these, neat and minutely
+figured styles are developed in considerable variety. Thus in
+the plain weave alone, several distinct patterns are obtainable;
+while in the celtic, or mat, and in the cassimere and six-end
+twills somewhat more broken-up figuring is acquired, which for
+some makes of cloths is preferable to designs consisting of pronounced
+and decided forms.</p>
+
+<figure class="figcenter illowp74" id="plate15a" style="max-width: 31.25em;">
+  <img class="w100" src="images/plate15a.jpg" alt="two colour">
+  <figcaption style="color: blue;">
+      <p>Plate <abbr title="Fifteen">XV</abbr><br>
+      <span class="allsmcap">REGULAR STRIPES</span><br>
+      <span class="smaller">1. Two-Colour Patterns</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp77" id="plate15a1" style="max-width: 31.25em;">
+  <img class="w100" src="images/plate15a1.jpg" alt="two colour">
+  <figcaption style="color: blue;">
+      <p><span class="smaller">2. Two-Colour Patterns</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp80" id="plate15b" style="max-width: 43.75em;">
+  <img class="w100" src="images/plate15b.jpg" alt="Four-colour pattern">
+  <figcaption style="color: blue;">
+      <p><span class="smaller">3. Four-Colour Pattern</span></p>
+  </figcaption>
+</figure>
+
+<p>89. <i>Classes of Striped Patterns.</i>—All kinds of striped patterns
+may be comprised in two classes, namely, Regular and Irregular
+styles. In the former (<a href="#fig11">Fig. 11, <i>A</i></a>,
+ and <a href="#fig12">Fig. 12, <i>A</i></a>) the bands of
+colours, however numerous they may be, are of equal widths, but
+in the latter (<a href="#fig11">Figs. 11</a> and <a href="#fig12">12</a>, <i>B</i>, <i>C</i>, <i>D</i>, etc.) they vary to an
+indefinite extent. The several species of stripes resulting from
+blending colours will be treated of as follows:—
+</p>
+
+<p class="center">
+<span class="pagenum" id="Page_105">[Pg 105]</span>
+<span class="smcap"><abbr title="One">I.</abbr> Regular Stripes.</span>
+</p>
+
+<p class="p0 indent20 unindent">
+(<i>a</i>) Hairlines.<br>
+(<i>b</i>) Stripes of two colours.<br>
+(<i>c</i>) Stripes of three or more colours.
+</p>
+
+<p class="center">
+<span class="smcap"><abbr title="Two">II.</abbr> Irregular Stripes.</span>
+</p>
+
+<p class="p0 indent20 unindent">
+(<i>d</i>) Patterns of two colours.<br>
+(<i>e</i>) Patterns of three or more colours.<br>
+(<i>f</i>) Shaded patterns composed of several colours.
+</p>
+
+<!--<p class="p2 indent16"><span class="smcap"><a id="fig6"></a>Fig. 6.</span></p>-->
+<figure class="figcenter illowp70" id="fig6-7" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig6-7.jpg" alt="hairline pattern">
+  <figcaption>
+      <p class="center"><span class="smcap">Fig. 6.</span> (upper part) &emsp; <span class="smcap">Fig. 7.</span> (lower part)</p>
+  </figcaption>
+</figure>
+
+<p>90. <i>Hairlines.</i>—These are the smallest striped patterns produced.
+The real hairline is composed of two colours, and is
+made extensively in woollen and worsted materials, but is also
+produced in cotton and other yarns. Standard hairlines are
+produced in the plain weave, prunelle, [3/1] twill, and the five-end
+sateen: also in mat and specially-constructed weaves. In
+the prunelle, three-line, in the [3/1] twill, four-line, and in the
+five-end sateen, five-line, or five-colour patterns are producible.</p>
+
+<p>91. <i>Compound Hairlines.</i>—These consist (1) of two or more
+widths of lines with each grouped in series, of which <a href="#fig6-7">Figs. 6 and
+7</a>, and <a href="#fig8-9">Figs. 8 and 9</a> are types; (2) of hairline stripes combined
+<span class="pagenum" id="Page_106">[Pg 106]</span>
+with fancy, and irregular effects. <a href="#fig6-7">Figs. 6 and 7</a> are both woven
+in the broken [3/1] twill, the former being coloured two-and-two
+in section <i>A</i>, 2 black, 2 twist in section <i>B</i>, and one-and-one in
+section <i>C</i>, the broad line of white being formed by grouping
+three white threads together. <a href="#fig6-7">Fig. 7</a> is a compound of one-and-one
+and two-and-two warping, making the respective stripes <i>A</i>
+and <i>B</i>, which might be of any width and grouped together in
+various forms.</p>
+
+<!--<p class="indent16"><span class="smcap"><a id="fig8"></a>Fig. 8.</span></p>-->
+
+<figure class="figcenter illowp67" id="fig8-9" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig8-9.jpg" alt="Compound hairlines">
+  <figcaption>
+      <p class="center"><span class="smcap">Fig. 8.</span> (upper part) &emsp; <span class="smcap">Fig. 9.</span> (lower part)</p>
+  </figcaption>
+</figure>
+
+<p>Fig. 8 is developed in mat weaves, arranged to produce two-and-two
+and four-and-four stripings, grouped as sketched. <a href="#fig8-9">Fig. 9</a>
+is a compound of hairline effect, one-and-one warping in the
+broken [3/1] twill, section <i>A</i>, and of two-and-two warping in the
+[2/2] twill, section <i>B</i>, with a fancy twist stripe, <i>C</i>, on the latter.</p>
+
+<p>92. <i>Stripes composed of Longitudinal and Transverse Lines.</i>—This
+pattern—sketched in <a href="#fig10">Fig. 10</a>—is a derivative of the common
+single-cloth hairline. It is due to changing the positions of the
+colours in relation to the intersections of the weave. Analysis
+of the fabric shows that in Sections <i>A</i> the light threads float
+<em>over</em> the light picks and the dark threads <em>over</em> the dark picks;
+whereas in Parts <i>B</i> the opposite rule obtains, viz., the light
+<span class="pagenum" id="Page_107">[Pg 107]</span>
+threads float <em>under</em> the light picks and the dark threads <em>under</em>
+the dark picks. As a consequence, the lines of colours in <i>A</i> are
+vertical, while those in <i>B</i> are horizontal. This arrangement of
+pattern is entirely due to the system of warp colouring, which
+is as follows:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">thread of</td>
+ <td class="tdl">grey.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2"><i>A.</i></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+ <td class="tdl">⎭</td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2"><i>B.</i></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">„</td>
+ <td class="tdl">grey.</td>
+ <td class="tdl">⎭</td>
+</tr>
+</table>
+
+<p class="unindent">The weft is 1 pick of white and 1 pick of grey throughout the
+pattern. Now as the plain weave has been employed, and is
+arranged to allow the white and grey threads in <i>B</i> to be crossed
+or covered by corresponding picks, it causes the same threads in
+<i>A</i> to float over the respective picks, producing this useful form
+of stripe, which is applicable to similar goods as those for which
+particulars are supplied in the preceding paragraph.</p>
+
+<figure class="figcenter illowp60" id="fig10" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig10.jpg" alt="Vertical and transverse">
+  <figcaption>
+      <p><span class="smcap">Fig. 10.</span></p>
+  </figcaption>
+</figure>
+
+<p>93. <i>Stripes composed of Two Colours.</i>—These are included
+in the elementary colour effects. A minimum amount of
+technical skill is requisite to their construction. The art of
+producing patterns of this description is confined to the selection
+and adjustment of appropriate shades. An illustration in the
+Regular order of stripes is given in <abbr title="Number">No.</abbr> 1, <a href="#plate15a">Plate <abbr title="Fifteen">XV.</abbr></a> It is an
+Oxford shirting, the order of colouring being thus:&#x2060;—</p>
+
+<table>
+<tr>
+ <td class="tdr"></td>
+ <td class="tdc"><i>Warp.</i></td>
+ <td></td>
+ <td class="tdc"><i>Weft.</i></td>
+</tr>
+<tr>
+ <td class="tdr">16</td>
+ <td class="tdc pad6">threads of</td>
+ <td class="tdl pad3">white.</td>
+ <td class="tdc">All white.</td>
+</tr>
+<tr>
+ <td class="tdr">16</td>
+ <td class="tdc">„</td>
+ <td class="tdl">blue.</td>
+ <td></td>
+</tr>
+</table>
+
+<p><span class="pagenum" id="Page_108">[Pg 108]</span>
+Such shades and tints as the following would form good
+patterns: <abbr title="Number">No.</abbr> 6, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>, and white; <abbr title="Number">No.</abbr> 10, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>, and
+white; and <abbr title="Numbers">Nos.</abbr> 12 and 16, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>, and white. In each case
+white should be used for weft.</p>
+
+<figure class="figcenter illowp83" id="fig11" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig11.jpg" alt="Stripes in  two shades">
+  <figcaption>
+      <p><span class="smcap">Fig. 11.</span>—Stripe Patterns in Two Shades.</p>
+  </figcaption>
+</figure>
+
+<p>This class of pattern is largely applied to woollen and worsted
+textures. <abbr title="Number">No.</abbr> 2 on <a href="#plate15a1">Plate <abbr title="Fifteen">XV.</abbr></a> is an example. This style has
+been produced in the five-end doeskin and has a dress-face
+finish. The arrangement of colours is:&#x2060;—</p>
+
+<p class="center">
+<i>Warp.</i>
+</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr">10</td>
+ <td class="tdc">threads</td>
+ <td class="tdc">of</td>
+ <td class="tdc">20 skeins</td>
+ <td class="tdl">olive.</td>
+</tr>
+<tr>
+ <td class="tdr">10</td>
+ <td class="tdc">„</td>
+ <td class="tdc">„</td>
+ <td class="tdc">„</td>
+ <td class="tdl">light olive.</td>
+</tr>
+</table>
+
+<p class="center">
+<i>Weft.</i>
+</p>
+
+<p class="center">
+20 skeins olive.
+</p>
+
+<p>Without multiplying illustrations, it will be evident how considerable
+<span class="pagenum" id="Page_109">[Pg 109]</span>
+diversity of styles is attainable on this system by
+varying the width of the stripes and the colours employed.</p>
+
+<p>Specimens of Irregular stripes in two shades are given in <a href="#fig11">Fig.
+11</a>, <i>B</i>, <i>C</i>, <i>D</i>, <i>E</i>, <i>F</i>, consisting of lines of different sizes in two shades.
+It will be seen from these that the method of grouping the lines,
+as well as the dimensions, determine the form of pattern produced.</p>
+
+<figure class="figcenter illowp81" id="fig12" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig12.jpg" alt="Stripes in three shades">
+  <figcaption>
+      <p>Fig. 12.—Stripe Patterns in Three Shades.</p>
+  </figcaption>
+</figure>
+
+<p>94. <i>Stripes composed of Three or More Colours</i> (Fig. 12, <i>B</i>, <i>C</i>,
+<i>D</i>, and <i>E</i>).—As a larger number of shade elements enters into
+this kind of stripe than that just described, it follows that the
+patterns are somewhat more intricate in composition. Yet, as
+the weaves used are invariably of the simplest type, and the
+widths of the stripes of different shades in the patterns may
+be the same, little technical complication occurs in their production.
+One illustration will sufficiently indicate the nature
+of this type (Regular stripes) of woven colouring, <abbr title="Number">No.</abbr> 3 on
+<a href="#plate15b">Plate <abbr title="Fifteen">XV.</abbr></a> Four shades are present in this fabric—blue, tan,
+<span class="pagenum" id="Page_110">[Pg 110]</span>
+slate, and crimson. The dark blue runs against all the shades
+and in this way an appropriate ground is produced on which
+the various shades may be developed. If slate were made the
+ground colour a totally different pattern would result; by changing
+the positions of the shades in this manner, a considerable
+range of styles is producible. These coloured examples and the
+forms of pattern in <a href="#fig12">Fig. 12</a>, show that this principle of colouring
+admits of extensive diversity of composition.</p>
+
+<figure class="figcenter illowp100" id="fig13" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig13.jpg" alt="Line patterns">
+  <figcaption>
+      <p><span class="smcap">Fig. 13.</span></p>
+  </figcaption>
+</figure>
+
+<p>95. <i>Irregular Stripes composed of Black and White Yarns.</i>—These
+patterns are far more diversified in construction than
+regular styles. Even when limited to the use of these shades,
+a great variety of design arrangement may be practised. The
+line stripe effects (<a href="#fig13">Fig. 13</a>) are woven in warp-face weaves,
+such as the ten-heald buckskin (<a href="#fig13a">Fig. 13<span class="allsmcap">A</span></a>) and weaves of the
+cord and corkscrew type. The warp colouring for the upper
+pattern is&#x2060;—</p>
+
+<div class="blockquot">
+<p>38 threads of 2-fold 60’s black worsted,</p>
+<p class="p0">&ensp;2 threads of fine white silk, or worsted and silk twist,</p>
+</div>
+
+<p class="unindent">the weft being a dark shade. Of course, any other two shades
+might be employed, <i>e.g.</i>, <abbr title="Numbers">Nos.</abbr> 1 and 3, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>, and <abbr title="Number">No.</abbr> 13 and
+<abbr title="Number">No.</abbr> 15, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a></p>
+
+<figure class="figright illowp40a" id="fig13a" style="max-width: 24.5625em;">
+  <img class="w100" src="images/fig13a.jpg" alt="Ten-shaft whip cord">
+  <figcaption>
+      <p><span class="smcap">Fig. 13a.</span></p>
+  </figcaption>
+</figure>
+
+<p>As illustrative of the different effects that may be obtained in
+<span class="pagenum" id="Page_111">[Pg 111]</span>
+the same shades, <a href="#fig14">Fig. 14</a> may be compared with the previous
+styles. It is a pattern over an inch in width, and composed of
+bands of three sizes. There are, first, bands <i>A</i>, containing twelve
+threads each; then bands <i>b</i>, containing six threads each; and,
+lastly, the small lines of white of two
+threads each. There are twelve white
+stripes: eleven stripes <i>b</i>, and one stripe
+of <i>A</i>, in each repeat of the pattern.
+Both this style, and those in <a href="#fig13">Fig. 13</a>,
+are of a decided character.</p>
+
+<figure class="figcenter illowp80" id="fig14" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig14.jpg" alt="Compound striipe">
+  <figcaption>
+      <p><span class="smcap">Fig. 14.</span></p>
+  </figcaption>
+</figure>
+
+<p>Another type is that given in
+<a href="#fig14a">Fig. <span class="smcap">14a</span></a>. The dark grey, the grey,
+and the check lines of grey and
+white, all vary in size. There are,
+therefore, three types of effect;
+the centre stripe <i>A</i> has a dark line on each side adjoining the
+check stripe <i>B</i>; then follow stripes of grey and dark grey,
+gradually decreasing in size to line <i>C</i>, this being the order
+adopted on either side of the centre or leading stripe <i>A</i>. In one
+sense, this pattern is on the graduated principle of combining
+lines of different widths, and working in two colours at each
+change. Stripes in three shades may also be formed on the same
+base.</p>
+
+<figure class="figcenter illowp100" id="fig14a" style="max-width: 37.5em;">
+  <img class="w100" src="images/fig14a.jpg" alt="Compound stripe">
+  <figcaption>
+      <p><span class="smcap">Fig. 14a.</span></p>
+  </figcaption>
+</figure>
+
+<p>96. <i>Irregular and Indefinite Stripes in Two Colours.</i>—No.
+1, <a href="#plate16a">Plate <abbr title="Sixteen">XVI.</abbr></a>, is, in one particular, constructed on a similar
+principle to the last illustration, for it contains a series of small
+stripes, nine in number, which in combination form one broad
+band; and then follows a small band of brown, each repetition
+of which determines the size of the pattern. It is a style
+<span class="pagenum" id="Page_112">[Pg 112]</span>
+adapted to lawn tennis trouserings, flannels,
+and cotton fabrics. Though there is a
+marked contrast in the shades, yet the
+design is somewhat mellow and subdued.
+The arrangement of the warp colours is&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr">6</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">white.</td>
+ <td class="tdl">⎫</td>
+ <td></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">thread of</td>
+ <td class="tdl">brown.</td>
+ <td class="tdl">⎬</td>
+ <td class="tdl">For 36 threads.</td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+ <td class="tdl">⎪</td>
+ <td></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">„</td>
+ <td class="tdl">brown.</td>
+ <td class="tdl">⎭</td>
+ <td></td>
+</tr>
+<tr>
+ <td class="tdr">6</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">white.</td>
+ <td colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">„</td>
+ <td class="tdl">brown.</td>
+ <td colspan="2"></td>
+</tr>
+</table>
+
+<p class="unindent">The occurrence of the three threads of
+brown after each forty-two threads causes
+the pattern to appear nearly an inch wide.
+If the centre end of these three threads
+were changed to white, the whole pattern
+would be like the part bracketed <i>A</i>; showing
+what a small item may modify the
+character of such styles. The white thread
+between the browns imparts the indefinite
+cast to the stripe. If this were removed
+the design would be pronounced and decided
+in arrangement. Indefinite stripes
+invariably result from distributing the
+colours in minute quantities in the fabric.</p>
+
+<figure class="figcenter illowp80" id="plate16a" style="max-width: 37.5em;">
+  <img class="w100" src="images/plate16a.jpg" alt="Tennis stripe">
+  <figcaption style="color: blue;">
+      <p>Plate <abbr title="Sixteen">XVI</abbr><br>
+        <span class="allsmcap">FORMS OF IRREGULAR STRIPES</span><br>
+        <span class="smaller">1. Tennis Stripe</span>
+       </p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp100" id="plate16b" style="max-width: 43.75em;">
+  <img class="w100" src="images/plate16b.jpg" alt="Shaded stripe">
+  <figcaption style="color: blue;">
+      <p><span class="smaller">2. Shaded Stripe</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp100" id="plate16c" style="max-width: 31.25em;">
+  <img class="w100" src="images/plate16c.jpg" alt="Compound of stripes">
+  <figcaption style="color: blue;">
+      <p><span class="smaller">3. Compound of Ordinary and Shaded Stripes</span></p>
+  </figcaption>
+</figure>
+
+<p>97. <i>Irregular Stripes—Shades in Two
+Colours.</i>—The principle of shading by
+colour yields a very useful range of woven
+patterns. These obtain in fancy dress
+fabrics, ulsterings, cottons, and, in small
+styles, in trouserings; just as shades are
+acquired in black and white in sketching,
+they may be produced in fabrics in any
+two colours by softly gradating one into
+the other. Generally an ordinary twilled
+weave is employed, and two colours of
+warp yarns, one of which must be dark
+<span class="pagenum" id="Page_113">[Pg 113]</span>
+and the other of a light shade. Thus, a shaded stripe of blue
+may be produced in the Venetian twill by grouping blue and
+white threads together, according to the plan given below:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">blue</td>
+ <td class="tdl">cotton.</td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">thread of</td>
+ <td class="tdl">white</td>
+ <td class="tdc">„</td>
+</tr>
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">blue</td>
+ <td class="tdc">„</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white</td>
+ <td class="tdc">„</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">blue</td>
+ <td class="tdc">„</td>
+</tr>
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white</td>
+ <td class="tdc">„</td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">thread of</td>
+ <td class="tdl">blue</td>
+ <td class="tdl">cotton.</td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">white</td>
+ <td class="tdc">„</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">blue</td>
+ <td class="tdc">„</td>
+</tr>
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white</td>
+ <td class="tdc">„</td>
+</tr>
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">„</td>
+ <td class="tdl">blue</td>
+ <td class="tdc">„</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white</td>
+ <td class="tdc">„</td>
+</tr>
+</table>
+
+<p class="unindent">This forms a lightened shade of blue. If black were used, a
+darkened shade of this colour would ensue. Any two colours
+of the same hue, but of different intensities, such as dark brown
+and medium brown, drab and light drab, when arranged on this
+principle, produce effective patterns.</p>
+
+<p>98. <i>Shaded Stripes in Two Colours.</i>—Two excellent styles
+shaded on this system are supplied in <a href="#plate16b"><abbr title="Numbers">Nos.</abbr> 2</a> and <a href="#plate16c">3, Plate <abbr title="Sixteen">XVI.</abbr></a>
+The former consists of broad bands of fawn, and small bands
+of scarlet and white, and blue and white shades. The order of
+warping being&#x2060;—</p>
+
+<div class="indent35">
+<ul>
+<li>4 threads of colour (red or blue).</li>
+<li>1 thread of white.</li>
+<li>3 threads of colour.</li>
+<li>1 thread of white.</li>
+<li>3 threads of colour.</li>
+<li>1 thread of white.</li>
+<li>2 threads of colour.</li>
+<li>1 thread of white.</li>
+<li>2 threads of colour.</li>
+<li>1 thread of white.</li>
+<li>1 &emsp; „ &emsp; colour.</li>
+<li>1 &emsp; „ &emsp; white.</li>
+<li>4 threads of colour.</li>
+<li>1 thread of white.</li>
+<li>1 &emsp; „ &emsp; colour.</li>
+<li>1 &emsp; „ &emsp; white.</li>
+<li>2 threads of colour.</li>
+<li>1 thread of white.</li>
+<li>2 threads of colour.</li>
+<li>1 thread of white.</li>
+<li>3 threads of colour.</li>
+<li>1 thread of white.</li>
+<li>3 threads of colour.</li>
+<li>1 thread of white.</li>
+<li>1¼ inches of fawn.</li>
+</ul>
+</div>
+
+<p>Next, consider <a href="#plate16c"><abbr title="Number">No.</abbr> 3, Plate <abbr title="Sixteen">XVI.</abbr></a>, a style containing a shaded
+stripe of more than an inch in width. While the principle of
+construction is the same as in the preceding example, it is
+<span class="pagenum" id="Page_114">[Pg 114]</span>
+more intricate in arrangement, and comprises a larger group of
+threads. It is as follows:&#x2060;—</p>
+
+<p>Blue and white stripe, Section <i>B</i> of <a href="#plate16c"><abbr title="Number">No.</abbr> 3, Plate <abbr title="Sixteen">XVI.</abbr></a></p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr">8</td>
+ <td class="tdl">threads of</td>
+ <td class="tdl">blue.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2">For 56 threads.</td>
+</tr>
+<tr>
+ <td class="tdr">8</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+ <td class="tdl">⎭</td>
+</tr>
+</table>
+
+<p>Shade of red, Section <i>A</i> of <a href="#plate16c"><abbr title="Number">No.</abbr> 3, Plate <abbr title="Sixteen">XVI.</abbr></a></p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr">5</td>
+ <td class="tdl">threads of</td>
+ <td class="tdl">white.</td>
+ <td colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdl">thread of</td>
+ <td class="tdl">red.</td>
+ <td colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdl">threads of</td>
+ <td class="tdl">white.</td>
+ <td colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdl">thread of</td>
+ <td class="tdl">red.</td>
+ <td colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdl">threads of</td>
+ <td class="tdl">white.</td>
+ <td colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdl">thread of</td>
+ <td class="tdl">red.</td>
+ <td colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdl" colspan="2">threads of white.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2">For 16 threads.</td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdl" colspan="2">thread of red.</td>
+ <td class="tdl">⎭</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdl" colspan="2">threads of white.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2">For 12 threads.</td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdl" colspan="2">thread of red.</td>
+ <td class="tdl">⎭</td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+ <td colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">„</td>
+ <td class="tdl">red.</td>
+ <td colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+ <td colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">„</td>
+ <td class="tdl">red.</td>
+ <td colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+ <td colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdl">threads of</td>
+ <td class="tdl">red.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2">For 12 threads ↠ <i>C</i></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdl">thread of</td>
+ <td class="tdl">white.</td>
+ <td class="tdl">⎭</td>
+</tr>
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdl">threads of</td>
+ <td class="tdl">red.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2">For 16 threads.</td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdl">thread of</td>
+ <td class="tdl">white,</td>
+ <td class="tdl">⎭</td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdl">threads of</td>
+ <td class="tdl">red.</td>
+ <td colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdl">thread of</td>
+ <td class="tdl">white.</td>
+ <td colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdl">threads of</td>
+ <td class="tdl">red.</td>
+ <td colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdl">thread of</td>
+ <td class="tdl">white.</td>
+ <td colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdl">threads of</td>
+ <td class="tdl">red.</td>
+ <td colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdl">thread of</td>
+ <td class="tdl">white.</td>
+ <td colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">5</td>
+ <td class="tdl">threads of</td>
+ <td class="tdl">red.</td>
+ <td></td>
+ <td class="tdl">↠ <i>D</i></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdl">thread of</td>
+ <td class="tdl">white.</td>
+ <td colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdl">threads of</td>
+ <td class="tdl">red.</td>
+ <td colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdl">thread of</td>
+ <td class="tdl">white.</td>
+ <td colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdl">threads of</td>
+ <td class="tdl">red.</td>
+ <td colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdl">thread of</td>
+ <td class="tdl">white.</td>
+ <td colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdl">threads of</td>
+ <td class="tdl">red.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2">For 16 threads.
+    <span class="pagenum" id="Page_115">[Pg 115]</span></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdl">thread of</td>
+ <td class="tdl">white.</td>
+ <td class="tdl">⎭</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdl">threads of</td>
+ <td class="tdl">red.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl">For 12 threads.</td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdl">thread of</td>
+ <td class="tdl">white.</td>
+ <td class="tdl">⎭</td>
+ <td></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">„</td>
+ <td class="tdl">red.</td>
+ <td colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+ <td colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">„</td>
+ <td class="tdl">red.</td>
+ <td colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+ <td colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">„</td>
+ <td class="tdl">red.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2">For 12 threads ↠ <i>E</i></td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdl">threads of</td>
+ <td class="tdl">white.</td>
+ <td class="tdl">⎭</td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdl">thread of</td>
+ <td class="tdl">red.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2">For 16 threads.</td>
+</tr>
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdl">threads of</td>
+ <td class="tdl">white.</td>
+ <td class="tdl">⎭</td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdl">thread of</td>
+ <td class="tdl">red.</td>
+ <td colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdl">threads of</td>
+ <td class="tdl">white.</td>
+ <td colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdl">thread of</td>
+ <td class="tdl">red.</td>
+ <td colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdl">threads of</td>
+ <td class="tdl">white.</td>
+ <td colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdl">thread of</td>
+ <td class="tdl">red.</td>
+ <td colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">5</td>
+ <td class="tdl">threads of</td>
+ <td class="tdl">white.</td>
+ <td colspan="2"></td>
+</tr>
+</table>
+
+<p>Section <i>B</i> of <a href="#plate16c"><abbr title="Number">No.</abbr> 3, Plate <abbr title="Sixteen">XVI.</abbr></a></p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr">8</td>
+ <td class="tdl">threads of</td>
+ <td class="tdl">blue.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2">For 56 threads.</td>
+</tr>
+<tr>
+ <td class="tdr">8</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+ <td class="tdl">⎭</td>
+</tr>
+<tr>
+ <td class="tdl" colspan="5">1¼ inches of drab.</td>
+</tr>
+</table>
+
+<p>By this arrangement an elaborate shade is formed in two
+colours in Section <i>A</i>. It commences with a maximum degree of
+white, which gradually diminishes until a maximum quantity of
+red is acquired, when a similar decrease of red and an increase
+of white occurs, until the maximum white quantity is again
+reached. An analysis of the plan of colouring may explain how
+the softly-toned result has been produced. This commences with
+a 5 of white, then follows a 4 of white, and subsequently 3,
+2, and 1 of white. Meantime the red has remained unaltered.
+At <i>C</i> a change takes place. Now the red begins to augment
+in quantity, while the white factor is invariable, consisting of
+one thread only. The red starts at this point <i>C</i> with 2, then
+3, 4, and 5 in succession. Here the maximum intensity of this
+hue is reached. (See <i>D</i> in the order of colours.) From <i>D</i> to
+<span class="pagenum" id="Page_116">[Pg 116]</span>
+<i>E</i> the red factor of the shade decreases, and from <i>E</i> to the
+end of the pattern the white increases. While the gradation of
+tinting in this pattern is complete, both sides of the shade are
+exactly symmetrical.</p>
+
+<p>This style of striping might be adopted in fine cotton, silk, and
+worsted fabrics; other colours than those appearing in the
+illustration being of course employed.</p>
+
+<p>99. <i>Irregular Stripes containing Several Colours.</i>—In this
+class of stripe are included many of the neatest patterns woven.
+Such stripes are generally mellow in colouring, and ingeniously
+diversified in arrangement. A number of shades may be combined,
+but the patterns should always be characterized by softness
+of tone.</p>
+
+<p>This scheme of textile colouring is so important that further
+illustrations will be considered, two styles in dark, and two in
+light colours. Patterns 1 and 2, <a href="#plate17">Plate <abbr title="Seventeen">XVII.</abbr></a>, show subdued
+stripings applicable to tweeds and similar fabrics, and in which
+there is diversity of line and of colour. <abbr title="Number">No.</abbr> 1 has a broad stripe
+<i>A</i>, on which there are lines of red, with the bulk of the stripe
+consisting of one-and-one colouring, and a second stripe <i>B</i>, of
+light olive. The warping and wefting are&#x2060;—</p>
+
+<p class="center">
+<i>Warp.</i>
+</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdl">White</td>
+ <td class="tdr">1</td>
+ <td class="tdl">⎫</td>
+ <td class="tdc" rowspan="2">26</td>
+ <td class="tdr">⎧</td>
+ <td class="tdc">1</td>
+ <td class="tdc">1</td>
+ <td class="tdc">1</td>
+ <td class="tdc">1</td>
+ <td class="tdc">1</td>
+ <td class="tdc">1</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2">24</td>
+</tr>
+<tr>
+ <td class="tdl">Black</td>
+ <td class="tdr">1</td>
+ <td class="tdl">⎭</td>
+ <td class="tdc">⎩</td>
+ <td class="tdc">-</td>
+ <td class="tdc">1</td>
+ <td class="tdc">1</td>
+ <td class="tdc">1</td>
+ <td class="tdc">-</td>
+ <td class="tdc">1</td>
+ <td class="tdc">⎭</td>
+</tr>
+<tr>
+ <td class="tdl">Red</td>
+ <td colspan="2"></td>
+ <td class="tdc">-</td>
+ <td></td>
+ <td class="tdc">1</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">1</td>
+ <td class="tdc">-</td>
+ <td colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdl">Olive</td>
+ <td colspan="2"></td>
+ <td class="tdc">-</td>
+ <td></td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">4</td>
+ <td colspan="2"></td>
+</tr>
+</table>
+
+<p class="center">
+<i>Weft.</i>
+</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdl">Black</td>
+ <td class="tdr">38</td>
+ <td class="tdr">7</td>
+</tr>
+<tr>
+ <td class="tdl">Red</td>
+ <td class="tdr">1</td>
+ <td class="tdr">1</td>
+</tr>
+</table>
+
+<p class="unindent">from which it will be seen that there are four colours with three
+types of stripes, the large stripe, the single-thread stripes in red,
+and the small stripe in light olive.</p>
+
+<p>Pattern 2 is more diversified, and consists of the following
+warping and wefting:—</p>
+
+<p class="center">
+<span class="pagenum" id="Page_117">[Pg 117]</span>
+<i>Warp.</i>
+</p>
+
+<table class="autotable smaller">
+<tr>
+ <td class="tdl">Green and white twist</td>
+ <td class="tdl">1</td>
+ <td class="tdl">1</td>
+ <td class="tdl">1</td>
+ <td class="tdl">1</td>
+ <td class="tdl">1</td>
+ <td class="tdl">1</td>
+ <td class="tdl">1</td>
+ <td class="tdl">1</td>
+ <td class="tdl">1</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">1</td>
+ <td class="tdl">1</td>
+ <td class="tdl">1</td>
+ <td class="tdl">1</td>
+ <td class="tdl">1</td>
+ <td class="tdl">1</td>
+ <td class="tdl">1</td>
+ <td class="tdl">1</td>
+ <td class="tdl">1</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+</tr>
+<tr>
+ <td class="tdl">White</td>
+ <td class="tdl">1</td>
+ <td class="tdl">1</td>
+ <td class="tdl">1</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">1</td>
+ <td class="tdl">1</td>
+ <td class="tdl">1</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdc">-</td>
+</tr>
+<tr>
+ <td class="tdl">Slate</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">1</td>
+ <td class="tdl">1</td>
+ <td class="tdl">1</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">1</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdc">-</td>
+</tr>
+<tr>
+ <td class="tdl">Silk</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">1</td>
+ <td class="tdl">1</td>
+ <td class="tdl">1</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">1</td>
+ <td class="tdl">1</td>
+ <td class="tdl">1</td>
+ <td class="tdl">-</td>
+ <td class="tdc">-</td>
+</tr>
+<tr>
+ <td class="tdl">Orange and white twist</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">1</td>
+ <td class="tdl">1</td>
+ <td class="tdl">1</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">1</td>
+ <td class="tdr">1</td>
+ <td class="tdr">1</td>
+</tr>
+<tr>
+ <td class="tdl">Fawn</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">1</td>
+ <td class="tdl">1</td>
+ <td class="tdl">1</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">1</td>
+ <td class="tdl">1</td>
+ <td class="tdr">1</td>
+</tr>
+<tr>
+ <td class="tdl">Red</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">1</td>
+ <td class="tdl">1</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdl">-</td>
+ <td class="tdc">-</td>
+</tr>
+<tr>
+ <td></td>
+ <td class="tdl">\</td>
+ <td class="tdc">~</td>
+ <td class="tdc">~</td>
+ <td class="tdc">~</td>
+ <td class="tdc">~</td>
+ <td class="tdc">~</td>
+ <td class="tdc">~</td>
+ <td class="tdc">~</td>
+ <td class="tdc">~</td>
+ <td class="tdc">~</td>
+ <td class="tdl">/</td>
+ <td colspan="11"></td>
+</tr>
+<tr>
+ <td colspan="5"></td>
+ <td class="tdc" colspan="3">Twice.</td>
+ <td colspan="15"></td>
+</tr>
+</table>
+
+<p class="center">
+<i>Weft.</i>
+</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdl">Black</td>
+ <td class="tdr">98</td>
+ <td class="tdr">1<br></td>
+</tr>
+<tr>
+ <td class="tdl">Red</td>
+ <td class="tdr">1</td>
+ <td class="tdr">1</td>
+</tr>
+</table>
+
+<p class="unindent">In the warp alone there are no less than seven colours, grouped
+to give harmony, as well as richness of style. Red, orange, and
+green twist are used, but no one colour has greater prominence
+than another; though the white silk threads form a feature of the
+pattern, the other colours blend and tone into each other. There
+is intermingling of colouring and of shades blending together, but
+the stripe characteristic is prevalent.</p>
+
+<p><abbr title="Number">No.</abbr> 2, <a href="#plate18">Plate <abbr title="Eighteen">XVIII.</abbr></a>, is a style in silk in which five varieties of
+lines are combined, the ground being white, stripe <i>A</i>, with two
+widths of lines of heliotrope, <i>B</i> and <i>C</i>; lines in green, <i>D</i>, and in
+pink, <i>E</i>. The diversity of lines adds to the richness of the
+pattern. Had they been equal in size, there would have been
+stiffness of form and want of harmony of colour. The green
+and the pink would have been too pronounced in tone, but by
+adapting the width of the stripe to the brightness of colour,
+harmony and contrast are maintained.</p>
+
+<p><abbr title="Number">No.</abbr> 1, <a href="#plate18">Plate <abbr title="Eighteen">XVIII.</abbr></a>, is still richer in colouring and in variety
+of stripe. There is, first, the simple striping of crimson and
+white in a series of lines, section <i>A</i>, with edging colour of gold
+of similar width. This is one pattern in itself, but in order to
+combine it with the second stripe <i>B</i>, without colour impinging
+upon colour, there is down either side dividing lines in white.
+Stripe <i>B</i> consists of four sizes of lines in addition to the white,
+in pale blue, pink, gold, and sage green. Again, there is variety
+of line with diversity of hue, the sizes of the stripes having been
+well worked out in proportion to the brightness of hue.</p>
+
+<p><span class="pagenum" id="Page_118">[Pg 118]</span>
+In such examples as <abbr title="Numbers">Nos.</abbr> 1 and 2, the style of striping has two
+applications: first, in other colours of the same depth and degree
+of contrast as those in the patterns, and second, in lesser or
+larger quantities of each colour, maintaining the same relative
+proportionate sizes of the lines.</p>
+
+<p>100. <i>Shaded Stripes in Several Colours.</i>—Another system of
+shading, besides that already illustrated, consists in employing
+several shades of yarns of the same hue. For instance, to form
+a brown shade by this method, at least three or five tones—the
+larger the number the better, and the more complete the gradation—of
+this colour would be required, such as very dark, dark,
+medium, light, and very light brown. Each shade should be
+continued for a suitable number of threads, taking them in
+succession, and running from dark to light, and <i lang="la">vice versâ</i>. But
+to obtain diversity of colouring in shaded styles economically,
+other methods are adopted besides this. An illustration in
+which the two methods are combined is given in <abbr title="Number">No.</abbr> 3, <a href="#plate18">Plate
+<abbr title="Eighteen">XVIII</abbr></a>. This is a compound of colours which gives shading in
+two varieties: first, that formed in the broad band <i>A</i>, in which
+there is a gradation from fine pink and deep maroon lines at the
+edges to lines increasing in width to the centre; and, second, the
+shaded stripe in green with fawn edges. The style is similar in
+principle to Pattern 3, <a href="#plate16c">Plate <abbr title="Sixteen">XVI.</abbr></a>, with the shading in section <i>B</i>
+more graduated, the green warp running from a pale green at
+the edges to a deep green in the centre. In section <i>A</i> the
+shading is due to the change in the grouping of the colours, and
+in <i>B</i> to the use of several tints of colour. The colour contrasts
+are in tone in stripe <i>A</i>, and also in <i>B</i>, and in hue between <i>A</i> and
+<i>B</i>, the whole pattern possessing harmony of colouring.</p>
+
+<hr class="chap x-ebookmaker-drop">
+
+
+<div class="chapter">
+<span class="pagenum" id="Page_119">[Pg 119]</span>
+  <h2 class="nobreak" id="CHAPTER_VII">
+    CHAPTER <abbr title="Seven">VII.</abbr>
+  </h2>
+   <h3>
+    CHECK PATTERNS.
+  </h3>
+</div>
+
+<div class="blockquot">
+<p>101. Utility of Check Styles—102. Principles of Checking—103. Several
+Styles of Checks. <span class="smcap">Checks composed of Two Colours</span>—104. Forms of Checking
+in Two Shades—105. Common Check—106. Modification of Common
+Check—107. Check consisting of Two Sizes of Squares—108. Pattern composed
+of Solid Squares and of an Over-check—109. Counter-change Check—110.
+Compound Checking—111. Gradated Check—112. Broken Check in Two
+Colours—113. Basket Check. <span class="smcap">Checks composed of Three or more Colours</span>—114.
+Principle of Checking with Three Colours—115. Ordinary Three-shade
+Check—116. Set Check—117. Compound Checking in Three Shades—118.
+Counter-change Check in Three Shades—119. Interchanging Check—120.
+Counter-change with Over-check. <span class="smcap">Shaded and Irregular Checks</span>—121.
+Shaded Check in Black and White in Cassimere Twill—122. Shaded
+Check in Two Colours due to using Designs composed of Various Weaves—123.
+Irregular and Mixture Checks—124. Fancy Broken Check—125. Examples
+in the Colouring of Tartans—126. Types of Tartans—127. Two-colour
+Plaids—128. Three-colour Plaids—129. Four-colour Plaids—130. Five-, Six-,
+and Seven-colour Plaids.</p>
+</div>
+
+<p class="unindent">101. <i>Utility of Check Styles.</i>—Checks form one of the
+commonest types of patterns developed in woven goods. They
+obtain in all species of colouring, such as subdued and tempered
+shades, and bright and lustrous tints. They are characterized by
+diversification of arrangement, outline, and dimensions. As a
+rule, the check styles appearing in cotton, silk, and worsted yarns
+are clearer in pattern than those produced in woollen fabrics,
+which are frequently more or less indistinct and intermingled in
+composition. Possibly no form of design or method of grouping
+shades is more extensively worked than that of checking. It
+affords scope for novelty of pattern construction. Figured goods
+occasionally possess a checked surface of mellow colouring, on
+which the floral or geometrical design is distributed. Not infrequently
+this check groundwork enhances the fabric and
+pattern in which it occurs, giving diversity of surface to the
+<span class="pagenum" id="Page_120">[Pg 120]</span>
+former, and developing with suitable precision the integral parts
+of the latter. But in addition to this principle of textile design
+being utilized in figured fabrics according to the system indicated,
+it is adopted in the construction of a wide series of styles.
+Shawls, mantlings, shirtings, flannels, suitings, coatings, dress
+fabrics, and other classes of textiles are coloured with this
+description of pattern. For dress materials and shawls, tartan
+and plaid checks are produced in a great variety of shades and
+systems of blending; in tweeds, ulsterings, and Irish homespuns,
+somewhat loud and broad checkings are applied, generally soft
+in colouring. When suitings and coatings are considered, the
+checks are usually small in size and neat in colour.</p>
+
+<p>Checks vary in size and form from minute squares to patterns
+consisting of solid squares of colour several inches in a repeat;
+and from compact rectangular spaces of colour to intermingled line
+patterns, but which still form a decided square or check design.</p>
+
+<p>102. <i>Principles of Checking.</i>—There are many systems of
+checking, yet there are some principles of construction common
+to every class of check pattern. For example, whatever plan of
+colourings obtains in the warp, in order to make a perfect
+check the same set of colourings must be employed in the
+weft. This is the ordinary method of checking; it is the crossing
+of the warp shades with corresponding weft shades which
+constitutes the square or check divisions. All checks are
+formed of rectangular spaces of colours. Such designs may be
+defined as compositions of squares of various sizes, of distinct
+shades fitting into each other to form a complete pattern. When
+producing these styles, the first work to be accomplished is the
+arrangement of the warp threads, which will determine the plan of
+the check. Supposing this to be, for instance, the pattern given
+in <a href="#fig14">Fig. 14</a> on page 111, then, in order to convert it into a check,
+the same order of wefting as warping would require to be adopted,
+which would yield a large check of black—formed by the eight
+ends of this shade in the warp and weft—filled in with a series
+of outline checks of white surrounding solid squares of black; or
+consider the tartan plaid given on <a href="#plate10">Plate <abbr title="Ten">X.</abbr></a> It is a plaid comprising
+in each repeat several sets of checks or square divisions.
+First, there are the line checks of yellow, lavender, dark green,
+<span class="pagenum" id="Page_121">[Pg 121]</span>
+and white; second, the squares of blue; third, the squares of
+scarlet; and fourth, the main checks of green. These various
+squares are so combined as to make a perfect pattern, or one
+in which each rectangular space neatly fits into the squares of
+colour with which it interchanges. In producing such a fabric,
+the system of colouring the warp is primarily determined as
+indicated, the wefting being a counterpart of it; though not
+necessarily so, because the idea is rather to maintain the clear
+squares of colour than precisely the same number of shots or
+picks as threads per inch.</p>
+
+<figure class="figcenter illowp95" id="plate17" style="max-width: 31.5625em;">
+  <img class="w100" src="images/plate17.jpg" alt="Fancy tweeds">
+</figure>
+
+<figure class="figcenter illowp100" id="plate17b" style="max-width: 31.25em;">
+  <img class="w100" src="images/plate17b.jpg" alt="Fancy Tweeds">
+  <figcaption style="color: blue;">
+      <p>Plate <abbr title="Seventeen">XVII</abbr><br>
+       <span class="allsmcap">FANCY TWEEDS</span></p>
+  </figcaption>
+</figure>
+
+<p>It will be obvious that on this principle any form of check may be
+acquired; for by colouring, say, the shaded stripes given on <a href="#plate16b">Plate
+XVI</a>. in the weft as in the warp, shaded checks would result.
+There is, however, one technicality to be considered, which adds
+to the intricacy of this kind of pattern construction, namely, the
+weave of the fabric. So long as the weaves employed, float the
+warp and weft equally and regularly on the respective sides of
+the fabric, the same balance of colouring is acquired in both the
+direction of the warp and weft; but should the weave bring
+more warp than weft, or more weft than warp, on to the face,
+then whichever factor predominates, it will be impossible to
+obtain a check style in which both the warp and the weft
+colouring will be equally pronounced. If, for instance, <a href="#fig13">Fig. 13</a>
+were changed into a check, in order to obtain the same precision
+of white colouring across as lengthways of the piece, some
+alteration in the structure of the weave would be necessary.
+This will be evident on consulting <a href="#fig13a">Fig. <span class="allsmcap">13A</span></a>, the plan of the
+weave of this striped fabric. It will be observed that this weave
+floats ⅘ths of the warp to ⅕th of the weft on the face; hence, if
+it should be used as here given, and the same order of colouring
+practised in the weft as in the warp, the white lines in the weft
+would be less distinct on the face than on the back of the cloth,
+for they only cover one thread out of five. To get a similar
+prominence of white in the weft as is seen in the warp of the
+fabric, the weave would have to be extended to twenty threads
+and picks, and the 19th and 20th picks modified in such a
+manner as to bring ⅘ths of the weft ⅕th of the warp on the
+face of the texture. When, as in common twills and other
+<span class="pagenum" id="Page_122">[Pg 122]</span>
+simple weaves, there are equal quantities of warp and weft yarns
+appearing on both sides of the fabric, no difficulties of this kind
+arise in converting a stripe into a check pattern.</p>
+
+<p>There are various kinds of “broken” checks in which the
+combination of warp shades is made to appear like a check by
+weaving it with some order of weft colouring which, while
+forming a series of transverse lines of colour, will develop the
+fancy yarns in the warp which constitute the main element of
+such patterns. These, as well as other recognized types of
+checking, which are particularly effective in the woven fabric,
+and illustrative of the general principles of this class of textile
+colouring, will now be described.</p>
+
+<p>103. <i>Several Styles of Checks.</i>—Check patterns may be classified
+under three heads, as follows:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr"><abbr title="One">I.</abbr></td>
+ <td class="tdl">Checks composed of Two Colours.</td>
+</tr>
+<tr>
+ <td class="tdr"><abbr title="Two">II.</abbr></td>
+ <td class="tdl">Checks composed of Three or more Colours.</td>
+</tr>
+<tr>
+ <td class="tdr"><abbr title="Three">III.</abbr></td>
+ <td class="tdl">Shaded and Irregular Checks.</td>
+</tr>
+</table>
+
+<p>A considerable range of patterns is obtained in two shades;
+if the principles of checking with two shades are fully mastered,
+the more advanced species of check designs in which a large
+variety of colours obtains, will be readily understood. Indeed,
+it may be said that checks of three or more colours are elaborations
+of two-shade patterns. When a diversity of colours is
+employed, it does not follow that large quantities of each shade
+are used, but as a rule two shades compose the general cast of
+the pattern, while the additional hues are so many brightening
+factors. The art of checking consists in the skilful application
+of two or more shades, so that several useful schemes of grouping
+the threads in such patterns may be considered separately.</p>
+
+<p>Intermingled and irregular checks are composed of square
+spaces of colour lacking clearness of character, and are useful for
+tweeds and certain classes of worsted goods.</p>
+
+<p class="p2 center">
+<span class="smcap">Checks composed of Two Colours.</span>
+</p>
+
+<p>104. <i>Forms of Checking in Two Shades.</i>—These are illustrated
+in <a href="#fig15">Figs. 15</a> to <a href="#fig23">23</a> inclusive. The illustrations furnished are
+typical of the different systems of combining two shades in
+<span class="pagenum" id="Page_123">[Pg 123]</span>
+making check patterns. The forms of checking are, strictly
+speaking, unlimited. Beginning with the smallest check, consisting
+of two ends of a dark and two ends of a light shade
+alternately, the forms increase in intricacy and dimensions until
+patterns of several inches in size, and comprising several types
+of checking, are acquired.</p>
+
+<p>105. <i>Common Check.</i>—The commonest form of check is given
+in <a href="#fig15">Fig. 15</a>. It results from arranging the warp and weft threads
+as follows:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr">8</td>
+ <td class="tdc">or any</td>
+ <td class="tdc">number</td>
+ <td class="tdc">of threads of</td>
+ <td class="tdl">black.</td>
+</tr>
+<tr>
+ <td class="tdr">8</td>
+ <td class="tdc">„</td>
+ <td class="tdc">„</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+</tr>
+</table>
+
+<p>Of course the number of threads of each colour, as well as the
+shades, may be varied. This style of check is worked in shepherd
+plaids and in other patterns, and in all kinds of materials.
+The weaves generally employed are plain, cassimere twill, and
+mat, each make giving suitable clearness to the colours.</p>
+
+<figure class="figcenter illowp49" id="fig15" style="max-width: 26.25em;">
+  <img class="w100" src="images/fig15.jpg" alt="Common check">
+  <figcaption>
+      <p><span class="smcap">Fig. 15.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp49" id="fig16" style="max-width: 30.875em;">
+  <img class="w100" src="images/fig16.jpg" alt="Common check modification">
+  <figcaption>
+      <p><span class="smcap">Fig. 16.</span></p>
+  </figcaption>
+</figure>
+
+<p>106. <i>Modification of Common Check.</i>—<a href="#fig16">Fig. 16</a> shows how, by
+a simple variation in the order of colouring the common check,
+it may be changed in character. This modification destroys the
+stiffness of the pattern. The plan of colouring in this example
+is as follows:&#x2060;—</p>
+
+<table>
+<tr>
+ <td class="tdr">8</td>
+ <td class="tdl pad6">threads of</td>
+ <td class="tdl">black.</td>
+ <td class="tdl pad2">8</td>
+ <td class="tdl pad6">threads of</td>
+ <td class="tdr">white.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+ <td class="tdl pad2">2</td>
+ <td class="tdc">„</td>
+ <td class="tdr">black.</td>
+</tr>
+<tr>
+ <td class="tdr">8</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+ <td class="tdl pad2">8</td>
+ <td class="tdc">„</td>
+ <td class="tdr">white.</td>
+</tr>
+</table>
+
+<p class="unindent">An outline check of black is thus arranged to divide the squares
+of white into four sections, and an outline check of white to
+similarly divide the squares of black. It is a neat and useful
+form of pattern. Though only consisting of two shades, it comprises
+<span class="pagenum" id="Page_124">[Pg 124]</span>
+five effects, namely, solid squares of black, white, and
+squares of black and white equally mixed; and also of outline
+checks of black and white. Other colours besides those in
+which it is sketched are used in great variety, and it is a style
+applied with satisfactory results to rugs, shawls, dresses, cottons,
+woollens, and worsteds, being altered in size in the several fabrics
+according to the degree of loudness required.</p>
+
+<figure class="figcenter illowp50" id="fig17" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig17.jpg" alt="Check 2 size squares">
+  <figcaption>
+      <p><span class="smcap">Fig. 17.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp50" id="fig18" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig18.jpg" alt="check modified">
+  <figcaption>
+      <p><span class="smcap">Fig. 18.</span></p>
+  </figcaption>
+</figure>
+
+<p>107. <i>Check consisting of Two Sizes of Squares.</i>—Another
+valuable form of check, and one that is extensively utilized, is
+that in <a href="#fig17">Fig. 17</a>. It is a combination of two sets of squares of
+different sizes; it is given in the most elementary form, the plan
+of colouring being twelve threads of black and six threads of
+white, but it is rarely employed without being subjected to
+various modifications. Some of these modifications may be
+alluded to. In the first example, the large checks of black, and
+also of white, are bisected. This is done without increasing the
+shade, as follows (<a href="#fig18">Fig. 18</a>):&#x2060;—</p>
+
+<table>
+<tr>
+ <td class="tdr">5</td>
+ <td class="tdc pad6">threads of</td>
+ <td class="tdl">black.</td>
+ <td class="tdr pad2">2</td>
+ <td class="tdc pad6">threads of</td>
+ <td class="tdr">white.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc pad6">„</td>
+ <td class="tdl">white.</td>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+</tr>
+<tr>
+ <td class="tdr">5</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+</tr>
+</table>
+
+<p class="unindent">In this way, the stiffness of the pattern is removed and a check
+obtained on the same base, but containing fuller variation of
+construction. Secondly, the square of black might be warped
+and woven thread and thread, while the square of white should
+remain solid, making a pattern suitable for flannel shirtings.
+One further modification to which this style is subjective, consists
+in bisecting the square of black or of white, but preferably
+the former, because it contains the largest number of threads.</p>
+
+<p><span class="pagenum" id="Page_125">[Pg 125]</span></p>
+<figure class="figcenter illowp50" id="fig19" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig19.jpg" alt="Overcheck">
+  <figcaption>
+      <p><span class="smcap">Fig. 19.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp50" id="fig20" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig20.jpg" alt="overcheck modified">
+  <figcaption>
+      <p><span class="smcap">Fig. 20.</span></p>
+  </figcaption>
+</figure>
+
+<p>108. <i>Pattern composed of Solid Squares and of an Overcheck.</i>—An
+over-check is a small line of colour forming a skeleton
+square, filled in with solid squares of several shades. This base—illustrated
+in <a href="#fig19">Fig. 19</a>—is employed in dress fabrics, shawls,
+and ulsterings, and, in small effects, in suitings and mantlings.
+The yarns are arranged—4 threads of black, 2 threads of white,
+4 threads of black, 10 threads of white, 10 threads of black, and
+10 threads of white. The characteristic feature here is that only
+every alternate square of black is bisected, causing the small line
+of white which divides it to form an over-check equal in size
+to four of the black or white squares. This outline or skeleton
+check contains one solid square of black, four squares of white,
+and four squares of black and white twilled. It is a plan of checking
+well adapted for plaids produced in two shades, and in such
+colours as blue and white, black and red, tan and medium blue
+(<abbr title="Numbers">Nos.</abbr> 2 and 7, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>), and lavender (<abbr title="Number">No.</abbr> 10, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>), and
+lilac (<abbr title="Number">No.</abbr> 16, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>). <a href="#fig19">Fig. 19</a> is but a modification of the
+common check supplied in <a href="#fig15">Fig. 15</a>; for if the over-check were
+removed it would be reduced to precisely the same pattern.
+To obtain a change in this style, one of the squares of white is
+bisected with fine lines of black, leaving one black and one white
+check perfectly solid, but dividing one of the white checks into
+four equal sections. The order of colouring in such an instance
+would be thus (<a href="#fig20">Fig. 20</a>):&#x2060;—</p>
+
+<table>
+<tr>
+ <td class="tdr">10</td>
+ <td class="tdc pad6">threads of</td>
+ <td class="tdl">white.</td>
+ <td class="tdr pad2">4</td>
+ <td class="tdc pad6">threads of</td>
+ <td class="tdl">white.</td>
+</tr>
+<tr>
+ <td class="tdr">10</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+ <td class="tdr">4</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+ <td class="tdr">4</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+</tr>
+</table>
+
+<p class="unindent"><span class="pagenum" id="Page_126">[Pg 126]</span>
+This modified arrangement of <a href="#fig19">Fig. 19</a> is one that is adopted in
+making this description of check in larger numbers of threads
+than here given, say twenty threads instead of the tens, and the
+other numbers similarly doubled. Patterns of these dimensions
+are mostly produced in bright or delicate colours for fabrics in
+fine worsted and cotton yarns.</p>
+
+<figure class="figcenter illowp50" id="fig21" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig21.jpg" alt="Counter-change">
+  <figcaption>
+      <p><span class="smcap">Fig. 21.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp50" id="fig22" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig22.jpg" alt="[4\4] and [8\8]">
+  <figcaption>
+      <p><span class="smcap">Fig. 22.</span></p>
+  </figcaption>
+</figure>
+
+<p>109. <i>Counter-change Check.</i>—A counter-change check is a
+pattern in which the several sets of squares are exactly reversed;
+thus, in <a href="#fig21">Fig. 21</a>, the checks included in the bracket 1 are just
+the opposite in shade, but of the same size, as those grouped in
+bracket 2. It will be noticed that the principal square of black
+has one square of white at each corner, while the principal
+square of white has one small square of black at each corner,
+forming the counter-change which gives this species of checking
+its designation. The arrangement as here given, obtains development
+in various materials. It is modified in size according to
+the fabric to which it is applied. The colourings may be
+grouped as below:&#x2060;—</p>
+
+<table>
+<tr>
+ <td class="tdr">8</td>
+ <td class="tdc pad6">threads of</td>
+ <td class="tdl">black.</td>
+ <td class="tdr pad2">8</td>
+ <td class="tdc pad6">threads of</td>
+ <td class="tdl">white.</td>
+</tr>
+<tr>
+ <td class="tdr">8</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+ <td class="tdr">8</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+</tr>
+<tr>
+ <td class="tdr">16</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+ <td class="tdr">16</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+</tr>
+</table>
+
+<p class="unindent">The style lends itself to numerous schemes of modification, but
+two or three can only be named. Firstly, bisect the large squares
+of black with small lines of white, and the large squares of white
+with fine lines of black; secondly, divide the small squares of
+the respective shades with black and white lines; and thirdly,
+combine these two systems of alteration.</p>
+
+<figure class="figcenter illowp56" id="plate18" style="max-width: 23.375em;">
+  <img class="w100" src="images/plate18.jpg" alt="Compound stripes bright colors">
+  <figcaption style="color: blue;">
+      <p>Plate <abbr title="Eighteen">XVIII</abbr><br>
+      <span class="allsmcap">COMPOUND STRIPINGS IN BRIGHT COLOURS</span></p>
+  </figcaption>
+</figure>
+
+<p>110. <i>Compound Checking.</i>—This is one of the most useful
+<span class="pagenum" id="Page_127">[Pg 127]</span>
+schemes of checking. The example given—<a href="#fig22">Fig. 22</a>—only contains
+two sizes of checks, but such designs may be composed of a
+much larger series of different-sized squares. Here the plan of
+grouping is also elementary, including a set of eighteen small
+squares of black and white separated by similar-sized checks of
+white and black twilled, and also a number of large checks of
+black and white. The colourings are arranged as appended:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">black.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2">For 24 threads.</td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+ <td class="tdl">⎭</td>
+</tr>
+<tr>
+ <td class="tdr">8</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+ <td class="tdl" colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">8</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+ <td class="tdl" colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">8</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+ <td class="tdl" colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+ <td class="tdl" colspan="2"></td>
+</tr>
+</table>
+
+<p class="unindent">In light shades and colours forming a mellow contrast, it makes
+a good style, being a check capable of development, and one that
+may be altered in several ways. Thus the
+single large square of white is divisible
+by two ends of black, which produce an
+over-check that considerably improves the
+whole pattern. Next, each of the squares
+of black should be divided with small lines
+of white, and lastly, both alterations should
+be combined.</p>
+
+<figure class="figcenter illowp40" id="fig23" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig23.jpg" alt="Graduated check">
+  <figcaption>
+      <p><span class="smcap">Fig. 23.</span></p>
+  </figcaption>
+</figure>
+
+<p>111. <i>Gradated Check.</i>—This style—Fig.
+23—is not so largely employed as those described, but it gives
+an attractive pattern. The object of the arrangement is to
+graduate from a series of small to a series of large checks.
+In the fabric, the respective checks appear to run into each
+other. No less than eight sizes of squares occur in this example,
+varying from a check of two to sixteen threads, the order of
+colouring being thus:&#x2060;—</p>
+
+<table>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc pad6">threads of</td>
+ <td class="tdl">white.</td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+</tr>
+<tr>
+ <td class="tdr">6</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+</tr>
+<tr>
+ <td class="tdr">8</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+</tr>
+<tr>
+ <td class="tdr">10</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+</tr>
+<tr>
+ <td class="tdr">12</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+</tr>
+<tr>
+ <td class="tdr">14</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+</tr>
+<tr>
+ <td class="tdr">16</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+</tr>
+</table>
+
+<p class="unindent">When using fine materials and high counts of yarns the series
+<span class="pagenum" id="Page_128">[Pg 128]</span>
+of gradations is largely extended, continuing to checks containing
+as many as forty-eight and even sixty-four threads.
+Occasionally, the check is graduated from a maximum to a
+minimum size on both sides of the extreme large square, and not
+simply shaded off on one side as in the illustration.</p>
+
+<p>112. <i>Broken Check in Two Colours.</i>—A species of irregular
+check in two colours is given in <abbr title="Number">No.</abbr> 1
+ on <a href="#plate19a">Plate <abbr title="Nineteen">XIX.</abbr></a> The order
+of the threads is not intricate, being 8 threads of maroon, 8
+threads of green, 2 threads of maroon, and 2 threads of green,
+and forms a mellow check style. This arises, first, from the
+corresponding strength of the two shades used; second, from
+the system of blending practised; and third, from the manner
+in which the weave distributes the threads. This pattern
+illustrates what neat effects may be acquired in two shades by
+an appropriate method of combining colours which contrast and
+harmonize. The style under consideration is composed of the
+contrasting colours green and maroon, which, when of corresponding
+intensities, as in this illustration, produce harmony.
+This is evident by the sense of completeness which characterizes
+the style when it is examined. It does not require any additional
+hue to brighten or freshen it, for it is apparently rich and
+mellow in colour composition.</p>
+
+<p>The plan of grouping the shades causes the full checks of
+maroon and green to be in contact with each other, while the
+two threads of the respective hues give a shaded tone to the
+pattern—the colours seeming to vanish into each other. When
+making checks in which softness rather than loudness of
+effect is desirable, this toning of one colour into another is a
+very requisite element.</p>
+
+<p>113. <i>Basket Check in Two Colours.</i>—Basket checks are
+obtained in two shades, and comprise two sizes of checking.
+They are produced in both four-and six-shaft twills, and also in
+fine yarns in the eight-end make. They contain four varieties
+of work, due to the manner in which the several sets of threads
+interlace with each other. A reference to <abbr title="Number">No.</abbr> 2, <a href="#plate19b">Plate <abbr title="Nineteen">XIX.</abbr></a>,
+will make it evident what is the nature of these effects. This
+is a basket check which has been woven in the cassimere twill,
+and in the order of threads which follows:&#x2060;—</p>
+
+<p><span class="pagenum" id="Page_129">[Pg 129]</span></p>
+<table class="autotable">
+<tr>
+ <td class="tdr" rowspan="2">For 64 threads.</td>
+ <td class="tdl">⎧</td>
+ <td class="tdl">4</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">slate.</td>
+</tr>
+<tr>
+ <td class="tdl">⎩</td>
+ <td class="tdl">4</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+</tr>
+<tr>
+ <td class="tdr" rowspan="2">For 48 threads.</td>
+ <td class="tdl">⎧</td>
+ <td class="tdl">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">slate.</td>
+</tr>
+<tr>
+ <td class="tdl">⎩</td>
+ <td class="tdl">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+</tr>
+</table>
+
+<p class="unindent">The four-and-four grouping gives the shepherd-plaid effect
+bracketed <span class="allsmcap">A</span>, and the two-and-two grouping the fine and minute
+checking bracketed <span class="allsmcap">B</span>. The remaining effects in the pattern are
+due to the four-and-four wefting crossing the two-and-two
+warping—part <span class="allsmcap">C</span>,—and the two-and-two wefting crossing the
+four-and-four warping in section <span class="allsmcap">D</span>. In woollen, worsted, and
+other yarns this style of check is largely developed. In the
+illustration the sizes of the respective checks are not the same,
+the large plaid effect extending over 64 and the small plaids over
+48 threads; but in some patterns they are exactly of the same
+dimensions. When the six-end twill is used, the shades are not
+grouped in fours and twos, but in sixes and threes, as in the
+example:&#x2060;—</p>
+
+<table class="autotable smaller">
+<tr>
+ <td class="tdr" rowspan="2">For 48 threads.</td>
+ <td class="tdl">⎧</td>
+ <td class="tdl">6</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">white.</td>
+</tr>
+<tr>
+ <td class="tdl">⎩</td>
+ <td class="tdl">6</td>
+ <td class="tdc">„</td>
+ <td class="tdl">fawn or brown and white twist.</td>
+</tr>
+<tr>
+ <td class="tdr" rowspan="2">For 48 threads.</td>
+ <td class="tdl">⎧</td>
+ <td class="tdl">3</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+ <td class="tdl">3</td>
+ <td class="tdc">„</td>
+ <td class="tdl">fawn or brown and white twist.</td>
+</tr>
+</table>
+
+<p>One feature in colouring these checks is that no strong
+contrast of shades is suitable. Seeing that the system of grouping
+the shades is enough to produce ample diversity of style,
+loudness of colouring is unnecessary. From the illustration
+given, it will be seen that there is no marked distinction of hue
+in the colours combined. Such shades as white, and slate and
+white twist; white, and brown and white twist; and white, and
+blue and white twist, all yield patterns of the requisite depth of
+contrast. These examples are in light shades, but this type of
+checking also obtains an important place in dark patterns for
+ulstering and mantling fabrics.</p>
+
+<p class="p2 center">
+<span class="smcap">Checks of Three or more Colours.</span>
+</p>
+
+<p>114. <i>Principle of Checking with Three Colours.</i>—The principles
+of design and colouring involved in making check styles in three
+<span class="pagenum" id="Page_130">[Pg 130]</span>
+shades are more intricate than those relating to checking with
+two colours. More ingenious patterns, fuller of detail and more
+diversified in composition, are producible with three than two
+shades. The third colour is important and valuable in toning
+and mellowing the check arrangement. Thus, supposing a light
+and dark shade formed the principal sections of a check
+composition, then by introducing into it a third and intermediate
+colour, increased softness of effect could be acquired and harshness
+of contrast obviated. Check arrangements of this class are
+employed in many types of woven goods, and are particularly
+useful in designing for some species of suitings, mantlings, cotton
+and silk fabrics. They are not so formal in cast as two-shade
+patterns, the square spaces of colour being better toned. Some
+of the most generally adopted systems of grouping the shades
+in these styles are represented in <a href="#fig24">Figs. 24</a> to <a href="#fig32">32</a> inclusive. By
+comparing them with the checks obtained
+in two colours given in <a href="#fig15">Figs. 15</a> to <a href="#fig23">23</a>, it
+will at once be evident that they contain a
+more complete range of effects and are
+more diversified in outline than the preceding
+examples. The function of the third
+shade and its utility in improving the
+aspect of the patterns will also be observed.
+<a href="#fig25">Fig. 25</a>, for instance, though a simple
+arrangement, possesses a mellower character than any of the
+checks developed in two shades. The grey factor not only
+increases the multiplicity of effects appearing in the patterns,
+but enhances the value of the respective checkings by giving
+a softly-toned cast to them. Amongst the forms of check combinations
+illustrated in these figures are the common three-shade
+pattern, the set check, the compound base, the counter-change
+base, the interchanging base, and counter-change with over-check
+base.</p>
+
+<figure class="figleft illowp35" id="fig24" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig24.jpg" alt="Three-colour check">
+  <figcaption>
+      <p><span class="smcap">Fig. 24.</span></p>
+  </figcaption>
+</figure>
+
+<p>115. <i>Ordinary Three-shade Check.</i>—The commonest and
+most elementary form of three-coloured checking is that in
+which the squares of colour are equal in size, <i>e.g.</i>, 10 black,
+10 grey, and 10 white. When the squares of each colour are
+large, the check is satisfactory; but if they are minute, say
+<span class="pagenum" id="Page_131">[Pg 131]</span>
+about four threads each, and composed of neat colourings, it is
+improved in character. Should the colours be dark, medium,
+and light, or black, grey, and white, a shaded check is
+formed of limited gradation. In greys, blues, browns, or
+slates, this arrangement makes a very useful form of pattern,
+and one that may be modified in various ways. It might,
+for example, be shaded off on both sides by allowing the
+intermediate shade to alternate with the dark and light colours.
+Another change may be effected by bisecting one of the
+squares of colour, say the black, with two ends of a lighter
+shade, in which instance one outline check would be obtained
+in each repeat of the pattern, which would give quite a
+new aspect to the style. If this idea of dividing the checks
+is further worked, a considerable range of appropriate modifications
+of this base may be acquired. Let one example be
+considered. Alter this form by arranging the shades as below
+(<a href="#fig24">Fig. 24</a>):&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">black.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">medium grey.</td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">„</td>
+ <td class="tdl">medium grey.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">„</td>
+ <td class="tdl">medium grey.</td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">medium grey.</td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+</tr>
+</table>
+
+<p class="unindent">According to this scheme the check would be completely changed,
+though the base remains unaltered. Each square of colour is
+here divided into four sections. The black checks are divided
+with an outline check of grey, the grey with an outline check of
+black, and the white with an outline check of grey. It will be
+clear from this method of modifying the simple order of colouring,
+that it is an elementary principle of grouping three shades
+to form a check which may be utilized in the development of
+fancy patterns.</p>
+
+<p>116. <i>Set Check.</i>—A check pattern in which certain squares—namely,
+black in the illustration—form the main feature of
+the design, and are set at corresponding distances apart, with
+the respective shades alternately intervening, is supplied in
+<a href="#fig25">Fig. 25</a>. It is designated a “set” check, on account of the
+manner in which the large spaces of the leading shade in the
+<span class="pagenum" id="Page_132">[Pg 132]</span>
+pattern are arranged, these repeating on such a principle as to
+give a stiff and “set” appearance to the pattern.</p>
+
+<p>It is made in various dimensions, according to the style of
+fabric being manufactured. The size of the black check in
+lining and shawl textures ranges from eight to forty-eight
+threads, but in suitings and other materials it is frequently not
+more than six or four threads, and the spaces of grey and white
+proportionately reduced.</p>
+
+<figure class="figcenter illowp40" id="fig25" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig25.jpg" alt="Set check">
+  <figcaption>
+      <p><span class="smcap">Fig. 25.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp40" id="fig26" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig26.jpg" alt="Set check modified">
+  <figcaption>
+      <p><span class="smcap">Fig. 26.</span></p>
+  </figcaption>
+</figure>
+
+<p>Taking the order of the shades to be 16 threads of black, 8
+threads of white, 16 threads of black, and 8 threads of grey,
+then one method of modifying this base practised with good
+results is (<a href="#fig26">Fig. 26</a>)&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr">6</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">black.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl"></td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">„</td>
+ <td class="tdl">grey</td>
+ <td class="tdl">⎬</td>
+ <td class="tdl">= 16 black.</td>
+</tr>
+<tr>
+ <td class="tdr">6</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+ <td class="tdl">⎭</td>
+ <td class="tdl"></td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">grey.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl"></td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+ <td class="tdl">⎬</td>
+ <td class="tdl">= 8 white.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">grey.</td>
+ <td class="tdl">⎭</td>
+ <td class="tdl"></td>
+</tr>
+<tr>
+ <td class="tdr">6</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl"></td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">„</td>
+ <td class="tdl">grey.</td>
+ <td class="tdl">⎬</td>
+ <td class="tdl">= 16 black.</td>
+</tr>
+<tr>
+ <td class="tdr">6</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+ <td class="tdl">⎭</td>
+ <td class="tdl"></td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl"></td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">„</td>
+ <td class="tdl">grey.</td>
+ <td class="tdl">⎬</td>
+ <td class="tdl">= 8 grey.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+ <td class="tdl">⎭</td>
+ <td class="tdl"></td>
+</tr>
+</table>
+
+<p class="unindent">The centre of each of the squares of black would, by this means,
+be occupied with a square of four threads of grey, while the
+square of white would be outlined with skeleton checks of grey,
+and that of grey with skeleton checks of white. When this
+<span class="pagenum" id="Page_133">[Pg 133]</span>
+system of alteration is adopted, a pattern fairly diversified in
+construction is the result.</p>
+
+<figure class="figcenter illowp40" id="fig27" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig27.jpg" alt="Checking in three shades">
+  <figcaption>
+      <p><span class="smcap">Fig. 27.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp40" id="fig28" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig28.jpg" alt="Checking in three shades">
+  <figcaption>
+      <p><span class="smcap">Fig. 28.</span></p>
+  </figcaption>
+</figure>
+
+<p>117. <i>Compound Checking in Three Shades.</i>—<a href="#fig27">Fig. 27</a> forms a
+neat principle of checking in three shades in which several series
+of small squares of colour are combined. The manner in which
+the small checks are grouped, obviates the stiff cast which
+characterizes some forms of checking. It will be observed that
+the several shades do not occur in uniform quantities. White is
+the main element, alternating with both black and grey; then
+comes black, of which there are three sets of checks, but only
+two sets of grey. To produce the pattern, the yarns are grouped
+as indicated below:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr">8</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">black.</td>
+</tr>
+<tr>
+ <td class="tdr">8</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+</tr>
+<tr>
+ <td class="tdr">8</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+</tr>
+<tr>
+ <td class="tdr">8</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+</tr>
+<tr>
+ <td class="tdr">8</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+</tr>
+<tr>
+ <td class="tdr">16</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+</tr>
+<tr>
+ <td class="tdr">8</td>
+ <td class="tdc">„</td>
+ <td class="tdl">grey.</td>
+</tr>
+<tr>
+ <td class="tdr">8</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+</tr>
+<tr>
+ <td class="tdr">8</td>
+ <td class="tdc">„</td>
+ <td class="tdl">grey.</td>
+</tr>
+<tr>
+ <td class="tdr">16</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+</tr>
+</table>
+
+<p class="unindent">The white not only produces minute checks, but also four large
+squares in each repeat of the design.</p>
+
+<p>This base may be varied. One alteration consists in, dividing
+the large squares of white with fine lines of black; another
+modification practised changes the single square of white,
+intervening the checks of grey, into black; while a third system
+of alteration bisects each of the checks of black with outline
+squares of white; then a fourth principle (<a href="#fig28">Fig. 28</a>) combines these
+several methods of utilizing this form, making a pattern constituted
+thus:&#x2060;—</p>
+
+<p><span class="pagenum" id="Page_134">[Pg 134]</span></p>
+<table class="autotable">
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">black.</td>
+ <td class="tdl">⎫</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+ <td class="tdl">⎬ Repeat.</td>
+</tr>
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+ <td class="tdl">⎪</td>
+</tr>
+<tr>
+ <td class="tdr">8</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+ <td class="tdl">⎭</td>
+</tr>
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+ <td class="tdl"></td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+ <td class="tdl"></td>
+</tr>
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+ <td class="tdl"></td>
+</tr>
+<tr>
+ <td class="tdr">6</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+ <td class="tdl"></td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+ <td class="tdl"></td>
+</tr>
+<tr>
+ <td class="tdr">6</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+ <td class="tdl"></td>
+</tr>
+<tr>
+ <td class="tdr">8</td>
+ <td class="tdc">„</td>
+ <td class="tdl">grey.</td>
+ <td class="tdl"></td>
+</tr>
+<tr>
+ <td class="tdr">8</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+ <td class="tdl"></td>
+</tr>
+<tr>
+ <td class="tdr">8</td>
+ <td class="tdc">„</td>
+ <td class="tdl">grey.</td>
+ <td class="tdl"></td>
+</tr>
+<tr>
+ <td class="tdr">6</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+ <td class="tdl"></td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+ <td class="tdl"></td>
+</tr>
+<tr>
+ <td class="tdr">6</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+ <td class="tdl"></td>
+</tr>
+</table>
+
+<p class="unindent">If this last scheme is employed, the cast of the pattern undergoes
+considerable change, and is characterized by much variation of
+checking and intermingling of shades. By adopting three tones
+or tints of one colour, such as brown, olive green, or slate, this
+mode of checking is capable of being used in the construction of
+effective patterns for mantling, dress, and other fancy fabrics.</p>
+
+<figure class="figcenter illowp40" id="fig29" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig29.jpg" alt="Counter-change check">
+  <figcaption>
+      <p><span class="smcap">Fig. 29.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp40" id="fig30" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig30.jpg" alt="Interchange check">
+  <figcaption>
+      <p><span class="smcap">Fig. 30.</span></p>
+  </figcaption>
+</figure>
+
+<p>118. <i>Counter-change Check in Three Shades.</i>—The succeeding
+example (<a href="#fig29">Fig. 29</a>) is made up of equal quantities of black and
+grey and of a smaller portion of white. The checks of white are
+so introduced as to separate the four squares of black and also
+the four squares of grey, so that the white yarns form a comparatively
+large over-check. Both the black and grey threads,
+on the other hand, each compose two sets of checks working
+within one another. It is a base developed in cotton, worsted,
+and woollen yarns. One suitable plan of blending the shades is—8
+threads of black, 8 threads of white, 8 threads of black,
+8 threads of grey, 8 threads of white, and 8 threads of grey.</p>
+
+<figure class="figcenter illowp70" id="plate19a" style="max-width: 43.75em;">
+  <img class="w100" src="images/plate19a.jpg" alt="Pattern in marron and green">
+  <figcaption style="color: blue;">
+      <p>Plate <abbr title="Nineteen">XIX</abbr><br>
+      <span class="allsmcap">CHECK STYLES</span><br>
+       <span class="smaller">1. Pattern in Maroon and Green</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp76" id="plate19b" style="max-width: 37.5em;">
+  <img class="w100" src="images/plate19b.jpg" alt="Compound check">
+  <figcaption style="color: blue;">
+      <p><span class="smaller">2. Compound Check</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp96" id="plate19c" style="max-width: 43.75em;">
+  <img class="w100" src="images/plate19c.jpg" alt="Interchanging check">
+  <figcaption style="color: blue;">
+      <p><span class="smaller">3. Small Interchanging check (Fancy Yarns)</span></p>
+  </figcaption>
+</figure>
+
+<p>The style is susceptive of considerable elaboration. For example,
+the white check may be embellished with an over-check
+<span class="pagenum" id="Page_135">[Pg 135]</span>
+of black, the black squares with outlinings of white, and the
+s grey with skeleton checkings of black or white.</p>
+
+<p>119. <i>Interchanging Check.</i>—Three-shade checks on this base
+are illustrated in <a href="#fig30">Fig. 30</a> and <a href="#plate19c"><abbr title="Number">No.</abbr> 3, Plate <abbr title="Nineteen">XIX.</abbr></a> On examining
+<a href="#fig30">Fig. 30</a>, it will be seen that a group of small squares of black
+surround four similarly-sized checks of grey and nine of white.
+The grey and black checks interlace with each other. The
+principal shade in this pattern, white, is so arranged as to yield
+both small and large checks. It is a style which may range
+from a pattern of a fraction of an inch in suitings to six or
+eight inches in dress materials and shawl textures. When the
+following quantities are used, the base may be modified:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr">12</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">white.</td>
+</tr>
+<tr>
+ <td class="tdr">6</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+</tr>
+<tr>
+ <td class="tdr">6</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+</tr>
+<tr>
+ <td class="tdr">6</td>
+ <td class="tdc">„</td>
+ <td class="tdl">grey.</td>
+</tr>
+<tr>
+ <td class="tdr">6</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+</tr>
+<tr>
+ <td class="tdr">6</td>
+ <td class="tdc">„</td>
+ <td class="tdl">grey.</td>
+</tr>
+<tr>
+ <td class="tdr">6</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+</tr>
+<tr>
+ <td class="tdr">6</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+</tr>
+</table>
+
+<p class="unindent">Various systems may be practised in dividing up the twelve
+threads of white. To begin with, this group of ends may be
+changed to 2 threads of grey, 8 threads of white, and 2 threads
+of grey; or the four threads in the centre of the twelve may
+consist of 2 grey and 2 black; while a third variation would
+change the white square into 4 threads of white, 4 threads of
+black or grey, and 4 threads of white. If other changes of this
+base are required, the small squares of white should each be
+bisected with two threads of black, the checks of grey with
+two threads of white, and the checks of black with two threads
+of grey.</p>
+
+<p>An application of this principle to costume fabrics is given in
+<abbr title="Number">No.</abbr> 3, <a href="#plate19c">Plate <abbr title="Nineteen">XIX</abbr></a>. Three colours are used, light brown or fawn,
+green, and blue, the blue and green interchanging with each other.
+The brown is an intermediate shade, checking with both the
+green and blue. The warping and wefting are as follows:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdl">Light brown or fawn</td>
+ <td class="tdl">4</td>
+ <td class="tdl">2</td>
+</tr>
+<tr>
+ <td class="tdl">Green</td>
+ <td class="tdl">-</td>
+ <td class="tdl">2</td>
+</tr>
+<tr>
+ <td class="tdl">Blue</td>
+ <td class="tdl">2</td>
+ <td class="tdl">-</td>
+</tr>
+</table>
+
+<p class="unindent">If the number of threads of each colour were doubled, some
+modifications could be applied: the eight threads of brown could
+<span class="pagenum" id="Page_136">[Pg 136]</span>
+be bisected with an additional colour, and some further alteration
+made in developing both the green and blue sections.</p>
+
+<p>120. <i>Counter-change with Over-check.</i>—<a href="#fig31">Fig. 31</a> is a pronounced
+check form. It is mostly used in tartan patterns for cotton, fine
+worsted, and woollen-yarn dress fabrics. More variety of effect
+may be introduced into it by subdividing the main squares of
+black and white. Each of the spaces of white is in this instance
+split up by minute squares of black and lines of grey; and the
+squares of black by minute squares
+of white in addition to the lines of
+grey in the illustration. This form
+of check is often made in very large
+patterns, some four or five inches in
+size, and in strongly contrasting
+colours, for which it is, by arrangement,
+well adapted.</p>
+
+<figure class="figleft illowp40" id="fig31" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig31.jpg" alt="interchange with modified">
+  <figcaption>
+      <p><span class="smcap">Fig. 31.</span></p>
+  </figcaption>
+</figure>
+
+<p>It ought to be observed that all
+the examples described may be subjected
+to numerous modifications in sectional parts of the colouring,
+besides those quoted and analyzed. With a view of making
+it evident how the schemes of checking alluded to, are elaborated
+in practice, it has been shown to what an extent patterns of
+a check description are susceptive of variation in the loom.
+The principles of constructing these have been elucidated, and
+the chief forms of checking have been treated of.</p>
+
+<p class="p2 center">
+<span class="smcap">Shaded and Irregular Checks.</span>
+</p>
+
+<p>121. <i>Shaded Check in Black and White in the Cassimere Twill.</i>—In
+the construction of shaded checks either two or more
+colours may be employed. With these, and a proper method of
+grouping the yarns, a pattern may be produced of a shaded
+character. The weave used, if the order of shade arrangement
+is diversified, must be of a simple type. An example will
+demonstrate the principle of developing this useful description
+of woven design. It is given in <a href="#fig32">Fig. 32</a>, and is a shade in black
+and white, the cassimere twill being the weave used in constructing
+the fabric. There are several features of this pattern
+which may be considered. Obviously it is a compound check,
+<span class="pagenum" id="Page_137">[Pg 137]</span>
+combining both the ordinary and shaded schemes of checking.
+A set of common checks of a shepherd plaid type surround
+the shaded check proper. The shaded effect consists of three
+factors, which may be separately examined. In the square
+spaces, in which white is the main element, a light shade is
+acquired by gradually decreasing the quantity of black and
+increasing the quantity of
+white yarns until a perfect
+edging of white is acquired.
+Next there are lines of a
+deeper shade, due to the
+threads used in the composition
+of the principal check
+crossing those which occur
+in the shaded white checkings;
+and lastly, there is
+the broken square of black,
+which decreases by degrees in
+intensity from the centre to
+its respective edges. Though
+the shading as a whole is
+not uniformly continued, for
+there is a somewhat sudden
+change from dark to light
+shading, yet at this juncture the effect obtained is softly toned.
+Mellowness of gradation is an important element of the pattern.</p>
+
+<figure class="figleft illowp40" id="fig32" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig32.jpg" alt="Shaded check">
+  <figcaption>
+      <p><span class="smcap">Fig. 32.</span></p>
+  </figcaption>
+</figure>
+
+<p>The irregular manner in which the white and black yarns
+appear, like specks on the surface of the fabric, arises from the
+employment of a print thread in which these shades alternate
+in lengths of about ⅜ths of an inch. Solid black and white
+threads alone would not yield the intermingled effect so prominent
+in this style. They would produce a much stiffer and more
+uniform result. If this system of checking should be applied
+to woollen and worsted or cotton goods, twist yarns may be
+employed in place of the printed threads. These, in all species
+of designing, give more intermingled patterns than self-coloured
+yarns, and for this reason are useful in the production of shaded
+effects.</p>
+
+<p><span class="pagenum" id="Page_138">[Pg 138]</span>
+The plan of colouring this example is rather complicated,
+running as follows:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">black.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2">For 36 threads.</td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+ <td class="tdl">⎭</td>
+</tr>
+<tr>
+ <td class="tdr">6</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">white.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2">Repeat. <i>A.</i></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">thread of</td>
+ <td class="tdl">print yarn.</td>
+ <td class="tdl">⎭</td>
+</tr>
+<tr>
+ <td class="tdr">5</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">white.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2">Repeat.</td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">thread of</td>
+ <td class="tdl">print yarn.</td>
+ <td class="tdl">⎭</td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">white.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2">Repeat.</td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">thread of</td>
+ <td class="tdl">print yarn.</td>
+ <td class="tdl">⎭</td>
+</tr>
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">white.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2">Repeat.</td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">thread of</td>
+ <td class="tdl">print yarn.</td>
+ <td class="tdl">⎭</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">white.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2">Repeat.</td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">thread of</td>
+ <td class="tdl">print yarn.</td>
+ <td class="tdl">⎭</td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2">Repeat.</td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">„</td>
+ <td class="tdl">print yarn.</td>
+ <td class="tdl">⎭</td>
+</tr>
+<tr>
+ <td class="tdr">8</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">print yarn.</td>
+ <td class="tdl">↠</td>
+ <td class="tdl"><i>B.</i></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">thread of</td>
+ <td class="tdl">black.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2">For 6 threads. <i>C.</i></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">„</td>
+ <td class="tdl">print yarn.</td>
+ <td class="tdl">⎭</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">black.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2">Repeat.</td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">thread of</td>
+ <td class="tdl">print yarn.</td>
+ <td class="tdl">⎭</td>
+</tr>
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">black.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2">Repeat.</td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">thread of</td>
+ <td class="tdl">print yarn.</td>
+ <td class="tdl">⎭</td>
+</tr>
+<tr>
+ <td class="tdr">6</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">black.</td>
+ <td class="tdl">↠</td>
+ <td class="tdl"><i>D.</i></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">thread of</td>
+ <td class="tdl">print yarn.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2">Repeat.</td>
+</tr>
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">black.</td>
+ <td class="tdl">⎭</td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">thread of</td>
+ <td class="tdl">print yarn.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2">Repeat.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">black.</td>
+ <td class="tdl">⎭</td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">thread of</td>
+ <td class="tdl">print yarn.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2">For 6 threads.</td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+ <td class="tdl">⎭</td>
+</tr>
+<tr>
+ <td class="tdr">8</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">print yarn.</td>
+ <td></td>
+ <td class="tdl"><i>E.</i></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">thread of</td>
+ <td class="tdl">white.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2">Repeat.</td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">„</td>
+ <td class="tdl">print yarn.</td>
+ <td class="tdl">⎭</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">white.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2">Repeat.</td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">thread of</td>
+ <td class="tdl">print yarn.</td>
+ <td class="tdl">⎭</td>
+</tr>
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">white.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2">Repeat.</td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">thread of</td>
+ <td class="tdl">print yarn.</td>
+ <td class="tdl">⎭</td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">white.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2">Repeat.
+<span class="pagenum" id="Page_139">[Pg 139]</span></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">thread of</td>
+ <td class="tdl">print yarn.</td>
+ <td class="tdl">⎭</td>
+</tr>
+<tr>
+ <td class="tdr">5</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">white.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2">Repeat.</td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">thread of</td>
+ <td class="tdl">print yarn.</td>
+ <td class="tdl">⎭</td>
+</tr>
+<tr>
+ <td class="tdr">6</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">white.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2">Repeat. <i>E.</i></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">thread of</td>
+ <td class="tdl">print yarn.</td>
+ <td class="tdl">⎭</td>
+</tr>
+</table>
+
+<p>The light shade, which composes the squares consisting mainly
+of white, is formed by the threads included within <i>A</i> and <i>B</i>.
+This will be seen on examining the plan of colouring. At <i>A</i>
+there are six parts of white to one part of black and white print
+yarn; but at <i>B</i> there is a small quantity of print yarn only—the
+toning from extreme white to a complete mixture of black and
+white having been gradually effected by the intervening groups
+of shades. From <i>C</i> to <i>D</i> the dark shade is produced. Not containing
+as many changes as the light shade, it is more decided
+in composition. Practically this shade commences at <i>B</i>, which
+connects it with the adjoining gradated square of white and
+black. At <i>C</i>, however, the first move to black begins, for here
+black and print yarns are equally mixed. The number of black
+threads now increases until Section <i>D</i> is reached, when it begins
+to diminish, ultimately shading off to a group of print threads
+as indicated at <i>E</i>. From this stage the white shade is renewed,
+and continues to the end of the pattern.</p>
+
+<p>Apart from its value as a principle of shading, this style is
+extremely suggestive of what may be accomplished by grouping
+two shades in woven fabrics of a simple or common twill class.</p>
+
+<figure class="figcenter illowp75" id="fig33" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig33.jpg" alt="Weave shaded check">
+  <figcaption>
+      <p><span class="smcap">Fig. 33.</span></p>
+  </figcaption>
+</figure>
+
+<p>122. <i>Shaded Checks in Two Colours due to using Designs
+Composed of Various Weaves.</i>—These patterns are in some
+respects simpler to produce than the preceding class of check.
+There is no diversity of shade arrangement in such styles, the
+warp and weft being solid colours throughout. Now in an
+ordinary twill such colouring would not give any form of check,
+so that this is quite a distinct principle of checking. It is one
+that is applied to worsted, silk, and cotton, but not to woollen
+textures to any large extent. The combination of weaves
+necessary is not so well adapted for development in woollen, as
+in the other classes of threads named. Colouring being simple,
+the design is correspondingly intricate. If this is well constructed
+<span class="pagenum" id="Page_140">[Pg 140]</span>
+it will yield a shaded pattern, though the warp and
+weft yarns be of precisely the same colour, size, and quality.
+When this sort of shade is formed, a better effect is produced in
+such yarns as worsted and silk. Cotton or woollen threads
+would not give the same effect in designs arranged on the
+principle of a gradual movement from a maximum warp to a
+minimum weft flush, and inversely, as in <a href="#fig33">Figs. 33</a> and <a href="#fig34">34</a>. The
+essential of shading consists in diversity of tinting. A brown,
+or any other shade, is producible if several colours of brown of
+variable depths are combined, but not otherwise. What in this
+instance is impracticable from a colour standpoint, is feasible by
+a suitable arrangement of weaves. The shade that may thus
+be produced is not, of course, so clear and pronounced as that
+due to a diversity of colouring, for it simply results from the
+difference in effect of the flushes of warp and weft yarns composing
+the pattern. As there is some visible distinction in the
+brightness of the floats of warp and weft respectively, if the
+weaves constituting the design are arranged on such a principle
+<span class="pagenum" id="Page_141">[Pg 141]</span>
+as to tone one into the other, they produce an effect of a shaded
+type. According to the example furnished, one set of weaves
+which combines admirably on this method is that derived from
+a sateen base. But these are not the only weaves used, many
+varieties of twills being employed for similar purposes; but
+sateens give the most uniform shades of any class of weaves
+that can be utilized. On referring to <a href="#fig33">Figs. 33</a> and <a href="#fig34">34</a>, it will be
+seen that the weaves differ from each other in the extent to
+which they flush the warp and weft yarns on the face of the
+texture. To construct a shaded pattern of this kind, commence
+with the extreme warp-flush weave, adjoining which place the
+weave most closely approaching it in structure; the diminution
+in warp and the increase in weft flush continuing from one
+weave to another, until the extreme or maximum weft flush is
+attained. In such a scale of shades, the extreme warp- and weft-flush
+weaves represent opposite ends of the shade, the weaves intervening
+completing the gradation or toning of the pattern. The
+form or outline of the check is first decided upon, and then the
+<span class="pagenum" id="Page_142">[Pg 142]</span>
+weaves combined according to the dark or light effect required
+in the various parts of the design.</p>
+
+<figure class="figcenter illowp74" id="fig34" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig34.jpg" alt="Shaded check reverse">
+  <figcaption>
+      <p><span class="smcap">Fig. 34.</span></p>
+  </figcaption>
+</figure>
+
+<p>This style of checking is determined by the system of arranging
+the weaves used, and not, as in the previous examples, by
+changing the scheme of colouring; hence this species of shaded
+check is extremely simple to produce, so far as the blending of
+colours is concerned.</p>
+
+<figure class="figcenter illowp75" id="fig35" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig35.jpg" alt="Shaded figured style">
+  <figcaption>
+      <p><span class="smcap">Fig. 35.</span></p>
+  </figcaption>
+</figure>
+
+<p>A further application of this principle of weave shading in
+combination with a difference in the depths of colouring in the
+warp and weft is that developed in figured fabrics, of which
+<a href="#fig35">Fig. 35</a> is an example and <a href="#fig35a">Fig. 35<span class="allsmcap">A</span></a> a section of the complete
+design. There are other weaves forming sections of the figuring,
+but they would give a pronounced warp or weft colour effect:
+that is to say, should the warp be a light or pale heliotrope, and
+the weft dark heliotrope, there would be perfect shading from
+the dark to light in the floral parts, but in other sections, marked
+in ⊡’s and ◻’s, either a solid warp or weft colour would appear
+on the face of the fabric. The principle imparts definition to
+the colours used, and also to the integral parts of the design.</p>
+
+<figure class="figcenter illowp42a" id="fig35a" style="max-width: 21.25em;">
+  <img class="w100" src="images/fig35a.jpg" alt="Figured style">
+  <figcaption>
+      <p><span class="smcap">Fig. 35a</span>.</p>
+  </figcaption>
+</figure>
+
+<p>123. <i>Irregular and Mixture Checks.</i>—The styles of this
+checking, on account of their neat and subdued character, are
+produced in many classes of woollen and worsted fabrics. Two
+typical examples will be considered—<a href="#plate20a"><abbr title="Numbers">Nos.</abbr> 1 and 3, Plate <abbr title="Twenty">XX.</abbr></a>
+<!--<span class="pagenum" id="Page_143">[Pg 143]</span>-->
+<span class="pagenum" id="Page_144">[Pg 144]</span>
+<abbr title="Number">No.</abbr> 1 is an intermingled check in five colours, and possesses a
+black ground, the order of warp colouring being:&#x2060;—</p>
+
+<p class="unindent indent20">
+3 threads of black.<br>
+1 thread of black and scarlet twist.<br>
+2 threads of black.<br>
+1 thread of black and green twist.<br>
+2 threads of black.<br>
+1 thread of black and scarlet twist.<br>
+3 threads of black.<br>
+2 threads of olive green.<br>
+3 threads of black.<br>
+1 thread of black and scarlet twist.<br>
+2 threads of black.<br>
+1 thread of black and green twist.<br>
+2 threads of black.<br>
+1 thread of black and scarlet twist.<br>
+2 threads of black.<br>
+3 threads of olive brown.
+</p>
+
+<p class="unindent">The method of wefting is much simpler than that of warping,
+consisting of 12 picks of black, 2 picks of olive brown, 12 picks
+of black, and 2 picks of olive green. The pattern is a combination
+of outline checks, enhanced with spotting threads of scarlet
+and black, and green and black twists. There is a skeleton
+check of olive green interlacing with a similar check of olive
+brown. The intensity of the two leading fancy colours ought
+in such patterns to be the same, as they should both be equally
+prominent in the texture.</p>
+
+<p>Next, as to the twist yarn or mixture check—<a href="#plate20c"><abbr title="Number">No.</abbr> 3, Plate <abbr title="Twenty">XX.</abbr></a>
+Here the pattern is composed of green and olive twist. On the
+intermingled mixture ground formed by these threads, is a small
+check of maroon. This hue forms a mellow contrast with the
+general colouring of the fabric. Twist yarns are chiefly suitable
+for yielding the rich and mellow indistinctness of effect seen in
+this example. The maroon is a solid colour and gives character
+to the pattern. For costume fabrics this scheme of checking, in
+both woollen and worsted fabrics, is well adapted, as it combines
+softness of colouring with neatness of pattern.
+</p>
+
+<figure class="figcenter illowp80" id="plate20a" style="max-width: 25.0em;">
+  <img class="w100" src="images/plate20a.jpg" alt="Mixed checks">
+  <figcaption style="color: blue;">
+      <p>Plate <abbr title="twenty">XX</abbr><br>
+      <span class="allsmcap">CHECK STYLES</span><br>
+      <span class="smaller">1. Intermingled Effects</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp80" id="plate20b" style="max-width: 25.0em;">
+  <img class="w100" src="images/plate20b.jpg" alt="Mixed checks">
+  <figcaption style="color: blue;">
+      <p><span class="smaller">2. Broken Check</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp80" id="plate20c" style="max-width: 25.0em;">
+  <img class="w100" src="images/plate20c.jpg" alt="Mixed checks">
+  <figcaption style="color: blue;">
+      <p><span class="smaller">3. Intermingled Effects</span></p>
+  </figcaption>
+</figure>
+
+<p><span class="pagenum" id="Page_145">[Pg 145]</span>
+124. <i>Fancy Broken Check.</i>—This is a species of check in which
+the plan of wefting differs from that of grouping the warp
+colours, the object being to produce a check-like effect more or
+less irregular in composition. <a href="#plate20b"><abbr title="Number">No.</abbr> 2, Plate <abbr title="Twenty">XX.</abbr></a>, is one form of
+this sort of checking. A pattern composed of small checks is
+here obtained, analysis of the colourings showing the warp and
+weft to consist of different shades. Thus, while the order of
+warping is 5 threads of light fawn, 1 thread of green, 4 threads
+of slate, 5 threads of light fawn, and 5 threads of slate; the
+weft is 4 picks of black, 1 pick of scarlet, 5 picks of bluish
+grey, 5 picks of black, and 5 picks of bluish grey. The
+contrast between the warp and weft shades defines the weave,
+which, if the warp and weft colourings had been alike, would,
+in some parts of the pattern, have been indistinct.</p>
+
+<p>The point to be observed in this type of colouring, is to employ
+shades of similar intensities in both warp and weft; thus, in
+this example, the slate is almost as prominent in the woven
+fabric as the black, the light fawn as the bluish grey, and the
+green as the scarlet. It is only by securing this balance of hues
+that harmonious colourings are producible in broken check
+patterns. Should any particular colour be stronger in character
+than others, it destroys some of the elements of the pattern.
+This principle of cross checking is also applied to various classes
+of striped fabrics, in which it is desirable to partially subdue the
+continuity of the warp colourings.</p>
+
+<p>125. <i>Examples in the Colouring of Tartans.</i>—These may be
+defined as squares of colour varying in size and arrangement,
+and are, strictly, an elaborate scheme of check design entirely in
+colouring. One interesting feature of these plaids is that the
+colours are usually of the same depth or degree of intensity, as
+illustrated by the Erskine plaid, a compound of bright scarlet
+and green. These two contrasting and complementary hues
+form a good checking. It is not, however, always the case that
+complementary colours are blended; for instance, the Montgomery
+tartan is composed of green and blue, two colours which, if not
+of the proper hue and intensity, would produce an incongruous
+pattern. Hence, here, as in many other plaids, it is a question
+of using the correct depth and hue of colour.</p>
+
+<p><span class="pagenum" id="Page_146">[Pg 146]</span>
+Tartans illustrate the hues which combine harmoniously, and
+also the quantities or areas in which bright colours unite in a
+satisfactory manner.</p>
+
+<p>As illustrations of this, the Macdonald and Hunting Menzies
+may be compared. In both, exactly the same colours are used,
+with entirely different effects. The Macdonald, in consequence
+of the large quantity of scarlet entering into its composition, is a
+bright plaid; whereas the Menzies is much softer and mellower
+in appearance. The larger the variety of colours, the more
+interesting the result in the pattern. If, for instance, the Duke
+of Rothesay, a three-colour tartan, is compared with the Hay,
+a five-colour one, the value of the larger number of hues in
+multiplying the diversity of colouring will be understood. Both
+are satisfactory compounds of coloured yarns, but the superior
+richness of the Hay is apparent. In each, red, green, and white
+are used, with the addition of black and yellow in the Hay.
+The Rothesay has a large square of red, divided with stripes of
+white, whereas in the Hay a similar space of red is subdivided
+with stripes of white, black, and green. In the Rothesay the
+green sections are crossed with lines of red; but in the Hay,
+with lines of yellow and red, forming a check rich in colouring.</p>
+
+<p>126. <i>Types of Tartans.</i>—Tartans may be classified as
+follows:&#x2060;—</p>
+
+<p class="unindent indent20">
+1. Plaids in two colours.<br>
+2. Plaids in three colours.<br>
+3. Plaids in four colours.<br>
+4. Plaids in five colours.<br>
+5. Plaids in six and seven colours.
+</p>
+
+<p class="unindent">It is difficult, on account of the varied colouring, to classify them
+according to hue; but the above subdivision comprises all the
+tartans, and makes it feasible to deal with them in a natural
+order, or in accordance with their colour composition.</p>
+
+<p>127. <i>Two-Colour Plaids.</i>—Amongst the most important of
+the two-colour tartans are the Menzies, Douglas, Montgomery,
+Macdonald, and the Erskine. The Menzies is produced in red
+and white, red and black, black and white, and red and green,
+the last being termed the Hunting Menzies.</p>
+
+<p>The black and white Menzies, in its original form, is illustrated
+<span class="pagenum" id="Page_147">[Pg 147]</span>
+in <a href="#fig36">Fig. 36</a>, the order of shades in both warp and weft being as
+follows:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdl">Black</td>
+ <td class="tdr">96</td>
+ <td class="tdr">12</td>
+ <td class="tdr">24</td>
+ <td class="tdr">6</td>
+ <td class="tdr">6</td>
+ <td class="tdr">24</td>
+ <td class="tdr">12</td>
+</tr>
+<tr>
+ <td class="tdl">White</td>
+ <td class="tdr">16</td>
+ <td class="tdr">16</td>
+ <td class="tdr">8</td>
+ <td class="tdr">36</td>
+ <td class="tdr">8</td>
+ <td class="tdr">16</td>
+ <td class="tdr">16</td>
+</tr>
+</table>
+
+<p class="unindent">It is a forcible scheme of checking which may be developed on
+various lines. Two changes which affect the appearance of the
+check are given. In the first (<a href="#fig37">Fig. 37</a>) the largest quantity of one
+colour—the 96 of black—has been modified:&#x2060;—</p>
+
+<table>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdl pad6">black.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl pad3" rowspan="2">For 16.</td>
+ <td class="tdr">4</td>
+ <td class="tdl pad6">white.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2">For 16.</td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdl pad6">white.</td>
+ <td class="tdl">⎭</td>
+ <td class="tdl">4</td>
+ <td class="tdr pad6">black.</td>
+ <td class="tdl">⎭</td>
+</tr>
+<tr>
+ <td class="tdr">64</td>
+ <td class="tdl pad6">black.</td>
+ <td class="tdl" colspan="6"></td>
+</tr>
+</table>
+
+<figure class="figcenter illowp40" id="fig36" style="max-width: 21.5em;">
+  <img class="w100" src="images/fig36.jpg" alt="Menzies">
+  <figcaption>
+      <p><span class="smcap">Fig. 36.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp40" id="fig37" style="max-width: 20.6875em;">
+  <img class="w100" src="images/fig37.jpg" alt="Menzies modification">
+  <figcaption>
+      <p><span class="smcap">Fig. 37.</span></p>
+  </figcaption>
+</figure>
+
+<p class="unindent">This slightly subdues the form of the check, which would be
+more apparent if the lines added were of a different colour from
+the rest of the pattern. The second change to form an overchecking
+is applied to the 12 threads of black in the centre of
+the squares of white:&#x2060;—</p>
+
+<table>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdl pad6">black.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl pad3" rowspan="2">For 4.</td>
+ <td class="tdr">1</td>
+ <td class="tdl pad6">white.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl pad3" rowspan="2">For 4.</td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdl pad6">white.</td>
+ <td class="tdl">⎭</td>
+ <td class="tdr">1</td>
+ <td class="tdl">black.</td>
+ <td class="tdl">⎭</td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdl pad6">black.</td>
+ <td colspan="6"></td>
+</tr>
+</table>
+
+<p class="unindent">Again, by having the odd threads in a bright colour, the tone of
+the pattern would be improved.</p>
+
+<p>Another example, namely, the Montgomery (<a href="#fig38">Fig. 38</a>), with the
+derivations obtainable on this base, may be considered. It is
+composed of a peculiar hue of grass green and blue. The blue,
+however, by its softness and warmth of hue, arising from its
+<span class="pagenum" id="Page_148">[Pg 148]</span>
+purplish tone, makes a subdued contrast with the green. The
+colours being about equal in intensity, are combined in similar
+quantities. In a smaller checking, with the blue slightly predominating,
+this plaid would make a good lining style, especially
+in mantles where the face of the cloth may be a warm colour,
+such as deep fawn. The warping and wefting for <a href="#fig38">Fig. 38</a> are:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdl">Green (black)</td>
+ <td class="tdr">144</td>
+ <td class="tdr">16</td>
+ <td class="tdr">16</td>
+</tr>
+<tr>
+ <td class="tdl">Blue (grey)</td>
+ <td class="tdr">48</td>
+ <td class="tdr">48</td>
+ <td class="tdr">48</td>
+</tr>
+</table>
+
+<figure class="figcenter illowp82" id="fig38" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig38.jpg" alt="Montgomery">
+  <figcaption>
+      <p><span class="smcap">Fig. 38.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp40" id="fig39" style="max-width: 22.5625em;">
+  <img class="w100" src="images/fig39.jpg" alt="Montgomery modification">
+  <figcaption>
+      <p><span class="smcap">Fig. 39.</span></p>
+  </figcaption>
+</figure>
+
+<p>In Figs. <a href="#fig39">39</a> and <a href="#fig40">40</a>,
+ two simple changes, showing how the
+pattern may be altered in appearance, are given. In the former,
+the centre 48 threads of blue have been subdivided into</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr">20</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">blue (grey),</td>
+</tr>
+<tr>
+ <td class="tdr">8</td>
+ <td class="tdc">„</td>
+ <td class="tdl">green (black),</td>
+</tr>
+<tr>
+ <td class="tdr">20</td>
+ <td class="tdc">„</td>
+ <td class="tdl">blue (grey),</td>
+</tr>
+</table>
+
+<p class="unindent">whilst in the latter, the 16 threads have been changed to</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr">6</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">green (black),</td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">„</td>
+ <td class="tdl">blue (grey),</td>
+</tr>
+<tr>
+ <td class="tdr">6</td>
+ <td class="tdc">„</td>
+ <td class="tdl">green (black).</td>
+</tr>
+</table>
+
+<p class="unindent">The check should be further modified in the large square of
+144 threads of green, working either from the edges to the
+centre, or <i lang="la">vice versâ</i>, one scheme being as follows:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdl">Green (black)</td>
+ <td class="tdr">24</td>
+ <td class="tdr">16</td>
+ <td class="tdr">8</td>
+ <td class="tdr">16</td>
+ <td class="tdr">24</td>
+</tr>
+<tr>
+ <td class="tdl">Blue (grey)</td>
+ <td class="tdr">8</td>
+ <td class="tdr">20</td>
+ <td class="tdr">20</td>
+ <td class="tdr">8</td>
+ <td class="tdc">-</td>
+</tr>
+</table>
+
+<p><span class="pagenum" id="Page_149">[Pg 149]</span></p>
+<figure class="figcenter illowp40" id="fig40" style="max-width: 22.6875em;">
+  <img class="w100" src="images/fig40.jpg" alt="Montgomery modification">
+  <figcaption>
+      <p><span class="smcap">Fig. 40.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp40" id="fig41" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig41.jpg" alt="Douglas">
+  <figcaption>
+      <p><span class="smcap">Fig. 41.</span></p>
+  </figcaption>
+</figure>
+
+<p>The Grey Douglas is an effective pattern in black and grey
+yarns. As a basis of checking, it is simple in arrangement, and
+of such a character as to be capable of numerous modifications.
+In fine yarns and close setting, it might be used for dress
+materials, in worsted yarns for linings, and in woollen yarns for
+rugs and shawls: in thick and soft spun yarns, it would be also
+suitable for travelling rugs. A standard form of this tartan is
+sketched in <a href="#fig41">Fig. 41</a>, the warp and weft being:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdl">Black</td>
+ <td class="tdc">-</td>
+ <td class="tdr">4</td>
+ <td class="tdr">4</td>
+ <td class="tdr">16</td>
+ <td class="tdr">4</td>
+ <td class="tdr">32</td>
+ <td class="tdr">4</td>
+ <td class="tdr">16</td>
+</tr>
+<tr>
+ <td class="tdl">Grey</td>
+ <td class="tdr">36</td>
+ <td class="tdr">8</td>
+ <td class="tdr">36</td>
+ <td class="tdr">4</td>
+ <td class="tdr">4</td>
+ <td class="tdr">4</td>
+ <td class="tdr">4</td>
+ <td class="tdc">-</td>
+</tr>
+</table>
+
+<figure class="figcenter illowp50" id="fig42" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig42.jpg" alt="Douglas modification">
+  <figcaption>
+      <p><span class="smcap">Fig. 42.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp50" id="fig43" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig43.jpg" alt="Douglas modification">
+  <figcaption>
+      <p><span class="smcap">Fig. 43.</span></p>
+  </figcaption>
+</figure>
+
+<p><a href="#fig42">Figs. 42</a> and <a href="#fig43">43</a>
+ give some idea of the diversity of style obtainable
+<span class="pagenum" id="Page_150">[Pg 150]</span>
+by extending the colouring. The form of this check makes
+it desirable, in combining other colours than black and grey, that
+there should only be a small degree of contrast between the
+shades, the best patterns resulting when the colours are of the
+same hue.</p>
+
+<figure class="figleft illowp50" id="fig44" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig44.jpg" alt="Douglas Modification">
+  <figcaption>
+      <p><span class="smcap">Fig. 44.</span></p>
+  </figcaption>
+</figure>
+
+<p>When the plaid is developed on the lines illustrated in <a href="#fig42">Figs. 42</a>
+ and <a href="#fig43">43</a>, it suffers somewhat in simplicity of character, but
+still makes an excellent pattern for linings, and in fine yarns for
+dress materials. The broken-up effects in these two checkings
+admit of more pronounced colour contrasts than are feasible in
+colouring <a href="#fig41">Fig. 41</a>. The sub-division of the various sections
+of 36 threads of grey has been acquired thus:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr">8</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">grey.</td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+</tr>
+<tr>
+ <td class="tdr">8</td>
+ <td class="tdc">„</td>
+ <td class="tdl">grey.</td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+</tr>
+<tr>
+ <td class="tdr">12</td>
+ <td class="tdc">„</td>
+ <td class="tdl">grey.</td>
+</tr>
+</table>
+
+<p><a href="#fig43">Fig. 43</a> results from dividing
+the 32 threads of black:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdl">8</td>
+ <td class="tdl">black.</td>
+ <td class="tdl"></td>
+ <td class="tdl"></td>
+</tr>
+<tr>
+ <td class="tdl">1</td>
+ <td class="tdl">grey.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2">For 16.</td>
+</tr>
+<tr>
+ <td class="tdl">1</td>
+ <td class="tdl">black.</td>
+ <td class="tdl">⎭</td>
+
+</tr>
+<tr>
+ <td class="tdl">8</td>
+ <td class="tdl">black.</td>
+ <td colspan="2"></td>
+</tr>
+</table>
+
+<p>By changing the weave
+from 4- to 6-end twill, a very different colour effect is obtained,
+as shown in <a href="#fig44">Fig. 44</a>.</p>
+
+<p>128. <i>Three-Colour Tartans.</i>—These form an important variety,
+and may be considered under two heads,—the bright plaids, of
+which the Gow, MacLeod, Duke of Rothesay, Cuninghame,
+Brodie, Wallace, MacQueen, Crawford, Hamilton, Ross,
+Macintosh, Maxwell, Dunbar, Skene, and Mathieson are
+examples; and the dark plaids, including the Clergy, Hunting
+Mathieson, Keith, Hunting MacLean, MacArthur, and
+Elliot.</p>
+
+<p>The following are the orders of colouring for the MacQueen,
+the Hamilton, and the Maxwell:&#x2060;—</p>
+
+<p class="center"><span class="pagenum" id="Page_151">[Pg 151]</span>
+<span class="smcap">MacQueen</span> (<a href="#fig45">Fig. 45</a>).
+</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdl">Black (black)</td>
+ <td class="tdr">8</td>
+ <td class="tdr">8</td>
+ <td class="tdr">8</td>
+ <td class="tdr">64</td>
+ <td class="tdr">64<br></td>
+</tr>
+<tr>
+ <td class="tdl">Red (grey)</td>
+ <td class="tdr">28</td>
+ <td class="tdr">28</td>
+ <td class="tdr">28</td>
+ <td class="tdc">-</td>
+ <td class="tdr">28<br></td>
+</tr>
+<tr>
+ <td class="tdl">Yellow (white)</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdr">6</td>
+ <td class="tdc">-</td>
+</tr>
+</table>
+
+<figure class="figcenter illowp69" id="fig45" style="max-width: 23.25em;">
+  <img class="w100" src="images/fig45.jpg" alt="McQueen">
+  <figcaption>
+      <p><span class="smcap">Fig. 45.</span></p>
+  </figcaption>
+</figure>
+
+<p>Two modifications of this tartan are given in <a href="#fig46">Figs. 46</a> and <a href="#fig47">47</a>,
+and show how the base is adapted for detailed checking.</p>
+
+<p class="center">
+<span class="smcap">Hamilton</span> (<a href="#fig48">Fig. 48</a>).
+</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdl">Scarlet (medium grey)</td>
+ <td class="tdr">60</td>
+ <td class="tdr">60</td>
+ <td class="tdr">16</td>
+ <td class="tdr">16</td>
+</tr>
+<tr>
+ <td class="tdl">White (white)</td>
+ <td class="tdr">12</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+</tr>
+<tr>
+ <td class="tdl">Blue (black)</td>
+ <td class="tdc">-</td>
+ <td class="tdr">36</td>
+ <td class="tdr">36</td>
+ <td class="tdr">36</td>
+</tr>
+</table>
+
+<p class="center">
+<span class="smcap">Maxwell</span> (<a href="#fig49">Fig. 49</a>).
+</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdl">Scarlet (medium grey)</td>
+ <td class="tdr">54</td>
+ <td class="tdr">8</td>
+ <td class="tdr">54</td>
+ <td class="tdr">12</td>
+ <td class="tdr">12</td>
+ <td class="tdr">12</td>
+</tr>
+<tr>
+ <td class="tdl">Green (light grey)</td>
+ <td class="tdr">4</td>
+ <td class="tdr">4</td>
+ <td class="tdc">-</td>
+ <td class="tdr">28</td>
+ <td class="tdr">28</td>
+ <td class="tdc">-</td>
+</tr>
+<tr>
+ <td class="tdl">Indigo blue (black)</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdr">12</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdr">12</td>
+</tr>
+</table>
+
+<p>These tartans are examples of colouring in which red or scarlet
+is the most important colour employed.</p>
+
+<p><span class="pagenum" id="Page_152">[Pg 152]</span></p>
+<figure class="figcenter illowp67" id="fig46" style="max-width: 22.5625em;">
+  <img class="w100" src="images/fig46.jpg" alt="McQueen modification">
+  <figcaption>
+      <p><span class="smcap">Fig. 46.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp66" id="fig47" style="max-width: 22.125em;">
+  <img class="w100" src="images/fig47.jpg" alt="McQueen modification">
+  <figcaption>
+      <p><span class="smcap">Fig. 47.</span></p>
+  </figcaption>
+</figure>
+
+<p><span class="pagenum" id="Page_153">[Pg 153]</span>
+<a href="#fig50">Fig. 50</a>, the Elliot, is not of this class, for it is composed of
+blue, brown, and a small band of scarlet, the red being used to
+give cheerfulness of tone. The order of colouring is:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdl">Blue (grey)</td>
+ <td class="tdr">216</td>
+ <td class="tdr">32</td>
+ <td class="tdr">32</td>
+</tr>
+<tr>
+ <td class="tdl">Brown (black)</td>
+ <td class="tdr">64</td>
+ <td class="tdc">-</td>
+ <td class="tdr">64</td>
+</tr>
+<tr>
+ <td class="tdl">Scarlet (white)</td>
+ <td class="tdc">-</td>
+ <td class="tdr">12</td>
+ <td class="tdc">-</td>
+</tr>
+</table>
+
+<p class="unindent">It is a simple check, yet is exactly of that type which is capable
+of interesting development by modification.</p>
+
+<figure class="figcenter illowp45" id="fig48" style="max-width: 26.9375em;">
+  <img class="w100" src="images/fig48.jpg" alt="Hamilton">
+  <figcaption>
+      <p><span class="smcap">Fig. 48.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp45" id="fig49" style="max-width: 24.5em;">
+  <img class="w100" src="images/fig49.jpg" alt="Maxwell">
+  <figcaption>
+      <p><span class="smcap">Fig. 49.</span></p>
+  </figcaption>
+</figure>
+
+<p>129. <i>Four-Colour Plaids.</i>—Three of the most interesting
+tartans of this class, whether produced in neutral shades or
+in the original colourings, are the MacKinnon, Dundas, and
+Fraser. They have few elements in common, as comparisons
+of <a href="#fig51">Figs. 51</a>, <a href="#fig54">54</a>,
+ and <a href="#fig57">57</a>—the plaids in the unmodified forms—distinctly
+show. The MacKinnon in particular is characterized
+by simplicity of form and scheme of colouring; the
+Dundas is a heavier base; and the Fraser full of details and of
+shade contrasts. They are also dissimilar in colour qualities.
+The MacKinnon and Dundas are both dark plaids, the former
+being composed of brown, green, scarlet, and white, and the
+latter of black, green, scarlet, and blue. The Fraser is an
+admirable compound of scarlet, black, green, and white. The
+following are the orders of colouring for the respective tartans,
+with their modifications:—</p>
+
+<p class="center"><span class="pagenum" id="Page_154">[Pg 154]</span>
+<span class="smcap">The MacKinnon</span> (<a href="#fig51">Fig. 51</a>).
+</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdl">Brown</td>
+ <td class="tdl">= black</td>
+ <td class="tdr">64</td>
+ <td class="tdr">64</td>
+ <td class="tdc">-</td>
+ <td class="tdr">64</td>
+ <td class="tdr">64</td>
+ <td class="tdc">-</td>
+</tr>
+<tr>
+ <td class="tdl">Green</td>
+ <td class="tdl">= medium grey</td>
+ <td class="tdr">12</td>
+ <td class="tdr">64</td>
+ <td class="tdr">64</td>
+ <td class="tdc">-</td>
+ <td class="tdr">64</td>
+ <td class="tdr">64</td>
+</tr>
+<tr>
+ <td class="tdl">Scarlet</td>
+ <td class="tdl">= light grey</td>
+ <td class="tdc">-</td>
+ <td class="tdr">8</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdr">8</td>
+ <td class="tdc">-</td>
+</tr>
+<tr>
+ <td class="tdl">White</td>
+ <td class="tdl">= white</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdr">8</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+</tr>
+</table>
+
+<figure class="figcenter illowp50" id="fig50" style="max-width: 22.5625em;">
+  <img class="w100" src="images/fig50.jpg" alt="Elliot">
+  <figcaption>
+      <p><span class="smcap">Fig. 50.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp50" id="fig51" style="max-width: 26.25em;">
+  <img class="w100" src="images/fig51.jpg" alt="MacKinnon">
+  <figcaption>
+      <p><span class="smcap">Fig. 51.</span></p>
+  </figcaption>
+</figure>
+
+<p class="center">
+<span class="smcap">MacKinnon—First Modification</span> (<a href="#fig52">Fig. 52</a>).
+</p>
+
+<div class="smaller">
+<table class="autotable">
+<tr>
+  <td></td>
+  <td class="tdc" colspan="2">24</td>
+  <td></td>
+  <td class="tdc" colspan="2">30</td>
+  <td colspan="12"></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="tdc" colspan="2">⏞</td>
+  <td></td>
+  <td class="tdc" colspan="2">⏞</td>
+  <td colspan="12"></td>
+</tr>
+<tr>
+ <td class="tdl">Medium grey</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdr">12</td>
+ <td class="tdl">⎫</td>
+ <td class="tdc" rowspan="4">Repeat A</td>
+ <td class="tdr">64</td>
+ <td class="tdr">64</td>
+ <td class="tdl">⎫</td>
+ <td class="tdc" rowspan="4">Repeat A</td>
+ <td class="tdc">-</td>
+ <td class="tdl">⎫</td>
+ <td class="tdc" rowspan="4">Repeat A</td>
+ <td class="tdr">64</td>
+ <td class="tdr">64</td>
+</tr>
+<tr>
+ <td class="tdl">Light grey</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdl">⎬</td>
+ <td class="tdr">8</td>
+ <td class="tdr">-</td>
+ <td class="tdl">⎬</td>
+ <td class="tdr">-</td>
+ <td class="tdl">⎬</td>
+ <td class="tdr">8</td>
+ <td class="tdr">-</td>
+</tr>
+<tr>
+ <td class="tdl">Black</td>
+ <td class="tdr">6</td>
+ <td class="tdr">2</td>
+ <td class="tdr">10</td>
+ <td class="tdr">6</td>
+ <td class="tdr">2</td>
+ <td class="tdc">-</td>
+ <td class="tdl">⎪</td>
+ <td class="tdr">-</td>
+ <td class="tdr">-</td>
+ <td class="tdl">⎪</td>
+ <td class="tdr">-</td>
+ <td class="tdl">⎪</td>
+ <td class="tdr">-</td>
+ <td class="tdr">-</td>
+</tr>
+<tr>
+ <td class="tdl">White</td>
+ <td class="tdr">2</td>
+ <td class="tdr">2</td>
+ <td class="tdc">-</td>
+ <td class="tdr">2</td>
+ <td class="tdr">2</td>
+ <td class="tdc">-</td>
+ <td class="tdl">⎭</td>
+ <td class="tdr">-</td>
+ <td class="tdr">-</td>
+ <td class="tdl">⎭</td>
+ <td class="tdr">8</td>
+ <td class="tdl">⎭</td>
+ <td class="tdr">-</td>
+ <td class="tdr">-</td>
+</tr>
+<tr>
+ <td></td>
+ <td class="tdc" colspan="5">\~~~~~~~~~/</td>
+ <td colspan="12"></td>
+</tr>
+<tr>
+ <td></td>
+ <td class="tdc" colspan="5">A</td>
+ <td colspan="12"></td>
+</tr>
+</table>
+</div><!--end smaller font-->
+
+<p class="p2 center">
+<span class="smcap">MacKinnon—Second Modification</span> (<a href="#fig53">Fig. 53</a>).
+</p>
+
+<div style="overflow-x:auto;" class="smaller">
+<table class="autotable">
+<tr>
+  <td></td>
+  <td class="tdc" colspan="2">24</td>
+  <td></td>
+  <td class="tdc" colspan="2">30</td>
+  <td colspan="17"></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="tdc" colspan="2">⏞</td>
+  <td></td>
+  <td class="tdc" colspan="2">⏞</td>
+  <td colspan="17"></td>
+</tr>
+<tr>
+ <td class="tdl">Medium grey</td>
+ <td class="tdr">-</td>
+ <td class="tdr">-</td>
+ <td class="tdc">-</td>
+ <td class="tdr">-</td>
+ <td class="tdr">-</td>
+ <td class="tdr">12</td>
+ <td class="tdc" rowspan="4">Repeat A</td>
+ <td class="tdr">12</td>
+ <td class="tdr">4</td>
+ <td class="tdr">4</td>
+ <td class="tdr">4</td>
+ <td class="tdr">4</td>
+ <td class="tdr">4</td>
+ <td class="tdr">12</td>
+ <td class="tdr">-</td>
+ <td class="tdc" rowspan="4">Repeat B</td>
+ <td class="tdc" rowspan="4">Repeat A</td>
+ <td class="tdr">-</td>
+ <td class="tdc" rowspan="4">Repeat A</td>
+ <td class="tdc" rowspan="4">Repeat B</td>
+ <td class="tdr">-</td>
+ <td class="tdc" rowspan="4">Repeat B</td>
+</tr>
+<tr>
+ <td class="tdl">Light grey</td>
+ <td class="tdr">-</td>
+ <td class="tdr">-</td>
+ <td class="tdc">-</td>
+ <td class="tdr">-</td>
+ <td class="tdr">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdr">-</td>
+ <td class="tdr">-</td>
+ <td class="tdr">-</td>
+ <td class="tdr">-</td>
+ <td class="tdr">-</td>
+ <td class="tdc">-</td>
+ <td class="tdr">8</td>
+ <td class="tdc">-</td>
+ <td class="tdr">8</td>
+</tr>
+<tr>
+ <td class="tdl">Black</td>
+ <td class="tdr">6</td>
+ <td class="tdr">2</td>
+ <td class="tdr">10</td>
+ <td class="tdr">6</td>
+ <td class="tdr">2</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdr">-</td>
+ <td class="tdr">2</td>
+ <td class="tdr">2</td>
+ <td class="tdr">-</td>
+ <td class="tdr">-</td>
+ <td class="tdc">-</td>
+ <td class="tdr">-</td>
+ <td class="tdr">-</td>
+ <td class="tdr">-</td>
+</tr>
+<tr>
+ <td class="tdl">White</td>
+ <td class="tdr">2</td>
+ <td class="tdr">2</td>
+ <td class="tdc">-</td>
+ <td class="tdr">2</td>
+ <td class="tdr">2</td>
+ <td class="tdc">-</td>
+ <td class="tdc">4</td>
+ <td class="tdr">4</td>
+ <td class="tdr">-</td>
+ <td class="tdr">-</td>
+ <td class="tdr">4</td>
+ <td class="tdr">4</td>
+ <td class="tdc">-</td>
+ <td class="tdr">-</td>
+ <td class="tdr">8</td>
+ <td class="tdr">-</td>
+</tr>
+<tr>
+ <td></td>
+ <td class="tdc" colspan="5">\~~~~~~~~~/</td>
+ <td colspan="2"></td>
+ <td class="tdc" colspan="7">\~~~~~~~~~~~~/</td>
+ <td colspan="8"></td>
+</tr>
+<tr>
+ <td></td>
+ <td class="tdc" colspan="5">A</td>
+ <td colspan="2"></td>
+ <td class="tdc" colspan="7">B</td>
+ <td colspan="8"></td>
+</tr>
+</table>
+
+</div><!--end overflow and smaller font-->
+
+<p>Both these changes result in the formation of excellent plaids
+for travelling rugs. The check given in <a href="#fig53">Fig. 53</a> would be
+difficult to improve upon by combining four shades.</p>
+
+<p class="p2 center">
+<span class="pagenum" id="Page_155">[Pg 155]</span>
+<span class="smcap">The Dundas</span> (<a href="#fig54">Fig. 54</a>).
+</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdl">Black</td>
+ <td class="tdl">= black</td>
+ <td class="tdc">40</td>
+ <td class="tdc">8</td>
+ <td class="tdc">40</td>
+ <td class="tdc">-</td>
+ <td class="tdc">8</td>
+ <td class="tdc">-</td>
+</tr>
+<tr>
+ <td class="tdl">Blue</td>
+ <td class="tdl">= medium grey</td>
+ <td class="tdc">40</td>
+ <td class="tdc">40</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+</tr>
+<tr>
+ <td class="tdl">Green</td>
+ <td class="tdl">= light grey</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">64</td>
+ <td class="tdc">8</td>
+ <td class="tdc">8</td>
+ <td class="tdc">64</td>
+</tr>
+<tr>
+ <td class="tdl">Scarlet</td>
+ <td class="tdl">= white</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">12</td>
+ <td class="tdc">-</td>
+ <td class="tdc">12</td>
+ <td class="tdc">-</td>
+</tr>
+</table>
+
+<figure class="figcenter illowp50" id="fig52" style="max-width: 26.0625em;">
+  <img class="w100" src="images/fig52.jpg" alt="MacKinnon mod. 1">
+  <figcaption>
+      <p><span class="smcap">Fig. 52.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp50" id="fig53" style="max-width: 25.375em;">
+  <img class="w100" src="images/fig53.jpg" alt="MacKinnon mod 2">
+  <figcaption>
+      <p><span class="smcap">Fig. 53.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp50" id="fig54" style="max-width: 26.125em;">
+  <img class="w100" src="images/fig54.jpg" alt="Dundas">
+  <figcaption>
+      <p><span class="smcap">Fig. 54.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp50" id="fig55" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig55.jpg" alt="Dundas mod. 1">
+  <figcaption>
+      <p><span class="smcap">Fig. 55.</span></p>
+  </figcaption>
+</figure>
+
+<p class="center">
+<span class="smcap">Dundas</span>—<span class="smcap">First
+ Modification</span> (<a href="#fig55">Fig. 55</a>).
+</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdl">Black</td>
+ <td class="tdc">4</td>
+ <td class="tdc">4</td>
+ <td class="tdc">-</td>
+ <td class="tdc">4</td>
+ <td class="tdc">4</td>
+ <td class="tdc">-</td>
+ <td class="tdc">8</td>
+ <td class="tdc" rowspan="4">Repeat A</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">8</td>
+ <td class="tdc">-</td>
+</tr>
+<tr>
+ <td class="tdl">White</td>
+ <td class="tdc">4</td>
+ <td class="tdc">4</td>
+ <td class="tdc">4</td>
+ <td class="tdc">4</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">12</td>
+ <td class="tdc">-</td>
+ <td class="tdc">12</td>
+</tr>
+<tr>
+ <td class="tdl">Med. grey</td>
+ <td class="tdc">-</td>
+ <td class="tdc">8</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">40</td>
+ <td class="tdc">40</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdr">-</td>
+ <td class="tdc">-</td>
+</tr>
+<tr>
+ <td class="tdl">Light grey</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">64</td>
+ <td class="tdr">8</td>
+ <td class="tdc">8</td>
+ <td class="tdc">64</td>
+</tr>
+<tr>
+ <td class="tdl"></td>
+ <td class="tdc" colspan="5">\~~~~~~~~~/</td>
+ <td colspan="7"></td>
+</tr>
+<tr>
+ <td class="tdl"></td>
+ <td class="tdc" colspan="5">A</td>
+ <td colspan="7"></td>
+</tr>
+</table>
+
+<p class="p2 center"><span class="pagenum" id="Page_156">[Pg 156]</span>
+<span class="smcap">Dundas—Second Modification</span> (<a href="#fig56">Fig. 56</a>).
+</p>
+
+<div style="overflow-x:auto;">
+<table class="autotable">
+<tr>
+ <td class="tdl">Black</td>
+ <td class="tdc">4</td>
+ <td class="tdc">4</td>
+ <td class="tdc">-</td>
+ <td class="tdc">4</td>
+ <td class="tdc">4</td>
+ <td class="tdc">-</td>
+ <td class="tdr">8</td>
+ <td class="tdc" rowspan="4">Repeat A</td>
+ <td class="tdc">-</td>
+ <td class="tdr">2</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdr">-</td>
+ <td class="tdr">2</td>
+ <td class="tdr">-</td>
+ <td class="tdc">8</td>
+ <td class="tdr">-</td>
+ <td class="tdc" rowspan="4">Repeat B</td>
+</tr>
+<tr>
+ <td class="tdl">White</td>
+ <td class="tdc">4</td>
+ <td class="tdc">4</td>
+ <td class="tdc">4</td>
+ <td class="tdc">4</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdr">-</td>
+ <td class="tdc">-</td>
+ <td class="tdr">-</td>
+ <td class="tdc">4</td>
+ <td class="tdc">4</td>
+ <td class="tdr">4</td>
+ <td class="tdr">-</td>
+ <td class="tdr">12</td>
+ <td class="tdc">-</td>
+ <td class="tdr">12</td>
+</tr>
+<tr>
+ <td class="tdl">Med. grey</td>
+ <td class="tdc">-</td>
+ <td class="tdc">8</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">40</td>
+ <td class="tdr">40</td>
+ <td class="tdc">-</td>
+ <td class="tdr">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdr">-</td>
+ <td class="tdr">-</td>
+ <td class="tdr">-</td>
+ <td class="tdc">-</td>
+ <td class="tdr">-</td>
+</tr>
+<tr>
+ <td class="tdl">Light grey</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">10</td>
+ <td class="tdr">10</td>
+ <td class="tdc">4</td>
+ <td class="tdc">4</td>
+ <td class="tdr">10</td>
+ <td class="tdr">10</td>
+ <td class="tdr">8</td>
+ <td class="tdc">8</td>
+ <td class="tdr">-</td>
+</tr>
+<tr>
+ <td class="tdl"></td>
+ <td class="tdc" colspan="5">\~~~~~~~/</td>
+ <td colspan="3"></td>
+ <td class="tdc" colspan="6">\~~~~~~~~~~~~~/</td>
+ <td colspan="4"></td>
+</tr>
+<tr>
+ <td class="tdl"></td>
+ <td class="tdc" colspan="5">A</td>
+ <td colspan="3"></td>
+ <td class="tdc" colspan="6">B</td>
+ <td colspan="4"></td>
+</tr>
+</table>
+</div><!--end overflow-->
+
+<p class="p2 center">
+<span class="smcap">The Fraser</span> (<a href="#fig57">Fig. 57</a>).
+</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdl">Green</td>
+ <td class="tdl">= mid grey</td>
+ <td class="tdc">24</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">24</td>
+ <td class="tdc">-</td>
+</tr>
+<tr>
+ <td class="tdl">Scarlet</td>
+ <td class="tdl">= light grey</td>
+ <td class="tdc">12</td>
+ <td class="tdc">12</td>
+ <td class="tdc">12</td>
+ <td class="tdc">48</td>
+ <td class="tdc">48</td>
+</tr>
+<tr>
+ <td class="tdl">Blue</td>
+ <td class="tdl">= black</td>
+ <td class="tdc">24</td>
+ <td class="tdc">24</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+</tr>
+<tr>
+ <td class="tdl">White</td>
+ <td class="tdl">= white</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">12</td>
+ <td class="tdc">-</td>
+</tr>
+</table>
+
+<figure class="figcenter illowp50" id="fig56" style="max-width: 24.25em;">
+  <img class="w100" src="images/fig56.jpg" alt="Dundas modification">
+  <figcaption>
+      <p><span class="smcap">Fig. 56.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp50" id="fig57" style="max-width: 24.1875em;">
+  <img class="w100" src="images/fig57.jpg" alt="Fraser">
+  <figcaption>
+      <p><span class="smcap">Fig. 57</span></p>
+  </figcaption>
+</figure>
+
+<p class="center">
+<span class="smcap">Fraser—First Modification</span> (<a href="#fig58">Fig. 58</a>).
+</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdl">Light grey</td>
+ <td class="tdc">8</td>
+ <td class="tdr">6</td>
+ <td class="tdc">6</td>
+ <td class="tdc">8</td>
+ <td class="tdc">-</td>
+ <td class="tdl">⎫</td>
+ <td class="tdc" rowspan="4">Repeat A</td>
+ <td class="tdc">-</td>
+ <td class="tdc">12</td>
+ <td class="tdc">12</td>
+ <td class="tdc">12</td>
+</tr>
+<tr>
+ <td class="tdl">Black</td>
+ <td class="tdc">4</td>
+ <td class="tdr">-</td>
+ <td class="tdc">4</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdl">⎬</td>
+ <td class="tdc">-</td>
+ <td class="tdc">24</td>
+ <td class="tdc">24</td>
+ <td class="tdc">-</td>
+</tr>
+<tr>
+ <td class="tdl">White</td>
+ <td class="tdc">-</td>
+ <td class="tdr">12</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">12</td>
+ <td class="tdl">⎪</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+</tr>
+<tr>
+ <td class="tdl">Mid grey</td>
+ <td class="tdc">-</td>
+ <td class="tdr">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdl">⎭</td>
+ <td class="tdc">24</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">24</td>
+</tr>
+<tr>
+ <td></td>
+ <td class="tdc" colspan="4">\~~~~~~~~~/</td>
+ <td colspan="7"></td>
+</tr>
+<tr>
+ <td></td>
+ <td class="tdc" colspan="4">A</td>
+ <td colspan="7"></td>
+</tr>
+</table>
+
+<p class="p2 center">
+<span class="smcap">Fraser—Second Modification</span> (<a href="#fig59">Fig. 59</a>).
+</p>
+
+
+<table class="autotable smaller">
+<tr>
+ <td class="tdl">Light grey</td>
+ <td class="tdc">8</td>
+ <td class="tdr">6</td>
+ <td class="tdc">6</td>
+ <td class="tdc">8</td>
+ <td class="tdc">-</td>
+ <td class="tdl">⎫</td>
+ <td class="tdc" rowspan="4">Repeat A</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">12</td>
+ <td class="tdc">12</td>
+ <td class="tdc">12</td>
+ <td class="tdl">⎫</td>
+ <td class="tdc" rowspan="4">Repeat A</td>
+</tr>
+<tr>
+ <td class="tdl">Black</td>
+ <td class="tdc">4</td>
+ <td class="tdc">-</td>
+ <td class="tdc">4</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdl">⎬</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">24</td>
+ <td class="tdc">24</td>
+ <td class="tdc">-</td>
+ <td class="tdl">⎬</td>
+</tr>
+<tr>
+ <td class="tdl">White</td>
+ <td class="tdc">-</td>
+ <td class="tdr">12</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">12</td>
+ <td class="tdl">⎪</td>
+ <td class="tdc">-</td>
+ <td class="tdc">4</td>
+ <td class="tdc">4</td>
+ <td class="tdc">4</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdl">⎪</td>
+</tr>
+<tr>
+ <td class="tdl">Mid grey</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdl">⎭</td>
+ <td class="tdc">4</td>
+ <td class="tdc">4</td>
+ <td class="tdc">4</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdl">⎭</td>
+</tr>
+<tr>
+ <td></td>
+ <td class="tdc" colspan="4">\~~~~~~/</td>
+ <td colspan="3"></td>
+ <td class="tdc" colspan="3">\~~~~/</td>
+ <td colspan="6"></td>
+</tr>
+<tr>
+ <td></td>
+ <td class="tdc" colspan="4">A</td>
+ <td colspan="3"></td>
+ <td class="tdc" colspan="3">B</td>
+ <td colspan="6"></td>
+</tr>
+</table>
+
+<p><span class="pagenum" id="Page_157">[Pg 157]</span>
+130. <i>Five, Six, and Seven-Colour Plaids.</i>—These are much
+more limited in variety, but the following may be given as
+examples:&#x2060;—</p>
+
+<p class="center">
+<span class="smcap">Clan Alpin (Five-Colour).</span>
+</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdl">Black</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdr">32</td>
+ <td class="tdr">32</td>
+ <td class="tdr">-</td>
+ <td class="tdr">-</td>
+ <td class="tdr">6</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+</tr>
+<tr>
+ <td class="tdl">Indigo blue</td>
+ <td class="tdc">32</td>
+ <td class="tdc">-</td>
+ <td class="tdr">-</td>
+ <td class="tdr">-</td>
+ <td class="tdr">32</td>
+ <td class="tdr">8</td>
+ <td class="tdr">-</td>
+ <td class="tdc">8</td>
+ <td class="tdc">-</td>
+</tr>
+<tr>
+ <td class="tdl">Green</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdr">6</td>
+ <td class="tdr">-</td>
+ <td class="tdr">8</td>
+ <td class="tdr">36</td>
+ <td class="tdr">36</td>
+ <td class="tdc">-</td>
+ <td class="tdc">8</td>
+</tr>
+<tr>
+ <td class="tdl">Yellow</td>
+ <td class="tdc">-</td>
+ <td class="tdc">6</td>
+ <td class="tdr">-</td>
+ <td class="tdr">-</td>
+ <td class="tdr">-</td>
+ <td class="tdr">-</td>
+ <td class="tdr">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+</tr>
+<tr>
+ <td class="tdl">White</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdr">-</td>
+ <td class="tdr">6</td>
+ <td class="tdr">-</td>
+ <td class="tdr">-</td>
+ <td class="tdr">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+</tr>
+</table>
+
+<figure class="figcenter illowp50" id="fig58" style="max-width: 24.0em;">
+  <img class="w100" src="images/fig58.jpg" alt="Fraser mod 1">
+  <figcaption>
+      <p><span class="smcap">Fig. 58.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp50" id="fig59" style="max-width: 25.1875em;">
+  <img class="w100" src="images/fig59.jpg" alt="Fraser mod 2">
+  <figcaption>
+      <p><span class="smcap">Fig. 59.</span></p>
+  </figcaption>
+</figure>
+
+<p class="center">
+<span class="smcap">Royal Stuart (Six-Colour).</span>
+</p>
+
+<table class="autotable smaller">
+<tr>
+ <td class="tdl">Black</td>
+ <td class="tdc">-</td>
+ <td class="tdc">20</td>
+ <td class="tdc">-</td>
+ <td class="tdc">10</td>
+ <td class="tdc">-</td>
+ <td class="tdc">10</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">8</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">8</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">10</td>
+ <td class="tdc">-</td>
+ <td class="tdc">10</td>
+ <td class="tdc">-</td>
+ <td class="tdc">20</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+</tr>
+<tr>
+ <td class="tdl">Blue</td>
+ <td class="tdc">16</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">16</td>
+ <td class="tdc">-</td>
+</tr>
+<tr>
+ <td class="tdl">Green</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">40</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">40</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+</tr>
+<tr>
+ <td class="tdl">Scarlet</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">20</td>
+ <td class="tdc">-</td>
+ <td class="tdc">8</td>
+ <td class="tdc">-</td>
+ <td class="tdc">8</td>
+ <td class="tdc">-</td>
+ <td class="tdc">20</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">220</td>
+</tr>
+<tr>
+ <td class="tdl">Yellow</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">8</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">8</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+</tr>
+<tr>
+ <td class="tdl">White</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">8</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">8</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">8</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+</tr>
+</table>
+
+<p class="p2 center">
+<span class="smcap">MacLean (Seven-Colour).</span>
+</p>
+
+<table class="autotable smaller">
+<tr>
+ <td class="tdl">Black</td>
+ <td class="tdc">-</td>
+ <td class="tdc">6</td>
+ <td class="tdc">-</td>
+ <td class="tdc">6</td>
+ <td class="tdc">-</td>
+ <td class="tdc">12</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">12</td>
+ <td class="tdc">-</td>
+ <td class="tdc">6</td>
+ <td class="tdc">-</td>
+ <td class="tdc">6</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">6</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+</tr>
+<tr>
+ <td class="tdl">Indigo</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">24</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+</tr>
+<tr>
+ <td class="tdl">Green</td>
+ <td class="tdc">36</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">36</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+</tr>
+<tr>
+ <td class="tdl">Scarlet</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">56</td>
+ <td class="tdc">-</td>
+ <td class="tdc">8</td>
+ <td class="tdc">-</td>
+ <td class="tdc">8</td>
+ <td class="tdc">-</td>
+ <td class="tdc">56</td>
+</tr>
+<tr>
+ <td class="tdl">Yellow</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">4</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">4</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+</tr>
+<tr>
+ <td class="tdl">White</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">6</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">6</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+</tr>
+<tr>
+ <td class="tdl">Lavender</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">6</td>
+ <td class="tdc">-</td>
+ <td class="tdc">6</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">6</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">-</td>
+ <td class="tdc">6</td>
+ <td class="tdc">-</td>
+</tr>
+</table>
+
+<p>In the exposition of tartans given, it has been shown that this
+scheme of colouring is not only useful in the production of the
+original plaids, but that it may be subjected to almost an endless
+<span class="pagenum" id="Page_158">[Pg 158]</span>
+series of modifications. Many of these, as well as the plaids
+themselves, when developed in subdued colourings, are suitable
+for styles in dress and mantle fabrics. In recent years they
+have also been developed in the foundation of plush and other
+textures. They are specially suitable for such textures, inasmuch
+as the contiguity of the figuring formed in velvet or loop pile
+destroys any stiffness of character which lines of colour, cutting
+each other at right angles—as in all check patterns—must more
+or less possess. To the student of colour contrast and harmony
+these patterns are interesting and suggestive. They are
+illustrative, not only of how bright colours may be blended
+without yielding patterns in which the contrasts are displeasing,
+but also of the quantities of the colours which give the
+most harmonious composition. As they are distinctly textile
+colourings, and are the product of weaving, they possess qualities
+which are not to be found in any other type of colouring. The
+field which has been covered has by no means been fully explored.
+There are many possibilities in this branch of textile work which
+can only be analyzed by systematic experiments conducted in
+the loom.</p>
+
+<hr class="chap x-ebookmaker-drop">
+
+
+<div class="chapter">
+<span class="pagenum" id="Page_159">[Pg 159]</span>
+  <h2 class="nobreak" id="CHAPTER_VIII">
+    CHAPTER <abbr title="Eight">VIII.</abbr>
+  </h2>
+   <h3>
+    SIMPLE COLOURINGS.
+  </h3>
+</div>
+
+<div class="blockquot">
+<p>131. Simple and Compound Colourings—132. Regular Simple Colourings—133.
+One-and-One and Two-and-Two Systems—134. Figured Styles in
+Common Weaves and One-and-One Colouring—135. Utility of the One-and-One
+Principle in Figured Textiles—136: One-and-One and Two-and-Two
+Colourings in Fancy Weaves—137. Three-and-Three Colouring—138. Four-and-Four
+Arrangement—139. Four-and-Four Method applied to Fancy Weaves—140.
+Six-and-Six and Eight-and-Eight Schemes—141. Six-and-Six Colouring
+in Various Crossings—142. Three-Odd-Thread Arrangement—143. Various
+Three-Shade Patterns—144. Simple Colourings composed of Four Shades—145.
+Irregular Simple Colourings—146. Irregular Simple Patterns in Two
+Shades—147. “Irregulars” composed of Three Shades—148. “Irregulars”
+composed of Four Shades—149. Cross-weftings.</p>
+</div>
+
+<p class="unindent">131. <i>Simple and Compound Colourings.</i>—As in Weave Design
+there are two important types of pattern—such as effects resulting
+from the use of one crossing, and effects due to combining
+several crossings—so the styles obtained by blending fancy
+shades are also of two kinds, and may be designated Simples
+and Compounds. Both classes are divisible into Regular and
+Irregular orders of colourings. In the Regular order of Simple
+colourings, the colour elements are of equal quantities and
+systematically alternate; but in Compounds, the shades may
+occur in various quantities and be irregularly distributed. If,
+for example, a pattern were arranged&#x2060;—</p>
+
+<table>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc pad6">threads of</td>
+ <td class="tdl">black,</td>
+ <td class="tdr pad2">2</td>
+ <td class="tdc pad6">threads of</td>
+ <td class="tdl">blue,</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">brown,</td>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">slate,</td>
+</tr>
+</table>
+
+<p class="unindent">it would be a Simple colouring, because it is composed of similar
+numbers of each sort of yarns, and the respective shades
+regularly succeed each other. The same shades could be made to
+form an Irregular Simple pattern in two ways: first, by diversifying
+<span class="pagenum" id="Page_160">[Pg 160]</span>
+the plan of the colours in such a manner as to allow any
+one or more shades to intervene the other shades, as follows:&#x2060;—</p>
+
+<table>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc pad6">threads of</td>
+ <td class="tdl">black,</td>
+ <td class="tdr pad2">2</td>
+ <td class="tdc pad6">threads of</td>
+ <td class="tdl">blue,</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">brown,</td>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">brown,</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black,</td>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">slate;</td>
+</tr>
+</table>
+
+<p class="unindent">and second, by retaining the original order of succession of
+shades, but by varying the quantities in which they occur, as
+illustrated below:&#x2060;—</p>
+
+<table>
+<tr>
+ <td class="tdr">8</td>
+ <td class="tdc pad6">threads of</td>
+ <td class="tdl">black,</td>
+ <td class="tdr pad2">4</td>
+ <td class="tdc pad6">threads of</td>
+ <td class="tdl">blue,</td>
+</tr>
+<tr>
+ <td class="tdr">6</td>
+ <td class="tdc">„</td>
+ <td class="tdl">brown,</td>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">slate.</td>
+</tr>
+</table>
+
+<p>Here are two types of Irregular and Simple colourings, viz.,
+those in which the shades are grouped in similar quantities but
+are irregularly combined, and those in which the shades obtain
+in different proportions, though following in regular order.</p>
+
+<p>To convert the same group of shades into a Compound colouring,
+it is only necessary to combine two or more systems of
+blending the yarns, as follows:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdl" rowspan="2">For 16 threads.</td>
+ <td class="tdl">⎧</td>
+ <td class="tdr">4</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">black.</td>
+</tr>
+<tr>
+ <td class="tdl">⎩</td>
+ <td class="tdr">4</td>
+ <td class="tdc">„</td>
+ <td class="tdl">brown.</td>
+</tr>
+<tr>
+ <td class="tdl" rowspan="2">For 16 threads.</td>
+ <td class="tdl">⎧</td>
+ <td class="tdr">2</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">blue.</td>
+</tr>
+<tr>
+ <td class="tdl">⎩</td>
+ <td class="tdr">12</td>
+ <td class="tdc">„</td>
+ <td class="tdl">slate.</td>
+</tr>
+</table>
+
+<p class="unindent">From this example it will be observed, that in making a Regular
+Compound at least two systems of elementary colouring are
+combined: in this instance, the four-and-four and the two-and-two
+methods have been selected. Compounds necessarily give more
+diversified styles of pattern than Simples; but unless the effects
+of the latter have been studied, the arrangement and composition
+of Compounds cannot be fully understood. Simple colourings
+are the elements of all Compounds. In order to obtain well-balanced
+effects in designs consisting of various weaves, the
+construction and woven result of each weave have to be
+considered, and only such makes united as will yield symmetrical
+patterns and regularly-built fabrics; and similar laws determine
+the association of shades as determine the combination of
+weaves.</p>
+
+<p><span class="pagenum" id="Page_161">[Pg 161]</span>
+132. <i>Regular Simple Colourings.</i>—The principal forms of
+Elementary Simple Colourings are comprised in the three classes
+given in the table appended:&#x2060;—</p>
+
+<p class="p2 center"><a id="Table_9"></a>
+<span class="smcap">Table <abbr title="Nine">IX.</abbr></span><br>
+<br>
+<span class="smcap">Regular Simple Colourings.</span><br>
+<br>
+<span class="allsmcap">CLASS A.—COMPOSED OF TWO SHADES.</span></p>
+
+<p class="center"><i>I. Scheme.</i></p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">thread of</td>
+ <td class="tdl">black.<br></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.<br></td>
+</tr>
+</table>
+
+<p class="center"><i>II. Scheme.</i></p>
+
+<table class="autotable">
+<tr>
+ <td class="tdc">2</td>
+ <td class="tdc">threads of</td>
+ <td class="tdc">black.<br></td>
+</tr>
+<tr>
+ <td class="tdc">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.<br></td>
+</tr>
+</table>
+
+<p class="center"><i>III. Scheme.</i></p>
+
+<table class="autotable">
+<tr>
+ <td class="tdc">3</td>
+ <td class="tdc">threads of</td>
+ <td class="tdc">black.<br></td>
+</tr>
+<tr>
+ <td class="tdc">3</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.<br></td>
+</tr>
+</table>
+
+<p class="center"><i>IV. Scheme.</i></p>
+
+<table class="autotable">
+<tr>
+ <td class="tdc">4</td>
+ <td class="tdl">threads of</td>
+ <td class="tdl">black.<br></td>
+</tr>
+<tr>
+ <td class="tdc">4</td>
+ <td class="tdl">„</td>
+ <td class="tdl">white.</td>
+</tr>
+</table>
+
+<p class="center allsmcap">
+CLASS B.—COMPOSED OF THREE SHADES.
+</p>
+
+<p class="center"><i>I. Scheme.</i></p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">thread of</td>
+ <td class="tdl">black.<br></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">„</td>
+ <td class="tdl">grey.<br></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.<br></td>
+</tr>
+</table>
+
+<p class="center"><i>II. Scheme.</i></p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">black.<br></td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">grey.<br></td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.<br></td>
+</tr>
+</table>
+
+<p class="center"><i>III. Scheme.</i></p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">black.<br></td>
+</tr>
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">„</td>
+ <td class="tdl">grey.<br></td>
+</tr>
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.<br></td>
+</tr>
+</table>
+
+<p class="center"><i>IV. Scheme.</i></p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">black.<br></td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">„</td>
+ <td class="tdl">grey.<br></td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+</tr>
+</table>
+
+<p class="center allsmcap">
+CLASS C.—COMPOSED OF FOUR SHADES.
+</p>
+
+<p class="center"><i>I. Scheme.</i></p>
+<table class="autotable">
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">thread of</td>
+ <td class="tdl">black.<br></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">„</td>
+ <td class="tdl">medium grey.<br></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">„</td>
+ <td class="tdl">light grey.<br></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.<br></td>
+</tr>
+</table>
+
+<p class="center"><i>II. Scheme.</i></p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">black.<br></td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">medium grey.<br></td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">light grey.<br></td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.<br></td>
+</tr>
+</table>
+
+<p class="center"><i>III. Scheme.</i></p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">black.<br></td>
+</tr>
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">„</td>
+ <td class="tdl">medium grey.<br></td>
+</tr>
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">„</td>
+ <td class="tdl">light grey.<br></td>
+</tr>
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.<br></td>
+</tr>
+</table>
+
+<p class="center"><i>IV. Scheme.</i></p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">black.<br></td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">„</td>
+ <td class="tdl">medium grey.<br></td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">„</td>
+ <td class="tdl">light grey,<br></td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+</tr>
+</table>
+
+<p class="unindent">It is not needful to increase the number of these examples, for it
+will be observed that in each scheme of the several classes given,
+<span class="pagenum" id="Page_162">[Pg 162]</span>
+the order of colouring is identical, but that the quantities of the
+shades are systematically enlarged. In fine fabrics, the number
+of threads of each colour might be increased; but in these
+examples, the bases of all styles of Elementary and Compound
+Colourings are enumerated. On this account they will be
+considered separately, and the effects of the various systems in
+the woven fabric will be fully analyzed and described.</p>
+
+<figure class="figcenter illowp30a" id="fig60" style="max-width: 21.25em;">
+  <img class="w100" src="images/fig60.jpg" alt="one-and-one plain">
+  <figcaption>
+      <p><span class="smcap">Fig. 60.</span></p>
+  </figcaption>
+</figure>
+<figure class="figcenter illowp30a" id="fig60a" style="max-width: 21.25em;">
+  <img class="w100" src="images/fig60a.jpg" alt="one-and-one plain">
+  <figcaption>
+      <p><span class="smcap">Fig. 60a.</span></p>
+  </figcaption>
+</figure>
+<figure class="figcenter illowp30a" id="fig61" style="max-width: 21.25em;">
+  <img class="w100" src="images/fig61.jpg" alt="[2/2] twills">
+  <figcaption>
+      <p><span class="smcap">Fig. 61.</span></p>
+  </figcaption>
+</figure>
+<figure class="figcenter illowp30a" id="fig61a" style="max-width: 21.25em;">
+  <img class="w100" src="images/fig61a.jpg" alt="[2/2] twills">
+  <figcaption>
+      <p><span class="smcap">Fig. 61a.</span></p>
+  </figcaption>
+</figure>
+
+<p>133. <i>One-and-One and Two-and-Two Colourings.</i>—These
+are the most elementary arrangements of shades. They give
+different effects, according to the weave in which they are
+developed. The one-and-one system is applied chiefly to plain
+and twilled weaves, in which it constitutes two styles of patterns
+very extensively produced in ordinary fancies. First, in the
+plain make, it forms the hairline stripe sketched in <a href="#fig5a">Fig. 5<span class="allsmcap">C</span></a>; and
+in the cassimere twill, the step-diagonal effect sketched in <a href="#fig5b">Fig. 5<span class="allsmcap">F</span></a>.
+Both are useful textural styles. In cottons, silks, and fancy
+woollens and worsteds, this order of threads can be made to
+produce patterns of some intricacy of composition by simply
+employing in one instance the two plain makes given in <a href="#fig60">Figs. 60</a>
+and <a href="#fig60a">60<span class="allsmcap">A</span></a>,
+ and in the other instance the two twills given in <a href="#fig61">Figs.
+61</a> and <a href="#fig61a">61<span class="allsmcap">A</span></a>. Should the plain weaves be combined, say, in such
+a manner as to make a stripe, and this design woven in the one-and-one
+system of colouring, the woven result would consist of
+a band of lines of the respective colours running longitudinally
+in the fabric, and of a band of transverse lines of the same
+shades. This is a principle which is capable of being utilized in
+the construction of elaborately figured designs.</p>
+
+<p>When the weaves supplied in <a href="#fig61">Figs. 61</a> and <a href="#fig61a">61<span class="allsmcap">A</span></a> are combined,
+and the resultant design woven in this order of shades, in such
+sections of the fabric as <a href="#fig61a">61<span class="allsmcap">A</span></a> occurs, the pattern produced
+consists of small step effects twilling to the right, but in the
+<span class="pagenum" id="Page_163">[Pg 163]</span>
+sections composed of <a href="#fig61">Fig. 61</a>, of similar effects twilling to the
+left; hence, by combining these in the form of stripes, checks,
+or figures, woven patterns are obtainable diversified in aspect
+and arrangement.</p>
+
+<p>Next, as to the two-and-two system (Class A, Scheme <abbr title="Two">II.</abbr>, of
+Simple Colourings) of combining shades. This is another plan
+of grouping colours for certain elementary crossings. Its
+effects in the [2/2] twill and the mat or celtic are typical of the
+general style of pattern obtainable.</p>
+
+<p>The results produced in the twill are those in <a href="#fig162">Figs. 62</a>, <a href="#fig62a">62<span class="allsmcap">A</span></a>,
+and <a href="#fig62b">62<span class="allsmcap">B</span></a>. The different effects are due to the employment of
+distinct wefts. Thus, in <a href="#fig62">Fig. 62</a> the weft is grey, in <a href="#fig62a">Fig. 62<span class="allsmcap">A</span></a>
+white, and in <a href="#fig62b">Fig. 62<span class="allsmcap">B</span></a> the same as the warp, or two picks of
+grey and two picks of white. When the grey weft is used, a
+stripe of grey adjoining an intermittent stripe of white is
+obtained; when white forms the weft, a small line of white
+adjoins a broken line of grey and white; but when a corresponding
+method of wefting is adopted as warping, a small broken
+check effect is acquired.</p>
+
+<figure class="figcenter illowp30a" id="fig62" style="max-width: 21.5em;">
+  <img class="w100" src="images/fig62.jpg" alt="two-and-two">
+  <figcaption>
+      <p><span class="smcap">Fig. 62.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp30a" id="fig62a" style="max-width: 22.125em;">
+  <img class="w100" src="images/fig62a.jpg" alt="two-and-two">
+  <figcaption>
+      <p><span class="smcap">Fig. 62a.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp30a" id="fig62b" style="max-width: 19.875em;">
+  <img class="w100" src="images/fig62b.jpg" alt="two-and-two">
+  <figcaption>
+      <p><span class="smcap">Fig. 62b.</span></p>
+  </figcaption>
+</figure>
+
+<p>Changing the weave to hopsack or mat alters the patterns
+resultant. If the weft be black in this two-and-two colouring,
+and the weave four-end celtic, a style is constructed similar
+to that given in <a href="#fig63">Fig. 63</a>, or a pattern with a black ground
+on which squares of solid white are regularly distributed
+at uniform distances apart. Substituting white for the black
+weft, a texture with a white foundation and a black square
+spot, just the reverse of <a href="#fig63">Fig. 63</a>, is produced; whereas if the
+weft is the same as the warp, a style composed of solid lines
+of black and white, or a pattern of a hairline description,
+results.</p>
+
+<p>These examples clearly set forth the principles of weaving in
+<span class="pagenum" id="Page_164">[Pg 164]</span>
+relation to methods of colouring. Here the same order of threads—though
+extremely simple—in two different crossings of an
+elementary structure, forms quite distinct effects. In the cassimere
+twill more intermingled, and hence less severe patterns,
+are formed than in the mat or hopsack. They consist of small
+indefinite stripes and of a minute and irregular check. But in
+the mat, the same warp colouring gives a well-defined check
+composition, even when the wefts are all one colour, and instead
+of a broken check in the fabric when the
+weft is similar to the warp, as in the twill,
+a stripe of a decided arrangement is got.</p>
+
+<figure class="figleft illowp30" id="fig63" style="max-width: 22.6875em;">
+  <img class="w100" src="images/fig63.jpg" alt="bird's eye spot">
+  <figcaption>
+      <p><span class="smcap">Fig. 63</span></p>
+  </figcaption>
+</figure>
+
+<p><a id="para134"></a>134. <i>Figured Styles in Common Weaves
+in One-and-One Colouring.</i>—The principles
+of woven effect, just elucidated, whereby
+a combination of plain or twilled weaves
+may, in the simplest arrangement of colours,
+be made to produce in the texture two dissimilar
+patterns, may be utilized in the development of figured
+designs. Usually these figured fabrics necessitate the adoption of
+various schemes of weaving and colouring in their manufacture;
+whereas in this type of design there is no elaboration either of
+weave or colour. These are particulars of construction peculiar
+to patterns acquired on this system.</p>
+
+<p>A feature of designs of this class consists in the uniform
+appearance and sound wearing qualities they impart to the
+woven fabric. Some kinds of figured textiles are more or less
+loose on the surface and in structure, owing to the diversity of
+weave floats requisite to develop the objects or figures composing
+the designs. No arrangement of this sort, involving intricacy
+of cloth structure, is needed in gaining patterns by this scheme
+of weaving. The fabrics, though in some instances elaborately
+figured, are plain or twill throughout, according to the makes
+employed—hence the textures are even, firm, and neat in both
+appearance and construction. Effects of this order are more
+subdued in tone and possess a mellower aspect than figured
+styles due to combining various principles of weaving and
+colouring.</p>
+
+<figure class="figcenter illowp75" id="fig64" style="max-width: 37.5em;">
+  <img class="w100" src="images/fig64.jpg" alt="Small spotted design">
+  <figcaption>
+      <p><span class="smcap">Fig. 64.</span></p>
+  </figcaption>
+</figure>
+
+<p>Reference to <a href="#fig64">Figs. 64</a> and <a href="#fig65">65</a> will indicate, first, how the
+<span class="pagenum" id="Page_165">[Pg 165]</span>
+designs are constructed; and, second, how the textural results
+are acquired. <a href="#fig64">Fig. 64</a> is a small spotted design composed of two
+plain makes. In constructing these designs, the form of the figuring
+is primarily sketched out on point paper, and the weaves
+subsequently added. When the two makes are in contact, there
+must not be more than a float of three. Having worked out
+the design on point paper, the next matter to be arranged
+is the development of the ground sections in vertical, and the
+figured parts in transverse lines of colour, as in <a href="#fig65">Fig. 65</a>, which is
+a sketch of the textural effect produced by this design. In all
+designs constructed on this base, it is a rule that the fancy shades
+in the warp and weft shall, in conjunction, be arranged to form
+the striped effects described. When the design given in <a href="#fig64">Fig. 64</a>
+is warped and woven 1 thread black and 1 thread white, these
+two shades form stripes lengthways of the piece in the ground
+portion of the fabric, for the black picks cover the black threads
+<i>only</i>, and the white picks the white threads <i>only</i>, while the
+small figures are developed in short transverse stripes; because,
+in such sections, the weave in the design causes the black picks
+<span class="pagenum" id="Page_166">[Pg 166]</span>
+to float over the white threads and the white picks to float over
+the black threads.</p>
+
+<figure class="figleft illowp50" id="fig65" style="max-width: 37.5625em;">
+  <img class="w100" src="images/fig65.jpg" alt="Spotted design">
+  <figcaption>
+      <p><span class="smcap">Fig. 65.</span></p>
+  </figcaption>
+</figure>
+
+<p>Now consider the effect of the same order of shades in the
+design composed of cassimere twills given on <a href="#plate21">Plate <abbr title="Twenty-one">XXI</abbr></a>. This
+style illustrates the process by which the sketch furnished in
+<a href="#fig66">Fig. 66</a> is transferred on to point paper and prepared for the
+loom. Designs for these fabrics are worked out on the same
+system as the preceding example. A comparison of <a href="#fig65">Fig. 65</a> with
+<a href="#fig66">Fig. 66</a> brings out several points of dissimilarity. These do not
+arise from any variation of
+the plan of colouring, but of
+the plan of interlacing the
+threads in constructing the
+fabric. The vertical and
+transverse lines of <a href="#fig65">Fig. 65</a>
+are substituted by neat diagonal
+effects, and a pattern
+of more diversified outline
+and arrangement obtained.
+It has been pointed out that
+the thread-and-thread scheme
+of shades yields, in the cassimere
+twill, the two effects seen in <a href="#fig66">Fig. 66</a>. When the weave
+runs to the right, the black and white diagonal effect runs to
+the left, and <i lang="la">vice versâ</i>; so that in preparing the designs for
+the loom it has, in the first place, to be decided whether the
+ground or the figured sections shall be developed in the minute
+diagonals of shades moving to the right. Generally, it will be
+found that this effect is most suitable for the ground.</p>
+
+<figure class="figcenter illowp74" id="plate21" style="max-width: 43.4375em;">
+  <img class="w100" src="images/plate21.jpg" alt="Simple twills">
+  <figcaption style="color: blue;">
+      <p>Plate <abbr title="Twenty-one">XXI</abbr><br>
+<span class="allsmcap">FIGURING IN SIMPLE TWILLS</span></p>
+  </figcaption>
+</figure>
+
+<p><a id="para135"></a>135. <i>Utility of the One-and-One Principle in Figured Textiles.</i>—The
+scheme of textile colouring and designing analyzed in the
+previous paragraph is applicable to a large diversity of goods,
+including cotton, silk, worsted, and woollen fabrics. Styles for
+dress stuffs and mantlings may be produced in this manner.
+Cotton yarns in these designs produce very effective patterns.
+The compact structure of these threads develops both series of
+effects with a clearness and prominence that are absent from
+cloths composed of woollen materials. Whether the designs are
+<span class="pagenum" id="Page_167">[Pg 167]</span>
+employed in one set of yarns or the other, schemes of colouring
+such as the following may be employed:&#x2060;—</p>
+
+<p class="center"><abbr title="One">I.</abbr><br>
+1 thread of dark brown<br>
+(Shade 1, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>).<br>
+1 thread of medium brown<br>
+(Shade 3, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>).</p>
+
+<p class="center"><abbr title="Two">II.</abbr></p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">thread of</td>
+ <td class="tdl">dark</td>
+ <td class="tdc">grey.<br></td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">„</td>
+ <td class="tdl">light</td>
+ <td class="tdc">„<br></td>
+</tr>
+</table>
+
+<p class="center"><abbr title="Three">III.</abbr></p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">thread of</td>
+ <td class="tdl">medium grey.</td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+</tr>
+</table>
+
+<p class="center"><abbr title="Four">IV.</abbr></p>
+<table class="autotable">
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">thread of</td>
+ <td class="tdl">lilac (Tint 17, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>).</td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">thread of</td>
+ <td class="tdl">white.</td>
+</tr>
+</table>
+
+<figure class="figcenter illowp75" id="fig66" style="max-width: 37.6875em;">
+  <img class="w100" src="images/fig66.jpg" alt="Spotted design">
+  <figcaption>
+      <p><span class="smcap">Fig. 66.</span></p>
+  </figcaption>
+</figure>
+
+<p>Colours slightly contrasting in hue, or merely in shade, may
+be used in worsted yarns; but in woollens, where the effect is
+not so clear or pronounced, owing to the structure of the yarn,
+more contrast of colouring is requisite to emphasize the figuring.
+Woollen fabrics coloured on this principle may be either “clear”
+finished or covered with fibre. It depends entirely on the type
+of fabric produced. If a dress texture, the best results may be
+obtained by developing the effect of the colours as much as
+<span class="pagenum" id="Page_168">[Pg 168]</span>
+possible in the finishing processes; but if a mantling, a soft,
+fibrous surface enhances the mellowness and attractiveness of
+the patterns formed.</p>
+
+<figure class="figcenter illowp60" id="fig67" style="max-width: 41.8125em;">
+  <img class="w100" src="images/fig67.jpg" alt="Spotted twill weave">
+  <figcaption>
+      <p><span class="smcap">Fig. 67.</span></p>
+  </figcaption>
+</figure>
+
+<p>Of course the methods of figuring obtained by this thread-and-thread
+colouring are combined with other schemes of colours
+in making more elaborate patterns. For example, a band of
+figuring, such as is given in <a href="#fig66">Fig. 66</a>, may be arranged to adjoin
+a bold stripe of entirely distinct colouring, and thus a pattern
+produced containing much diversity of composition.</p>
+
+<figure class="figleft illowp30a" id="fig67a" style="max-width: 25.375em;">
+  <img class="w100" src="images/fig67a.jpg" alt="Spotted twill weave">
+  <figcaption>
+      <p><span class="smcap">Fig. 67a.</span></p>
+  </figcaption>
+</figure>
+
+<p>Pattern is acquired in these and similar
+designs economically in the loom. No
+complication, either of weave or of colour,
+arises in their origination. By the employment
+of two shades and one weave—used
+in such a manner as to yield two
+varieties of style—any form of figuring
+is on this system producible.</p>
+
+<figure class="figcenter illowp88" id="fig68" style="max-width: 43.875em;">
+  <img class="w100" src="images/fig68.jpg" alt="Mat and twill weave">
+  <figcaption>
+      <p><span class="smcap">Fig. 68.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp40" id="fig68a" style="max-width: 25.1875em;">
+  <img class="w100" src="images/fig68a.jpg" alt="Mat and twill weave">
+  <figcaption>
+      <p><span class="smcap">Fig. 68a.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp40" id="fig69a" style="max-width: 25.25em;">
+  <img class="w100" src="images/fig69a.jpg" alt="Checked weave">
+  <figcaption>
+      <p><span class="smcap">Fig. 69a.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp73" id="fig69" style="max-width: 36.75em;">
+  <img class="w100" src="images/fig69.jpg" alt="Checked weave">
+  <figcaption>
+      <p><span class="smcap">Fig. 69.</span></p>
+  </figcaption>
+</figure>
+
+<p>136. <i>One-and-One and Two-and-Two
+Colourings in Fancy Weaves.</i>—Some
+applications of this scheme of colouring to other weaves
+than the plain and twill are shown in <a href="#fig67">Figs. 67</a>, <a href="#fig68">68</a>, <a href="#fig69">69</a>, the plans
+being <a href="#fig67a">Figs. 67<span class="allsmcap">A</span></a>, <a href="#fig68a">68<span class="allsmcap">A</span></a>, and <a href="#fig69a">69<span class="allsmcap">A</span></a>. The only alteration in the
+colouring is the use, as seen, of fancy thick yarns for striping or
+checking. The contrast in the weaves should be noticed, and also
+<span class="pagenum" id="Page_169">[Pg 169]</span>
+<span class="pagenum" id="Page_170">[Pg 170]</span>
+in the woven patterns. The weaves comprise (<a href="#fig67a">Fig. 67<span class="allsmcap">A</span></a>) a fancy
+twill composed of [3/1] and [1/3] twills; <a href="#fig68a">Fig. 68<span class="allsmcap">A</span></a>, twill and mat;
+and <a href="#fig69a">Fig. 69<span class="allsmcap">A</span></a>, check in broken [3/1] and [1/3] twills. The
+line characteristic is noticeable in <a href="#fig67">Figs. 67</a> and <a href="#fig69a">69</a>, being more
+pronounced in the latter. <a href="#fig68">Fig. 68</a> is the most regular in style,
+due to the weave being composed of twill and mat.</p>
+
+<figure class="figcenter illowp40" id="fig70" style="max-width: 35.6875em;">
+  <img class="w100" src="images/fig70.jpg" alt="[2\2] mat design">
+  <figcaption>
+      <p><span class="smcap">Fig. 70.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp40" id="fig70a" style="max-width: 25.375em;">
+  <img class="w100" src="images/fig70a.jpg" alt="[2\2] mat design">
+  <figcaption>
+      <p><span class="smcap">Fig. 70a.</span></p>
+  </figcaption>
+</figure>
+
+<p>Figured styles in two-and-two colouring are producible in the
+designs made on the principles given in <a href="#para134">Paragraphs 134</a> and <a href="#para135">135</a>,
+and also in other simple weaves similarly combined. One
+example (<a href="#fig70">Fig. 70</a>) may be taken, woven in the [2/2] mat, the
+sectional design being given in <a href="#fig70a">Fig. 70<span class="allsmcap">A</span></a>. The order of colouring
+in both warp and weft is:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdl">Black</td>
+ <td class="tdl">2</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2">For 36.</td>
+</tr>
+<tr>
+ <td class="tdl">White</td>
+ <td class="tdl">2</td>
+ <td class="tdl">⎭</td>
+</tr>
+<tr>
+ <td class="tdl">White</td>
+ <td class="tdl">2</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="2">For 36.</td>
+</tr>
+<tr>
+ <td class="tdl">Black</td>
+ <td class="tdl">2</td>
+ <td class="tdl">⎭</td>
+</tr>
+</table>
+
+<p class="unindent">By the change in the positions of the colouring, the key pattern
+is inverted and made more diversified in character.</p>
+
+<p>137. <i>Three-and-Three Colouring.</i>—This method of grouping
+shades of warp and weft (Class A, Scheme <abbr title="Three">III.</abbr>) is employed in
+the six-end twill and its derivatives, also in twelve-shaft and
+other weaves.</p>
+
+<p>An example of the effects in the [3/3] twill in the fabric, due to
+three-and-three warping and various weftings practised, is
+<span class="pagenum" id="Page_171">[Pg 171]</span>
+sketched in <a href="#fig71">Figs. 71</a>, <a href="#fig71a">71<span class="allsmcap">A</span></a>,
+ and <a href="#fig71b">71<span class="allsmcap">B</span></a>. The first of these illustrations
+has a grey weft; <a href="#fig71a">Fig. 71<span class="allsmcap">A</span></a> is woven with white, and <a href="#fig71b">Fig.
+71<span class="allsmcap">B</span></a> with three picks of grey and three picks of white.</p>
+
+<figure class="figcenter illowp30a" id="fig71" style="max-width: 30.375em;">
+  <img class="w100" src="images/fig71.jpg" alt="Three-and-three">
+  <figcaption>
+      <p><span class="smcap">Fig. 71.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp30a" id="fig71a" style="max-width: 30.75em;">
+  <img class="w100" src="images/fig71a.jpg" alt="Three-and-three">
+  <figcaption>
+      <p><span class="smcap">Fig. 71a.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp30a" id="fig71b" style="max-width: 29.75em;">
+  <img class="w100" src="images/fig71b.jpg" alt="Three-and-three">
+  <figcaption>
+      <p><span class="smcap">Fig. 71b.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp30a" id="fig72" style="max-width: 39.75em;">
+  <img class="w100" src="images/fig72.jpg" alt="Four-and-four">
+  <figcaption>
+      <p><span class="smcap">Fig. 72.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp30a" id="fig72a" style="max-width: 40.5em;">
+  <img class="w100" src="images/fig72a.jpg" alt="Four-and-four">
+  <figcaption>
+      <p><span class="smcap">Fig. 72a.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp30a" id="fig72b" style="max-width: 39.5em;">
+  <img class="w100" src="images/fig72b.jpg" alt="Four-and-four">
+  <figcaption>
+      <p><span class="smcap">Fig. 72b.</span></p>
+  </figcaption>
+</figure>
+
+<p>138. <i>Four-and-Four Arrangement.</i>—Twill, hopsack, and
+other common weaves are used in producing styles in this order
+of colours, which is supplied in Scheme <abbr title="Four">IV.</abbr> of Class A of the
+Regular Simple Colourings. Black and white shepherd plaids
+are made on this base, a useful form and size of check resulting
+from its employment. Some of the effects got in the cassimere
+twill by warping four threads of grey and four threads of white,
+and wefting with white and grey, and with the same order of
+shades as in the warp, are sketched in <a href="#fig72">Figs. 72</a>,
+ <a href="#fig72a">72<span class="allsmcap">A</span></a>, <a href="#fig72b">72<span class="allsmcap">B</span></a>. The
+check style here is particularly neat. It is produced in a variety
+of colours for almost all kinds of fabrics. When the four-end
+mat weave is used, a species of star check is formed, as seen in
+<a href="#fig73">Fig. 73</a>. A considerable range of patterns ensues from adopting
+this order of colours and combining the cassimere and mat
+<span class="pagenum" id="Page_172">[Pg 172]</span>
+weaves in the construction of stripe, check, and diagonal designs.
+Thus, supposing the last type of weave-combination were employed,
+then in such parts of the diagonal where the twill occurred,
+the shepherd plaid effect would result, but the hopsack sections
+would yield the star check style, so that diagonal bands of these
+respective patterns, regularly alternating, would extend across
+the fabric.</p>
+
+<figure class="figcenter illowp50" id="fig73" style="max-width: 31.3125em;">
+  <img class="w100" src="images/fig73.jpg" alt="Four-and-four">
+  <figcaption>
+      <p><span class="smcap">Fig. 73.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp50" id="fig74" style="max-width: 30.75em;">
+  <img class="w100" src="images/fig74.jpg" alt="Four-and-four">
+  <figcaption>
+      <p><span class="smcap">Fig. 74.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figleft illowp25a" id="fig74a" style="max-width: 19.5625em;">
+  <img class="w100" src="images/fig74a.jpg" alt="Fancy eight-shaft">
+  <figcaption>
+      <p><span class="smcap">Fig. 74a.</span></p>
+  </figcaption>
+</figure>
+
+<p>139. <i>Four-and-Four Method applied to Fancy Weaves.</i>—There
+are various patterns obtained in this order of threads by
+using other weaves than the twill or mat. As an illustration in
+these effects, <a href="#fig74">Fig. 74</a>, which has been produced in the weave
+given in <a href="#fig74a">Fig. 74<span class="allsmcap">A</span></a>, may be examined. It is a small spotted
+design; the minute crosses of white, surrounded by rectangles
+of black, are determined in shape and dimensions
+by the arrangement of warp and weft flushes composing
+the crossing. The weft yarn of this pattern
+is all black. Comparing this style with that
+sketched in <a href="#fig72">Fig. 72</a>, which is composed of the
+same order of threads, it will be observed that any
+modification of weave alters the pattern resultant.
+In the weave furnished in <a href="#fig74a">Fig. 74<span class="allsmcap">A</span></a>, the white threads only
+show on the face of the texture where the blank spaces occur;
+whereas, in the cassimere twill employed in the construction
+of the sample shown in <a href="#fig72b">Fig. 72<span class="allsmcap">B</span></a>, the white warp threads float
+on the face of the fabric on the same system as the black picks.
+The pattern given in <a href="#fig74">Fig. 74</a> indicates how, by resorting to novel
+schemes of weaving, the simplest methods of colouring may be
+made to produce distinct patterns.</p>
+
+<p><span class="pagenum" id="Page_173">[Pg 173]</span>
+Employment of other weaves than the twill and mat give
+equally satisfactory results. Such makes are, of course, multiplied
+in proportion to the ingenuity of the designer. The
+example considered is but a type of the numerous styles obtainable
+in this four-and-four colouring by having recourse to
+designs of this type.</p>
+
+<p>140. <i>Six-and-Six and Eight-and-Eight Schemes.</i>—These are
+not given in the plan of Regular Simple orders of shades,
+being but extensions of Schemes <abbr title="Three">III.</abbr> and <abbr title="Four">IV.</abbr>; but they are
+important in practice, and must be considered as distinct principles
+of grouping colours. They are mainly employed when
+well-pronounced patterns are required in fine yarns, in which
+instances they yield far more effective styles than the schemes
+of shades from which they are derived. In both worsted and
+cotton dress textures and tweed mantlings, they are largely used.</p>
+
+<p>Both systems are illustrated. The six-and-six plan, and the
+styles it gives in the six-end twill, are furnished in <a href="#fig75">Figs. 75</a>,
+ <a href="#fig75a">75<span class="allsmcap">A</span></a>,
+and <a href="#fig75b">75<span class="allsmcap">B</span></a>.
+ The same methods of weft colouring have been
+practised as in other sketches, showing the changes resulting
+from varying the weft from light to dark, and from having it
+exactly like the warp. <a href="#fig76">Fig. 76</a> has been produced in the eight-shaft
+twill, and is composed of 8 threads of black and 8 threads
+of white in both warp and weft. Should such shades as the
+following be used in the six-end twill, more toned patterns
+result than those supplied in the illustrations:&#x2060;—</p>
+
+<p class="center"><abbr title="One">I.</abbr></p>
+<table class="autotable">
+<tr>
+ <td class="tdr">6</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">slate.<br></td>
+</tr>
+<tr>
+ <td class="tdr">6</td>
+ <td class="tdc">„</td>
+ <td class="tdl">slate and white twist.<br></td>
+</tr>
+</table>
+
+<p class="center"><abbr title="Two">II.</abbr></p>
+<table class="autotable">
+<tr>
+ <td class="tdr">6</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">light fawn.<br></td>
+
+</tr>
+<tr>
+ <td class="tdr">6</td>
+ <td class="tdc">„</td>
+ <td class="tdl">light fawn and white twist.<br></td>
+</tr>
+</table>
+
+<p class="center"><abbr title="Three">III.</abbr></p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr">6</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">blue.<br></td>
+</tr>
+<tr>
+ <td class="tdr">6</td>
+ <td class="tdc">„</td>
+ <td class="tdl">brown.<br></td>
+</tr>
+</table>
+
+<p class="center"><abbr title="Four">IV.</abbr><br><br>
+6 threads of <abbr title="Number">No.</abbr> 2 mixture, Plate <abbr title="Thirteen">XIII.</abbr><br>
+6 threads of <abbr title="Number">No.</abbr> 8 mixture, Plate <abbr title="Thirteen">XIII.</abbr>
+</p>
+
+<p class="unindent">The <abbr title="One">I.</abbr> and <abbr title="Two">II.</abbr> Schemes are for light textures. They illustrate
+an important method of combining shades, inasmuch as the
+same shade occurs in both the first and second group of six
+<span class="pagenum" id="Page_174">[Pg 174]</span>
+threads in each example. Thus, in Scheme <abbr title="One">I.</abbr> the second group
+of ends consists of slate and white twist—the slate being
+exactly of the same hue as that used in the first six threads.
+This arrangement gives neatly-toned patterns, and is suited
+for Simple Colourings in which the respective shades are
+combined in these qualities. The third group of shades is for
+a dark pattern. Here the contrast should not be strong; the
+mellower the better. It only requires to be sufficiently pronounced
+to develop the outlines of the checkings and the
+effects due to the plan of interlacing the threads. A mixture-yarn
+example is also given in the fourth scheme of shades.
+Yarns of this class are useful in the manufacture of both
+worsteds and tweeds. The black and white shades which
+have been used in these illustrations—<a href="#fig75">75</a>, <a href="#fig75a">75<span class="allsmcap">A</span></a>, <a href="#fig75b">75<span class="allsmcap">B</span></a>, and <a href="#fig76">76</a>—bring
+out the character of the pattern due to the structure of
+the weave.</p>
+
+<figure class="figcenter illowp40" id="fig75" style="max-width: 25.375em;">
+  <img class="w100" src="images/fig75.jpg" alt="Six-and-six">
+  <figcaption>
+      <p><span class="smcap">Fig. 75.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp40" id="fig75a" style="max-width: 25.625em;">
+  <img class="w100" src="images/fig75a.jpg" alt="Six-and-six">
+  <figcaption>
+      <p><span class="smcap">Fig. 75a.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp40" id="fig75b" style="max-width: 24.625em;">
+  <img class="w100" src="images/fig75b.jpg" alt="Six-and-six">
+  <figcaption>
+      <p><span class="smcap">Fig. 75b.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp40" id="fig76" style="max-width: 24.0625em;">
+  <img class="w100" src="images/fig76.jpg" alt="Eight-and-eight">
+  <figcaption>
+      <p><span class="smcap">Fig. 76.</span></p>
+  </figcaption>
+</figure>
+
+<p>141. <i>Six-and-Six Colourings in Various Crossings.</i>—Two
+<span class="pagenum" id="Page_175">[Pg 175]</span>
+examples may be examined in which weave has been advantageously
+employed in these schemes of colouring. The first,
+<a href="#fig77">Fig. 77</a>, is a species of check, the patches of the two shades
+being differently shaped from what they are in <a href="#fig75b">Fig. 75<span class="allsmcap">B</span></a>, which
+is a composition of the same order of shades. This arises from
+the structure of the weave employed. It is given in <a href="#fig77a">Fig. 77<span class="allsmcap">A</span></a>,
+and is a combination of warp and weft cords. The <em>warp</em>
+cord causes the spaces of black and white to practically run
+into each other in the direction of the warp, and the <em>weft</em>
+cord makes them continuous in the line of the weft.</p>
+
+<figure class="figcenter illowp40" id="fig77" style="max-width: 29.125em;">
+  <img class="w100" src="images/fig77.jpg" alt="Six-and-six">
+  <figcaption>
+      <p><span class="smcap">Fig. 77.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp30a" id="fig77a" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig77a.jpg" alt="Twelve-shaft irregular">
+  <figcaption>
+      <p><span class="smcap">Fig. 77a.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp40" id="fig78" style="max-width: 29.375em;">
+  <img class="w100" src="images/fig78.jpg" alt="Star check">
+  <figcaption>
+      <p><span class="smcap">Fig. 78.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp30" id="fig78a" style="max-width: 30.5625em;">
+  <img class="w100" src="images/fig78a.jpg" alt="Weave for Fig 78">
+  <figcaption>
+      <p><span class="smcap">Fig. 78a.</span></p>
+  </figcaption>
+</figure>
+
+<p>The next illustration, <a href="#fig78">Fig. 78</a>, is commonly termed the star
+check. It somewhat resembles <a href="#fig73">Fig. 73</a>, but the effects are
+more prominent and better developed. The weave used in
+this case is the six-end twill angled, <a href="#fig78a">Fig. 78<span class="allsmcap">A</span></a>. In making
+the pattern, the first six picks should be black, otherwise
+they would not meet the interlacings in the weave on the
+system requisite to give this effect.</p>
+
+<figure class="figleft illowp30a" id="fig79" style="max-width: 24.625em;">
+  <img class="w100" src="images/fig79.jpg" alt="Three-odd-thread">
+  <figcaption>
+      <p><span class="smcap">Fig. 79.</span></p>
+  </figcaption>
+</figure>
+
+<p>142. <i>Three-Odd-Thread Arrangement.</i>—For the plain weave,
+<span class="pagenum" id="Page_176">[Pg 176]</span>
+prunelle, and six-end twills, this is one of the useful schemes
+of colouring. In the plain it forms, when woven with the
+same order of weft as warp threads, the neat style sketched
+in <a href="#fig79">Fig. 79</a>. When the shades are black,
+grey, and white, as in Scheme <abbr title="One">I.</abbr>,—Class B,
+of the Regular Simple Colourings,—small
+vertical and transverse lines of these shades
+are formed, meeting each other at right angles.
+Thus, in <a href="#fig79">Fig. 79</a>, the vertical lines of black
+oppose the transverse lines of black, and the
+same arrangement obtains in regard to the
+grey and white lines.</p>
+
+<p>Check patterns are producible in this scheme of shades by
+colouring as follows:&#x2060;—</p>
+
+<table class="autotable small">
+<tr>
+ <td class="tdr" rowspan="3">For 18 threads.</td>
+ <td class="tdl">⎧</td>
+ <td class="tdl">1</td>
+ <td class="tdc">thread of</td>
+ <td class="tdl">russet (<abbr title="Number">No.</abbr> 7, <a href="#plate03">Plate <abbr title="Three">III.</abbr></a>).</td>
+</tr>
+<tr>
+ <td class="tdl">⎨</td>
+ <td class="tdl">1</td>
+ <td class="tdc">„</td>
+ <td class="tdl">citron (<abbr title="Number">No.</abbr> 8, <a href="#plate03">Plate <abbr title="Three">III.</abbr></a>).</td>
+
+</tr>
+<tr>
+ <td class="tdl">⎩</td>
+ <td class="tdl">1</td>
+ <td class="tdc">„</td>
+ <td class="tdl">olive (<abbr title="Number">No.</abbr> 9, <a href="#plate03">Plate <abbr title="Three">III.</abbr></a>).</td>
+</tr>
+<tr>
+ <td class="tdr" rowspan="3">For 18 threads.</td>
+ <td class="tdl">⎧</td>
+ <td class="tdl">1</td>
+ <td class="tdc">thread of</td>
+ <td class="tdl">russet.</td>
+</tr>
+<tr>
+ <td class="tdl">⎨</td>
+ <td class="tdl">1</td>
+ <td class="tdc">„</td>
+ <td class="tdl">citron.</td>
+</tr>
+<tr>
+ <td class="tdl">⎩</td>
+ <td class="tdl">1</td>
+ <td class="tdc">„</td>
+ <td class="tdl">blue.</td>
+</tr>
+</table>
+
+<p>In the first eighteen threads, the effects formed are of
+russet, citron, and olive; but in the last eighteen, blue takes
+the place of the olive, so that when the style is woven with
+the same series of weft as warp colourings, it makes a mellow
+check design.</p>
+
+<p>Another method of adding to the utility of this form of
+pattern consists in introducing into its composition an over-check
+of fancy shades, which may be obtained thus:&#x2060;—</p>
+
+
+<table class="autotable small">
+<tr>
+ <td class="tdr" rowspan="3">For 19 threads.</td>
+ <td class="tdl">⎧</td>
+ <td class="tdl">1</td>
+ <td class="tdc">thread of</td>
+ <td class="tdl">black.</td>
+</tr>
+<tr>
+ <td class="tdl">⎨</td>
+ <td class="tdl">1</td>
+ <td class="tdc">„</td>
+ <td class="tdl">brown.</td>
+</tr>
+<tr>
+ <td class="tdl">⎩</td>
+ <td class="tdl">1</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black and white twist.</td>
+</tr>
+<tr>
+ <td colspan="2"></td>
+ <td class="tdl">1</td>
+ <td class="tdc">thread of</td>
+ <td class="tdl">black and blue twist.</td>
+</tr>
+<tr>
+ <td colspan="2"></td>
+ <td class="tdl">1</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black and scarlet twist.</td>
+</tr>
+</table>
+
+<p>There results from this method of grouping shades, a pattern
+consisting of a rectangular space of nineteen ends and picks of
+small effects, similar to those seen in <a href="#fig79">Fig. 79</a>, but consisting
+<span class="pagenum" id="Page_177">[Pg 177]</span>
+of black, brown, and black-and-white twist, instead of black,
+grey, and white. In the prunelle twill, this colouring produces
+hairline patterns in three shades. Other stripe and check
+designs result from combining the warp and weft weaves, and
+developing in the same colouring.</p>
+
+<figure class="figcenter illowp40" id="fig80" style="max-width: 30.875em;">
+  <img class="w100" src="images/fig80.jpg" alt="Three-odd thread">
+  <figcaption>
+      <p><span class="smcap">Fig. 80.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp40" id="fig80a" style="max-width: 31.75em;">
+  <img class="w100" src="images/fig80a.jpg" alt="Design for Fig 80">
+  <figcaption>
+      <p><span class="smcap">Fig. 80a.</span></p>
+  </figcaption>
+</figure>
+
+<p>The effects obtained from using this colouring in the six-end
+twill are more diversified in character than those producible
+in the plain make. They are of three distinct styles. The
+style of pattern now acquired depends on the method in
+which the respective shades meet each other in the weave.
+The several effects obtained, when the [3/3] twill is used, are
+shown in <a href="#fig80">Fig. 80</a>. This has been developed in the weave
+given in <a href="#fig80a">Fig. 80<span class="smcap">a</span></a>, which is a small check design composed
+of six-end twill, running in two directions. Let the sections
+of the woven pattern acquired in <a href="#fig80">Fig. 80</a> be analyzed
+separately. It must be understood that the order of shades
+is the same throughout, namely, that in Scheme <abbr title="One">I.</abbr> of Class B
+of the Regular Simple Colourings. Hence the diversification
+of style here noticed is a resultant of weave and not of
+colour combinations. The different effects acquired in Sections
+<i>A</i>, <i>B</i>, and <i>D</i>, show that makes of various constructions have
+been employed. A distinct style obtains, for instance, in Part
+<i>A</i> from Part <i>B</i>. In the former, lines of black are set at right
+angles to other lines of this shade, while the grey and white
+yarns form diagonals; but in <i>B</i> all the three shades run
+diagonally. Section <i>C</i> is practically the same as <i>B</i>, while <i>D</i>
+<span class="pagenum" id="Page_178">[Pg 178]</span>
+is also similar, only twilling to the left. The parts lettered <i>A</i>,
+<i>B</i>, <i>C</i>, and <i>D</i> in the design, Fig. <span class="allsmcap">80A</span>, correspond to those just
+described. One other effect may be got in the six-end twill
+besides those considered in this order of threads, namely, that
+in which two diagonals, grey and white, twill to the left, or the
+opposite to what they do in <i>A</i>, and small transverse lines of
+black be set across similar vertical lines. If the positions of
+the shades were altered, the grey or the white yarns might
+be made to form the disconnected spots.</p>
+
+<figure class="figcenter illowp30a" id="fig81" style="max-width: 18.875em;">
+  <img class="w100" src="images/fig81.jpg" alt="Three 2's">
+  <figcaption>
+      <p><span class="smcap">Fig. 81.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp40b" id="fig82" style="max-width: 25.125em;">
+  <img class="w100" src="images/fig82.jpg" alt="Three-3's">
+  <figcaption>
+      <p><span class="smcap">Fig. 82.</span></p>
+  </figcaption>
+</figure>
+
+<p>A further principle of colouring suggested by this illustration
+is, that the same plan of shades and method of weaving
+are capable of yielding different woven results according to
+the system on which they are combined. Thus, as has just
+been indicated, without modifying the scheme of colours, the
+check design in the six-shaft twill gives the effects sketched
+in <a href="#fig80">Fig. 80</a>. Parts <i>A</i> and <i>D</i> are formed by one weave running
+to the right, yet how different they are in character! To
+what is the difference due? The design shows that the black
+threads and picks do not meet each other in the same way,
+for while in Part <i>A</i> of <a href="#fig80a">Fig. 80<span class="allsmcap">A</span></a> the first pick is two threads
+down, three up, three down, three up, and one down; in Part
+<i>D</i> it is three up and three down, so that in reality the first
+pick in <i>A</i> corresponds to the fifth pick in <i>D</i>. Still, though
+the order of the threads is the same in both sections, the
+methods on which the colours are crossed in the respective
+parts of the texture are dissimilar, hence corresponding results
+cannot possibly ensue. This difference of effect, arising from
+<span class="pagenum" id="Page_179">[Pg 179]</span>
+commencing colouring on certain threads and picks of the
+weave, increases the variety of styles obtainable in the same
+order of threads and principle of intertexture.</p>
+
+<p>143. <i>Various Three-shade Patterns.</i>—Amongst other Simple
+orders of colouring composed of three shades are those given
+in Schemes <abbr title="Two">II.</abbr>, <abbr title="Three">III.</abbr>, and <abbr title="Four">IV.</abbr> of Class B. Each system may
+be developed in the six-end twill—the last system, which may
+be termed the three-4’s, also produces standards in four-shaft
+weaves. Only two of these principles are illustrated, namely,
+the three-2’s and the three-3’s. It will be evident from the
+sketches, <a href="#fig81">Figs. 81</a> and <a href="#fig82">82</a>, that these patterns belong to a useful
+class of effects. <a href="#fig81">Fig. 81</a> is a neat form of intermingled check.
+Such compounds of shades as the following may be applied:&#x2060;—</p>
+
+<p class="center"><abbr title="One">I.</abbr></p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">citron (<abbr title="Number">No.</abbr> 9, <a href="#plate03">Plate <abbr title="Three">III.</abbr></a>).</td>
+</tr>
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">„</td>
+ <td class="tdl">olive (<abbr title="Number">No.</abbr> 1, <a href="#plate03">Plate <abbr title="Three">III.</abbr></a>).</td>
+</tr>
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">„</td>
+ <td class="tdl">russet (<abbr title="Number">No.</abbr> 7, <a href="#plate03">Plate <abbr title="Three">III.</abbr></a>).</td>
+</tr>
+</table>
+
+<p class="center"><abbr title="Two">II.</abbr></p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">dark blue (<abbr title="Number">No.</abbr> 7, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>).</td>
+</tr>
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">„</td>
+ <td class="tdl">dark olive (<abbr title="Number">No.</abbr> 13, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>).</td>
+</tr>
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">„</td>
+ <td class="tdl">dark brown (<abbr title="Number">No.</abbr> 1, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>).</td>
+</tr>
+</table>
+
+<p class="center"><abbr title="Three">III.</abbr></p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">light olive (<abbr title="Number">No.</abbr> 9, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>).</td>
+</tr>
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">„</td>
+ <td class="tdl">lilac (<abbr title="Number">No.</abbr> 17, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>).</td>
+</tr>
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">„</td>
+ <td class="tdl">fawn (<abbr title="Number">No.</abbr> 10, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>).</td>
+</tr>
+</table>
+
+<p>The <abbr title="One">I.</abbr> and <abbr title="Three">III.</abbr> of these colourings are suitable for dress
+fabrics, but the <abbr title="Two">II.</abbr> is adapted for tweed suitings. This form
+of pattern should also be developed in mixture and twist
+yarns in woollen, worsted, and cotton materials.</p>
+
+<p>As a result of employing this scheme of shades, three sets
+of checks, each formed within the other, are obtained in the
+fabric. By examining <a href="#fig81">Fig. 81</a>, it will be observed there is
+first the check of black; second, the check of grey; and third,
+the check of white. The character of the style due to the
+weave is apparent in this illustration. There is also perfect
+<span class="pagenum" id="Page_180">[Pg 180]</span>
+balance of shades. This feature, which mainly results from
+the twill employed in the construction of the pattern, contributes
+to the general character of the style. Still, it will
+be noticed that the manner in which the black threads interlace
+produces a different check from that resulting from the
+grey or white yarns.</p>
+
+<p><a href="#fig82">Fig. 82</a> gives a more irregular style than <a href="#fig81">Fig. 81</a>, on account
+of the weave being repeated three times, and the order of the
+shades twice, before one complete pattern is acquired. This
+arises from there being nine threads in the plan of shades—3
+of black, 3 of grey, and 3 of white—and six threads in the
+weave. The pattern sketched in <a href="#fig82">Fig. 82</a> in one particular
+resembles the preceding style,
+for the shades combined form
+three broken checks, but in
+other characteristics it is
+quite different. The element
+of black is exactly proportionate
+to that of grey or
+white, and each shade constitutes
+a well-defined series
+of minute effects, which, by
+repetition, bring out the check character of the style. It is a
+base that is improved by diversity of colouring. In combination
+with <a href="#fig81">Fig. 81</a>, wefted either three-2’s or three-3’s, it yields stripe
+and check designs of a broad character.</p>
+
+<figure class="figleft illowp50" id="fig83" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig83.jpg" alt="Hairline in 4 shades">
+  <figcaption>
+      <p><span class="smcap">Fig. 83.</span></p>
+  </figcaption>
+</figure>
+
+<p>144. <i>Simple Colourings composed of Four Shades.</i>—Each of
+the four arrangements in Class C of Simple Colourings is
+illustrated. Scheme <abbr title="One">I.</abbr> is given in <a href="#fig83">Fig. 83</a>. It forms a hairline
+stripe of four colours if produced in the swansdown weave,
+when the order of the wefting is 1 pick black, 1 pick dark
+grey, 1 pick white, and 1 pick medium grey. This style is
+applied to fancy woollens, and also to worsteds. It is a
+standard colour-base for trouserings and fabrics in which a
+fine line pattern is required. The same arrangement of
+shades in the plain weave makes a mixture effect, and in the
+common twill the colourings form a minute broken check.</p>
+
+<p><a href="#fig84">Fig. 84</a> results from the <abbr title="Two">II.</abbr> Scheme of Colouring given in
+<span class="pagenum" id="Page_181">[Pg 181]</span>
+Class C. The weave is cassimere twill, but the celtic or
+mat, and other weaves of a regular construction on four and
+eight shafts, are also used. Here are four more or less disconnected
+checkings of colours forming an intermingled pattern,
+choice in outline and soft in tone.</p>
+
+<p>A more pronounced style is got when the quantities of the
+several shades are increased, and a weave selected of an open
+structure. These points are brought out in <a href="#fig85">Fig. 85</a>, in which
+the same arrangement of shades obtains as in <a href="#fig84">Fig. 84</a>, only
+the quantity of each colour is increased one-third, and the six-shaft
+twill substituted for the four-shaft twill. Broader effects
+are therefore the result. Were this sketch repeated, to show the
+outline of the pattern more clearly, it would be observable that
+the black, dark grey, medium grey, and white shades all form
+checkings, which, in the fabric, are quite distinct from each other.
+As the order of shades here contains twelve threads, the six-shaft
+twill is one of the best weaves that can be employed for regularly
+and equally distributing the shades.</p>
+
+<figure class="figcenter illowp40" id="fig84" style="max-width: 24.9375em;">
+  <img class="w100" src="images/fig84.jpg" alt="Four-2's">
+  <figcaption>
+      <p><span class="smcap">Fig. 84.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp40" id="fig85" style="max-width: 25.125em;">
+  <img class="w100" src="images/fig85.jpg" alt="Four-3's">
+  <figcaption>
+      <p><span class="smcap">Fig. 85.</span></p>
+  </figcaption>
+</figure>
+
+<p>Eight-shaft makes being repeated three times before they
+meet the plan of colours, give more irregular and mingled
+effects.</p>
+
+<p>The last example in Simple Colourings obtained by combining
+four shades is given in <a href="#fig86">Fig. 86</a>. It has been produced in the
+Mayo weave, in <a href="#fig86a">Fig. 86<span class="smcap">a</span></a>. In common twills of more uniform
+interlacings, it gives a pattern of more decided markings. The
+Mayo weave has broken up the groups of fours into which the
+<span class="pagenum" id="Page_182">[Pg 182]</span>
+colours are divided. As a consequence, the resultant style is
+characterized by softness and intermingled colouring. The
+weave effect is an important feature. Either sets of hues of
+different colours of the same depth, or sets of shades in one
+colour, may be employed in this scheme.</p>
+
+<p>All the examples described in Regular Simple Colourings are
+of a typical character, and in practice are diversified in colouring
+and in weave.</p>
+
+<figure class="figcenter illowp50" id="fig86" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig86.jpg" alt="Four-2's">
+  <figcaption>
+      <p><span class="smcap">Fig. 86.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp30" id="fig86a" style="max-width: 17.375em;">
+  <img class="w100" src="images/fig86a.jpg" alt="Mayo weave">
+  <figcaption>
+      <p><span class="smcap">Fig. 86a.</span></p>
+  </figcaption>
+</figure>
+
+<p>145. <i>Irregular Simple Colourings.</i>—These are patterns in
+which the quantities of the different shades used, or the plans of
+colouring as to succession of colours, are not uniform. They are
+not so numerous as the “Regular Colourings” already considered,
+but they are important in pattern designing. The principal of
+these combinations are furnished in the Table below:&#x2060;—</p>
+
+<p class="p2 center"><a id="Table_10"></a>
+<span class="smcap">Table <abbr title="Ten">X.</abbr></span><br>
+<br>
+<span class="smcap">Irregular Simple Colourings.</span><br>
+<br>
+<span class="allsmcap">CLASS A.—COMPOSED OF TWO SHADES.</span>
+</p>
+
+<p class="center"><i><abbr title="One">I.</abbr> Scheme.</i></p>
+<table class="autotable">
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">black.</td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">thread of</td>
+ <td class="tdl">white.<br></td>
+</tr>
+</table>
+  <br>
+<p class="center"><i><abbr title="Two">II.</abbr> Scheme.</i></p>
+<table class="autotable">
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">black.</td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">thread of</td>
+ <td class="tdl">white.<br></td>
+</tr>
+</table>
+  <br>
+<p class="center"><i><abbr title="Three">III.</abbr> Scheme.</i></p>
+<table class="autotable">
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">black.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.<br></td>
+</tr>
+</table>
+  <br>
+<p class="center"><i><abbr title="Four">IV.</abbr> Scheme.</i></p>
+<table class="autotable">
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">black.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+</tr>
+</table>
+
+<p><span class="pagenum" id="Page_183">[Pg 183]</span></p>
+<p class="p2 center allsmcap">
+CLASS B.—COMPOSED OF THREE SHADES.
+</p>
+
+<p class="center"><i><abbr title="One">I.</abbr> Scheme.</i></p>
+<table class="autotable">
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">black.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">grey.</td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">thread of white.<br></td>
+ <td class="tdl"></td>
+</tr>
+</table>
+  <br>
+<p class="center"><i><abbr title="Two">II.</abbr> Scheme.</i></p>
+<table class="autotable">
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">black.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">grey.</td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">thread of</td>
+ <td class="tdl">white.<br></td>
+</tr>
+</table>
+  <br>
+<p class="center"><i><abbr title="Three">III.</abbr> Scheme.</i></p>
+<table class="autotable">
+<tr>
+ <td class="tdr">6</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">black.</td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">„</td>
+ <td class="tdl">medium grey.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.<br></td>
+</tr>
+</table>
+  <br>
+<p class="center"><i><abbr title="Four">IV.</abbr> Scheme.</i></p>
+<table class="autotable">
+<tr>
+ <td class="tdr">6</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">white.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">grey.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">grey.</td>
+</tr>
+</table>
+
+<p class="p2 center allsmcap">
+CLASS C.—COMPOSED OF FOUR SHADES.
+</p>
+
+<p class="center"><i><abbr title="One">I.</abbr> Scheme.</i></p>
+<table class="autotable">
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">black.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">dark grey.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">medium grey.</td>
+</tr>
+<tr>
+ <td class="tdr">1</td>
+ <td class="tdc">thread of white.<br></td>
+ <td class="tdl"></td>
+</tr>
+</table>
+  <br>
+<p class="center"><i><abbr title="Two">II.</abbr> Scheme.</i></p>
+<table class="autotable">
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">black.</td>
+</tr>
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">„</td>
+ <td class="tdl">dark grey.</td>
+</tr>
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">„</td>
+ <td class="tdl">medium grey.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.<br></td>
+</tr>
+</table>
+  <br>
+<p class="center"><i><abbr title="Three">III.</abbr> Scheme.</i></p>
+<table class="autotable">
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">threads of black.</td>
+ <td class="tdl"></td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">medium grey.</td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">„</td>
+ <td class="tdl">light grey.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.<br></td>
+</tr>
+</table>
+  <br>
+<p class="center"><i><abbr title="Four">IV.</abbr> Scheme.</i></p>
+<table class="autotable">
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">black.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">medium grey.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">light grey.</td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">light grey.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">medium grey.</td>
+</tr>
+</table>
+
+<p>146. <i>Irregular Simple Patterns of Two Shades.</i>—In this class
+of colouring are found some useful bases for fancy textures
+composed of simple twills and other elementary crossings. They
+may be considered in the order named in the Table. The first
+scheme is most generally used in the prunelle twill, in which
+weave it gives lines lengthways or across the texture, according
+to whether the make is warp or weft flushed. These two twills
+combined in figured designs, and this order of colouring adopted,
+produce a style of pattern resembling that got by blending two
+plain makes, only one line of colour is twice the thickness of the
+other.</p>
+
+<p><span class="pagenum" id="Page_184">[Pg 184]</span>
+The <abbr title="Two">II.</abbr> Scheme finds application to five-shaft weaves. Thus,
+in twill, <a href="#fig87a">Fig. 87<span class="smcap">a</span></a>, it makes the neat check style seen in <a href="#fig87">Fig.
+87</a>. The same scheme is applied to cottons and fancy woollens.
+Some effective patterns ensue from colouring&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr" rowspan="2">For 25 threads.</td>
+ <td class="tdl">⎧</td>
+ <td class="tdl">4 threads of black.</td>
+</tr>
+<tr>
+ <td class="tdl">⎩</td>
+ <td class="tdl">1 thread of white.</td>
+</tr>
+<tr>
+ <td class="tdr" rowspan="2">For 25 threads.</td>
+ <td class="tdl">⎧</td>
+ <td class="tdl">4 threads of white.</td>
+</tr>
+<tr>
+ <td class="tdl">⎩</td>
+ <td class="tdl">1 thread of black.</td>
+</tr>
+</table>
+
+<p class="unindent">The form of the pattern resultant from this arrangement comprises
+a series of effects similar to <a href="#fig87">Fig. 87</a>, and then a series of
+effects with a white ground and black spotting.</p>
+
+<figure class="figcenter illowp40" id="fig87" style="max-width: 19.0em;">
+  <img class="w100" src="images/fig87.jpg" alt="Four-and-one">
+  <figcaption>
+      <p><span class="smcap">Fig. 87.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp30a" id="fig87a" style="max-width: 18.4375em;">
+  <img class="w100" src="images/fig87a.jpg" alt="[3\2] twill">
+  <figcaption>
+      <p><span class="smcap">Fig. 87a.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp40" id="fig87b" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig87b.jpg" alt="Irregular checking">
+  <figcaption>
+      <p><span class="smcap">Fig. 87b.</span></p>
+  </figcaption>
+</figure>
+
+<p>The extent to which one thread and a slight change in the
+weave may alter the nature of a woven pattern is illustrated by
+<a href="#fig87b">Fig. 87<span class="smcap">b</span></a>,
+ obtained in the four-end celtic and the <abbr title="Three">III.</abbr> Scheme of
+shades in Class A. The weave and the colours are combined on
+such a principle, that the shade used in the smallest quantity
+forms short vertical and transverse lines on the surface of the
+texture. This, like the preceding example, is an order of colouring
+that is frequently varied by transposing the shades thus:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdr" rowspan="2">For 24 threads.</td>
+ <td class="tdl">⎧</td>
+ <td class="tdl">4</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">black.</td>
+</tr>
+<tr>
+ <td class="tdl">⎩</td>
+ <td class="tdl">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+</tr>
+<tr>
+ <td class="tdr" rowspan="2">For 24 threads.</td>
+ <td class="tdl">⎧</td>
+ <td class="tdl">4</td>
+ <td class="tdl">threads of</td>
+ <td class="tdc">white.</td>
+</tr>
+<tr>
+ <td class="tdl">⎩</td>
+ <td class="tdl">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+</tr>
+</table>
+
+<p class="unindent">Providing the weft is the same as the warp, a square is first
+formed in which the lines or spots are white, and arranged on a
+black ground, and then a check of black lines on a white ground.
+When the shades do not form strong contrasts, this base is
+<span class="pagenum" id="Page_185">[Pg 185]</span>
+capable of being utilized in the production of a large variety of
+fancy fabrics.</p>
+
+<p>A more irregular effect, <a href="#fig88">Fig. 88</a>, results from employing Scheme
+IV., than either Schemes <abbr title="Two">II.</abbr> or <abbr title="Three">III.</abbr> The weave, <a href="#fig87a">Fig. 87<span class="smcap">a</span></a>,
+produces the mingled cast of the pattern. Shades may be
+employed here that give well-emphasized contrasts.</p>
+
+<p>There are several other forms of these colourings, such as the
+following:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdc" colspan="3">(<i>a</i>)</td>
+</tr>
+<tr>
+ <td class="tdr">5</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">black.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+</tr>
+</table>
+<br>
+<table class="autotable">
+<tr>
+ <td class="tdc" colspan="3">(<i>b</i>)</td>
+</tr>
+<tr>
+ <td class="tdr">6</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">black.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+</tr>
+</table>
+<br>
+<table class="autotable">
+<tr>
+ <td class="tdc" colspan="3">(<i>c</i>)</td>
+</tr>
+<tr>
+ <td class="tdr">8</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">black.</td>
+</tr>
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">black.</td>
+</tr>
+<tr>
+ <td class="tdr">3</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white.</td>
+</tr>
+</table>
+
+<figure class="figcenter illowp30" id="fig88" style="max-width: 20.25em;">
+  <img class="w100" src="images/fig88.jpg" alt="Six-and-two">
+  <figcaption>
+      <p><span class="smcap">Fig. 88.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp30" id="fig89a" style="max-width: 18.125em;">
+  <img class="w100" src="images/fig89a.jpg" alt="Weave for Fig 89">
+  <figcaption>
+      <p><span class="smcap">Fig. 89a.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp40" id="fig89" style="max-width: 27.1875em;">
+  <img class="w100" src="images/fig89.jpg" alt="Fancy eight-shaft">
+  <figcaption>
+      <p><span class="smcap">Fig. 89.</span></p>
+  </figcaption>
+</figure>
+
+<p>The first of these is applicable to seven- and fourteen-shaft
+weaves, in which it may be made to produce some characteristic
+effects. The second of these additional irregular two-shade
+colourings is mostly employed in eight-end makes of special construction.
+Two patterns in which it has been used are sketched
+in <a href="#fig89">Figs. 89</a> and <a href="#fig90">90</a>.
+ It is the structure of the respective weaves
+that is the cause of one pattern—<a href="#fig89">Fig. 89</a>—being a minute check
+of a clear outline, and of the other pattern—<a href="#fig90">Fig. 90</a>—being a
+bird’s-eye spot. In <a href="#fig89">Fig. 89</a>, the weave is a fancy mat, <a href="#fig89a">Fig. 89<span class="smcap">a</span></a>.
+The white threads in both warp and weft fall on the 7th and
+8th threads and picks in the weave. To these threads and picks,
+the check character of the pattern is due. They cause the black
+<span class="pagenum" id="Page_186">[Pg 186]</span>
+yarns to be grouped together in the form of a minute irregular
+rectangle, and the white yarns to give the skeleton check effect.
+In <a href="#fig90a">Fig. 90<span class="smcap">a</span></a>, the same threads and picks again determine the
+specific effect of the pattern. They so control the grouping of
+the yarns that the white
+threads produce the small
+spot or star. These illustrations
+demonstrate the principle
+of originating plans of
+weaving, which will change
+the pattern produced by a
+given set of colours in such
+manner as to compose distinct
+styles.</p>
+
+<figure class="figcenter illowp40" id="fig90" style="max-width: 21.6875em;">
+  <img class="w100" src="images/fig90.jpg" alt="Six-and-two">
+  <figcaption>
+      <p><span class="smcap">Fig. 90.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp30" id="fig90a" style="max-width: 18.25em;">
+  <img class="w100" src="images/fig90a.jpg" alt="Weave for Fig 91">
+  <figcaption>
+      <p><span class="smcap">Fig. 90a.</span></p>
+  </figcaption>
+</figure>
+
+<p>The effect of the third arrangement given above is to form the
+pattern seen in <a href="#fig91">Fig. 91</a>. It is a base that frequently finds an
+important place in tweeds, flannels, dresses, and worsted suitings.
+It is a neatly-marked check. The weave employed in its construction
+is <a href="#fig91a">Fig. 91<span class="smcap">a</span></a>. This scheme is developed in light,
+medium, and dark shades, and in self, compound, and mixture
+yarns. Considering that only two shades are used in its construction,
+it is a pattern having diversity of outline.</p>
+
+<figure class="figcenter illowp50" id="fig91" style="max-width: 23.25em;">
+  <img class="w100" src="images/fig91.jpg" alt="Irregular colour">
+  <figcaption>
+      <p><span class="smcap">Fig. 91.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp30a" id="fig91a" style="max-width: 18.25em;">
+  <img class="w100" src="images/fig91a.jpg" alt="Weave for Fig 91">
+  <figcaption>
+      <p><span class="smcap">Fig. 91a.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp30" id="fig92" style="max-width: 12.75em;">
+  <img class="w100" src="images/fig92.jpg" alt="Two-two-and-one">
+  <figcaption>
+      <p><span class="smcap">Fig. 92.</span></p>
+  </figcaption>
+</figure>
+
+<p>147. <i>Irregular Simples, composed of Three Shades.</i>—Brief
+descriptions need only be given of these. A small check is
+<span class="pagenum" id="Page_187">[Pg 187]</span>
+obtainable by the first of these schemes. It is best adapted for
+weaves occupying five threads. The weave employed in making
+this pattern—<a href="#fig92">Fig. 92</a>—is <a href="#fig87a">Fig. 87<span class="smcap">a</span></a>.</p>
+
+<figure class="figcenter illowp40" id="fig93" style="max-width: 27.5em;">
+  <img class="w100" src="images/fig93.jpg" alt="Three-two-and-one">
+  <figcaption>
+      <p><span class="smcap">Fig. 93.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp40" id="fig94" style="max-width: 27.5em;">
+  <img class="w100" src="images/fig94.jpg" alt="Six-four-and-two">
+  <figcaption>
+      <p><span class="smcap">Fig. 94.</span></p>
+  </figcaption>
+</figure>
+
+<p>The <abbr title="Two">II.</abbr> Scheme is workable in the six-end twill, in which it
+yields an ordinary suiting style (<a href="#fig93">Fig. 93</a>). The shades used in
+the largest proportions in this pattern should be the most subdued
+in tone, while the colour for the single thread should be the
+brightest. This arrangement has been adhered to in the
+illustration.</p>
+
+<figure class="figcenter illowp40" id="fig95" style="max-width: 25.6525em;">
+  <img class="w100" src="images/fig95.jpg" alt="Six-four-and-two">
+  <figcaption>
+      <p><span class="smcap">Fig. 95.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp40" id="fig96" style="max-width: 25.5625em;">
+  <img class="w100" src="images/fig96.jpg" alt="Twelve-shaft fancy">
+  <figcaption>
+      <p><span class="smcap">Fig. 96.</span></p>
+  </figcaption>
+</figure>
+
+<p>Schemes <abbr title="Three">III.</abbr> and <abbr title="Four">IV.</abbr> may be analyzed together. The former,
+<a href="#fig94">Fig. 94</a>, has been developed in the six-end twill, and the latter,
+<a href="#fig95">Fig. 95</a>, in the mat or celtic. They are two typical patterns.
+The latter pattern appears to combine both check and figured
+effects, the small detached lines of black producing the figured
+appearance, and the grey shade, in combination with the black
+and white, yielding the toned check characteristic. It is applicable
+to all classes of simple fancies. It does not possess that
+distinct check cast which is so apparent in <a href="#fig94">Fig. 94</a>. This style
+<span class="pagenum" id="Page_188">[Pg 188]</span>
+is really constructed on a similar principle to <a href="#fig93">Fig. 93</a>, for the
+respective shades gradually decrease in quantity from the beginning
+to the end of the pattern. All such arrangements admit of
+two methods of colouring. In the first place, the darkest shade
+may be made the principal factor, and in the second place, the
+lightest shade. The intermediate colour—in this instance grey—is
+invariably placed in the centre in this style of colouring.</p>
+
+<figure class="figcenter illowp60" id="fig97" style="max-width: 44.3125em;">
+  <img class="w100" src="images/fig97.jpg" alt="Irregular Fig 96">
+  <figcaption>
+      <p><span class="smcap">Fig. 97.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp60" id="fig98" style="max-width: 45.125em;">
+  <img class="w100" src="images/fig98.jpg" alt="Irregular effect">
+  <figcaption>
+      <p><span class="smcap">Fig. 98.</span></p>
+  </figcaption>
+</figure>
+
+<p>148. <i>“Irregulars” composed of Four Shades.</i>—The first of
+these schemes gives an effect somewhat similar to that which
+results from <a href="#fig93">Fig. 93</a>, only here the cassimere twill may be employed,
+and probably a neater pattern acquired. In certain
+weaves, such as <a href="#fig96">Fig. 96</a>, the Second Scheme, Class C, produces an
+excellent type of suiting. It is illustrated in <a href="#fig97">Fig. 97</a>. If clearer
+effects are needed, common twills should be used, such as the
+six-end weave, which forms the pattern in <a href="#fig98">Fig. 98</a>. The <abbr title="Three">III.</abbr>
+Scheme yields in the Mayo a very effective pattern, as is seen
+in <a href="#fig99">Fig. 99</a>. Here the black yarns produce a broken line, while
+the other colours constitute intermingled checkings. This is a
+base, capable of being employed in the manufacture of various
+<span class="pagenum" id="Page_189">[Pg 189]</span>
+classes of fancy textures. Scheme <abbr title="Four">IV.</abbr>, <a href="#fig100">Fig. 100</a>, is a neat method
+of grouping shades for fancy checks. The pattern sketched has
+been produced in the sixteen-shaft diagonal (<a href="#fig100a">Fig. 100<span class="smcap">a</span></a>), but it
+might also be worked in common twill and mat weaves. Such a
+diagonal adds, however, to the attractiveness of the intermixture
+of shades. The characteristics of this example are due to the
+system on which the threads of warp and weft interlace. The
+pattern is a species of shaded check. From the tinted white to the
+black there is a graduated shade of greys, and in the following
+sets of colourings the same mellow toning would be observed.</p>
+
+<figure class="figcenter illowp60" id="fig99" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig99.jpg" alt="Irregular effect Mayo">
+  <figcaption>
+      <p><span class="smcap">Fig. 99.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp45a" id="fig100" style="max-width: 24.8125em;">
+  <img class="w100" src="images/fig100.jpg" alt="Shaded check">
+  <figcaption>
+      <p><span class="smcap">Fig. 100.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp40" id="fig100a" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig100a.jpg" alt="Weave for Fig 100">
+  <figcaption>
+      <p><span class="smcap">Fig. 100a.</span></p>
+  </figcaption>
+</figure>
+
+<table class="autotable">
+<tr>
+ <td class="tdc" colspan="4"><abbr title="One">I.</abbr></td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">black.</td>
+ <td class="tdl"></td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">dark</td>
+ <td class="tdl">brown.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">olive</td>
+ <td class="tdc">„</td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">„</td>
+ <td class="tdl">light</td>
+ <td class="tdc">„</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">olive</td>
+ <td class="tdc">„</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">dark</td>
+ <td class="tdc">„</td>
+</tr>
+</table>
+  <br>
+<table class="autotable">
+<tr>
+ <td class="tdc" colspan="4"><abbr title="Two">II.</abbr></td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">threads of</td>
+ <td class="tdl">black.</td>
+ <td class="tdl"></td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">dark</td>
+ <td class="tdl">grey.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">light</td>
+ <td class="tdc">„</td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">„</td>
+ <td class="tdl" colspan="2">white.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">light</td>
+ <td class="tdl">grey.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdl">dark</td>
+ <td class="tdc">„</td>
+</tr>
+</table>
+<br>
+<p><span class="pagenum" id="Page_190">[Pg 190]</span></p>
+
+<table class="autotable">
+<tr>
+ <td class="tdc" colspan="4"><abbr title="Three">III.</abbr></td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">threads of</td>
+ <td class="tdc">dark blue and</td>
+ <td class="tdl">dark grey twist.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdc">„</td>
+ <td class="tdl">medium grey twist.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdc">„</td>
+ <td class="tdl">light grey twist.</td>
+</tr>
+<tr>
+ <td class="tdr">4</td>
+ <td class="tdc">„</td>
+ <td class="tdc">„</td>
+ <td class="tdl">white twist.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdc">„</td>
+ <td class="tdl">light grey twist.</td>
+</tr>
+<tr>
+ <td class="tdr">2</td>
+ <td class="tdc">„</td>
+ <td class="tdc">„</td>
+ <td class="tdl">medium grey twist.</td>
+</tr>
+</table>
+
+<p>This colour-base may be applied to cotton textures and light
+fabrics, when the colourings should
+be considerably brighter than those
+enumerated. For variety of effect, it
+is one of the most important colourings
+included in the ordinary series
+of irregular elementary styles.</p>
+
+<figure class="figleft illowp35" id="fig101" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig101.jpg" alt="Elementary colour patterns">
+  <figcaption>
+      <p><span class="smcap">Fig. 101.</span></p>
+  </figcaption>
+</figure>
+
+<p><a id="para149"></a>149. <i>Cross-Weftings.</i>—This term is
+applied to weft colouring which does
+not correspond with the warp colouring
+as to order of shades. All the
+Simple, and many of the Compound
+special Schemes of Colouring may be
+cross-wefted. As a result, another
+form of coloured pattern is obtained
+from that due to applying the same order of wefting as
+warping.</p>
+
+<p>The following scheme (<a href="#fig101">Fig. 101</a>) is typical:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+ <td class="tdc" colspan="5"><i>Warp.</i></td>
+</tr>
+<tr>
+ <td class="tdr"></td>
+ <td class="tdl">3 black.</td>
+ <td colspan="2"></td>
+ <td class="tdl">3 white.</td>
+</tr>
+
+<tr>
+ <td class="tdc" colspan="5"><i>Wefts.</i></td>
+</tr>
+<tr>
+ <td class="tdr">(<i>a</i>)</td>
+ <td class="tdl">1 black.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" rowspan="5">Woven in the</td>
+ <td class="tdl" rowspan="5">[2/2] twill.</td>
+</tr>
+<tr>
+ <td class="tdr"></td>
+ <td class="tdl">1 white.</td>
+ <td class="tdl">⎪</td>
+</tr>
+<tr>
+ <td class="tdr">(<i>b</i>)</td>
+ <td class="tdl">2 black.</td>
+ <td class="tdl">⎬</td>
+</tr>
+<tr>
+ <td class="tdr"></td>
+ <td class="tdl">2 white.</td>
+ <td class="tdl">⎪</td>
+</tr>
+<tr>
+ <td class="tdr">(<i>c</i>)</td>
+ <td class="tdl">4 black.</td>
+ <td class="tdl">⎪</td>
+</tr>
+<tr>
+ <td class="tdr"></td>
+ <td class="tdl">4 white.</td>
+ <td class="tdl">⎭</td>
+ <td colspan="2"></td>
+</tr>
+<tr>
+ <td class="tdr">(<i>d</i>)</td>
+ <td class="tdl">1 black.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" colspan="2" rowspan="2">In the [3/3] twill.</td>
+</tr>
+<tr>
+ <td class="tdr"></td>
+ <td class="tdl">1 white.</td>
+ <td class="tdl">⎭</td>
+</tr>
+<tr>
+ <td class="tdr">(<i>e</i>)</td>
+ <td class="tdl">2 black.</td>
+ <td class="tdl">⎫</td>
+ <td class="tdl" colspan="2" rowspan="2">In the [2/2] mat.</td>
+</tr>
+<tr>
+ <td class="tdr"></td>
+ <td class="tdl">2 white.</td>
+ <td class="tdl">⎭</td>
+</tr>
+</table>
+
+<figure class="figcenter illowp88" id="plate22" style="max-width: 43.75em;">
+  <img class="w100" src="images/plate22.jpg" alt="Simple colouring styles">
+  <figcaption style="color: blue;">
+      <p>Plate <abbr title="Twenty-two">XXII</abbr><br>
+ <span class="allsmcap">STYLES DUE TO SIMPLE ORDERS OF COLOURING</span></p>
+  </figcaption>
+</figure>
+
+<p><span class="pagenum" id="Page_191">[Pg 191]</span>
+On <a href="#plate22">Plate <abbr title="Twenty-two">XXII.</abbr></a>, some further examples of the effects of cross-wefting
+are illustrated. The orders of warping and wefting are
+as follows:&#x2060;—</p>
+
+<table>
+<tr>
+<td class="tdc"><i>Warping.</i></td>
+<td class="tdc"><i>Wefting.</i></td>
+</tr>
+<tr>
+<td class="tdc pad5"><i>Series A to A3.</i></td>
+<td class="tdc pad5"><i>Series <abbr title="One">I.</abbr></i></td>
+</tr>
+<tr>
+<td class="tdc">2 dark.</td>
+<td class="tdc pad1">Same as warp for Series <i>A</i> to <i>A3</i>.</td>
+</tr>
+<tr>
+<td class="tdc">2 light.</td>
+<td class="tdc"></td>
+</tr>
+<tr>
+<td class="tdc pad5"><i>Series B to B3.</i></td>
+<td class="tdc pad5"><i>Series <abbr title="Two">II.</abbr></i></td>
+</tr>
+<tr>
+<td class="tdc">3 dark.</td>
+<td class="tdc pad1">Same as warp for Series <i>B</i> to <i>B3</i>.</td>
+</tr>
+<tr>
+<td class="tdc">3 light.</td>
+<td class="tdc"></td>
+</tr>
+<tr>
+<td class="tdc pad5"><i>Series C to C3.</i></td>
+<td class="tdc pad5"><i>Series <abbr title="Three">III.</abbr></i></td>
+</tr>
+<tr>
+<td class="tdc">6 dark.</td>
+<td class="tdc pad1">Same as warp for Series <i>C</i> to <i>C3</i>.</td>
+</tr>
+<tr>
+<td class="tdc">6 light.</td>
+<td class="tdc"></td>
+</tr>
+<tr>
+<td class="tdc pad5"><i>Series D to D3.</i></td>
+<td class="tdc pad5"><i>Series <abbr title="Four">IV.</abbr></i></td>
+</tr>
+<tr>
+<td class="tdc">4 dark.</td>
+<td class="tdc pad1">Same as warp for Series <i>D</i> to <i>D3</i>.</td>
+</tr>
+<tr>
+<td class="tdc">4 light.</td>
+<td class="tdc"></td>
+</tr>
+<tr>
+<td class="tdc">2 dark.</td>
+<td class="tdc"></td>
+</tr>
+<tr>
+<td class="tdc">2 light.</td>
+<td class="tdc"></td>
+</tr>
+</table>
+
+<p>Patterns <i>A</i>, <i>B1</i>, <i>C2</i>, and <i>D3</i> are woven as warped, but other
+specimens are cross-wefted. Of the latter, the following are
+regular styles and correct pattern bases:—<i>A1</i>, <i>A2</i>, <i>B</i>, <i>C</i>, <i>C1</i>, <i>C3</i>,
+<i>D</i>, <i>D1</i>, and <i>D2</i>. Examples <i>A2</i>, <i>D2</i>, and <i>D3</i> are striped or lined
+across, showing that in extreme differences between the warping
+and wefting, irregular forms of pattern or effect result: <i>e.g.</i> <i>A2</i>
+warped 2-and-2, and wefted 6-and-6; and <i>D2</i> and <i>D3</i> warped
+3-and-3, and woven 6-and-6, and 4, 4, 2, 2 respectively.</p>
+<hr class="chap x-ebookmaker-drop">
+
+
+<div class="chapter">
+<span class="pagenum" id="Page_192">[Pg 192]</span>
+  <h2 class="nobreak" id="CHAPTER_IX">
+    CHAPTER <abbr title="Nine">IX.</abbr>
+  </h2>
+   <h3>
+    COMPOUND COLOURINGS.
+  </h3>
+</div>
+
+<div class="blockquot">
+<p>150. Compounds—151. Compounds composed of Three Types of Elementary
+Colouring—152. Results of combining Simple Colourings—153. Compounds
+and Weave Combinations compared—154. Utility of a Practical Knowledge
+of the Woven Effects of Simple Colourings—155. Compound Patterns subjective
+to the Nature of the Fabrics Manufactured—156. Types of Compounds—157.
+Compounds composed of Two Simple Types—158. Patterns
+composed of Two Types and Three Shades—159. Styles of Four Shades
+containing Two Simple Types—160. Styles composed of Three Simple Types—161.
+Irregular Compounds.</p>
+</div>
+
+<figure class="figright illowp50" id="fig102" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig102.jpg" alt="Regular compound check">
+  <figcaption>
+      <p><span class="smcap">Fig. 102.</span></p>
+  </figcaption>
+</figure>
+
+<p class="unindent"><a id="para150"></a>150. <i>Compounds.</i>—As these are composed of several elementary
+schemes of colouring, they are generally patterns of some intricacy
+of composition. With only two shades it is possible to obtain
+varied effects in this style of woven colouring. When three or
+more shades are used, and several simple methods of grouping
+shades practised, though the weave may be of a common twill
+or mat description, Compound patterns may be quite elaborate
+in arrangement. The elaborateness of the style resultant is
+determined by several factors, such as the character of the types,
+number of the Simple Colourings combined, and the diversity
+of the shades employed. The simpler the schemes of colours
+selected, the fewer the elements of the compound, the more
+ordinary in cast and aspect is the pattern acquired. Still, the
+commonest groupings of shades, even when combined on the
+simplest system, form woven styles of considerable richness of
+composition. One example, <a href="#fig102">Fig. 102</a>, is suggestive of the characteristics
+of this species of textile colouring. It is the most
+elementary type of compound, resulting from combining Methods
+<abbr title="One">I.</abbr> and <abbr title="Two">II.</abbr>, supplied in <a href="#Table_9">Table <abbr title="Nine">IX.</abbr></a>, and consisting of black and
+white. But it is a pattern which comprises several styles of
+minute effects. It is divided into four rectangular spaces, <i>A</i>,
+<span class="pagenum" id="Page_193">[Pg 193]</span>
+<i>B</i>, <i>C</i>, and <i>D</i>: Each square is formed of a different kind of
+textural design. Thus, in Section <i>A</i>, which is composed of two
+threads of black and two threads of white in both warp and
+weft, it will be noticed there are small irregular checkings
+forming vertical lines; in <i>B</i>, where the one-and-one order of
+warp colouring is crossed by the two-and-two order of wefting,
+minute figures, or spots
+of white, separately surrounded
+with black, occur;
+in Section <i>C</i> the same figures
+obtain as in <i>B</i>, only they are
+inverted, owing to the warp
+and weft colourings meeting
+each other in the reverse
+way to what they do
+in <i>B</i>; Section <i>D</i> consists
+of small step-twill effects.
+So there are thus, in this
+pattern, four textural results
+so associated as to
+form a neat check design,
+which is producible in
+woollen, worsted, silk, and cotton yarns. It may be diminished
+or increased in size, and modified in various ways. For example,
+Checks <i>A</i> and <i>C</i> may be double the size of <i>B</i> and <i>D</i>; or several
+striped patterns may be acquired by using Sections <i>C</i> and <i>D</i>
+together and Sections <i>A</i> and <i>B</i>—the spaces of each effect being
+determined by the class of fabric in which the style is produced.
+For trouserings they must be comparatively small, but for dress
+textures and mantlings they may be some inches in width. In
+such shades and tints as are appended, both the original pattern
+and the modifications named may be developed:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+<td class="tdc" colspan="7"><abbr title="One">I.</abbr></td>
+</tr>
+<tr>
+<td class="tdl" rowspan="2">For 24 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdc">Shade</td>
+<td class="tdr">2,</td>
+<td class="tdc">Pl. <abbr title="Four">IV.</abbr></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdr">8,</td>
+<td class="tdc">„</td>
+</tr>
+<tr>
+<td class="tdl" rowspan="2">For 24 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">2</td>
+<td class="tdc">threads of</td>
+<td class="tdc">Shade</td>
+<td class="tdr">2,</td>
+<td class="tdc">Pl. <abbr title="Four">IV.</abbr></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdr">8,</td>
+<td class="tdc">„<br></td>
+</tr>
+</table>
+<br>
+<table class="autotable">
+<tr>
+<td class="tdc" colspan="7"><abbr title="Two">II.</abbr>
+    <span class="pagenum" id="Page_194">[Pg 194]</span></td>
+</tr>
+<tr>
+<td class="tdl" rowspan="2">For 24 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdc">Shade</td>
+<td class="tdr">7,</td>
+<td class="tdc">Pl. <abbr title="Six">VI.</abbr></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdr">13,</td>
+<td class="tdc">„</td>
+</tr>
+<tr>
+<td class="tdl" rowspan="2">For 24 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">2</td>
+<td class="tdc">threads of</td>
+<td class="tdc">Shade</td>
+<td class="tdr">7,</td>
+<td class="tdc">Pl. <abbr title="Six">VI.</abbr></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdr">13,</td>
+<td class="tdc">„</td>
+</tr>
+</table>
+<br>
+<table class="autotable">
+<tr>
+<td class="tdc" colspan="7"><abbr title="Three">III.</abbr></td>
+</tr>
+<tr>
+<td class="tdl" rowspan="2">For 24 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdc">Tint</td>
+<td class="tdr">4,</td>
+<td class="tdc">Pl. <abbr title="Four">IV.</abbr></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdr">4,</td>
+<td class="tdc">&thinsp; „ &thinsp;<abbr title="Six">VI.</abbr></td>
+</tr>
+<tr>
+<td class="tdl" rowspan="2">For 24 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">2</td>
+<td class="tdc">threads of</td>
+<td class="tdc">Tint</td>
+<td class="tdr">4,</td>
+<td class="tdc">Pl. <abbr title="Four">IV.</abbr></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdr">4,</td>
+<td class="tdc">&thinsp; „ &thinsp;<abbr title="Six">VI.</abbr></td>
+</tr>
+</table>
+<br>
+<table class="autotable">
+<tr>
+<td class="tdc" colspan="7"><abbr title="Four">IV.</abbr></td>
+</tr>
+<tr>
+<td class="tdl" rowspan="2">For 24 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdc">1</td>
+<td class="tdc">thread of</td>
+<td class="tdr">Tint</td>
+<td class="tdc">10,</td>
+<td class="tdl">Pl. <abbr title="Six">VI.</abbr></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdr">16,</td>
+<td class="tdc">„</td>
+</tr>
+<tr>
+<td class="tdl" rowspan="2">For 24 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">2</td>
+<td class="tdc">threads of</td>
+<td class="tdc">Tint</td>
+<td class="tdr">10,</td>
+<td class="tdc">Pl. <abbr title="Six">VI.</abbr></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdr">16,</td>
+<td class="tdc">„</td>
+</tr>
+</table>
+
+<p class="unindent">These colourings, with the exception of <abbr title="Number">No.</abbr> 1, are more
+suitable for dress and fancy fabrics than for trousering and
+coating textures. They are too bright for the latter types of
+loom products, but are of the correct depth of colour for fancy
+dress and mantling fabrics.</p>
+
+<p>151. <i>Compounds composed of Three Types of Elementary
+Colouring.</i>—In the above example in Compounds, only two
+schemes of colouring obtain; but in <a href="#fig103">Fig. 103</a> three elementary
+systems of grouping shades have been combined, yielding a style
+rich in diversity of small types of design. The schemes of
+shades employed in this construction are the <abbr title="One">I.</abbr>, <abbr title="Two">II.</abbr>, and <abbr title="Four">IV.</abbr>
+Methods in Class A of the Simple Colourings. They constitute,
+in the fabric, nine distinct effects. These must be closely
+examined, in order that the principles of pattern design involved
+in the formation of the Compound style may be understood.
+Commence with the three effects succeeding each other in Bracket
+<i>A</i>. First, there is a square of similar minute figuring to that
+noticed in <i>C</i> of <a href="#fig102">Fig. 102</a>; second, a rectangle of vertical stripes
+composed of neat markings; and third, a repetition of the effect
+seen in <i>D</i>, <a href="#fig102">Fig. 102</a>. Next, consider the types included in
+<span class="pagenum" id="Page_195">[Pg 195]</span>
+Bracket <i>B</i>. The first space here is a composition of the small
+checks referred to in Section <i>A</i> of the former pattern; this
+adjoins a square filled in with vertical stripes; and then follows
+a space of similar dimensions, and of the same species of effects,
+as characterizes <i>B</i> of the preceding style. Both the <i>A</i> and <i>B</i>
+series of the effects comprise two types of pattern like those
+composing Fig. 102, but in the <i>C</i> and <i>E</i> groups five entirely
+distinct types of textural work are developed. Two of these—the
+two vertical stripes—have
+been alluded to.
+The horizontal stripes,
+comprised in Bracket <i>C</i>
+have not been described.
+They are similar to the
+stripes seen in Bracket
+<i>E</i>, only they are formed
+across instead of lengthways
+of the fabric.
+Between the rectangular
+spaces of these effects
+there is a square of black
+and white plaid. It may
+be useful to indicate
+how the several effects
+forming this compound
+may be utilized on other
+systems than that illustrated. The space of black and white
+checkings may be enlarged. But it is not simply in the form
+of checks these sets of colourings are combinable, for they
+may be associated on such principles as to yield an extensive
+range of stripe designs. Take, for example, the series of effects
+included in Bracket <i>A</i>. These of themselves make a neat stripe,
+especially if choice colourings are selected. Parts <i>D</i>, <i>E</i>, and <i>F</i>
+may be varied in dimensions according to the class of texture
+being manufactured. About half an inch of <i>D</i>, an inch of <i>E</i>,
+and half an inch of <i>F</i> makes a useful base. In the shades and
+tints furnished for the preceding example—<a href="#fig102">Fig. 102</a>—this form
+of stripe produces attractive styles.</p>
+
+<figure class="figright illowp50a" id="fig103" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig103.jpg" alt="Regular compound check">
+  <figcaption>
+      <p><span class="smcap">Fig. 103.</span></p>
+  </figcaption>
+</figure>
+
+<p><span class="pagenum" id="Page_196">[Pg 196]</span>
+The group of types in <i>B</i> should be similarly employed as that
+constituting <i>A</i>. After <i>B</i> sections have been separated from the
+rest of the pattern they may be used thus for a dress fabric:—A
+band of two inches of the effect given over <i>F</i>, and bands of one
+inch in width of the two adjacent types. If the style is applied
+to trouserings, smaller quantities of each type should be employed,
+and some fancy twist yarns added to the shades forming the
+bulk of the pattern, to give freshness and diversity of colouring.</p>
+
+<p>The series of broken or irregular types included in Bracket <i>C</i>
+may also be worked into stripes for mantlings. In woollen
+yarns and mellow colourings, these broad effects in bands of
+about an inch in width yield effective patterns. Toned browns,
+slates, drabs, light greys, light olives, and lavenders are appropriate
+colours for this kind of textiles. Mixture yarns, of which
+several illustrations are given below, are also applicable.</p>
+
+<table class="autotable">
+<tr>
+<td class="tdc" colspan="3"><abbr title="One">I.</abbr></td>
+</tr>
+<tr>
+<td class="tdl"><a id="FNanchor_13_13" href="#Footnote_13_13" class="fnanchor">[13]</a> ⎧1</td>
+<td class="tdc">thread of</td>
+<td class="tdl"><abbr title="Number">No.</abbr> 1, <a href="#plate13">Plate <abbr title="Thirteen">XIII.</abbr></a><br></td>
+</tr>
+<tr>
+<td class="tdl"><span class="hide"><a class="fnanchor">[13]</a></span> ⎩1</td>
+<td class="tdc">„</td>
+<td class="tdl"><abbr title="Number">No.</abbr> 2, <a href="#plate13">Plate <abbr title="Thirteen">XIII.</abbr></a></td>
+</tr>
+<tr>
+<td class="tdl"><a href="#Footnote_13_13" class="fnanchor">[13]</a> ⎧2</td>
+<td class="tdc">threads of</td>
+<td class="tdl"><abbr title="Number">No.</abbr> 1, <a href="#plate13">Plate <abbr title="Thirteen">XIII.</abbr></a><br></td>
+</tr>
+<tr>
+<td class="tdl"><span class="hide"><a class="fnanchor">[13]</a></span> ⎩2</td>
+<td class="tdc">„</td>
+<td class="tdl"><abbr title="Number">No.</abbr> 2, <a href="#plate13">Plate <abbr title="Thirteen">XIII.</abbr></a></td>
+</tr>
+<tr>
+<td class="tdl"><a href="#Footnote_13_13" class="fnanchor">[13]</a> ⎧4</td>
+<td class="tdc">„</td>
+<td class="tdl"><abbr title="Number">No.</abbr> 1, <a href="#plate13">Plate <abbr title="Thirteen">XIII.</abbr></a><br></td>
+</tr>
+<tr>
+<td class="tdl"><span class="hide"><a class="fnanchor">[13]</a></span> ⎩4</td>
+<td class="tdc">„</td>
+<td class="tdl"><abbr title="Number">No.</abbr> 2, <a href="#plate13">Plate <abbr title="Thirteen">XIII.</abbr></a></td>
+</tr>
+</table>
+<br>
+<table class="autotable">
+<tr>
+<td class="tdc" colspan="3"><abbr title="Two">II.</abbr></td>
+</tr>
+<tr>
+<td class="tdl"><a href="#Footnote_13_13" class="fnanchor">[13]</a> ⎧1</td>
+<td class="tdc">thread of</td>
+<td class="tdl"><abbr title="Number">No.</abbr> 6, <a href="#plate13">Plate <abbr title="Thirteen">XIII.</abbr></a><br></td>
+</tr>
+<tr>
+<td class="tdl"><span class="hide"><a class="fnanchor">[13]</a></span> ⎩1</td>
+<td class="tdc">„</td>
+<td class="tdl"><abbr title="Number">No.</abbr> 8, <a href="#plate13">Plate <abbr title="Thirteen">XIII.</abbr></a></td>
+</tr>
+<tr>
+<td class="tdl"><a href="#Footnote_13_13" class="fnanchor">[13]</a> ⎧2</td>
+<td class="tdc">threads of</td>
+<td class="tdl"><abbr title="Number">No.</abbr> 6, <a href="#plate13">Plate <abbr title="Thirteen">XIII.</abbr></a><br></td>
+</tr>
+<tr>
+<td class="tdl"><span class="hide"><a class="fnanchor">[13]</a></span> ⎩2</td>
+<td class="tdc">„</td>
+<td class="tdl"><abbr title="Number">No.</abbr> 8, <a href="#plate13">Plate <abbr title="Thirteen">XIII.</abbr></a></td>
+</tr>
+<tr>
+<td class="tdl"><a href="#Footnote_13_13" class="fnanchor">[13]</a> ⎧4</td>
+<td class="tdc">„</td>
+<td class="tdl"><abbr title="Number">No.</abbr> 6, <a href="#plate13">Plate <abbr title="Thirteen">XIII.</abbr></a><br></td>
+</tr>
+<tr>
+<td class="tdl"><span class="hide"><a class="fnanchor">[13]</a></span> ⎩4</td>
+<td class="tdc">„</td>
+<td class="tdl"><abbr title="Number">No.</abbr> 8, <a href="#plate13">Plate <abbr title="Thirteen">XIII.</abbr></a></td>
+</tr>
+</table>
+<br>
+<table class="autotable">
+<tr>
+<td class="tdc" colspan="3"><abbr title="Three">III.</abbr></td>
+</tr>
+<tr>
+<td class="tdl"><a href="#Footnote_13_13" class="fnanchor">[13]</a> ⎧1</td>
+<td class="tdc">thread of</td>
+<td class="tdl"><abbr title="Number">No.</abbr> 5, <a href="#plate13">Plate <abbr title="Thirteen">XIII.</abbr></a><br></td>
+</tr>
+<tr>
+<td class="tdl"><span class="hide"><a class="fnanchor">[13]</a></span> ⎩1</td>
+<td class="tdc">„</td>
+<td class="tdl"><abbr title="Number">No.</abbr> 7, <a href="#plate13">Plate <abbr title="Thirteen">XIII.</abbr></a></td>
+</tr>
+<tr>
+<td class="tdl"><a href="#Footnote_13_13" class="fnanchor">[13]</a> ⎧2</td>
+<td class="tdc">threads of</td>
+<td class="tdl"><abbr title="Number">No.</abbr> 5, <a href="#plate13">Plate <abbr title="Thirteen">XIII.</abbr></a><br></td>
+</tr>
+<tr>
+<td class="tdl"><span class="hide"><a class="fnanchor">[13]</a></span> ⎩2</td>
+<td class="tdc">„</td>
+<td class="tdl"><abbr title="Number">No.</abbr> 7, <a href="#plate13">Plate <abbr title="Thirteen">XIII.</abbr></a></td>
+</tr>
+<tr>
+<td class="tdl"><a href="#Footnote_13_13" class="fnanchor">[13]</a> ⎧4</td>
+<td class="tdc">„</td>
+<td class="tdl"><abbr title="Number">No.</abbr> 5, <a href="#plate13">Plate <abbr title="Thirteen">XIII.</abbr></a><br></td>
+</tr>
+<tr>
+<td class="tdl"><span class="hide"><a class="fnanchor">[13]</a></span> ⎩4</td>
+<td class="tdc">„</td>
+<td class="tdl"><abbr title="Number">No.</abbr> 7, <a href="#plate13">Plate <abbr title="Thirteen">XIII.</abbr></a></td>
+</tr>
+</table>
+
+<p class="p2">152. <i>Results of Combining Simple Colourings.</i>—It will be
+obvious from these illustrations—<a href="#fig102">Figs. 102</a> and <a href="#fig103">103</a>—that, by
+combining several schemes of Simple Colouring, patterns are
+obtained rich in diversity of types of textural design, though
+the number of shades combined may be limited. This is not
+<span class="pagenum" id="Page_197">[Pg 197]</span>
+usually the case in Simple Colourings. If the shades in such
+arrangements are not numerous, the resultant effect is invariably
+plain; whereas, it is obvious that in Compounds, even should
+one weave only be employed and two shades combined, styles
+full of detail and minute textural patterns are producible. They
+represent an economical method of developing design in woven
+goods, for they are neither complicated in weave structure nor
+colour composition.</p>
+
+<p>153. <i>Compounds and Weave Combinations compared.</i>—Patterns
+of a Compound class, being composed of two or more
+Simple schemes of colouring, may be compared to designs
+resulting from combining several small weaves or crossings.
+Compound colourings bear the same relation to the general
+classes of coloured patterns, as combined weave designs bear to
+the effects obtainable by diversifying the systems of crossing
+warp and weft yarns. Thus, the former are the resultants of
+combining elementary schemes of colouring, and the latter the
+resultants of uniting elements of weaving. Moreover, the
+complexity of weave compounds is proportionate to the variety
+of weaves combined, and the class of the elementary schemes
+of intertexture employed. The complex arrangement and fulness
+of detail of Compound Colourings are determined by the
+number of “Simple Orders of Colouring” entering into their
+composition, and by the character of the methods of colouring
+utilized.</p>
+
+<p>When constructing weave combinations, only those weaves
+should be used which fit with each other correctly, and which
+yield a fabric regular in structure; and when forming compounds,
+those schemes of elementary colouring should only be
+combined which produce a properly balanced style.</p>
+
+<p>154. <i>Utility of a Practical Knowledge of the Woven Effects of
+Simple Colourings.</i>—Before attempting to combine simple
+methods of arranging shades, in the construction of Compound
+patterns, the textural results of the various elementary systems
+of grouping colours already described should have been ascertained,
+if possible, by loom experiments. For the purpose of
+facilitating the combination of Simple Colourings, it will be
+found advantageous to make a collection of the woven patterns
+<span class="pagenum" id="Page_198">[Pg 198]</span>
+resulting from the adoption of the Schemes given in Paragraph
+<a href="#para149">149</a> (see <a href="#plate22">Plate <abbr title="Twenty-two">XXII.</abbr></a>). The utility of such a series of woven
+specimens may be indicated. Supposing, for example, a pattern
+were required in the cassimere twill in which the two-and-two
+and the one-and-one schemes of colouring were to appear. Then,
+by consulting the woven results of these two principles of
+grouping yarns, some calculation could be made of the actual
+aspect of the pattern to be originated. This, of course, is an
+advantage in designing. The most effective styles are those
+which the designer, by the aid of his technical knowledge, has
+been able to partially imagine the woven effect of, when the
+patterns were in the theoretical form.</p>
+
+<p>155. <i>Compound Patterns Subjective to the Nature of the
+Fabric Manufactured.</i>—Another factor which affects the
+selection of “Simple Colourings” in the construction of Compounds,
+is the class or description of fabric being produced. In
+some species of cotton and dress textures, bold and broad effects
+are required, necessitating the use of the larger types of
+elementary colourings; but in ordinary fabrics the neatest and
+smallest types are suitable. This may be regarded as a general
+rule, but the degree of colour contrast, and the fineness of the
+structure of the fabric, in some measure also modify the type of
+shade-arrangements most appropriate for any specific class of
+fabrics. It is chiefly a question of the size of the pattern
+required, which governs the dimensions of the various effects
+combined in its construction. So that, granting the class of
+fabric has been selected, and that its structure is known, then
+those Simple Colourings may be applied which will give a
+compound style of requisite textural composition, form, and
+size.</p>
+
+<p>156. <i>Types of Compounds.</i>—Compounds, like Simple
+Colourings, may be divided into Regulars and Irregulars, which
+may be subdivided thus: Compounds composed of two elementary
+schemes of colouring, and Compounds composed of three or more
+elementary schemes of colouring. Each of these subdivisions
+includes styles of two, three, or four shades. Examples in these
+several classes of Compounds are supplied in the Table given
+below:—</p>
+
+<p class="p2 center"><span class="pagenum" id="Page_199">[Pg 199]</span>
+<a id="Table_11"></a>
+<span class="smcap">Table <abbr title="Eleven">XI.</abbr></span>
+<br><br>
+<span class="smcap">Compound Colourings.</span>
+</p>
+
+<p class="unindent"><span class="smcap">Regular Compounds</span>&#x2060;—</p>
+
+<p class="center">
+<span class="allsmcap">CLASS A.—COMPOUNDS COMPOSED OF TWO SIMPLE TYPES.</span><br>
+<br>
+<i><abbr title="One">I.</abbr>—Styles in Two Shades.</i>
+</p>
+
+<table>
+<tr>
+<td class="tdc pad4" colspan="5"><i><abbr title="One">I.</abbr> Scheme.</i><br></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">thread of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="2"><i>A.</i></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="2"><i>B.</i></td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="5"><i><abbr title="Two">II.</abbr> Scheme.</i><br></td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="2"><i>A.</i></td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="2"><i>B.</i></td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="5"><i><abbr title="Three">III.</abbr> Scheme.</i><br></td>
+</tr>
+<tr>
+<td class="tdr">3</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="2"><i>A.</i></td>
+</tr>
+<tr>
+<td class="tdr">3</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr">6</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="2"><i>B.</i></td>
+</tr>
+<tr>
+<td class="tdr">6</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="5"><i><abbr title="four">IV.</abbr> Scheme.</i></td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="2"><i>A.</i></td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr">8</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="2"><i>B.</i></td>
+</tr>
+<tr>
+<td class="tdr">8</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+</table>
+
+<p class="p2 center">
+<i><abbr title="Two">II.</abbr>—Styles in Three Shades.</i>
+</p>
+
+<table>
+<tr>
+<td class="tdr"></td>
+<td class="tdc pad4" colspan="3"><i><abbr title="One">I.</abbr> Scheme.</i></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">thread of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">grey.</td>
+<td class="tdl">⎬ <i>A.</i></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">grey.</td>
+<td class="tdl">⎬ <i>B.</i></td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdc pad4" colspan="3"><i><abbr title="Two">II.</abbr> Scheme.</i></td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">grey.</td>
+<td class="tdl">⎬ <i>A.</i></td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">grey.</td>
+<td class="tdl">⎬ <i>B.</i></td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdc pad4" colspan="3"><i><abbr title="Three">III.</abbr> Scheme.</i><br></td>
+</tr>
+<tr>
+<td class="tdr">3</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+</tr>
+<tr>
+<td class="tdr">3</td>
+<td class="tdc">„</td>
+<td class="tdl">grey.</td>
+<td class="tdl">⎬ <i>A.</i></td>
+</tr>
+<tr>
+<td class="tdr">3</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr">6</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+</tr>
+<tr>
+<td class="tdr">6</td>
+<td class="tdc">„</td>
+<td class="tdl">grey.</td>
+<td class="tdl">⎬ <i>B.</i></td>
+</tr>
+<tr>
+<td class="tdr">6</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdc pad4" colspan="3"><i><abbr title="four">IV.</abbr> Scheme.</i><br></td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">grey.</td>
+<td class="tdl">⎬ <i>A.</i></td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr">8</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+</tr>
+<tr>
+<td class="tdr">8</td>
+<td class="tdc">„</td>
+<td class="tdl">grey.</td>
+<td class="tdl">⎬ <i>B.</i></td>
+</tr>
+<tr>
+<td class="tdr">8</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+</table>
+
+<p class="p2 center"><i><abbr title="Three">III.</abbr>—Styles in Four Shades.</i>
+   <span class="pagenum" id="Page_200">[Pg 200]</span></p>
+
+<table>
+<tr>
+<td class="tdr"></td>
+<td class="tdc pad4" colspan="3"><i><abbr title="One">I.</abbr> Scheme.</i><br></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">thread of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">dark grey.</td>
+<td class="tdl">⎬ <i>A.</i></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">grey.</td>
+<td class="tdl">⎪</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">dark grey.</td>
+<td class="tdl">⎬ <i>B.</i></td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">grey.</td>
+<td class="tdl">⎪</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdc pad4" colspan="3"><i><abbr title="Two">II.</abbr> Scheme.</i><br></td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">dark grey.</td>
+<td class="tdl">⎬ <i>A.</i></td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">grey.</td>
+<td class="tdl">⎪</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">dark grey.</td>
+<td class="tdl">⎬ <i>B.</i></td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">grey.</td>
+<td class="tdl">⎪</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdc pad4" colspan="3"><i><abbr title="Three">III.</abbr> Scheme.</i></td>
+</tr>
+<tr>
+<td class="tdr">3</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+</tr>
+<tr>
+<td class="tdr">3</td>
+<td class="tdc">„</td>
+<td class="tdl">dark grey.</td>
+<td class="tdl">⎬ <i>A.</i></td>
+</tr>
+<tr>
+<td class="tdr">3</td>
+<td class="tdc">„</td>
+<td class="tdl">grey.</td>
+<td class="tdl">⎪</td>
+</tr>
+<tr>
+<td class="tdr">3</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr">6</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+</tr>
+<tr>
+<td class="tdr">6</td>
+<td class="tdc">„</td>
+<td class="tdl">dark grey.</td>
+<td class="tdl">⎬ <i>B.</i></td>
+</tr>
+<tr>
+<td class="tdr">6</td>
+<td class="tdc">„</td>
+<td class="tdl">grey.</td>
+<td class="tdl">⎪</td>
+</tr>
+<tr>
+<td class="tdr">6</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdc pad4" colspan="3"><i><abbr title="Four">IV.</abbr> Scheme.</i></td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">dark grey.</td>
+<td class="tdl">⎬ <i>A.</i></td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">grey.</td>
+<td class="tdl">⎪</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr">8</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+</tr>
+<tr>
+<td class="tdr">8</td>
+<td class="tdc">„</td>
+<td class="tdl">dark grey.</td>
+<td class="tdl">⎬ <i>B.</i></td>
+</tr>
+<tr>
+<td class="tdr">8</td>
+<td class="tdc">„</td>
+<td class="tdl">grey.</td>
+<td class="tdl">⎪</td>
+</tr>
+<tr>
+<td class="tdr">8</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+</table>
+
+<p class="p2 center allsmcap">
+CLASS B.—COMPOUNDS COMPOSED OF THREE SIMPLE TYPES.
+</p>
+
+<table>
+<tr>
+<td class="tdr"></td>
+<td class="tdc pad4" colspan="4"><i><abbr title="One">I.</abbr> Scheme.</i></td>
+</tr>
+<tr>
+<td class="tdc" colspan="5">Composed of Two Shades.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="2"><i>A.</i></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">threads of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="2"><i>B.</i></td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">threads of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="2"><i>C.</i></td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdc pad4" colspan="4"><i><abbr title="Two">II.</abbr> Scheme.</i></td>
+</tr>
+<tr>
+<td class="tdc" colspan="5">Composed of Three Shades.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="3"><i>A.</i></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">grey.</td>
+<td class="tdl">⎬</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">threads of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="3"><i>B.</i></td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">grey.</td>
+<td class="tdl">⎬</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">threads of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="3"><i>C.</i></td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">grey.</td>
+<td class="tdl">⎬</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdc pad4" colspan="4"><i><abbr title="Three">III.</abbr> Scheme.</i>
+  <span class="pagenum" id="Page_201">[Pg 201]</span></td>
+</tr>
+<tr>
+<td class="tdc" colspan="5">Composed of Three Shades.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="3"><i>A.</i></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">grey.</td>
+<td class="tdl">⎬</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr">3</td>
+<td class="tdc">threads of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="3"><i>B.</i></td>
+</tr>
+<tr>
+<td class="tdr">3</td>
+<td class="tdc">„</td>
+<td class="tdl">grey.</td>
+<td class="tdl">⎬</td>
+</tr>
+<tr>
+<td class="tdr">3</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr">6</td>
+<td class="tdc">threads of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="3"><i>C.</i></td>
+</tr>
+<tr>
+<td class="tdr">6</td>
+<td class="tdc">„</td>
+<td class="tdl">grey.</td>
+<td class="tdl">⎬</td>
+</tr>
+<tr>
+<td class="tdr">6</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdc pad4" colspan="4"><i>IV. Scheme.</i></td>
+</tr>
+<tr>
+<td class="tdc" colspan="5">Composed of Three Shades.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">threads of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="3"><i>A.</i></td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">grey.</td>
+<td class="tdl">⎬</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">threads of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="3"><i>B.</i></td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">grey.</td>
+<td class="tdl">⎬</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr">8</td>
+<td class="tdc">threads of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="3"><i>C.</i></td>
+</tr>
+<tr>
+<td class="tdr">8</td>
+<td class="tdc">„</td>
+<td class="tdl">grey.</td>
+<td class="tdl">⎬</td>
+</tr>
+<tr>
+<td class="tdr">8</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+</table>
+
+<p class="p2 unindent"><span class="smcap">Irregular Compounds</span>—</p>
+
+<table>
+<tr>
+<td></td>
+<td class="tdc pad4" colspan="4"><i><abbr title="One">I.</abbr> Scheme.</i><br></td>
+</tr>
+<tr>
+<td class="tdc" colspan="5">Composed of Two Colours.<br></td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">threads of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="2"><i>A.</i></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">threads of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="2"><i>B.</i></td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td></td>
+<td class="tdc pad4" colspan="4"><i><abbr title="Two">II.</abbr> Scheme.</i><br></td>
+</tr>
+<tr>
+<td class="tdc" colspan="5">Composed of Two Colours.<br></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="2"><i>A.</i></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr">3</td>
+<td class="tdc">threads of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="2"><i>B.</i></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="5"><i><abbr title="Three">III.</abbr> Scheme.</i><br></td>
+</tr>
+<tr>
+<td class="tdc" colspan="5">Composed of Two Shades.<br></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="3"><i>A.</i></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">grey.</td>
+<td class="tdl">⎬</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">grey.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="3"><i>B.</i></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎬</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">grey.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td></td>
+<td class="tdc pad4" colspan="4"><i><abbr title="four">IV.</abbr> Scheme.</i><br></td>
+</tr>
+<tr>
+<td class="tdc" colspan="5">Composed of Three Colours.<br></td>
+</tr>
+<tr>
+<td class="tdr">6</td>
+<td class="tdc">threads of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="3"><i>A.</i></td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">grey.</td>
+<td class="tdl">⎬</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr">3</td>
+<td class="tdc">threads of</td>
+<td class="tdl">black.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="2"><i>B.</i></td>
+</tr>
+<tr>
+<td class="tdr">3</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+</table>
+
+<div class="blockquot">
+<p><span class="smcap">Note.</span>—Groups <i>A</i>, <i>B</i>, and <i>C</i> may be repeated to any number of
+threads of which they form a multiple.</p>
+</div>
+
+<p class="p2">157. <i>Compounds composed of Two Simple Types.</i>—Four
+examples in this class of Compounds are given in Class A of the
+Table. Three of them have been examined—namely, Schemes
+<abbr title="One">I.</abbr>, <abbr title="Two">II.</abbr>, and <abbr title="Three">III.</abbr>
+ The <abbr title="One">I.</abbr> Scheme is analyzed in <a href="#para150">Paragraph 150</a>,
+<span class="pagenum" id="Page_202">[Pg 202]</span>
+the <abbr title="Two">II.</abbr> Scheme produces a common check pattern, and the <abbr title="Three">III.</abbr>
+Scheme the basket check. Scheme <abbr title="Two">II.</abbr> is used in worsted
+designing for both suiting and dress fabrics, and also in cotton
+yarns. Both this and the <abbr title="Three">III.</abbr> Scheme are worked in the mat or
+hopsack, as well as in the four- and six-end twills. These forms
+of pattern also obtain in stripes and checks. No great contrast
+of colours is needed, as they are effective in a textural sense.
+The difference between the effects of the two-and-two and the
+four-and-four, and the three-and-three and the six-and-six
+orders of colouring, is so pronounced as to make decided shade
+composition unnecessary. Colours of the same hue, but of
+various depths, are appropriate. Another useful type of colour
+compound for these schemes of grouping shades is illustrated
+below:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+<td class="tdc" colspan="5"><abbr title="One">I.</abbr></td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2"><i>A.</i></td>
+<td class="tdl">⎧</td>
+<td class="tdl">2</td>
+<td class="tdc">threads of</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">brown and light brown twist.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2"><i>B.</i></td>
+<td class="tdl">⎧</td>
+<td class="tdl">4</td>
+<td class="tdc">threads of</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">4</td>
+<td class="tdc">„</td>
+<td class="tdl">brown and light brown twist.</td>
+</tr>
+<tr>
+<td class="tdc" colspan="5"><br><abbr title="Two">II.</abbr><br></td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2"><i>A.</i></td>
+<td class="tdl">⎧</td>
+<td class="tdl">2</td>
+<td class="tdc">threads of</td>
+<td class="tdl">light grey.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">light grey and white twist.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2"><i>B.</i></td>
+<td class="tdl">⎧</td>
+<td class="tdl">4</td>
+<td class="tdc">threads of</td>
+<td class="tdl">light grey.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">4</td>
+<td class="tdc">„</td>
+<td class="tdl">light grey and white twist.</td>
+</tr>
+</table>
+
+<p>Parts <i>A</i> and <i>B</i> may be repeated two, four, or six times,
+according to the size of pattern required. A very mellow sort
+of style results from this system of colouring. The surface of
+the texture is one uniform tint, slightly diversified with the
+twist yarns, which develop the details of the pattern, due to
+the method of grouping the threads. This species of colouring
+is soft in tone and artistic in composition, being equally applicable
+to woollen, worsted, and cotton fabrics. In cottons, more pronounced
+colouring may be adopted, such shades as follow being
+useful: brown and slate, pink and white, and deep blue and
+pale lavender.</p>
+
+<p>The woven effects of Scheme <abbr title="Four">IV.</abbr> are given in
+ <a href="#fig104">Figs. 104</a>, <a href="#fig105">105</a>,
+and <a href="#fig106">106</a>. The weave employed in the production of these
+patterns is an eight-shaft twill. Whatever twill were used,
+providing it flushed the warp and weft equally, the general
+aspect of the patterns would be as here illustrated. In order to
+afford as clear an insight into the principles of Compound Colourings
+<span class="pagenum" id="Page_203">[Pg 203]</span>
+as possible, the effect of changing the weft on the pattern
+resultant, when the system of warping is not varied, is also
+shown in these examples. All the three patterns have the same
+arrangement of warp yarns, but in <a href="#fig104">Fig. 104</a> the weft is white;
+<a href="#fig105">Fig. 105</a>, black; and in <a href="#fig106">Fig. 106</a> it is like the warp. If the weft
+contrasted in hue with both the shades of warp yarns, quite a
+new type of effect would be acquired. Supposing, for illustration,
+it were blue. Such
+an alteration would
+completely change the
+appearance of the
+fabric. Neither the
+black nor the white
+stripes would be solid,
+but the former would be half black and half blue, and the latter
+half white and half blue. However the weft might be varied;
+the form of the pattern would remain the same—that is to say,
+it would always consist in the stripes (<a href="#fig104">Figs. 104</a> and <a href="#fig105">105</a>) of
+four broad lines and two narrow lines, and in the check (<a href="#fig106">Fig. 106</a>)
+of sixteen large and sixteen small squares.</p>
+
+<figure class="figcenter illowp60" id="fig104" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig104.jpg" alt="Regular compound stripe">
+  <figcaption>
+      <p><span class="smcap">Fig. 104.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp60" id="fig105" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig105.jpg" alt="Regular compound stripe">
+  <figcaption>
+      <p><span class="smcap">Fig. 105.</span></p>
+  </figcaption>
+</figure>
+
+<p>Considering that
+only two shades are
+used, the patterns are
+full of textural detail.
+The series of effects
+given are useful in
+textile designing. The
+stripes possess diversity of composition, and are characterized by
+neatness and clearness of arrangement. Seeing that the shades
+used are black and white, the absence of bold and stiff outlines is
+an interesting feature, and one that suggests the utility of the
+base in the development of fancy fabrics. In the check there is
+much variety of work. In addition to the solid squares of black
+and white of two sizes, there are rectangles composed of twills of
+black and white blended, of several dimensions and shapes.</p>
+
+<figure class="figcenter illowp50" id="fig106" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig106.jpg" alt="Regular compound check">
+  <figcaption>
+      <p><span class="smcap">Fig. 106.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp50" id="fig107" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig107.jpg" alt="Regular compound stripe">
+  <figcaption>
+      <p><span class="smcap">Fig. 107.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp50" id="fig108" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig108.jpg" alt="Regular compound check">
+  <figcaption>
+      <p><span class="smcap">Fig. 108.</span></p>
+  </figcaption>
+</figure>
+
+<p>158. <i>Patterns composed of Two Types and Three Shades.</i>—Scheme
+<abbr title="One">I.</abbr> of Class A of the Regular Compounds, in the styles
+composed of three colours and of two Simple types, gives somewhat
+<span class="pagenum" id="Page_204">[Pg 204]</span>
+mellow and subdued effects. The patterns sketched in
+<a href="#fig107">Figs. 107</a> and <a href="#fig108">108</a> illustrate the style of design arrangement
+resultant when this method of colour-grouping is adopted. The
+stripe pattern has a mingled appearance. Parts <i>A</i> of both the
+check and the stripe are composed of minute work, which neatly
+contrasts with the broader and more distinctly pronounced
+effects comprised in Section <i>B</i>. The patterns have a softer
+aspect and tone than if only two shades had been employed, the
+third shade adding diversity of colouring and freshness of the
+style. <a href="#fig107">Fig. 107</a> is woven with a white weft, and <a href="#fig108">Fig. 108</a> with
+exactly the same order of weft as warp shades. The two Simple
+schemes, forming this Compound, combine satisfactorily. The
+three-odd-thread grouping, constituting the <i>A</i> sections of the
+fabric, yields a species of textural effect which affords prominence
+to the small spaces of black, grey, and white composing parts <i>B</i>.
+There is, in these samples, congruity of effects. This is one of
+the main elements of a well-arranged compound. It is a feature
+of all descriptions of designing that the styles amalgamated
+should suitably develop each other, and yield a well-balanced
+and effective scheme of ornamentation. Even in the smallest
+textural effects, resulting from combining various systems of
+<span class="pagenum" id="Page_205">[Pg 205]</span>
+shade-arrangement, this principle of design has to be taken into
+account. For example, the check style given in <a href="#fig111">Fig. 111</a> would
+not form a satisfactory pattern if combined with the check in
+<a href="#fig108">Fig. 108</a>; although both styles are composed of similar arrangements
+of shades, and have precisely the same colour features.
+The character of the respective checkings is, however, very
+different. In <a href="#fig111">Fig. 111</a> the patches of colours are so grouped as
+to yield a broad and clearly-pronounced series of effects, whereas
+<a href="#fig108">Fig. 108</a> is a compound of various minute types of woven design;
+hence the incongruity which would ensue from their amalgamation.
+The elements of <a href="#fig107">Figs. 107</a> and <a href="#fig108">108</a> are, on the other hand,
+suitable for this purpose. The stripe is a style that may be
+utilized in various ways. Should, for instance, bands <i>A</i> and <i>B</i>
+be varied in width, a range of useful patterns for dress and
+mantling textures may be produced. Thus, stripes averaging
+from two to four inches in width, in mellow shades of twist or
+self-coloured yarns arranged on this system, are developed largely
+in worsted, woollen, and cotton materials.</p>
+
+<p>In the check, <a href="#fig108">Fig. 108</a>, the development of this Compound
+scheme of colouring is shown. It is made up of the two types
+lettered <i>A</i> and <i>B</i>. Several groups of shades are given below illustrative
+of the type of colouring appropriate for the respective
+textures named.</p>
+
+<div class="small">
+<p class="center">
+<span class="smcap"><abbr title="One">I.</abbr> Cloakings.</span>
+<br><br>
+<i>Example A.</i>
+</p>
+
+<table>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">fawn.<br></td>
+</tr>
+<tr>
+<td class="tdr">For 12 threads.</td>
+<td class="tdl">⎨</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">light brown.<br></td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="3">For 24 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">2</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">fawn.</td>
+</tr>
+<tr>
+<td class="tdl">⎨</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">light brown.<br></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdc">brown.</td>
+</tr>
+</table>
+<br>
+<p class="center">
+<i>Example B.</i>
+</p>
+
+<table>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">light olive.</td>
+</tr>
+<tr>
+<td class="tdr">For 12 threads.</td>
+<td class="tdl">⎨</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">slate.<br></td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">medium blue.</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl"><br></td>
+<td class="tdl"></td>
+<td class="tdc"></td>
+<td class="tdl"></td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">⎧</td>
+<td class="tdl">2</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">light olive.</td>
+</tr>
+<tr>
+<td class="tdr">For 12 threads.</td>
+<td class="tdl">⎨</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">slate.<br></td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">⎩</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">medium blue.</td>
+</tr>
+</table>
+
+<p class="p2 center">
+<span class="pagenum" id="Page_206">[Pg 206]</span>
+<span class="smcap"><abbr title="Two">II.</abbr> Dresses.</span>
+<br><br>
+<i>Example C.</i>
+</p>
+
+<table>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdr">For 24 threads.</td>
+<td class="tdl">⎨</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">lilac (Tint 16, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>).<br></td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">olive (Shade 9, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>).</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">⎧</td>
+<td class="tdl">2</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdr">For 48 threads.</td>
+<td class="tdl">⎨</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">lilac (Tint 16, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>).<br></td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">⎩</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">olive (Shade 9, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>).</td>
+</tr>
+</table>
+
+<p class="center">
+<i>Example D.</i>
+</p>
+
+<table class="small">
+<tr>
+<td class="tdr"></td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdh">yellow olive (Tint 10, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>).</td>
+</tr>
+<tr>
+<td class="tdr">For 24 threads.</td>
+<td class="tdl">⎨</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdh">light blue (Tint 11, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>).<br></td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdh">olive (Shade 8. <a href="#plate03">Plate <abbr title="Three">III.</abbr></a>).</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">⎧</td>
+<td class="tdl">2</td>
+<td class="tdc">threads of</td>
+<td class="tdh">yellow olive (Tint 10, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>).</td>
+</tr>
+<tr>
+<td class="tdr">For 48 threads.</td>
+<td class="tdl">⎨</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdh">light blue (Tint 11, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>).<br></td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">⎩</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdh">olive (Shade 8, <a href="#plate03">Plate <abbr title="Three">III.</abbr></a>).</td>
+</tr>
+</table>
+
+<p class="center">
+<i>Example E.</i>
+</p>
+
+<table class="small">
+<tr>
+<td class="tdr" rowspan="3">For 6 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdh">light brown (<abbr title="Number">No.</abbr> 3, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>).</td>
+</tr>
+<tr>
+<td class="tdl">⎨</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdh">medium brown (<abbr title="Number">No.</abbr> 2, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>).</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdh">dark brown (<abbr title="Number">No.</abbr> 1, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>).</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="3">For 12 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">2</td>
+<td class="tdc">threads of</td>
+<td class="tdh">light brown (<abbr title="Number">No.</abbr> 3, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>).</td>
+</tr>
+<tr>
+<td class="tdl">⎨</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdh">medium brown (<abbr title="Number">No.</abbr> 2, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>).</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdh">dark brown (<abbr title="Number">No.</abbr> 1, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>).</td>
+</tr>
+</table>
+
+<p class="center">
+<i>Example F.</i>
+</p>
+
+<table class="small">
+<tr>
+<td class="tdr" rowspan="3">For 6 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdh" colspan="3">1 thread of brown and white twist (<abbr title="Number">No.</abbr> 3, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>).</td>
+</tr>
+<tr>
+<td class="tdl">⎨</td>
+<td class="tdh" colspan="3">1 thread of blue and white twist (<abbr title="Number">No.</abbr> 9, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>).<br></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdh" colspan="3">1 thread of olive and white twist (<abbr title="Number">No.</abbr> 15, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>).</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="3">For 12 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">2</td>
+<td class="tdc">threads of</td>
+<td class="tdl">brown and white twist.</td>
+</tr>
+<tr>
+<td class="tdl">⎨</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">blue and white twist.<br></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">olive green and white twist.</td>
+</tr>
+</table>
+</div><!--end small font-->
+
+<p>The <abbr title="Two">II.</abbr> and <abbr title="Four">IV.</abbr> Schemes of the styles in three shades of
+Class A (see <a href="#Table_11">Table of Compounds</a>) are not illustrated. The
+<span class="pagenum" id="Page_207">[Pg 207]</span>
+former style is most frequently worked in six-shaft weaves, and
+the latter in four-and eight-shaft weaves. On account of the
+colours being grouped in larger quantities than in Scheme <abbr title="One">I.</abbr>,
+they give patterns of a broader and more effective character.
+They are used for similar classes of textiles as those to which
+Scheme <abbr title="One">I.</abbr> is applicable, being selected when styles composed of
+well-emphasized types of textural work are required. Should
+thick yarns be used, they give an excellent form of pattern for
+travelling rugs, shawls, and wraps.</p>
+
+<figure class="figcenter illowp80" id="fig109" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig109.jpg" alt="Regular compound stripe">
+  <figcaption>
+      <p><span class="smcap">Fig. 109.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp80" id="fig110" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig110.jpg" alt="Regular compound stripe">
+  <figcaption>
+      <p><span class="smcap">Fig. 110.</span></p>
+  </figcaption>
+</figure>
+
+<p>The <abbr title="Three">III.</abbr> Scheme of these styles, consisting of three shades
+and of two simple types, is illustrated in the three patterns in
+<a href="#fig109">Figs. 109</a>, <a href="#fig110">110</a>, and <a href="#fig111">111</a>. The patterns are twice the size of
+Scheme <abbr title="Three">III.</abbr>, that is to say, they contain fifty-four instead of
+twenty-seven threads, as given in the <a href="#Table_11">Table of Compounds</a>, for
+Sections <i>A</i> and <i>B</i> in producing the fabrics have both been
+repeated. Types <i>A</i> and <i>B</i> here combined work well together,
+and form a species of pattern which may be dissected. Contrast
+the effect obtained in <a href="#fig109">Fig. 109</a> with the effect obtained in <a href="#fig110">Fig. 110</a>.
+The arrangement of shades in the warp is the same as supplied
+in the Table in both styles; but in the former the weft is black
+and in the latter white. Had a blue shade of weft yarn been
+employed, or any colour which would have formed an equal
+<span class="pagenum" id="Page_208">[Pg 208]</span>
+weight of contrast with the black, grey, and white elements
+of the patterns, a species of design comprising increased effects
+would have resulted; or, had fancy colours instead of neutral
+shades been combined, a more elaborate type of colouring would
+have been produced. But to revert to the contrast of style due
+to changing the weft. It illustrates the importance of employing
+the proper shade of weft for developing the various elements
+of coloured styles. Each example is applicable to the dress and
+mantling branches of weaving, while in certain shades producing
+subdued and toned effects, they are used in trousering patterns.
+For dress textures, Sections <i>A</i> and <i>B</i> require to be increased in
+width in order to give more character and breadth of effect to
+the colourings.</p>
+
+<figure class="figcenter illowp80" id="fig111" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig111.jpg" alt="Regular compound check">
+  <figcaption>
+      <p><span class="smcap"><a href="#fig111">Fig. 111</a>.</span></p>
+  </figcaption>
+</figure>
+
+<p><a href="#fig111">Fig. 111</a>, which is composed of the same warp yarns as the
+two preceding examples, and woven with a similar order of weft
+as warp colouring, is an effective plan of arranging shades. In
+<a href="#fig109">Fig. 109</a>, the black lines in parts <i>A</i> and <i>B</i> are quite solid, and
+the white and grey effects broken, being crossed with black; in
+<a href="#fig110">Fig. 110</a> the white lines are clear, and the grey and black mingle
+with white; but in <a href="#fig111">Fig. 111</a> Sections <i>A</i> and <i>B</i> each contain
+rectangular spaces of various sizes and shapes of black, grey,
+<span class="pagenum" id="Page_209">[Pg 209]</span>
+and white yarns. These blend and interlace with each other.
+Part <i>A</i> of this style, being composed of the three-threes system
+of grouping colours, consists of a smaller series of effects than
+Part <i>B</i>, which results from the three-sixes plan of combining
+shades. The dimensions of each section of the pattern are varied
+according to the description of fabric in which it is developed.</p>
+
+<figure class="figcenter illowp80" id="fig112" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig112.jpg" alt="Regular compound stripe">
+  <figcaption>
+      <p><span class="smcap">Fig. 112.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp80" id="fig113" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig113.jpg" alt="Regular compound stripe">
+  <figcaption>
+      <p><span class="smcap">Fig. 113.</span></p>
+  </figcaption>
+</figure>
+
+<p>159. <i>Styles of Four Shades containing Two Simple Types.</i>—Four
+examples are given in these styles in <a href="#Table_11">Table <abbr title="Eleven">XI.</abbr></a> They
+do not form patterns so rich in mingled effects as the preceding
+compounds. This arises from their occupying an even
+number of threads, and constituting, as a consequence, a more
+regular and set description of pattern. Schemes <abbr title="One">I.</abbr>, <abbr title="Two">II.</abbr>, and <abbr title="Four">IV.</abbr>
+are not illustrated, but they produce a similar species of style to
+that resulting from Scheme <abbr title="Three">III.</abbr> in <a href="#fig112">Figs. 112</a>, <a href="#fig113">113</a>, and <a href="#fig114">114</a>.
+These types resemble each other in outline and textural detail.
+The only difference consists in the sizes of the effects produced.
+This is not the case in Schemes <abbr title="One">I.</abbr> and <abbr title="Two">II.</abbr> of the styles in Three
+Shades, in which Parts <i>A</i> are composed of an odd and Parts <i>B</i>
+of an even number of ends. When the composition of the two
+types combined is thus dissimilar, the resultant compound is
+fuller of effects than if the two Simple Colourings both comprised
+an even number of threads. By, however, resorting to the use
+<span class="pagenum" id="Page_210">[Pg 210]</span>
+of fancy weaves, the textural appearance of the patterns referred
+to may be considerably diversified.</p>
+
+<figure class="figcenter illowp75" id="fig114" style="max-width: 25.3125em;">
+  <img class="w100" src="images/fig114.jpg" alt="Regular compound check">
+  <figcaption>
+      <p><span class="smcap">Fig. 114.</span></p>
+  </figcaption>
+</figure>
+
+<p><a href="#fig112">Figs. 112</a>, <a href="#fig113">113</a>, and <a href="#fig114">114</a>
+ have been acquired in the cassimere
+twill by repeating <i>A</i> and <i>B</i> of Scheme <abbr title="Three">III.</abbr> of the styles of Four
+Shades in Class A. In <a href="#fig112">Fig. 112</a> the weft yarn is black; in <a href="#fig113">Fig. 113</a>,
+ white; and in <a href="#fig114">Fig. 114</a>, the same as the warp. By using
+grey and light grey wefts, other stripes may be obtained. A
+contrasting shade of weft also forms a useful class of effects.
+Both <a href="#fig112">Figs. 112</a> and <a href="#fig113">113</a> are bases employed in various kinds of
+woollen, worsted, and cotton textures. In <a href="#fig114">Fig. 114</a>, the black
+weft destroys the effect of the warp shades, hence brown, blue,
+or olive would be more suitable. The check is regular in
+arrangement. It is a common base, and is employed in larger
+or smaller forms in the construction of dress and other fabrics.</p>
+
+<figure class="figcenter illowp80" id="fig115" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig115.jpg" alt="Regular compound stripe">
+  <figcaption>
+      <p><span class="smcap">Fig. 115.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp80" id="fig116" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig116.jpg" alt="Regular compound stripe">
+  <figcaption>
+      <p><span class="smcap">Fig. 116.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp80" id="fig117" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig117.jpg" alt="Regular compound check">
+  <figcaption>
+      <p><span class="smcap">Fig. 117.</span></p>
+  </figcaption>
+</figure>
+
+<p>160. <i>Styles composed of Three Simple Types</i> (see <a href="#Table_11">Table of
+Compounds</a>).—As pointed out in reference to <a href="#fig103">Fig. 103</a>, which
+results from the adoption of Scheme <abbr title="One">I.</abbr> of Class B (see <a href="#Page_200">page 200</a>),
+when three elements of Simple Colourings are combined, a
+pattern is acquired rich in diversity of textural work. This is
+apparent in the example. Composed of black and white yarns,
+<span class="pagenum" id="Page_211">[Pg 211]</span>
+it is a specimen of the diversity of style obtainable with two
+shades in compound patterns. It follows that if the number of
+the shades employed is increased, designs richer in character are
+producible. If <a href="#fig115">Figs. 115</a>, <a href="#fig116">116</a>, and <a href="#fig117">117</a>, which have been woven
+from the arrangement of shades supplied in Scheme <abbr title="Two">II.</abbr> of
+Class B, are examined, it will be noticed that though the number
+of effects corresponds with that of <a href="#fig103">Fig. 103</a>, yet the addition
+of the grey tint has produced quite a different form of style.
+<a href="#fig115">Figs. 115</a> and <a href="#fig116">116</a> have been woven with white and black weft
+respectively. They are composed of three types of work,
+comprising minute effects in <i>A</i>, somewhat larger effects in <i>B</i>, and
+still broader details in <i>C</i>. The patterns are partially shaded,
+and as bases of colouring they are excellent. The three effects
+<span class="pagenum" id="Page_212">[Pg 212]</span>
+each contains, may be combined in various ways, giving stripes
+of suitable proportions for dresses, mantlings, and trouserings,
+according to the class of materials employed. A few examples
+in colouring this base are given. Any of the three shades of
+which they are severally composed may be used for weft.</p>
+
+<div class="smaller">
+<p class="center">
+<i><abbr title="One">I.</abbr> Example.</i>
+</p>
+
+<table>
+<tr>
+<td class="tdr" rowspan="3">For 6 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">brown (<abbr title="Number">No.</abbr> 1, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>).</td>
+</tr>
+<tr>
+<td class="tdl">⎨</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">blue (<abbr title="Number">No.</abbr> 7, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>).</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">olive (<abbr title="Number">No.</abbr> 13, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>).</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="3">For 12 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">2</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdl">⎨</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">blue.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">olive.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="3">For 18 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">3</td>
+<td class="tdc">threads of</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdl">⎨</td>
+<td class="tdl">3</td>
+<td class="tdc">„</td>
+<td class="tdl">blue.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">3</td>
+<td class="tdc">„</td>
+<td class="tdl">olive.</td>
+</tr>
+</table>
+
+<p class="center">
+<i><abbr title="Two">II.</abbr> Example.</i>
+</p>
+
+<table>
+<tr>
+<td class="tdr" rowspan="3">For 6 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdh">olive (<abbr title="Number">No.</abbr> 9, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>) and white twist.</td>
+</tr>
+<tr>
+<td class="tdl">⎨</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdh">blue (<abbr title="Number">No.</abbr> 9, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>) and white twist.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">slate and white twist.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="3">For 12 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">2</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">olive and white twist.</td>
+</tr>
+<tr>
+<td class="tdl">⎨</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">blue and white twist.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">slate and white twist.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="3">For 18 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">3</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">olive and white twist.</td>
+</tr>
+<tr>
+<td class="tdl">⎨</td>
+<td class="tdl">3</td>
+<td class="tdc">„</td>
+<td class="tdl">blue and white twist.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">3</td>
+<td class="tdc">„</td>
+<td class="tdl">slate and white twist.</td>
+</tr>
+</table>
+
+
+<p class="center">
+<i><abbr title="Three">III.</abbr> Example.</i>
+</p>
+
+<table>
+<tr>
+<td class="tdr" rowspan="3">For 12 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdh">light blue (<abbr title="Number">No.</abbr> 10, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>).</td>
+</tr>
+<tr>
+<td class="tdl">⎨</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdh">rose (<abbr title="Number">No.</abbr> 4, <a href="#plate04">Plate <abbr title="Four">IV.</abbr></a>).</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="3">For 12 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">2</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">light blue.</td>
+</tr>
+<tr>
+<td class="tdl">⎨</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">rose.<br></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="3">For 36 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">3</td>
+<td class="tdc">threads of</td>
+<td class="tdl">light blue.</td>
+</tr>
+<tr>
+<td class="tdl">⎨</td>
+<td class="tdl">3</td>
+<td class="tdc">„</td>
+<td class="tdl">rose.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">3</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+</tr>
+</table>
+
+<p class="center"><span class="pagenum" id="Page_213">[Pg 213]</span>
+<i>IV. Example.</i>
+</p>
+
+<table>
+<tr>
+<td class="tdr" rowspan="3">For 12 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdh">russet (<abbr title="Number">No.</abbr> 7, <a href="#plate03">Plate <abbr title="Three">III.</abbr></a>).</td>
+</tr>
+<tr>
+<td class="tdl">⎨</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdh">olive (<abbr title="Number">No.</abbr> 8, <a href="#plate03">Plate <abbr title="Three">III.</abbr></a>).<br></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdh">slatish purple (No, 14, <a href="#plate06">Plate <abbr title="Six">VI.</abbr></a>)</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="3">For 12 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">2</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">russet.</td>
+</tr>
+<tr>
+<td class="tdl">⎨</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">olive.<br></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">slatish purple.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="3">For 18 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">3</td>
+<td class="tdc">threads of</td>
+<td class="tdl">russet.</td>
+</tr>
+<tr>
+<td class="tdl">⎨</td>
+<td class="tdl">3</td>
+<td class="tdc">„</td>
+<td class="tdl">olive.<br></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">3</td>
+<td class="tdc">„</td>
+<td class="tdl">slatish purple.</td>
+</tr>
+</table>
+</div><!--end small font-->
+
+<p>The <abbr title="One">I.</abbr> and <abbr title="Two">II.</abbr> Examples are for suitings—one for dark and
+the other for light fabrics.
+These may be produced in
+either woollen or worsted
+yarns. Example <abbr title="Three">III.</abbr> is for
+dress fabrics. The two
+smaller types of work of
+which it is composed form
+the same size of section in
+the texture; but the arrangement
+of the three 3’s yields a
+section half as large again as
+that formed by the other elements
+of the style. A bold
+and clearly-defined pattern is
+thus produced by this order
+of colouring.</p>
+
+<figure class="figright illowp50" id="fig117a" style="max-width: 23.875em;">
+  <img class="w100" src="images/fig117a.jpg" alt="Regular compound check">
+  <figcaption>
+      <p><span class="smcap">Fig. 117a.</span></p>
+  </figcaption>
+</figure>
+
+<p>Example <abbr title="Four">IV.</abbr> is intended
+for cloakings, and is composed of shades of a medium depth
+and intensity.</p>
+
+<p>The checks, <a href="#fig117">Fig. 117</a>, in [2/2] twill, and <a href="#fig117a">Fig. 117<span class="smcap">a</span></a>, in the [2/2]
+mat, contain nine species of work, well grouped and arranged.
+The two types <i>A</i> and <i>B</i> are just sufficiently emphasized to
+contribute to the neatness of the style, while the series of
+effects comprised in Bracket <i>C</i> give a distinctness of outline.
+These checks are workable in the colourings supplied for the
+stripes.</p>
+
+<p><span class="pagenum" id="Page_214">[Pg 214]</span>
+It is unnecessary to illustrate Schemes <abbr title="Three">III.</abbr> and <abbr title="Four">IV.</abbr> of Class B
+of the Table, which give similar patterns to those described,
+though there is considerable dissimilarity in the types of effect
+making the respective patterns.</p>
+
+<p>161. <i>Irregular Compounds</i> (see <a href="#Table_11">Table <abbr title="Eleven">XI.</abbr></a>).—Styles of this
+class are generally quite mingled in colouring. They consist
+of such methods of grouping threads as comprise various
+quantities of the different colours used. Thus, in Scheme <abbr title="One">I.</abbr> of
+the Irregular Compounds there are twice as many threads of
+black as white in both sections <i>A</i> and <i>B</i>; in Scheme <abbr title="Two">II.</abbr> the
+black again predominates; while in Scheme <abbr title="Four">IV.</abbr> the several
+shades occur in different quantities. This is the colour feature
+which causes the dissimilarity between Irregular and Regular
+Compounds. In Part <i>A</i>, Scheme <abbr title="Three">III.</abbr>, there is an excess of
+black, but in Part <i>B</i> an excess of grey. This species of pattern
+is therefore obtained by taking a simple base, in which one
+shade is in excess, and repeating it for a suitable number of
+threads, and then reversing the positions of the shades. The
+following examples of this system of compounding elementary
+schemes of colouring may be considered in addition to that
+supplied in Scheme <abbr title="Three">III.</abbr> of the Table:&#x2060;—</p>
+
+<p class="center">
+<i>Example <abbr title="One">I.</abbr></i>
+</p>
+
+
+<table class="autotable">
+<tr>
+<td class="tdr" rowspan="2"><i>A.</i> For 18 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdc">4</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">black.<br></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2"><i>B.</i> For 18 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">2</td>
+<td class="tdc">threads of</td>
+<td class="tdl">black.<br></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">4</td>
+<td class="tdc">„</td>
+<td class="tdl">brown.</td>
+</tr>
+</table>
+
+
+<p class="center">
+<i>Example <abbr title="Two">II.</abbr></i>
+</p>
+
+<table class="autotable">
+<tr>
+<td class="tdr" rowspan="3"><i>A.</i> For 16 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">4</td>
+<td class="tdc">threads of</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdl">⎨</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">slate.<br></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">blue.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="3"><i>B.</i> For 16 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">4</td>
+<td class="tdc">threads of</td>
+<td class="tdl">slate.</td>
+</tr>
+<tr>
+<td class="tdl">⎨</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">blue.<br></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="3"><i>C.</i> For 16 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">4</td>
+<td class="tdc">threads of</td>
+<td class="tdl">blue.</td>
+</tr>
+<tr>
+<td class="tdl">⎨</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">brown.<br></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">slate.</td>
+</tr>
+</table>
+
+<span class="pagenum" id="Page_215">[Pg 215]</span>
+<figure class="figcenter illowp80" id="fig118" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig118.jpg" alt="Irregular compound stripe">
+  <figcaption>
+      <p><span class="smcap">Fig. 118.</span></p>
+  </figcaption>
+</figure>
+
+<p>In the <i>A</i> section of Example <abbr title="One">I.</abbr> black is the principal and
+brown the secondary shade, but in the <i>B</i> section the positions
+of the colours are reversed. Such a method of colouring
+frequently yields attractive styles. This scheme in the four-shaft
+mat produces a twofold effect. Section <i>A</i>, when this
+colouring is worked in the mat, forms a black ground on which
+small lines of brown are set at right angles to each other, but
+Section <i>B</i> gives a brown ground with a similar series of black
+lines. The style is produced in both wool and cotton materials
+in the plain, twill, and mat weaves.</p>
+
+<figure class="figcenter illowp80" id="fig119" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig119.jpg" alt="Irregular compound check">
+  <figcaption>
+      <p><span class="smcap">Fig. 119.</span></p>
+  </figcaption>
+</figure>
+
+<p>Example <abbr title="Two">II.</abbr> illustrates the method of changing the positions
+of the shades when three colours are employed in this class of
+compounds. No perfect style can be obtained on this system
+unless each colour occupies every possible position in the repeat
+of the pattern. Reference to this example will make this point
+evident. Here three colours—brown, slate, and blue—are
+combined. In Part <i>A</i> the brown leads, in Part <i>B</i> the slate leads,
+and in Part <i>C</i> the blue. Even distribution of colouring is thus
+secured, and the production of a pattern in which uniformity of
+effects is paramount is effected. The principle of the compounds
+<span class="pagenum" id="Page_216">[Pg 216]</span>
+illustrated by these examples affords considerable scope for
+ingenious arrangement of colours.</p>
+
+<figure class="figcenter illowp80" id="fig120" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig120.jpg" alt="Irregular compound stripe">
+  <figcaption>
+      <p><span class="smcap">Fig. 120.</span></p>
+  </figcaption>
+</figure>
+
+<p>Two of the Irregular Compounds given are illustrated by
+sketches of woven samples, namely, Schemes <abbr title="One">I.</abbr> and <abbr title="Four">IV.</abbr>
+<a href="#fig118">Figs. 118</a> and <a href="#fig119">119</a> have been produced by Scheme <abbr title="One">I.</abbr>,—Section <i>A</i>
+being repeated to 18, and Section <i>B</i> to 18 threads. As this
+style is only composed of two shades, the textural result is
+somewhat wanting in variety of effect. Still, it is a useful
+base. Both the stripe and check arrangements are developed in
+woollen and worsted yarns. The check pattern is a compound
+of three effects, consisting of the spaces of vertical lines of black
+and white, of the parts of intermingled colouring, and of the
+sections of minute twilled work. In such couplets of shades as
+brown and fawn, blue and slate, and olive and slate and white
+twist, neater patterns may be obtained by this base than are
+producible in black and white.</p>
+
+<figure class="figcenter illowp80" id="fig121" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig121.jpg" alt="Irregular compound check">
+  <figcaption>
+      <p><span class="smcap">Fig. 121.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp80" id="fig122" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig122.jpg" alt="Irregular compound check">
+  <figcaption>
+      <p><span class="smcap">Fig. 122.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp80" id="fig123" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig123.jpg" alt="Irregular compound check">
+  <figcaption>
+      <p><span class="smcap">Fig. 123.</span></p>
+  </figcaption>
+</figure>
+
+<p>Scheme <abbr title="Two">II.</abbr> gives even more mingled styles than those
+resulting from Scheme <abbr title="One">I.</abbr> It is a composition of a Regular
+<span class="pagenum" id="Page_217">[Pg 217]</span>
+and of an Irregular type; for grouping <i>A</i> is the simplest scheme
+of textile colouring, but grouping <i>B</i>, containing three elements
+of black to one element of white, is an Irregular base. This
+arrangement is extended and worked out in a considerable
+diversity of weaves. Scheme <abbr title="Four">IV.</abbr> is also constructed on this
+system. Part <i>B</i>, in this instance, is composed of the Regular
+elementary type, and Part <i>A</i> of the Irregular type. The class of
+patterns it yields is illustrated in <a href="#fig120">Figs. 120</a> and <a href="#fig121">121</a>. The former
+of these styles has been woven with black weft, and the latter
+with the same shades of weft as warp. Part <i>A</i> has been repeated
+<span class="pagenum" id="Page_218">[Pg 218]</span>
+to twenty-four, and Part <i>B</i> to twenty-four threads. More decided
+patterns generally result from combining Irregular and Regular
+types, than from combining two or more systems of each of
+these representative schemes of textile colouring. In the check
+pattern, <a href="#fig121">Fig. 121</a>, the Irregular type, constitutes broad rectangular
+spaces of white, grey, and black, which surround a series of
+small black and white checks. A diversity of shades and tints
+may be practised here, and the base modified and utilized in the
+construction of fancy fabrics of various descriptions.</p>
+
+<figure class="figcenter illowp80" id="fig124" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig124.jpg" alt="Irregular compound check">
+  <figcaption>
+      <p><span class="smcap">Fig. 124.</span></p>
+  </figcaption>
+</figure>
+
+<p><a href="#fig122">Figs. 122</a>, <a href="#fig123">123</a>, and <a href="#fig124">124</a>
+ are other examples of compounds, the
+arrangement of the colours being as follows:&#x2060;—</p>
+
+<p class="center">
+<i><a href="#fig122">Fig. 122</a>.</i>
+</p>
+
+<table class="autotable">
+<tr>
+<td class="tdr"></td>
+<td class="tdl">3 black.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="2">For 72.<br></td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">3 white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">4 black.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="2">For 30.<br></td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">2 white.</td>
+<td class="tdl">⎭</td>
+</tr>
+</table>
+
+<p class="center">
+<i><a href="#fig123">Fig. 123</a>.</i>
+</p>
+
+<table class="autotable">
+<tr>
+<td class="tdr">3 black.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="2">For 54.</td>
+</tr>
+<tr>
+<td class="tdr">3 white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr">2 black.</td>
+<td class="tdl">⎫</td>
+<td></td>
+</tr>
+<tr>
+<td class="tdr">1 white.</td>
+<td class="tdl">⎪</td>
+<td class="tdl" rowspan="3">For 36.</td>
+</tr>
+<tr>
+<td class="tdr">1 black.</td>
+<td class="tdl">⎬</td>
+</tr>
+<tr>
+<td class="tdr">2 white.</td>
+<td class="tdl">⎭</td>
+</tr>
+</table>
+
+<p class="center">
+<i><a href="#fig124">Fig. 124</a>.</i>
+</p>
+
+<table class="autotable">
+<tr>
+<td class="tdr">3 black.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="2">For 24.</td>
+</tr>
+<tr>
+<td class="tdr">3 white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr">2 black.</td>
+<td class="tdl"></td>
+<td class="tdl"></td>
+</tr>
+<tr>
+<td class="tdr">1 white.</td>
+<td class="tdl"></td>
+<td class="tdl"></td>
+</tr>
+<tr>
+<td class="tdr">2 white.</td>
+<td class="tdl"></td>
+<td class="tdl"></td>
+</tr>
+<tr>
+<td class="tdr">3 black.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="2">For 24.</td>
+</tr>
+<tr>
+<td class="tdr">3 white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr">2 black.</td>
+<td class="tdl">⎫</td>
+<td class="tdl"></td>
+</tr>
+<tr>
+<td class="tdr">1 white.</td>
+<td class="tdl">⎪</td>
+<td class="tdl" rowspan="3">For 36.</td>
+</tr>
+<tr>
+<td class="tdr">1 black.</td>
+<td class="tdl">⎬</td>
+</tr>
+<tr>
+<td class="tdr">2 white.</td>
+<td class="tdl">⎭</td>
+</tr>
+</table>
+
+<p class="unindent"><span class="pagenum" id="Page_219">[Pg 219]</span>
+They show how the simple grouping of colours may be effectively
+modified. In <a href="#fig122">Fig. 122</a>, the modification results in a compound
+of 3-and-3 and 4-and-2 colouring; the latter, causing the check
+to appear shaded on account of the 4-and-2 colouring, has one-sixth
+more black yarn than the 3-and-3. <a href="#fig123">Fig. 123</a> consists of
+3-and-3 colouring combined with 2, 1, 1, 2; and <a href="#fig124">Fig. 124</a> of the
+same colourings differently grouped together.</p>
+
+<div class="p2 footnotes"><h4>FOOTNOTES:</h4>
+
+<div class="blockquot">
+<div class="footnote"><p class="unindent"><a id="Footnote_13_13" href="#FNanchor_13_13" class="label">[13]</a> For any suitable number of threads and picks.</p></div></div>
+</div>
+<hr class="chap x-ebookmaker-drop">
+
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_220">[Pg 220]</span></p>
+  <h2 class="nobreak" id="CHAPTER_X">
+    CHAPTER <abbr title="Ten">X.</abbr>
+  </h2>
+   <h3>
+    FANCY SHADES APPLIED TO SPECIAL DESIGNS.
+  </h3>
+</div>
+
+<div class="blockquot">
+<p>162. Colour applied to Special Makes—163. Colouring of Corkscrews—164.
+Modified Corkscrews—165. Fancy Woollen Weaves—166. Granite Effects—167.
+Diagonals—168. Diagonals composed of Plain and Double Plain Makes—169.
+Stripe and Check Colourings on Diagonals—170. Methods of Colouring
+Fancy Weaves for Cottons or Silks—171. Gauze Textures—172. Systems of
+Colouring Gauzes—173. Imitation or Mock Gauzes—174. Colour in relation
+to Rib or Cord Styles.</p>
+</div>
+
+<p class="unindent">162. <i>Colour applied to Special Makes of Cloth.</i>—Having examined
+the various schemes of grouping shades in relation to
+the elementary order of weaves, and also the methods of combining
+colours in both warp and weft, analysis may next be
+made of the principles of textile colouring for the development
+of specific woven effects. Here it may be an adaptation or an
+origination of a scheme of shades—the structure of the weave
+being the principal modifying factor. It is not now a matter
+of the application of a system of colouring, irrespective of any
+particular type of weave, but a question of employing that
+assortment of colours which will prove most effective in a certain
+design. The build of the fabric, the method of intertexture, and
+the weave, are fixed factors; and it becomes a problem of what
+grouping of threads will yield the most satisfactory style and
+best emphasize the design elements. All weaves employed in
+developing colour effects in simple fabrics belong to one of the
+orders of crossings given below:&#x2060;—</p>
+
+<p class="hangwide">&ensp;<abbr title="One">I.</abbr> Weaves in which there is a preponderance of warp.</p>
+<p class="hangwide">&thinsp;<abbr title="Two">II.</abbr> Weaves in which there is a preponderance of weft.</p>
+<p class="hangwide"><abbr title="Three">III.</abbr> Weaves in which the warp and weft effects are equally pronounced.
+</p>
+
+<p class="unindent">The <abbr title="One">I.</abbr> class of weaves, which may be termed warp effects, includes
+<span class="pagenum" id="Page_221">[Pg 221]</span>
+corkscrews, sateens, buckskins, certain species of diagonals
+and twilled mats; the <abbr title="Two">II.</abbr> class—weft weaves—is not so comprehensive,
+being composed mainly of ribs or cords, twills and
+small diagonals. A very extensive series of fancy makes of
+various types is found in the <abbr title="Three">III.</abbr> class.</p>
+
+<p>But in addition to these important orders of intertexture,
+practised in the construction of single-make fabrics requiring
+special plans of colouring, there are some kinds of backed and
+double weaves that are so unique in build as to need exceptional
+treatment in a colour sense. This, however, is not so largely
+the case in backed as in double-make cloths. Backed, and also
+some types of double textures, such as trouserings, coatings, and
+simple effects in mantlings, are practically coloured on the same
+principles as single cloths. The under surface of these builds of
+woven styles is occasionally distinctive in shade-arrangement,
+but the face generally corresponds in scheme of colouring to
+single-make textures. In the combinations of double weaves,
+the exceptions to this method occur. Double-plain fabrics, for
+example, are coloured on quite distinct principles from some other
+descriptions of pattern. The double-plain weave is adapted to the
+development of a specific range of style, due to the utility of a
+formula of colouring only applicable to its structure. Some other
+types of double weaves have also their peculiar orders of shades.</p>
+
+<p>163. <i>Colouring of Corkscrews.</i>—As corkscrews form one of
+the principal types of warp weaves, the application of colours
+to their construction may be primarily considered. The methods
+of colouring adopted here, relate collaterally to other weaves in
+which the warp effect is the most clearly developed on the face
+of the fabric. Corkscrews are adapted for several orders of
+warp colouring. Fancy shades are specially distinct when
+introduced into the warp of textures in which such weaves are
+used, making strong contrasts and high colourings in the warp
+unnecessary. But while these weaves thus afford ample provision
+for various methods of tinting in the warp, they neutralize
+the effects of weft colouring. This might be changed from
+black to dark blue in the common corkscrew without the
+character of the face of the fabric undergoing any perceptible
+modification in hue. If, for example, the warp and weft were,
+<span class="pagenum" id="Page_222">[Pg 222]</span>
+in such a weave, twelve threads of brown and twelve threads of
+blue, a stripe, and not a check, pattern would result. Of course
+in a common twill this colouring would yield a decided check.
+There are two reasons why in corkscrews, warp cords, and similar
+weaves, such a scheme of shades forms a stripe—first, because
+textures composed of this class of weaves possess a warp face;
+and second, because they, if properly made, contain a larger
+proportion of warp than weft threads to the inch; hence the
+weft yarns are almost entirely concealed by the warp. On these
+grounds it will be obvious that variety of pattern in these
+weaves, when due to colouring, is a product of the warp. To
+the typical methods, therefore, of grouping fancy shades in the
+warp for corkscrew and kindred weaves, attention has mainly to
+be directed. In such instances, the weft is the factor which binds
+the threads together, and produces or builds, in conjunction with
+the warp yarns, the fabric; and hence it only to a small degree
+affects the style of the pattern, and consequently is a minor consideration
+in producing the design.</p>
+
+<figure class="figleft illowp25" id="fig125" style="max-width: 21.9375em;">
+  <img class="w100" src="images/fig125.jpg" alt="Corkscrew weave">
+  <figcaption>
+      <p><span class="smcap">Fig. 125.</span></p>
+  </figcaption>
+</figure>
+
+<p>Patterns illustrative of the ordinary methods of colouring
+applied to corkscrew weaves are given in <a href="#fig125">Figs.
+125</a>, <a href="#fig126-127">126</a>, and <a href="#fig126-127">127</a>. The style in <a href="#fig125">Fig. 125</a> is a
+combination of three effects, viz., of the bands
+of solid colour, of the stripes <i>A</i>, and of the
+stripes <i>B</i>. The textural types, seen in the
+lettered sections, are due to two distinct but
+simple schemes of grouping shades, namely, the one-and-one and
+the two-and-one systems. They frequently occur in this weave,
+giving neat effects. The plan of warp colouring is as appended:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+<td class="tdr" colspan="2"></td>
+<td class="tdr">18</td>
+<td class="tdc">threads of</td>
+<td class="tdl" colspan="2">black worsted.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2"><i>A.</i> For 9 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl" colspan="2">white silk.<br></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">black</td>
+<td class="tdl">worsted.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdr">17</td>
+<td class="tdc">threads of</td>
+<td class="tdl">black</td>
+<td class="tdc">„</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2"><i>B.</i> For 10 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">white</td>
+<td class="tdc">„<br></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdr">2</td>
+<td class="tdc">threads of</td>
+<td class="tdl">blue</td>
+<td class="tdc">„</td>
+</tr>
+</table>
+
+<p class="unindent">Should part <i>A</i> be modified thus:—1 thread of white and 1
+thread of black for six threads; 1 thread of white and 1 thread
+of crimson for three threads; and 1 thread of white and 1 thread
+<span class="pagenum" id="Page_223">[Pg 223]</span>
+of black for six threads—a very different style would ensue.
+Section <i>A</i> would, in this arrangement, consist of two small stripes
+of twills of black and white separated by a minute band of fine
+twills of crimson and white. Another alteration of this base,
+which is also frequently adopted, is as follows:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+<td colspan="2"></td>
+<td class="tdr">9</td>
+<td class="tdc">threads of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdr">9</td>
+<td class="tdc">„</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdr">9</td>
+<td class="tdc">„</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdl" rowspan="2"><i>A.</i> For 27 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">brown.<br></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdr">9</td>
+<td class="tdc">threads of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdl" rowspan="2"><i>B.</i> For 6 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">tan silk.<br></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdl" rowspan="2"><i>C.</i> For 6 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">slate silk.<br></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdl" rowspan="2"><i>D.</i> For 6 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">tan silk.<br></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">black.</td>
+</tr>
+</table>
+
+<p>On analyzing this group of shades it will be evident that it
+comprises several elements. First, there are the three nine-thread
+stripes, viz., black, brown, and black. These are succeeded
+by stripe <i>A</i>, composed of twills of black and brown.
+Between this part and Sections <i>B</i>, <i>C</i>, and <i>D</i> there is another
+series of nine threads of black. Coming to the last three groups,
+the black yarns alternate with both the tan and slate silk in
+succession—an arrangement which tends to mellow the effect of
+the bright hues here employed. Of course the number of
+threads in the several sections of this pattern of warp may be
+varied according to the dimensions of the style required.</p>
+
+<p>Two further examples developed in warp corkscrew are those
+in <a href="#fig126-127">Figs. 126</a> and <a href="#fig126-127">127</a>, the colourings being:&#x2060;—</p>
+
+<p>For <a href="#fig126-127">Fig. 126</a>:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+<td class="tdr" rowspan="2">For 4.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">lavender.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdc">lavender.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">For 4.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">lavender silk.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">lavender silk.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">For 4.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">lavender.
+    <span class="pagenum" id="Page_224">[Pg 224]</span></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">lavender.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">For 30.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">lavender.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">slate.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">lavender silk.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">slate.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">brown silk.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">slate.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">lavender silk.</td>
+</tr>
+<tr>
+<td class="tdl" rowspan="2">For 30.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">slate.<br></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">lavender.</td>
+</tr>
+<tr>
+<td class="tdc" colspan="5"><i>Weft.</i></td>
+</tr>
+<tr>
+<td class="tdc" colspan="5">All one shade.</td>
+</tr>
+</table>
+
+<figure class="figcenter illowp70" id="fig126-127" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig126-127.jpg" alt="Corkscrew weave">
+  <figcaption>
+      <p><span class="smcap">Fig. 126</span> (upper part) &emsp; <span class="smcap">Fig. 127.</span> (lower part)</p>
+  </figcaption>
+</figure>
+
+<p>For <a href="#fig126-127">Fig. 127</a>:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+<td class="tdr" rowspan="2">For 108.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc"> . . . </td>
+<td class="tdc">Shade</td>
+<td class="tdc">1.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc"> . . . </td>
+<td class="tdc">„</td>
+<td class="tdc">2.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">For 6.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc"> . . . </td>
+<td class="tdc">„</td>
+<td class="tdc">1.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc"> . . . </td>
+<td class="tdc">„</td>
+<td class="tdc">3.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">For 6.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc"> . . . </td>
+<td class="tdc">„</td>
+<td class="tdc">1.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc"> . . . </td>
+<td class="tdc">„</td>
+<td class="tdc">2.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">For 6.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc"> . . . </td>
+<td class="tdc">„</td>
+<td class="tdc">1.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc"> . . . </td>
+<td class="tdc">„</td>
+<td class="tdc">3.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdc" colspan="3"><i>Weft.</i></td>
+<td></td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdc" colspan="3">All one shade.</td>
+<td></td>
+</tr>
+</table>
+
+<p><span class="pagenum" id="Page_225">[Pg 225]</span>
+164. <i>Modified Corkscrews.</i>—In order to obtain a weft effect in
+corkscrews, the weaves are altered in the principles of construction.
+Take an example. The weave supplied in <a href="#fig128">Fig. 128</a> is in
+reality a corkscrew, for should the ⊠’s be erased and the ◼’s be
+added, the weave, though occupying twenty-four threads,—which
+is not a number on which this type of weave is usually constructed,—would
+possess the main features of this description of
+twill. But the weave must now be considered as being composed
+of the ⊡’s and ⊠’s only—the ◼’s corresponding to the ◻’s. The
+thread-and-thread scheme of warping in this modified corkscrew
+has a different effect from what it has in the common type of this
+weave. Taking the shades to be brown and slate, and the weft
+blue, a pattern containing four species of work results. First,
+there are the two fine twills of the respective shades of warp
+yarn; and, second, a furrow of intermingled colouring, due to
+the solid floats of warp in the design. These effects are purely
+warp products. In addition to these, a fine diagonal of blue,
+resulting from the flushes of weft, is also formed, so that an
+alteration of this kind in the corkscrew system of twilling
+considerably increases the diversity of work producible by a
+simple arrangement of shades.</p>
+
+<figure class="figcenter illowp70" id="fig128" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig128.jpg" alt="Modified corkscrew weave">
+  <figcaption>
+      <p><span class="smcap">Fig. 128.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp30" id="fig129" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig129.jpg" alt="Pattern for Fig 128">
+  <figcaption>
+      <p><span class="smcap">Fig. 129.</span></p>
+  </figcaption>
+</figure>
+
+<p>Another very useful style might be developed in this crossing
+(<a href="#fig128">Fig. 128</a>) by warping nine threads of a dark and three threads
+of a light shade of yarn, and weaving with a medium colour of
+weft. Supposing the shades to be black and white for warp,
+and grey for weft, then a pattern consisting of a series of furrows
+of black interrupted by small effects of white, arranged on a grey
+surface, would result.</p>
+
+<p>In <a href="#fig129">Fig. 129</a> is given the effect of twilling this weave, <a href="#fig128">Fig. 128</a>,
+<span class="pagenum" id="Page_226">[Pg 226]</span>
+to the right and left alternately, when the thread-and-thread
+system of warping is adopted, and when the weft is all one colour.
+If the ordinary build of corkscrew had been employed, the diagonal
+of: black and white would only have been produced. The grey
+twills are distinctly a weft development, and result from the ⊠’s
+in the weave. This and the preceding examples are but types of
+the styles producible, by modifying this useful weave, in worsted
+fabrics.</p>
+
+<figure class="figcenter illowp70" id="fig130" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig130.jpg" alt="Pattern Fig 132">
+  <figcaption>
+      <p><span class="smcap">Fig. 130.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp30a" id="fig131" style="max-width: 30.5625em;">
+  <img class="w100" src="images/fig131.jpg" alt="Weave for Fig 130">
+  <figcaption>
+      <p><span class="smcap">Fig. 131.</span></p>
+  </figcaption>
+</figure>
+
+<p>165. <i>Fancy Woollen Weaves.</i>—There is not a large diversity
+of weaves employed in the construction of woollen fabrics; still
+there are some crossings used in these textures which require
+specific colouring. Patterns are produced by using weaves which
+are tinted on principles harmonizing with the scheme of interlacing.
+Such an example is given in the upper section of
+<a href="#fig130">Fig. 130</a>. A neat combination of textural effects has here been
+obtained by the employment of an uncommon weave. (See
+<a href="#fig131">Fig. 131</a>.) The scheme of colouring for this style belongs to
+the elementary class, being as follows in both warp and weft:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+<td class="tdr" rowspan="3"><i>A.</i> For 24 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdl">⎨</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">grey.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="3"><i>B.</i> For 24 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">grey.</td>
+</tr>
+<tr>
+<td class="tdl">⎨</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">grey.</td>
+</tr>
+</table>
+
+<p class="unindent"><span class="pagenum" id="Page_227">[Pg 227]</span>
+Hence it is the weave which has given the novelty of cast to
+the pattern. In a simple twill it would yield an ordinary
+style, but in this weave (<a href="#fig131">Fig. 131</a>) it forms a series of minute
+effects. The weave is of a check type, and is workable on twelve
+shafts. In the sections marked ▨ and ⌻, the weft floats on the
+surface of the texture, while in the sections marked ◻, the warp
+effect is clearly emphasized. Both warp and weft are equally
+prominent. But as the method of floating these threads, groups
+the weft effects and the warp effects alternately, the result is a
+pattern possessing minute markings of an interesting character.
+These are the products of three shades. If a twill or mat had
+been used, this diversity of pattern composition by three colours
+and simple plan of shade-arrangement would not have been
+possible; so that it is obvious that new systems of weaving on a
+small and regular base may be employed in woollen textures to
+advantage, if novel patterns are required. The intermingled
+check characteristic of the style is due to the system of grouping
+the shades. Thus the plan of colouring is in two parts; in
+<i>A</i> black is the principal, and grey the secondary shade; and in
+<i>B</i> <i lang="la">vice versâ</i>. By this means, in some parts of the fabric a dark
+or black groundwork is figured with grey, and in others a grey
+ground with black. The scheme of colouring here illustrated is
+also applicable to worsted and cotton as well as to the woollen
+textures.</p>
+
+<p>A different style is supplied in <abbr title="Numbers">Nos.</abbr> 1 and 2,
+ in <a href="#plate23a">Plate <abbr title="Twenty-three">XXIII.</abbr></a>,
+to that described. Its novelty is, however, due to the use of an
+uncommon weave; this is of a fancy twill order, being arranged
+on the base of the following plan of interlacing, which is the
+first pick of the design:—[3\1] [3\2] [2\2] [1\3] [1\2] [2\2].</p>
+
+<p>Had, for instance, the six-end twill been used, the patterns
+would have lacked that richness of style and newness of colour
+by which they are characterized. It may therefore be understood
+that in woollens of a suiting and costume class, the weave may
+be arranged to add to the freshness of the styles obtainable from
+given methods of colouring. The scheme of shade-grouping in
+these samples is:—</p>
+
+<p><span class="pagenum" id="Page_228">[Pg 228]</span></p>
+
+<table class="autotable">
+<tr>
+<td class="tdc" colspan="3"><i>Pattern 1</i> (<a href="#plate23a">Plate <abbr title="Twenty-three">XXIII.</abbr></a>).</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">threads of</td>
+<td class="tdl">fawn.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">olive brown.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">dark brown.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">olive brown.</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdc"></td>
+<td class="tdl"></td>
+</tr>
+<tr>
+<td class="tdr" colspan="3"><br><i>Pattern 2</i> (<a href="#plate23a">Plate <abbr title="Twenty-three">XXIII.</abbr></a>).</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">threads of</td>
+<td class="tdl">grey.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">olive green.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">dark brown.</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">blue.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">dark brown.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">olive green.</td>
+</tr>
+</table>
+
+<p>The order of the weft colouring for Pattern 1 is the same as
+the warp; but in Pattern 2 slate takes the place of olive green.
+By varying the weftings, modifications of these effects may be
+acquired. One rule should be observed in this work—the warp
+colourings should slightly preponderate. They should in no
+case be subordinated to the scheme of wefting, which is rather a
+subsidiary, than a primary element, of this class of patterns.</p>
+
+<figure class="figcenter illowp75" id="fig132" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig132.jpg" alt="Warp and weft cord">
+  <figcaption>
+      <p><span class="smcap">Fig. 132.</span></p>
+  </figcaption>
+</figure>
+
+<p>The diagonal utilized here being a combination of twills, each
+of which floats the warp and weft to a different degree on the
+face of the fabric, yields a style composed of various effects.</p>
+
+<figure class="figcenter illowp100" id="plate23a" style="max-width: 25.0em;">
+  <img class="w100" src="images/plate23a.jpg" alt="check patterns">
+  <figcaption style="color: blue;">
+      <p>Plate <abbr title="Twenty-three">XXIII</abbr><br>
+      <span class="allsmcap">CHECK AND STRIPE PATTERNS</span><br>
+      <span class="small">1. and 2. Checks</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp100" id="plate23b" style="max-width: 25.0em;">
+  <img class="w100" src="images/plate23b.jpg" alt="Gauze stripe">
+  <figcaption style="color: blue;">
+      <p><span class="small">3. Gauze Stripe</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp100" id="plate23c" style="max-width: 25.0em;">
+  <img class="w100" src="images/plate23c.jpg" alt="Cord or rib stripes">
+  <figcaption style="color: blue;">
+      <p><span class="small">4. 5. Cord or Rib Stripes</span></p>
+  </figcaption>
+</figure>
+
+<p><i>166. Granite Effects.</i>—These are produced in woollen yarns,
+the nature of which is adapted to the construction of blended
+<span class="pagenum" id="Page_229">[Pg 229]</span>
+and intermingled styles. Patterns of this class may be due to
+the employment of special kinds of fancy yarns, or to the use
+of a peculiar type of weave in combination with a given order
+of threads. With these effects, as producible by coloured yarns,
+there is no need to deal, as they have been treated of with the
+ordinary class of mixtures. Reference may therefore be made
+to the function of weaves in the production of granite and other
+blended styles. The pattern supplied in the lower section of
+<a href="#fig130">Fig. 130</a> is an example of this species of weaving. Its mottled
+effect is mainly due to the construction of the design used and
+the order of colouring practised. The weave is given in <a href="#fig132">Fig. 132</a>.
+It is a compound of several crossings, warp and weft cords, and
+warp and weft prunelle twills. The order of colouring for both
+warping and wefting is thus:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+<td class="tdr" rowspan="2">For 24 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">black.<br></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">slatish lavender.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">2</td>
+<td class="tdc">threads of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">For 6 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">black.<br></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">slatish lavender.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">2</td>
+<td class="tdc">threads of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">For 10 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">black.<br></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">slatish lavender.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">2</td>
+<td class="tdc">threads of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">For 6 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">black.<br></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">slatish lavender.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">2</td>
+<td class="tdc">threads of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">For 26 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">black.<br></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">slatish lavender.</td>
+</tr>
+</table>
+
+<p>This scheme of warping and wefting, conjointly with the
+weave to which it is applied, cannot fail to give an intermingled
+pattern. Even if the weave were of a common class,
+the result of this series of shades would be a broken, irregular
+style; but the design is arranged on a base to give a mixed
+distribution of colouring. The warp and weft cords in the plan
+are useful weaves for mingling fancy shades, and so are the
+twilled weaves combined. Add to these characteristics the
+arrangement of the design, which groups the several weaves
+<span class="pagenum" id="Page_230">[Pg 230]</span>
+into small figures of different forms. The style is workable in
+worsted, woollen, and cotton yarns, and in twists as well as
+self-colours. This assortment of weaves is appropriate for
+patterns in which mingled colouring, combined with a definite
+species of marking or textural form of effect, is required.</p>
+
+<figure class="figcenter illowp80" id="fig133" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig133.jpg" alt="Diagonal pattern">
+  <figcaption>
+      <p><span class="smcap">Fig. 133.</span></p>
+  </figcaption>
+</figure>
+
+<p>167. <i>Diagonals.</i>—As a rule, diagonals are but plainly coloured.
+Being complex in weave-construction, they do not require
+elaborate colouring; moreover, they are frequently of such a
+character as to yield intricate and textural patterns in the
+simplest arrangements and contrasts of shades; there are, however,
+some exceptions. Certain important types can only be satisfactorily
+developed when specific colouring is practised. Some
+illustrations in these may be considered. First, suppose two
+corkscrews—flushing the warp and weft respectively—were
+combined in a diagonal pattern of medium size. This arrangement
+of weaves, if the yarns were grouped on the one-and-one
+method in both warp and weft, would form a style in which one
+section of the diagonal would be developed in the warp and the
+other in the weft. By arranging the bands of the diagonal to run
+at a different angle from the twills of either the warp or weft
+corkscrew of which it is composed, an additional effect is obtained,
+than would have been the case if they had moved in a line with
+the twills. Regarding the application of this principle of pattern
+development, it relates to all diagonals composed of two or more
+simple weaves. One of the methods of applying colour to such
+designs is to adopt a simple scheme of shade-grouping, which
+develops neat but contrasting effects in the several makes
+combined.</p>
+
+<p><span class="pagenum" id="Page_231">[Pg 231]</span></p>
+<figure class="figcenter illowp100" id="fig134" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig134.jpg" alt="Section of design Fig 133">
+  <figcaption>
+      <p><span class="smcap">Fig. 134.</span></p>
+  </figcaption>
+</figure>
+
+<p><i>168. Diagonal composed of Plain and Double Plain Makes.</i>—In
+<a href="#fig133">Fig. 133</a> is furnished an example of how simple schemes of
+colouring may be made to produce quite a diversity of effects
+running diagonally in the fabric. This style has been developed
+by arranging the colours one thread of
+white and one thread of black, in the warping
+and wefting alike, and constructing the
+design on the base of the sixteen picks
+given in <a href="#fig134">Fig. 134</a>. It is unnecessary to
+explain here how the several effects have
+resulted, as the principles involved in producing
+the types <i>A</i> and <i>B</i>, which are composed
+of plain weave, are already understood;
+while the varieties of patterns
+obtainable in the double-plain makes, forming
+Sections <i>C</i> and <i>D</i>, will be considered in
+a subsequent chapter. Still, it may be
+observed that in solid shades such a grouping
+of weaves would give but an indefinite
+pattern, one lacking character and precision
+of outline. The weaves employed in this
+example, are the only ones which can be
+made to develop effects of this order,
+though in some types of simple, double,
+or compound weaves, such figured designs
+are producible by dissimilar schemes of
+colouring. There are certain restrictions
+to the methods of combination. Figuring,
+requiring large spaces of the double-plain
+makes, is not feasible; these crossings are
+necessarily looser and more open in structure
+than the single weaves, and may therefore
+only be used in comparatively small quantities;
+moreover, the weaves may not be grouped in the stripe form,
+or the texture will not be satisfactory as to firmness and soundness,
+nor will it weave regularly. The fact that the weaves in the
+example run diagonally, equalizes the interlacing of the warp and
+weft and ensures the construction of a uniformly-built fabric.</p>
+
+<p><span class="pagenum" id="Page_232">[Pg 232]</span>
+169. <i>Stripe and Check Colourings on Diagonals.</i>—Other
+methods of colouring weaves of a diagonal construction comprise
+the development of stripe and check effects, in neatly-toned
+shades. Coatings, dresses, and vestings comprise patterns of
+this order. It is necessary, in order to have the same weight
+of colouring in both warp and weft of such styles, to modify
+the design on those threads and picks on which the fancies
+occur. Unless this is done, the effect produced is irregular
+and imperfect. By, however, altering the design where these
+bright striping or checking shades are added, complete balance
+of colouring is acquired both across and lengthways of the
+fabric.</p>
+
+<p>170. <i>Methods of Colouring Fancy Weaves for Cottons or Silks.</i>—Generally,
+these require brighter and more cheerful combinations
+of shades than woollen or worsted fabrics, but the weaves, when
+of a similar construction to those used in the production of these
+textures, are coloured on similar principles. It is in the selection
+of the shades where specific treatment is required. There
+are, however, some specially-constructed weaves employed in the
+manufacture of fancy cottons, and these have to be coloured
+according to their principles of arrangement and the type of
+pattern they are required to form.</p>
+
+<p>Amongst these weaves are small fancy effects, such as those
+illustrated in <a href="#fig135">Figs. 135</a> and <a href="#fig136">136</a>, and leno and gauze combinations.
+Reference may, in the first place, be made to <a href="#fig135">Figs. 135</a>
+and <a href="#fig136">136</a>. The former is a striped pattern composed of two
+sateen weaves. The alternate bands have warp- and weft-flushed
+grounds. On the weft-flushed surface a warp spot is
+formed, and on the warp-flushed surface a weft spot. A
+marked and well-emphasized contrast of effects is thus secured.
+The arrangement is an excellent one, and capable of many
+modifications. Section <i>B</i> might, for example, be repeated several
+times, or the whole design might be enlarged with good results.
+A third variation is possible by converting the pattern into a
+check. A light warp and a medium shade of weft should be
+used. Supposing, for instance, the warp were light blue and the
+weft medium blue, then stripe <i>A</i> would consist of light blue
+ornamented with small spots of medium blue, whereas stripe <i>B</i>
+<span class="pagenum" id="Page_233">[Pg 233]</span>
+would consist of medium blue mainly, with light blue spotting.
+This method of colouring is useful where the designs are arranged
+on a base of this character. Another plan of introducing fancy
+shades in such weaves involves the use of two shades in the
+warp—one for stripe <i>A</i> and another for stripe <i>B</i>.</p>
+
+<p>One further method of varying styles of this kind may be
+mentioned. Add to the design as here given a band of fancy
+twill, which might be coloured with bright yarns in the warp,
+and the sateen sections plainly coloured, allowing of clear and
+distinct development of the spotting.</p>
+
+<figure class="figcenter illowp50a" id="fig135" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig135.jpg" alt="Striped spotted design">
+  <figcaption>
+      <p><span class="smcap">Fig. 135.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp50a" id="fig136" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig136.jpg" alt="Wave zigzag">
+  <figcaption>
+      <p><span class="smcap">Fig. 136.</span></p>
+  </figcaption>
+</figure>
+
+<p>The next weave, <a href="#fig136">Fig. 136</a>, may be more diversified in
+colouring. In the woven texture, it forms a species of
+serpentine pattern filled in with small figures of plain make.
+The warp and weft flushes compose similar figuring. Analysis
+of its composition shows that it comprises three varieties
+of crossings. First, there are the plain weave parts; second,
+the solid warp-flush figuring; and lastly, the wave effect
+formed by the solid floats of weft. If the thread-and-thread
+system of colouring were adopted, an interesting woven effect
+results. Thus, assuming the colourings to be pale blue and light
+olive, the plain sections would consist of longitudinal stripes of
+these colours; the blank spaces in the weave would give warp
+floats of the same shades; and the solid floats of weft transverse
+but very diminutive lines of olive and blue. Should one colour
+of warp yarn be used—such as light fawn, and a second colour for
+<span class="pagenum" id="Page_234">[Pg 234]</span>
+weft, tannish brown, for instance—quite a different species of style
+would be obtained. In this example, a wave figure of light fawn
+would be adjacent to a similar figure of tannish brown, and the
+oblong figures composed of plain weave in mixed colouring.</p>
+
+<p>These styles, <a href="#fig135">Figs. 135</a> and <a href="#fig136">136</a>, when coloured on the lines
+indicated, are suitable for silk and mixed materials, as well as
+cotton textures, for which they have been arranged.</p>
+
+<figure class="figcenter illowp85" id="fig137" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig137.jpg" alt="Gauze and plain">
+  <figcaption>
+      <p><span class="smcap">Fig. 137.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp80" id="fig138" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig138.jpg" alt="Gauze structure">
+  <figcaption>
+      <p><span class="smcap">Fig</span>. 138.</p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp25a" id="fig139" style="max-width: 20.375em;">
+  <img class="w100" src="images/fig139.jpg" alt="Plan for gauze">
+  <figcaption>
+      <p><span class="smcap">Fig</span>. 139.</p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp50" id="fig140" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig140.jpg" alt="Healding drafts">
+  <figcaption>
+      <p><span class="smcap">Fig</span>. 140.</p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp25a" id="fig141" style="max-width: 20.0em;">
+  <img class="w100" src="images/fig141.jpg" alt="Similar to Fig 139">
+  <figcaption>
+      <p><span class="smcap">Fig</span>. 141.</p>
+  </figcaption>
+</figure>
+
+<p>171. <i>Gauze Textures.</i>—Gauze or leno effects are different in
+structure and appearance from ordinary woven fabrics. When
+combined with the common methods of weaving, a variety of
+useful designs may be obtained. Compared with ordinary
+woven results they are what may be defined as porous or transparent
+in composition, or, more strictly speaking, they consist
+of compact and open spaces which regularly alternate. The
+dimensions of the perforations, and the intervals at which they
+occur, are determined by the weave used and the method of
+healding adopted. On examining a sample of these textures,
+the threads appear to be drawn together in some sections
+and in others to be separated and apart. Section <i>A</i> of <a href="#fig137">Fig. 137</a>
+affords some idea of the mode in which the yarns twirl round,
+over, and under each other. Note, for example, the crossings of
+threads I and 2 with 3 and 4. The two former rise alternately
+on the right and left of the two latter. Further analysis shows
+that some of the threads—namely, those lettered <i>s</i>—are not
+<span class="pagenum" id="Page_235">[Pg 235]</span>
+drawn out of their positions. They preserve uniform fixedness
+of position, being always under the picks of weft and twined
+round by the whip yarns 1 and 2, and 5 and 6, etc. If one of
+these yarns is removed, the
+whole structure of the
+fabric is decomposed. <a href="#fig138">Fig. 138</a>
+is a photo-micrograph
+of a cotton warp and silk
+weft gauze fabric showing
+distinctly the twisting of
+the double warp threads
+round the soft floss weft.
+In the sample of fancy
+gauze, <a href="#fig137">Fig. 137</a>, two whip
+threads rise on the left and
+on the right of the threads
+<i>s</i> simultaneously, forming a wavy texture. The picks are introduced
+at such intervals as to be bound together in pairs, first by
+ends 1 and 2, <i>D</i> and <i>E</i>, <i>F</i> and <i>G</i>, etc.; and, second, by ends 5 and
+7, <i>E</i> and <i>F</i>, <i>G</i> and <i>D</i>, etc.
+The bending of the picks is due to the
+method of coupling them together. In producing such a style,
+first arrange for a band or stripe, of about one inch in width,
+of the gauze effect <i>A</i>, and then for a band of 1½ to 2 inches in
+width of the plain, like the sections lettered <i>B</i>. The weaving plan
+of this pattern is <a href="#fig139">Fig. 139</a>, and the healding draft <a href="#fig140">Fig. 140</a>. A
+word or two of explanation is necessary on the latter. Shafts
+<span class="pagenum" id="Page_236">[Pg 236]</span>
+1 and 2 are the doupe heddles. In healding, the whip threads
+are first entered into shafts 3 or 4, then into shafts 1 or 2, as
+the case may be. It is necessary that these should be drawn
+underneath the stationary ends. When the doupe heddles
+rise, the whip ends are lifted on the right of the fixed threads,
+but when shafts 3 and 4 rise they are lifted on the left.
+The weave given in <a href="#fig141">Fig. 141</a> is a modification of this structure.
+This weave, in the same draft,
+gives the stripes of plain unaltered,
+but those of leno are
+more pronounced in waviness,
+for four picks are in this case
+grouped together at each
+change of the whip threads.
+Numerous variations might
+also be wrought in the same
+method of healding, and by the
+same plan, by simply altering
+the dimensions of the respective
+stripes.</p>
+
+<figure class="figleft illowp50" id="fig142" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig142.jpg" alt="Fancy gauze">
+  <figcaption>
+      <p><span class="smcap">Fig. 142.</span></p>
+  </figcaption>
+</figure>
+
+<p>The style given in <a href="#fig142">Fig. 142</a>
+is of a different class from that
+sketched in <a href="#fig137">Fig. 137</a>. For some
+sixteen picks the gauze yarns interweave regularly, and then
+pass round four threads, being thereby drawn together by the
+picks, and at the same time made to prevent them from being
+forced into contact with each other. It is thus that the porous
+features of the pattern are originated. Between each series of
+gauze effects there is a band of twelve threads of fine cotton,
+not including the side threads which, conjointly with the whip
+yarns, form the interstices at intervals. In healding for this
+style, the douping threads pass under four ends in succession,
+so that five threads are sleyed together in the gauze sections.
+In the plain parts, however, only four threads are entered into
+each reed, while a vacant split is allowed between the different
+sets of these yarns. This sample, like the preceding one, and
+that given in <abbr title="Number">No.</abbr> 3 on <a href="#plate23b"> Plate <abbr title="Twenty-three">XXIII.</abbr></a>, illustrates the diversity of
+textural arrangement feasible in gauze fabrics.</p>
+
+<p><span class="pagenum" id="Page_237">[Pg 237]</span>
+172. <i>Systems of Colouring Gauzes.</i>—The methods of colouring
+these patterns may be grouped under three heads, as follows:&#x2060;—</p>
+
+<p>I. Gauze patterns in which colour is applied to those sections
+composed of the ordinary principles of intertexture only.</p>
+
+<p><abbr title="Two">II.</abbr> Gauze patterns in which colour is applied to the gauze
+parts only.</p>
+
+<p><abbr title="Three">III.</abbr> Gauze patterns coloured in both the ordinary and gauze
+sections.</p>
+
+<p>Examples in each class may be considered. Primarily, then,
+it is feasible to apply colour to these styles on such a system that
+the gauze sections will be developed in one shade, while the adjoining
+effects may be coloured on any system applicable to
+single-make designs composed of simple weaves. Thus, taking
+<a href="#fig137">Fig. 137</a> as a design which it is required to colour by this
+method, then the weave of parts <i>B</i> being plain, any of the
+Simple or Compound Schemes of Colouring might be used; or
+these parts might be coloured on a special system to form, for
+example, a shaded band of tints. If the colours used were pink
+and white, the maximum quantities of pink could approach the
+band of gauze effects, when the largest portion of white would
+fall in the centre of the plain stripe; or the shading might proceed
+from white at the edges to a pink central band. Whether
+the first or the second arrangement is adopted, the stripe of
+gauze should be in white, and the weft also of this shade.
+Obviously the ordinary schemes of colouring are applicable to
+such sections as <i>B</i> of any gauze pattern. With some slight
+modification, or rather adaptation, they also relate to the leno or
+gauze portions of these styles. When it is required to introduce
+the fancy shades into the gauze proper, the structure of the
+fabric has to be taken into consideration. <a href="#fig142">Fig. 142</a> is a sample
+of gauze in which the fancy yarn constitutes the gauze effect.
+By making it such, the character of the pattern is more clearly
+developed. It is only by an arrangement of this kind that the
+twisting of the gauze yarns can be prominently brought out. If
+the ground threads had been white, and the whip yarns black,
+the effect would not have been nearly so good. Hence it is
+advantageous in applying colours to these textures to make the
+twisting or whip threads into fancies.</p>
+
+<p><span class="pagenum" id="Page_238">[Pg 238]</span>
+Another important feature about the application of colour to
+gauze effects is that different materials and thicker yarns may
+be employed for the whip than for the ground ends of the fabric.
+This is the case in <a href="#fig142">Fig. 142</a>, where the gauze threads are silk
+and several fold in thickness. The object of this contrast of
+materials and in sizes of yarns is to cause the gauze effects to
+appear prominent and distinct from the other characteristics of
+the pattern.</p>
+
+<p>The third example in the colouring of these styles is
+Pattern 3 on <a href="#plate23b"> Plate <abbr title="Twenty-three">XXIII.</abbr></a> There are several textural principles
+here for analysis. The gauze sections are developed in three
+kinds of yarns. The variegated silk threads form the main
+element of the tinting. Such yarns are only used in the finest
+of these fabrics. They impart richness of tone and lustre to the
+whole effect. Next there are the thick threads of cotton forming
+the diamond-work in the gauze parts. Intervening these thick
+yarns, and constituting the smaller interstices, the fine threads
+occur. These various yarns are effectively employed—the silks
+give the twisting, the thick threads the open gauze, and the fine
+threads the groundwork. The other sections of the style are
+composed of twill and plain. Fancy shades might be forcibly
+added to the twilled part, and so the pattern converted into a
+colouring of the third class of gauze styles.</p>
+
+<p>In addition to these striped combinations, a limited range of
+checkings in gauze are obtained, while figured effects are produced
+in this scheme of weaving in a considerable diversity of
+tints.</p>
+
+<p>173. <i>Imitation or Mock Gauzes.</i>—The somewhat intricate
+mounting required to produce gauze fabrics has led to numerous
+ingenious attempts to obtain a gauze effect in the texture without
+increasing the complication of the weaving process. One of
+the most important methods of accomplishing this is shown in
+<a href="#fig143">Fig. 143</a>. The small weave (Section A) in this design, marked in
+⊠’s, yields an imitation of the real gauze, and so groups the threads
+and picks that they result in forming a fabric full of small
+perforations. It is used in combination with the plain weave
+and fancy makes in the origination of various descriptions of
+patterns. As a rule, the colourings are of a simple order, only
+<span class="pagenum" id="Page_239">[Pg 239]</span>
+a limited variety of shades being used. The stripe in <a href="#fig143">Fig. 143</a>
+may be colourable in the warp as follows:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+<td class="tdr">20</td>
+<td class="tdc">threads of</td>
+<td class="tdl">tan.</td>
+</tr>
+<tr>
+<td class="tdr">32</td>
+<td class="tdc">„</td>
+<td class="tdl">light blue.</td>
+</tr>
+<tr>
+<td class="tdr">20</td>
+<td class="tdc">„</td>
+<td class="tdl">tan.</td>
+</tr>
+<tr>
+<td class="tdr">24</td>
+<td class="tdc">„</td>
+<td class="tdl">light blue.</td>
+</tr>
+</table>
+
+<p class="unindent">The weft might be either light blue, tan, or a tint that would
+contrast with both the colours in the warp. Assuming it to be
+blue, the pattern resultant would consist of a stripe of mock
+gauze in solid blue, a stripe of plain in brown and blue neatly
+mingled, a stripe of hopsack in which the respective shades
+would form small diaper-work, and of a second stripe of plain
+weave of intermingled colouring. The novelty of these patterns
+is largely proportionate to the ingenuity exercised in varying the
+methods of combining the weaves and in the selection of new
+types of crossings; while the special function of the colourings is
+to develop the weave elements.</p>
+
+<figure class="figcenter illowp80" id="fig143" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig143.jpg" alt="Mock gauze">
+  <figcaption>
+      <p><span class="smcap">Fig. 143.</span></p>
+  </figcaption>
+</figure>
+
+<p>The check example, <a href="#fig144">Fig. 144</a>, further illustrates the method of
+colouring these mock effects. <a href="#fig144a">Fig. 144<span class="allsmcap">A</span></a> is a photo-micrograph
+of the fabric, showing the interlacing of the threads, and the
+difference in structure of “mock” and gauze fabrics (<a href="#fig138">Fig. 138</a>).
+It is produced in <a href="#fig144b">Fig. 144<span class="allsmcap">B</span></a>, and coloured:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+<td class="tdl">Light green</td>
+<td class="tdc">12</td>
+<td class="tdc">12</td>
+<td class="tdc">12</td>
+<td class="tdc">12</td>
+<td class="tdc">24</td>
+<td class="tdc">-</td>
+</tr>
+<tr>
+<td class="tdl">White</td>
+<td class="tdc">48</td>
+<td class="tdc">24</td>
+<td class="tdc">-</td>
+<td class="tdc">12</td>
+<td class="tdc">-</td>
+<td class="tdc">24</td>
+</tr>
+<tr>
+<td class="tdl">Medium green</td>
+<td class="tdc">-</td>
+<td class="tdc">-</td>
+<td class="tdc">24</td>
+<td class="tdc">12</td>
+<td class="tdc">12</td>
+<td class="tdc">-</td>
+</tr>
+</table>
+
+<p><span class="pagenum" id="Page_240">[Pg 240]</span></p>
+
+<figure class="figcenter illowp100" id="fig144" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig144.jpg" alt="Mock gauze check">
+  <figcaption>
+      <p><span class="smcap">Fig. 144.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp83" id="fig144a" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig144a.jpg" alt="Structure mock gauze">
+  <figcaption>
+      <p><span class="smcap">Fig. 144a.</span></p>
+  </figcaption>
+</figure>
+
+<p>174. <i>Colours in relation to Rib or Cord Styles.</i>—The rib make
+of cloth is utilized in the construction of fancy patterns. It is
+one of the neatest schemes of weaving that can be used for this
+purpose. It allows of considerable scope for both colouring and
+designing. Though two wefts may be employed in producing
+this class of design, only one of them appears on the face of the
+<span class="pagenum" id="Page_241">[Pg 241]</span>
+fabric when forming the rib or cord effect. As a result of
+the cord may be variously coloured,
+and yet quite independently of the
+other sections of the style. <a href="#fig145">Fig. 145</a>,
+which is the plan of the rib style given
+in Pattern 4, on <a href="#plate23c"> Plate <abbr title="Twenty-three">XXIII.</abbr></a>, illustrates
+the base on which such designs
+are arranged. Part <i>A</i> forms the cord.
+It is produced solely by the even
+picks. These, in weaving, come as
+close together as if the odd picks were
+not part of the construction. At the
+same time they float under the several
+sets of threads forming the other parts
+of the style. It is this arrangement
+which makes it feasible to develop the
+cord in any order of colours without
+modifying the pattern as a whole.
+Pattern 4, <a href="#plate23c"> Plate <abbr title="Twenty-three">XXIII.</abbr></a>, shows the rib
+of a distinct shade. The method of
+colouring is as appended:&#x2060;—</p>
+
+<figure class="figcenter illowp25" id="fig144b" style="max-width: 16.375em;">
+  <img class="w100" src="images/fig144b.jpg" alt="Weave Fig 144A">
+  <figcaption>
+      <p><span class="smcap">Fig 144b.</span></p>
+  </figcaption>
+</figure>
+
+<table>
+<tr>
+<td class="tdc" colspan="3"><i>Warp.</i><br></td>
+</tr>
+<tr>
+<td class="tdr">10</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdr">10</td>
+<td class="tdc">„</td>
+<td class="tdl">brown and white twist.</td>
+</tr>
+<tr>
+<td class="tdr">20</td>
+<td class="tdc">„</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdr">10</td>
+<td class="tdc">„</td>
+<td class="tdl">brown and white twist.</td>
+</tr>
+<tr>
+<td class="tdr">10</td>
+<td class="tdc">„</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdr">10</td>
+<td class="tdc">„</td>
+<td class="tdl">brown and white twist.</td>
+</tr>
+<tr>
+<td class="tdr">6</td>
+<td class="tdc">„</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdr">10</td>
+<td class="tdc">„</td>
+<td class="tdl">brown and white twist.</td>
+</tr>
+<tr>
+<td class="tdr">10</td>
+<td class="tdc">„</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><i>Weft.</i></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">pick of</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">black.</td>
+</tr>
+</table>
+
+<figure class="figcenter illowp100" id="fig145" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig145.jpg" alt="Cord Stripe">
+  <figcaption>
+      <p><span class="smcap">Fig. 145.</span><br>
+      (If necessary, stitch or tie beneath the cord section <i>A</i>.)</p>
+  </figcaption>
+</figure>
+
+<p>It is the black weft which forms the cord. Greater diversity
+<span class="pagenum" id="Page_242">[Pg 242]</span>
+of effect in this section of the fabric might have been acquired
+by wefting thus:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+<td class="tdr" rowspan="2">For 92 picks.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">pick of</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">For 4 picks.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">pick of</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">silk.</td>
+</tr>
+</table>
+
+<p class="unindent">In this scheme of wefting the rib is spotted with silk. Occasionally
+two colours of silk are employed, so that there is evidently
+some facility for fancy weft tinting in designs of this character.
+It is not necessary to enter into the details of the warp colouring,
+which depend largely on the weaves combined.</p>
+
+<figure class="figcenter illowp80" id="fig146" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig146.jpg" alt="Cord stripe">
+  <figcaption>
+      <p><span class="smcap">Fig. 146.</span></p>
+  </figcaption>
+</figure>
+
+<p>Pattern 5 of <a href="#plate23c"> Plate <abbr title="Twenty-three">XXIII.</abbr></a> is a rib of a different arrangement
+from that of the preceding example. In <a href="#fig146">Fig. 146</a>, used in its
+manufacture, three sizes of ribs are combined. It should be
+noted that where more than one rib constitutes any stripe,
+both the odd and even picks are utilized in forming the
+corded effect, and, as a consequence, it is no longer possible to
+have the whole of the rib stripes of a distinct weft shade from
+the rest of the design. If Band <i>A</i> only contained three ribs, the
+pick-and-pick method of colouring might be practised, because
+in such an arrangement the fine twill would start on the first
+pick of the design in both Sections <i>C</i> and <i>D</i>, admitting of the
+small ribs in <i>A</i> and of the large ribs in <i>B</i> being of a different
+colour from the opposing cords and also from the twilled parts.
+But this order of wefting, if applied to the design given in <a href="#fig146">Fig. 146</a>,
+ would partially destroy the solidity and neatness of one of
+the twilled bands. Should the odd picks be selected for the
+fancy colour, it would be stripe <i>C</i>, but should the even picks be
+<span class="pagenum" id="Page_243">[Pg 243]</span>
+selected, it would be stripe <i>D</i> that would be modified by the
+additional shade of weft.</p>
+
+<p>It may be observed that as a rule weaves of a warp type are
+combined with corded effects; clearer patterns, comprising more
+forcible contrasts of textural work, result from the use of these
+than from employing crossings which flush a considerable proportion
+of the weft yarn on the face of the fabric. Mellow and
+choice colouring is therefore important in the warp of these
+styles, because the yarns composing it float with comparatively
+few weft interruptions on the upper surface of the texture.</p>
+
+<hr class="chap x-ebookmaker-drop">
+
+
+<div class="chapter">
+<span class="pagenum" id="Page_244">[Pg 244]</span>
+  <h2 class="nobreak" id="CHAPTER_XI">
+    CHAPTER <abbr title="Eleven">XI.</abbr>
+  </h2>
+   <h3>
+    COLOURING OF COMBINATION DESIGNS.
+  </h3>
+</div>
+
+<div class="blockquot">
+<p>175. Principles of Colouring Weave-Combinations—176. Examples in
+Colouring Compound Designs—177. Main Points in applying Shades to
+Weave-Combinations—178. Examples in Drafted Patterns—179. Designs composed
+of Two Prunelle Twills—180. Drafted Designs composed of Two Four-Shaft
+Weaves—181. Styles composed of Prunelle and Cassimere Twills—182.
+Combinations composed of two-, Six-, Seven-, Eight-, and Nine-Shaft
+Weaves—183. Drafted Designs composed of Three or More Weaves—184.
+Fancy Stripe Combinations—185. Irregular Woollen Weave-Combinations—186.
+Cotton Stripes—187. Colouring of Designs containing several
+Weaves of Varied Construction—188. Figured Designs striped in the Warp.</p>
+</div>
+
+<p class="unindent">175. <i>Principles of Colouring Weave-Combinations.</i>—In applying
+fancy shades to designs containing several weaves, not
+only has the character of the pattern as a whole to be considered,
+but also the character of its component parts. That
+grouping of shades which forms a perfect style in the common
+twill may yield incongruous effects in other fancy weaves with
+which it may be associated, necessitating in some designs—particularly
+in those of a stripe and check order—the adoption
+of various systems of colouring, according to the structure of
+the crossings forming the different sections of the pattern.
+Generally, the elementary schemes of colouring are the most
+appropriate for weave-combinations, as they constitute the most
+uniform effects. To exemplify the methods practised in colouring
+this description of textile designs, some illustrations may be
+considered in detail. Supposing, in the first place, a design were
+composed of prunelle twills and the plain weave, and it were
+required to colour it on such lines as to obtain neat textural
+effects in each weave. Now, it will be clearly understood from
+the analyses made of Simple Colourings that several schemes
+might be employed, so far as the plain make is concerned, such
+<span class="pagenum" id="Page_245">[Pg 245]</span>
+as the one-and-one, the two-and-one, and the three-odd-thread
+systems; but if these analyses have been carefully studied, it
+will at once be evident that neither the first nor the last of these
+colourings would be suitable for application to this design,
+because, while producing satisfactory types in the plain sections,
+they form unsuitable ones in the twills; and it is imperative in
+this case to use a method of grouping shades that will give
+equally clear and regular effects in the prunelle as in the plain
+crossings. On this ground, therefore, both these systems must
+be rejected. There is not the same objection to the two-and-one
+arrangement, for it yields a good pattern in each of the makes.
+In the plain weave it forms a species of neat spotting; in the
+warp prunelle, lines lengthways of the fabric; and in the weft
+prunelle, lines of the two shades across the fabric.</p>
+
+<p>176. <i>Examples in Colouring Compound Designs.</i>—Let the
+following examples also be considered: <abbr title="One">I.</abbr> a design composed of
+four-end twill and mat; <abbr title="Two">II.</abbr> a design with a cassimere twill
+ground, small upright twill for figure, and swansdown twills for
+extra spotting; <abbr title="Three">III.</abbr> a design consisting of six-shaft twill in the
+ground, with warp and weft cords for figuring; <abbr title="Four">IV.</abbr> a design
+containing mayo, common twill, and mat; and <abbr title="Five">V.</abbr> a design with
+twilled mat for ground and double-plain for figuring.</p>
+
+<p>In the first design mentioned, two weaves are combined in
+which several schemes of colouring might be utilized, such as
+the two-and-two, the four-and-four, and the four-two’s arrangements.
+But assuming that it were required to adopt an order of
+colouring which would cause the twilled parts of the design to
+consist of minute checkings, and the hopsack parts of fine
+vertical stripes, then it would become a necessity to employ the
+two-and-two colouring. This order is, in some respects, one of
+the best that could be employed in all-over patterns consisting
+of twill and mat weaves, for it not only thus produces a distinct
+effect in both makes, which in figured styles would result in the
+precise development of the integral parts of the design, but also
+a combination in which the sections consisting of the respective
+crossings are equally pronounced.</p>
+
+<p>The second type of design named contains four weaves, but
+the one most largely employed and which constitutes the ground
+<span class="pagenum" id="Page_246">[Pg 246]</span>
+of the fabric is common twill. Now, in colouring such patterns
+the ground weave must be primarily considered, other makes, so
+far as the application of fancy shades to the entire design is
+concerned, being of secondary importance. In a combination
+comprising four weaves it is not, however, usual to adopt an
+order of shades calculated to produce a special effect in any of
+the crossings, but rather to employ a scheme of colouring largely
+composed of one shade. In other terms, it is advantageous in
+designs of this class to allow the bulk of the fabric to be composed
+of yarns of one tint—any fancy threads which may be
+introduced being used sparingly, and frequently singly, and not
+in larger groupings, as is the case in other modes of colouring.
+By adopting this arrangement, the weave characteristics are
+clearly emphasized, and yet the surface of the texture is neatly
+embellished with fancy shades.</p>
+
+<p>The six-shaft twill is the main factor of the third type of style.
+It is therefore a question of selecting in the first instance a plan of
+colours that is adapted to its structure. As it forms the bulk of
+the texture, it requires to be primarily considered. Reference
+should be made to the series of simple and compound colourings
+applicable to this weave, and then that method employed which,
+while making a neat pattern in the twill, will not form an
+unattractive effect in the cord weaves. Some of the standard
+groupings of shades for this weave are quite unsuitable when
+used with these cords. The three-two’s and two-three’s are
+arrangements of this character. They form neat patterns in the
+twill, but imperfect styles in the ribbed crossings. The one-and-one
+and the three-odd-thread schemes are the most appropriate
+in a combination of such weaves. They are both capable of
+producing regular effects in this compound design. Thus, take
+the thread-and-thread order. In the six-end twill it forms neat
+spotted work; in the warp rib, transverse bands of colours; and
+in the weft rib, vertical bands of colours, varying in dimensions
+according to the size of the rib-weaves used.</p>
+
+<p>The <abbr title="Four">IV.</abbr> class of example in mayo, twill, and mat is a combination
+in which several schemes of shades are feasible. The point to
+be acquired when such is the case, is the employment of a method
+of colouring that will yield effects in each weave, sufficiently
+<span class="pagenum" id="Page_247">[Pg 247]</span>
+marked in character to contrast neatly with each other, and yet
+constitute a harmonious pattern. This can only be practically
+worked out by comparing the patterns resulting from each
+crossing in standard groupings of shades, which will lead to the
+application of that order of yarns known to develop forms of
+pattern in the respective makes, calculated to harmonize satisfactorily
+in combination.</p>
+
+<figure class="figright illowp50" id="fig147" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig147.jpg" alt="Figured pattern">
+  <figcaption>
+      <p><span class="smcap">Fig. 147.</span></p>
+  </figcaption>
+</figure>
+
+<p>When single and double weaves are combined, as in section <abbr title="Five">V.</abbr>,
+the elementary schemes of colouring to be used have also to be
+applied in relation to the
+general effects producible.
+<a href="#fig147">Fig. 147</a> is a pattern containing
+such weaves, the
+ground being single in
+structure and the fingering
+double-weave structure. A
+section is given in <a href="#fig148">Fig. 148</a>.
+The simplest arrangement
+of colouring, one-and-one,
+has been used, because
+it produces the figure in
+light and dark portions,
+and the ground in intermingled
+colouring. The
+relation of the colour effect to each weave gives satisfactory
+definition to the figuring in contrast with the intermingling
+of the shades in the ground.</p>
+
+<p>177. <i>Main Points in applying Shades to Weave-Combinations.</i>—From
+these examples in the methods of colouring designs
+consisting of several elementary crossings, it is apparent that
+there are certain principles which must be observed in introducing
+fancy yarns into this class of woven patterns. First,
+whatever the character of the design, the primary factor for
+consideration is the structure of the weaves—the weave which
+occurs in the largest quantities being the most important, and
+requiring specific colour treatment. Second, when the weaves
+combined are similar in construction, a simple scheme of colouring
+should be adopted. Third, no order of shades should be
+<span class="pagenum" id="Page_248">[Pg 248]</span>
+employed which, while giving pleasing patterns in one weave,
+produces indifferent results in others. Obviously, these rules
+are only applicable to designs composed of elementary weaves,
+and in which the variety of crossings is very limited. For
+example, in designs comprising such a series of dissimilar weaves
+as obtains in <a href="#fig163">Figs. 163</a> and <a href="#fig166">166</a>, it will be clear that, to acquire a
+well-balanced pattern as to colouring, the several sections of the
+style must be specially treated in a colour sense. To warp an
+assortment of weaves of this type on one system throughout,
+could only result in the construction of a most unsatisfactory
+range of effects. The order of colouring must vary with the
+alteration in weave. This of course is only feasible in stripe
+and check designs, but is absolutely necessary in styles comprising
+a considerable diversity of intricate weaves arranged on
+either of these methods.</p>
+
+<figure class="figcenter illowp74" id="fig148" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig148.jpg" alt="Design for Fig 147">
+  <figcaption>
+      <p><span class="smcap">Fig. 148.</span></p>
+  </figcaption>
+</figure>
+
+<p><span class="pagenum" id="Page_249">[Pg 249]</span>
+178. <i>Examples in Drafted Patterns.</i>—These may be considered
+as follows:&#x2060;—</p>
+
+<p>I. Designs composed of weaves related to each other in
+structure and occupying a similar number of threads, and in
+which the several makes are used in corresponding proportions.</p>
+
+<p><abbr title="Two">II.</abbr> Designs of a stripe and check arrangement diversified in
+weave assortment.</p>
+
+<p><abbr title="Three">III.</abbr> Designs composed of several crossings, but with a simple
+twill, mat, or plain weave for the ground of the texture.</p>
+
+<p>In the <abbr title="One">I.</abbr> group a range of irregular patterns occur, consisting
+mainly of three-, four-, and six-end makes. In colouring these
+patterns, it is necessary to consider how the simple schemes of
+colouring develop in the several weaves combined, in order that
+the scheme which will give the most uniform result in all the
+crossings may be applied. If three or four weaves obtain in
+the same design it is occasionally advantageous to employ an
+irregular grouping of shades, or one which is not intended to
+give a particular type of pattern in any one of the weaves
+combined.</p>
+
+<p>Increased colouring ingenuity and practical skill are required
+in the treatment of the second group; because in the designs
+included here, it is frequently necessary to adopt various orders
+of colouring—one for each type of weave in the design.</p>
+
+<p>The third group of drafted patterns is largely developed in
+cotton fabrics, dress goods, and other fancy textures. The
+method of colouring these patterns is twofold, relating, first,
+to the treatment of the ground crossing, and second, to the
+use of a plan of shades that will yield neat effects in all the
+weaves combined.</p>
+
+<p>Examples in each group will be fully analyzed and described.</p>
+
+<p>179. <i>Designs composed of Two Prunelle Twills.</i>—An extensive
+assortment of styles in woollen, worsted, and cotton yarns is
+obtained in these two weaves by drafting. These are produced
+in trouserings, suitings, dresses, etc. When these two makes are
+combined and coloured on the two-and-one method, they
+give opposite effects, the warp twill forming vertical, and
+the weft twill transverse lines of colour. It is this principle
+which governs all the patterns obtained in designs composed of
+<span class="pagenum" id="Page_250">[Pg 250]</span>
+these crossings. In making styles of this kind, the first work
+consists in mapping out the form of the design, and the second
+work in running the twills on to the ground
+and figured sections respectively. <a href="#fig152">Fig. 149</a> is
+a pattern partially constructed from these
+weaves. Stripes <i>A</i> are a composition of warp
+and weft twills. The reduced design and
+the draft for the same are furnished in <a href="#fig150h">Figs.
+150</a> and <a href="#fig151">151</a>. From these it will be evident
+that it is the transition from warp to weft
+twill which gives the results lettered <i>A</i> and <i>B</i>
+in the illustration taken from the woven fabric.</p>
+
+<figure class="figcenter illowp50" id="fig152" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig152.jpg" alt="Woven effects">
+  <figcaption>
+      <p class="center"><span class="smcap">Fig. 149.</span> (upper part) &emsp; <span class="smcap">Fig. 152.</span> (lower part)</p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp100" id="fig150h" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig150h.jpg" alt="Compound design">
+  <figcaption>
+      <p><span class="smcap">Fig. 150.</span></p>
+  </figcaption>
+</figure>
+
+<p>Many types of figuring, whether floral or
+geometrical in arrangement, can be developed
+on this system.</p>
+
+<p>There is another mode of colouring this
+design besides that considered. It consists in employing three
+shades in single threads, but as it is somewhat more intricate
+than the two-and-one system, and yields a similar pattern, it is
+not so extensively employed.</p>
+
+<p><span class="pagenum" id="Page_251">[Pg 251]</span></p>
+<figure class="figcenter illowp100" id="fig151" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig151.jpg" alt="Healding draft">
+  <figcaption>
+      <p><span class="smcap">Fig. 151.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp37a" id="fig153" style="max-width: 18.75em;">
+  <img class="w100" src="images/fig153.jpg" alt="Compound design">
+  <figcaption>
+      <p><span class="smcap">Fig. 153.</span></p>
+  </figcaption>
+</figure>
+
+<p>180. <i>Drafted Designs composed of Two Four-Shaft Weaves.</i>—These
+obtain in greater diversity than designs resulting from
+three-shaft weaves. This is owing to the considerable series of
+makes of twill and mat types producible on four shafts, enlarging
+the scope for the origination of all classes of combination
+styles. Various illustrations in these designs will be examined,
+and the principles of colouring them explained. First, the
+pattern, <a href="#fig152">Fig. 152</a>, may be referred
+to. It has been obtained in the
+design and draft supplied in <a href="#fig153">Figs.
+153</a> and <a href="#fig154">154</a>. Strictly speaking, it
+is composed of only one weave,
+which, to gain variety of effect, is
+twilled in two directions. It will
+be observed, if any of the sections
+are analyzed, that every other pick
+of this weave is plain. This accounts
+for the effect seen in the fabric in
+<a href="#fig152">Fig. 152</a>. The arrangement of the
+shades is one-and-one, so that one
+weave here being the reverse of the
+other, while the parts developed in
+◼’s are forming one textural type,
+the parts developed in ⊡’s are yielding
+a second type. It is the plain
+picks of the respective sections which constitute the minute
+skeleton squares of grey and black; the twill picks filling up the
+spaces formed by the grey with black, and those formed by the
+black with grey. This pattern may be developed in various
+<span class="pagenum" id="Page_252">[Pg 252]</span>
+shades of fancy yarns; and the two weaves may also be blended
+on such methods as to form stripe and check styles of several
+descriptions.</p>
+
+<figure class="figright illowp60" id="fig154" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig154.jpg" alt="Healding draft">
+  <figcaption>
+      <p><span class="smcap">Fig. 154.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp100" id="fig155" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig155.jpg" alt="Compound check design">
+  <figcaption>
+      <p><span class="smcap">Fig. 155.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figright illowp80" id="fig156" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig156.jpg" alt="Healding draft">
+  <figcaption>
+      <p><span class="smcap">Fig. 156.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp100" id="plate24a" style="max-width: 37.5em;">
+  <img class="w100" src="images/plate24a.jpg" alt="Prunelle">
+  <figcaption style="color: blue;">
+      <p><span class="smcap">Plate <abbr title="Twenty-four">XXIV</abbr></span><br>
+      <span class="allsmcap">COLOURING OF DRAFTED STYLES</span><br>
+     <span class="small">1. Weave Compound; Prunelle and [2\2] Twills</span></p>
+ </figcaption>
+</figure>
+
+<figure class="figcenter illowp80" id="plate24b" style="max-width: 25.0em;">
+  <img class="w100" src="images/plate24b.jpg" alt="Twills">
+  <figcaption style="color: blue;">
+      <p><span class="small">2. Weave Compound; [1\3] [3\1], and [2\2] Twills</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp80" id="plate24c" style="max-width: 25.0em;">
+  <img class="w100" src="images/plate24c.jpg" alt="Twist-warp">
+  <figcaption style="color: blue;">
+      <p><span class="small">3. Weave Compound; [1\3] [3\1], and [2\2] Twist-warp Yarns</span></p>
+  </figcaption>
+</figure>
+
+<p>The fabric given in <a href="#plate24a"><abbr title="Number">No.</abbr> 1 on Plate <abbr title="Twenty-four">XXIV.</abbr></a> has some principles
+of construction common with the effect just described, inasmuch
+as the design employed in its manufacture is a composition of
+cassimere weave twilled to the right and left successively. Thus,
+it results from the plan and draft given in <a href="#fig155">Figs. 155</a> and <a href="#fig156">156</a>;
+hence it is, in reality, a cassimere twill pattern, for this is the
+only weave used. But as it runs forward for six picks, and then
+starts again—this process being repeated throughout sections
+<i>A</i> and <i>B</i>, in which the weave twills in both directions—there is
+formed by the draft a check pattern, occupying forty-eight
+threads and picks, and in which the weave twills to the right
+in each alternate space of twenty-four threads. The order of
+colouring is somewhat intricate, being as appended:&#x2060;—</p>
+
+<p><span class="pagenum" id="Page_253">[Pg 253]</span></p>
+<table class="autotable smaller">
+<tr>
+<td class="tdc" colspan="6"><i>Warp.</i></td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">2</td>
+<td class="tdc">threads of a</td>
+<td class="tdl">dark</td>
+<td class="tdl">shade.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2"><i>A.</i> For 16 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">light</td>
+<td class="tdl">&emsp; „</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">dark</td>
+<td class="tdl">&emsp; „</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">1</td>
+<td class="tdc">thread of a</td>
+<td class="tdl">light</td>
+<td class="tdl">&emsp; „</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">fancy</td>
+<td class="tdl">&emsp; „</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2"><i>A.</i> For 12 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">2</td>
+<td class="tdc">threads of a</td>
+<td class="tdl">dark</td>
+<td class="tdl">&emsp; „</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">light</td>
+<td class="tdl">&emsp; „</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">dark</td>
+<td class="tdl">&emsp; „</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">4</td>
+<td class="tdc">„</td>
+<td class="tdl">light</td>
+<td class="tdl">&emsp; „</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">dark</td>
+<td class="tdl">&emsp; „</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">4</td>
+<td class="tdc">„</td>
+<td class="tdl">light</td>
+<td class="tdl">&emsp; „</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">1</td>
+<td class="tdc">thread of a</td>
+<td class="tdl">dark</td>
+<td class="tdl">&emsp; „</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">light</td>
+<td class="tdl">&emsp; „</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">fancy</td>
+<td class="tdl">&emsp; „</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">4</td>
+<td class="tdc">threads of a</td>
+<td class="tdc">light</td>
+<td class="tdl">&emsp; „</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">1</td>
+<td class="tdl">thread of a</td>
+<td class="tdl">fancy</td>
+<td class="tdl">&emsp; „</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">light</td>
+<td class="tdl">&emsp; „</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">dark</td>
+<td class="tdl">&emsp; „</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">4</td>
+<td class="tdc">threads of a</td>
+<td class="tdl">light</td>
+<td class="tdl">&emsp; „</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">dark</td>
+<td class="tdl">&emsp; „</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">4</td>
+<td class="tdc">„</td>
+<td class="tdl">light</td>
+<td class="tdl">&emsp; „</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">dark</td>
+<td class="tdl">&emsp; „</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2"><i>A.</i> For 16 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">light</td>
+<td class="tdl">&emsp; „</td>
+</tr>
+<tr>
+<td class="tdr">⎩</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">dark</td>
+<td class="tdl">&emsp; „</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">1</td>
+<td class="tdc">thread of a</td>
+<td class="tdl">light</td>
+<td class="tdl">&emsp; „</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">fancy</td>
+<td class="tdl">&emsp; „</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2"><i>A.</i> For 12 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">2</td>
+<td class="tdc">threads of a</td>
+<td class="tdl">dark</td>
+<td class="tdl">&emsp; „</td>
+</tr>
+<tr>
+<td class="tdr">⎩</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">light</td>
+<td class="tdl">&emsp; „</td>
+</tr>
+<tr>
+<td class="tdc" colspan="6"><i>Weft.</i><br></td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">For 21 picks.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">2</td>
+<td class="tdc">picks of a </td>
+<td class="tdl">dark</td>
+<td class="tdl">shade,</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">pick of a</td>
+<td class="tdc">light</td>
+<td class="tdl">shade same as warp.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">2</td>
+<td class="tdc">picks of a</td>
+<td class="tdl">dark</td>
+<td class="tdl">shade.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">1</td>
+<td class="tdc">pick of a</td>
+<td class="tdl">fancy</td>
+<td class="tdl">&emsp; „</td>
+</tr>
+</table>
+
+<p>There is a sort of broken or irregular shading produced by
+this arrangement, the construction of the design having an important
+<span class="pagenum" id="Page_254">[Pg 254]</span>
+effect on the grouping of shades. The particles of
+two-and-two colouring, which occur in brackets <i>A</i>, develop, in
+the weaves cutting each other, the waviness characterizing
+the coloured effects (Pattern I, <a href="#plate24a">Plate <abbr title="Twenty-four">XXIV.</abbr></a>). The comparatively
+large patches of one group of yarns in the warp do
+not form a clear stripe in the fabric, because the system of
+wefting is irregular, being such, however, as to tally with the
+plan of changing the twilling of the weave on every sixth
+pick. The effect of the two-and-two order of shades in the
+warp in this drafted design shows the extent to which the
+construction of the plan of interlacing may modify the result
+of a simple order of shades.</p>
+
+<p>181. <i>Style composed of Prunelle and Cassimere Twills.</i>—This
+is rather an irregular combination, but in the two-and-one
+system of colouring, if the weaves are skilfully adjusted, it is
+capable of producing a species of pattern rich in textural details.
+Referring, for example, to section <i>B</i> of <a href="#fig152">Fig. 149</a>, the effect of the
+cassimere twill worked into checks of sixteen threads and picks
+in this grouping of shades is given. It is a neat type of pattern,
+contrasting with the effects of the prunelle twills with which it
+is combined. The quantity of cassimere twill must not be large
+in combinations of this class, or a cloth lacking uniformity of
+structure will be produced. Further, the weaves require to be
+correctly fitted together, or a fabric possessing an irregular
+surface will ensue. It is a suitable scheme of weaves for dress
+fabrics. The arrangement is also adaptive, in small styles, to
+trousering and similar fabrics.</p>
+
+<p>182. <i>Combinations composed of two-, Six-, Seven-, Eight-,
+and Nine-Shaft Weaves.</i>—There are several varieties of patterns
+obtained in designs containing six-end makes. As a rule the
+twill is the principal weave. One example in which the hopsack
+and a fancy crossing are combined may, however, be
+described, as it is an interesting and typical specimen of the
+general range of patterns obtained in this class of weaves. This
+style is sketched in <a href="#fig157">Fig. 157</a>, while the design producing it is a
+composition of the two makes in <a href="#fig158">Fig. 158</a>. The method of
+colouring is three threads of white and six threads of black
+in both warp and weft. In the mat sections the minute figures
+<span class="pagenum" id="Page_255">[Pg 255]</span>
+are formed, but the intermingled checking is a consequence
+of the weave marked in full squares in <a href="#fig158">Fig. 158</a>. These two
+crossings are combinable in figured arrangements suitable for
+costumes and dressing-gowns. In soft colours, brightened at
+intervals by a few fancy threads, this compound of weaves and
+scheme of colouring are capable of yielding a series of fancy
+fabrics. By changing the mat to twill, quite a distinct species of
+pattern is obtained. Both weaves now yield check effects, but
+the type of effect resulting from the twill is uniform and regular
+in appearance. Some neat figured and check designs are also
+obtained in six-shaft makes by employing the twill for the
+ground of the texture, and small weaves which may be readily
+combined with it, and colouring on the
+three-one’s, two-three’s, and three-two’s
+systems.</p>
+
+<figure class="figcenter illowp80" id="fig157" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig157.jpg" alt="Six-and-three">
+  <figcaption>
+      <p><span class="smcap">Fig. 157.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figright illowp40" id="fig158" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig158.jpg" alt="Stripe design">
+  <figcaption>
+      <p><span class="smcap">Fig. 158.</span></p>
+  </figcaption>
+</figure>
+
+<p>The variety of styles workable in
+seven-shaft crossings is somewhat
+limited. Such weaves as the corkscrew
+and twill, and the upright twill
+and small diagonals, are blended here.</p>
+
+<p>In combinations containing a large portion of corkscrew, the
+one-and-one method of colouring is appropriate, particularly if
+the make is of a common twill construction. The five-and-two,
+four-and-three, and six-and-one groupings of shades are useful
+in designs in which an ordinary seven-shaft twill forms the bulk
+of the texture.</p>
+
+<p>Eight-thread weave combinations comprise the largest variety
+of styles. Designs composed of several classes of twills, of
+simple, twilled, and fancy mats, of minute diagonals, and small
+<span class="pagenum" id="Page_256">[Pg 256]</span>
+figured types, are all colourable on the Simple and Compound
+systems of blending shades containing four and eight threads.</p>
+
+<p>Nine-shaft compounds, consisting of weaves about equally
+balanced as to warp and weft floats, are principally developed
+in the following groupings:&#x2060;—</p>
+
+<table>
+<tr>
+<td class="tdc" colspan="5"><abbr title="One">I.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">5</td>
+<td class="tdc pad6">threads</td>
+<td class="tdc">of a</td>
+<td class="tdc pad6">dark</td>
+<td class="tdl">shade.</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdc">medium</td>
+<td class="tdc">„</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="5"><abbr title="Two">II.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">7</td>
+<td class="tdc pad6">threads</td>
+<td class="tdc">of a</td>
+<td class="tdc pad6">dark</td>
+<td class="tdl">shade.</td>
+</tr>
+<tr>
+<td class="tdc">2</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdc">medium</td>
+<td class="tdc">„</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="5"><abbr title="Three">III.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">3</td>
+<td class="tdc pad6">threads</td>
+<td class="tdc">of a</td>
+<td class="tdc pad6">dark</td>
+<td class="tdl">shade.</td>
+</tr>
+<tr>
+<td class="tdr">3</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdc">medium</td>
+<td class="tdc">„</td>
+</tr>
+<tr>
+<td class="tdr">3</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdc">light</td>
+<td class="tdc">„</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="5"><abbr title="Four">IV.</abbr></td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc pad6">threads</td>
+<td class="tdc">of a</td>
+<td class="tdc pad6">dark</td>
+<td class="tdl">shade.</td>
+</tr>
+<tr>
+<td class="tdc">3</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdc">medium</td>
+<td class="tdc">„</td>
+</tr>
+<tr>
+<td class="tdc">2</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdc">light</td>
+<td class="tdc">„</td>
+</tr>
+</table>
+
+<p>183. <i>Drafted Designs composed of Three or more Weaves.</i>—Four-,
+five-, six-, and eight-shaft weaves are all used in the construction
+of these designs, belonging to the second group, but
+such styles generally consist of four-end makes. For fine
+textures, and for fabrics in which a broad cast of pattern is
+required, weaves occupying a larger number of threads are
+employed. It will, however, be sufficient if illustrations are considered
+in designs composed of the four-thread weaves. These
+are given in <abbr title="Numbers">Nos.</abbr> 2 and 3 on <a href="#plate24b">Plate <abbr title="Twenty-four">XXIV.</abbr></a> They are taken
+from woollen textures. The colourings are as follows:&#x2060;—</p>
+
+<table>
+<tr>
+<td class="tdc"><span class="smcap">Pattern <abbr title="One">I.</abbr></span></td>
+</tr>
+<tr>
+<td class="tdc pad4"><i>Warp.</i></td>
+</tr>
+<tr>
+<td class="tdl">2 threads of white.</td>
+</tr>
+<tr>
+<td class="tdl">1 thread of black and scarlet.</td>
+</tr>
+<tr>
+<td class="tdl">2 threads of white.</td>
+</tr>
+<tr>
+<td class="tdl">1 thread of black and green.</td>
+</tr>
+<tr>
+<td class="tdl">2 threads of white.</td>
+</tr>
+<tr>
+<td class="tdl">1 thread of black and white.<br></td>
+</tr>
+<tr>
+<td class="tdc pad4"><i>Weft.</i><br></td>
+</tr>
+<tr>
+<td class="tdc">Medium grey.<br></td>
+</tr>
+</table>
+<br>
+<span class="pagenum" id="Page_257">[Pg 257]</span>
+
+<table>
+<tr>
+<td class="tdc" colspan="5"><span class="smcap">Pattern <abbr title="Two">II.</abbr></span></td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="5"><i>Warp</i>.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">For 9 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc pad6">thread of</td>
+<td class="tdl">black and brown.<br></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">brown and white.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">scarlet and green.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">For 9 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">brown and white.<br></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">black and brown.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">blue and green.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="5"><i>Weft</i>.<br></td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">1</td>
+<td class="tdc pad6">pick of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">black and white twist.</td>
+</tr>
+</table>
+
+<p>Referring to the draft (<a href="#fig159">Fig. 159</a>), and the reduced design for
+Pattern 2 (<a href="#fig160">Fig. 160</a>), these are arranged to form the same series
+of interlacings on each thread, which ensures the construction of
+a regularly-built fabric.</p>
+
+<figure class="figcenter illowp100" id="fig159" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig159.jpg" alt="Healding draft">
+  <figcaption>
+      <p><span class="smcap">Fig. 159.</span></p>
+  </figcaption>
+</figure>
+
+<p>It will be noticed that both plans of colouring are irregular,
+the first scheme containing nine, and the second scheme twenty
+threads. Now as the weaves forming the designs are on four
+shafts, the fancy yarns fall on different threads of the respective
+makes in different parts of the figuring. In this way a blended
+effect is acquired. The bulk of the first warp being white, and
+the weft of a medium shade, the weave details are clearly seen.
+The three makes, comprising the design (<a href="#fig160">Fig. 160</a>), are all traceable.
+The small spaces of white are due to the twill marked in
+crosses; the spaces of slate to the twill marked in full squares;
+and the spaces of slate and white, equally mixed, to the cassimere
+twill which forms the ground of the design. When the warp
+consists of broad bands of neatly contrasting shades, this type of
+<span class="pagenum" id="Page_258">[Pg 258]</span>
+weave-combination gives excellent results in dress and mantling
+fabrics.</p>
+
+<figure class="figcenter illowp100" id="fig160" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig160.jpg" alt="Compound styles in twill">
+  <figcaption>
+      <p><span class="smcap">Fig. 160.</span></p>
+  </figcaption>
+</figure>
+
+<p>Pattern 3, <a href="#plate24c">Plate <abbr title="Twenty-four">XXIV.</abbr></a>, though produced in the same draft
+and composed of similar weaves as Pattern 2,
+is very different from it in appearance and
+composition. It forms a type of granite
+mixture. The colours being arranged practically
+on the one-and-one system throughout
+the fabric, the effects of the various crossings
+are partially subdued. Cheviot yarns and
+medium counts of worsteds are adapted for
+this type of intermingled pattern in fancy
+costume fabrics.</p>
+
+<p>184. <i>Fancy Stripe Combinations.</i>—Designs
+of this class for worsted trouserings, cotton
+textures, and tweed mantlings, may be intricate
+in both weave and colour composition.
+Indeed, it follows as a natural sequence that
+if a striped design is well diversified in weave
+arrangement, it will be correspondingly complex
+in colouring. Not only in a weave, but
+in a textural and colour relation, is there
+intricacy of technical contrivance in these
+fabrics. First, a uniform texture is indispensable;
+second, this quality must be obtained
+in conjunction with novel weave
+effects; and, third, the arrangement of colouring
+must be harmonious in shading and in
+accordance with the structure of the weaves
+combined.</p>
+
+<p>185. <i>Irregular Woollen Weave Combinations.</i>—A compound
+of crossings, forming a style of design specially suitable for
+woollen yarns, is supplied in <a href="#fig161">Fig. 161</a>. Whether produced in
+fine or medium yarns for dress or cloaking fabrics, it forms an
+effective pattern. It is workable on fourteen healds, the plan
+of drafting being as follows: Threads 1 to 14 straight drawn,
+then shafts 6, 5, 4, 3, 2, 1, 7, 8, 14, 13, 12, 11, 10, and 9.
+Should this method of drafting be adopted, Parts <i>A</i> and <i>B</i>
+<span class="pagenum" id="Page_259">[Pg 259]</span>
+would constitute the reduced plan. Though the design contains
+fourteen distinct threads, it is, nevertheless, merely
+a modification of the first seven ends. These form a species
+of diagonal weave suitable for worsted coatings.</p>
+
+<figure class="figcenter illowp50" id="fig161" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig161.jpg" alt="Stripe design">
+  <figcaption>
+      <p><span class="smcap">Fig</span>. 161.</p>
+  </figcaption>
+</figure>
+
+<p>The arrangement of this
+pattern may he divided into
+four sections. Parts <i>C</i> and <i>D</i>
+have the diagonal moving to
+the right, and parts <i>A</i> and <i>B</i>
+to the left. The manner in
+which each diagonal commences
+and terminates is the
+chief characteristic of the
+pattern, and is illustrative
+of a method of combining
+this type of weave that may
+be followed out with satisfactory
+results. For dress
+materials the following weaving particulars are appropriate:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+<td class="tdc"><i>Warp.</i><br></td>
+</tr>
+<tr>
+<td class="tdl">1 thread of fine black and white twist.</td>
+</tr>
+<tr>
+<td class="tdl">5 threads of medium grey.</td>
+</tr>
+<tr>
+<td class="tdl">1 thread of fine black and white twist.<br></td>
+</tr>
+</table>
+
+<p class="center"><i>Weft.</i><br>
+All dark grey.
+</p>
+
+<p>Little variety of colouring is needed; a light shade of warp
+and a medium shade of weft are sufficient to give due precision
+and proper development to the various features of this design.</p>
+
+<figure class="figleft illowp60" id="fig162" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig162.jpg" alt="Stripe design">
+  <figcaption>
+      <p><span class="smcap">Fig. 162.</span></p>
+  </figcaption>
+</figure>
+
+<p>186. <i>Cotton Stripes.</i>—These have frequently a plain ground, and
+belong to the third group of drafted designs. The figuring is
+developed in warp and weft flushes neatly grouped in diamonds,
+twills, and fancy mats. An example of these designs is <a href="#fig162">Fig. 162</a>—a
+compound weavable on twelve shafts. It consists of bands
+of plain weave, warp rib, and wave effect. Section <i>A</i> consists
+of objects of the same shape and dimensions developed in
+both warp and weft floats. Thus, while the figure marked in
+solid squares would, in the fabric, be composed of weft flushes,
+<span class="pagenum" id="Page_260">[Pg 260]</span>
+the part marked in crosses would consist of floats of warp;
+hence, providing the warp is light in shade, and the weft of
+an intermediate colour, these figures would be of distinct
+hues. The following scheme is illustrative
+of the methods generally adopted:&#x2060;—</p>
+
+<table>
+<tr>
+<td colspan="2"></td>
+<td class="tdc pad4" colspan="2"><i>Warp.</i></td>
+<td></td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdr">2</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">lavender.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">lavender.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">lavender.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">lavender.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdr">16</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">lavender.</td>
+</tr>
+<tr>
+<td class="tdr">For 18 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">⎩</td>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">lavender.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdr">8</td>
+<td class="tdc">„</td>
+<td class="tdl">bright blue.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdc pad4" colspan="2"><i>Weft.</i></td>
+<td></td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdc" colspan="2">All lavender.</td>
+<td></td>
+</tr>
+</table>
+
+<figure class="figright illowp100" id="fig163" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig163.jpg" alt="Stripe design">
+  <figcaption>
+      <p><span class="smcap">Fig. 163.</span></p>
+  </figcaption>
+</figure>
+
+<p>According to this arrangement of colours the rib section would
+consist of furrows of bright blue and lavender, while the bands
+of plain would be divided into stripes of solid lavender of two
+threads each, and of mixture stripes of white and lavender of
+two and four threads in width. As to the Section <i>A</i>, the
+effect in warp flushes would be solid white on a ground of
+<span class="pagenum" id="Page_261">[Pg 261]</span>
+lavender and white; whereas the effect in weft floats would be
+solid lavender on the same mixture ground. This order of
+colours, but in different shades, such as pink and white, slate
+and white, and salmon and white, also develops well. In these
+latter shades, bright and pale pinks, and salmon and a deep
+and pale slate, are requisite to obtain the proper gradation of
+tinting.</p>
+
+<p>187. <i>Colouring of Designs containing several Weaves of
+Varied Structures.</i>—Three typical illustrations in the methods
+of introducing fancy shades into this sort of compound designs
+may be considered. They are given in Figs. 163, 164, and 165.
+These examples show how full of weave effect, styles of this class
+may be. Thus, in the first design, <a href="#fig163">Fig. 163</a>, which is composed
+of three weaves, there are four distinct stripes, consisting of
+fancy mat weave, corkscrew, and rib respectively. An effective
+method of colouring such a compound is as follows:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+<td colspan="2"></td>
+<td class="tdr">10</td>
+<td class="tdc">threads of</td>
+<td class="tdl">light mixture.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdr">10</td>
+<td class="tdc">„</td>
+<td class="tdl">medium mixture.</td>
+
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdr">10</td>
+<td class="tdc">„</td>
+<td class="tdl">light mixture.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">For 15 ends.</td>
+<td class="tdl">⎧</td>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">light mixture.<br></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">medium mixture.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdr">10</td>
+<td class="tdc">threads of</td>
+<td class="tdl">light mixture.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdr">10</td>
+<td class="tdc">„</td>
+<td class="tdl">medium mixture.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdr">10</td>
+<td class="tdc">„</td>
+<td class="tdl">light mixture.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">medium blue silk.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">white silk.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">medium blue silk.</td>
+</tr>
+</table>
+
+<p>According to this system of colours, the rib section consists of
+medium blue and white silk, the bands of fancy mat of stripes of
+light and medium mixture yarns, and the section of corkscrew,
+being warped thread and thread, consists of diagonals of the two
+shades of yarns employed.</p>
+
+<p><a href="#fig164">Fig. 164</a> is a composition of vertical and oblique twills, with a
+strong contrast in the weave effect. The make marked in ⊡’s
+forms an oblique twill, of about the same degree as the upright
+twill yielded by the crossing developed in solid marks. In
+combination, the weaves, though dissimilar in woven results,
+<span class="pagenum" id="Page_262">[Pg 262]</span>
+produce a uniform texture. The following is an appropriate
+scheme of colouring:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+<td class="tdr"></td>
+<td class="tdl"></td>
+<td class="tdr">8</td>
+<td class="tdc">threads of</td>
+<td class="tdl">blue.</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl"></td>
+<td class="tdr">3</td>
+<td class="tdc">„</td>
+<td class="tdl">slate.</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl"></td>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">brown and white.</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl"></td>
+<td class="tdr">3</td>
+<td class="tdc">„</td>
+<td class="tdl">slate.</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl"></td>
+<td class="tdr">8</td>
+<td class="tdc">„</td>
+<td class="tdl">blue.</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl"></td>
+<td class="tdr">8</td>
+<td class="tdc">„</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">⎧</td>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdr">Repeat</td>
+<td class="tdl">⎨</td>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">black and crimson.<br></td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">⎪</td>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">⎩</td>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">black and green.</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl"></td>
+<td class="tdr">8</td>
+<td class="tdc">threads of</td>
+<td class="tdl">brown.</td>
+</tr>
+</table>
+
+<figure class="figcenter illowp80" id="fig164" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig164.jpg" alt="Stripe design">
+  <figcaption>
+      <p><span class="smcap">Fig. 164.</span></p>
+  </figcaption>
+</figure>
+
+<p>The centre of the large band of twenty-four threads is thus
+neatly tinted with fancy twist threads; while the diagonals
+developed in ◼’s are composed of the blue, the same diagonal,
+when twilling to the right, consists mainly of slate, with a fine
+line of brown and white twist down the centre. There is, therefore,
+not only in this arrangement an apt grouping of shades in
+a colour sense, but the plan of adjustment produces a form of
+stripe in keeping with the construction of the design.</p>
+
+<figure class="figcenter illowp100" id="plate25a" style="max-width: 25.0em;">
+  <img class="w100" src="images/plate25a.jpg" alt="Ordinary folded">
+  <figcaption style="color: blue;">
+      <p>Plate <abbr title="Twenty-five">XXV</abbr><br>
+      <span class="allsmcap">FANCY YARNS</span><br>
+      <span class="smaller">1. Ordinary Folded, or Two-Ply and Three-Ply Yarns</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp100" id="plate25b" style="max-width: 25.0em;">
+  <img class="w100" src="images/plate25b.jpg" alt="Flakes and Cloud Twists">
+  <figcaption style="color: blue;">
+      <p><span class="smaller">2. Flakes and Cloud Twists</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp100" id="plate25c" style="max-width: 25.0em;">
+  <img class="w100" src="images/plate25c.jpg" alt="Curl twists">
+  <figcaption style="color: blue;">
+      <p><span class="smaller">3. Curl Twists</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp100" id="plate25d" style="max-width: 25.0em;">
+  <img class="w100" src="images/plate25d.jpg" alt="Gimp twists">
+  <figcaption style="color: blue;">
+      <p><span class="smaller">4. Gimp Twists</span></p>
+  </figcaption>
+</figure>
+
+<p>The subsequent three-weave stripe—<a href="#fig165">Fig. 165</a>—is composed of
+an uncommon set of crossings, namely, of sixteen-shaft twilled
+<span class="pagenum" id="Page_263">[Pg 263]</span>
+hopsack, of an eight-shaft diagonal, and of a fine warp cord. The
+threads making the cord section ought to be on a separate beam.</p>
+
+<figure class="figcenter illowp60" id="fig165" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig165.jpg" alt="Stripe design">
+  <figcaption>
+      <p><span class="smcap">Fig. 165.</span></p>
+  </figcaption>
+</figure>
+
+<p>A good system of introducing colour here consists in shading
+the diagonal with colour, as indicated in
+the plan of working given below:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+<td class="tdr">16</td>
+<td class="tdc">threads of</td>
+<td class="tdl">slatish green.<br></td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">light brown.</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">medium brown.</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">dark brown.</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">white silk.</td>
+</tr>
+</table>
+
+<p class="unindent">The depth of the brown and the slatish
+green must be about the same; if anything,
+the latter should be the darker.</p>
+
+<p>It is not unusual in these designs to
+employ bright shades of silk for weaves
+of a rib class, which are so constructed
+as to show the characteristic qualities
+of yarns of this material. Moreover, it
+is almost a general rule to apply the
+brightest colours to those sections of the
+design composed of warp cord crossings.</p>
+
+<figure class="figcenter illowp100" id="fig166" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig166.jpg" alt="Corkscrews and whip cords">
+  <figcaption>
+      <p><span class="smcap">Fig. 166.</span></p>
+  </figcaption>
+</figure>
+
+<p><a href="#fig166">Fig. 166</a> is a worsted trousering style,
+and is composed of four weaves, namely,
+a warp wave, corkscrew warp flushed, corkscrew weft flushed, and
+of fine twill. But it is not merely the variety of crossings which
+deserves notice, but also the arrangement or plan of combination.
+On both sides of the warp wave are bands of weft twill, contrasting
+with not only the former weave, but the bold stripes of fine
+twill represented in dots. These latter bands are intervened by
+<span class="pagenum" id="Page_264">[Pg 264]</span>
+a line of nine-heald corkscrew or round twill. The scheme of
+warp colouring should be such as to admit of the corkscrew
+sections being developed in fine worsted and silk twist. This
+can be effected by colouring as below:&#x2060;—</p>
+
+<table class="smaller">
+<tr>
+<td class="tdr"></td>
+<td class="tdl"></td>
+<td class="tdc pad4" colspan="2"><i>Warp.</i></td>
+<td></td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">For 16 ends.</td>
+<td class="tdl">⎧</td>
+<td class="tdr">1</td>
+<td class="tdc pad6">thread of</td>
+<td class="tdl">light brown mixture.<br></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">brown mixture.<br></td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl"></td>
+<td class="tdr">23</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">blue mixture.</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl"></td>
+<td class="tdr">10</td>
+<td class="tdc">„</td>
+<td class="tdl">fine worsted and white silk twist.</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl"></td>
+<td class="tdr">23</td>
+<td class="tdc">„</td>
+<td class="tdl">blue mixture.</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl"></td>
+<td class="tdc pad4" colspan="2"><i>Weft.</i></td>
+<td></td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl"></td>
+<td class="tdl" colspan="3">All brown or blue mixture.</td>
+</tr>
+</table>
+
+<p>By this arrangement the bands of upright twill are developed
+in blue mixture, the warp wave in light brown and brown, and
+the corkscrew in silk twist threads. Should the weft be brown,
+the bands of weft twill marked in ⊠’s would be of this shade.</p>
+
+<p>188. <i>Figured Designs striped in the Warp.</i>—Designs of this
+type are chiefly workable in cotton and silk yarns. The idea is
+to obtain variety of colouring by the use of only one colour in
+the weft; therefore, the coloured style consists of some diversity
+of striping in the warp. For this purpose, the examples in fancy
+stripe colourings, Figs. <a href="#fig11">11</a> and <a href="#fig12">12</a>, may be used. For instance, <a href="#fig167">Fig. 167</a>
+(<a href="#fig167a">Design 167<span class="allsmcap">A</span></a>) contains three weave effects, there being, first,
+the continuous line of figuring developed in ◼’s, and second, the
+detached smaller figures in ⊡’s, both being produced in weft, on a
+warp sateen ground. Underneath such figuring, stripe colouring
+may be arranged.</p>
+
+<p>Two examples, based upon <i>C</i>, <a href="#fig11">Fig. 11</a>, and <i>D</i>, <a href="#fig12">Fig. 12</a>, are
+given. In order to fit carefully with the repeats of the design,
+the proportions of warp colouring in the former would be as
+follows:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+<td class="tdr"></td>
+<td class="tdl"></td>
+<td class="tdr">18</td>
+<td class="tdc">threads of</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">Three times.</td>
+<td class="tdl">⎧</td>
+<td class="tdr">5</td>
+<td class="tdc">„</td>
+<td class="tdl">medium heliotrope.<br></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdr">5</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdc"></td>
+<td class="tdl"></td>
+<td class="tdr">18</td>
+<td class="tdc">„</td>
+<td class="tdl">medium heliotrope.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">Three times.</td>
+<td class="tdl">⎧</td>
+<td class="tdr">5</td>
+<td class="tdc">„</td>
+<td class="tdl">white.<br></td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdr">5</td>
+<td class="tdc">„</td>
+<td class="tdl">medium heliotrope.</td>
+</tr>
+</table>
+
+<p><span class="pagenum" id="Page_265">[Pg 265]</span></p>
+
+<figure class="figcenter illowp90" id="fig167" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig167.jpg" alt="Wave pattern">
+  <figcaption>
+      <p><span class="smcap">Fig. 167.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp75" id="fig167a" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig167a.jpg" alt="Design for Fig 167">
+  <figcaption>
+      <p><span class="smcap">Fig. 167a.</span></p>
+  </figcaption>
+</figure>
+
+<p><span class="pagenum" id="Page_266">[Pg 266]</span>
+If a dark heliotrope were used in the weft, then the figuring
+would be woven in such colour upon the striping of white and
+medium heliotrope.</p>
+
+<p>The design may also be woven in a stripe of a three-colour
+class. If <i>D</i>, <a href="#fig12">Fig. 12</a>, were used, suitable proportions of colours
+would be:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+<td class="tdr">40</td>
+<td class="tdc">threads of</td>
+<td class="tdl">white.<br></td>
+</tr>
+<tr>
+<td class="tdr">8</td>
+<td class="tdc">„</td>
+<td class="tdl">green.</td>
+</tr>
+<tr>
+<td class="tdr">8</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdr">8</td>
+<td class="tdc">„</td>
+<td class="tdl">pink.</td>
+</tr>
+<tr>
+<td class="tdr">8</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdr">8</td>
+<td class="tdc">„</td>
+<td class="tdl">pink.</td>
+</tr>
+<tr>
+<td class="tdr">8</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdr">8</td>
+<td class="tdc">„</td>
+<td class="tdl">green.</td>
+</tr>
+</table>
+
+<p>If two materials were used, say cotton in the warp and silk in
+the weft, then white silk would be suitable for the weft; but if
+the weft is cotton, then a light tone of heliotrope would form a
+pleasing contrast with the striping in the warp. It is a type
+of figured designing, economically coloured in the weft, but
+diversified both as to the degree of contrast of colour, and
+method of shade assortment or striping in the warp.</p>
+<hr class="chap x-ebookmaker-drop">
+
+
+<div class="chapter">
+<span class="pagenum" id="Page_267">[Pg 267]</span>  <h2 class="nobreak" id="CHAPTER_XII">
+    CHAPTER <abbr title="Twelve">XII.</abbr>
+  </h2>
+   <h3>
+    SPOTTED EFFECTS.
+  </h3>
+</div>
+
+<div class="blockquot">
+<p>189. Varieties of Spotted Fabrics—190. Spots due to Specific Systems of
+Weaving—191. Swansdown Twill Spotted—192. Spots composed of [1\3] and
+[3\1] Twills—193. Weave-Spotting produced by both Floats of Warp and
+Weft—194. Irregular Spotted Stripes and Checks—195. Spots developed by
+single Extra Warp Threads—196. Fabrics Spotted with Single Picks of Weft—197.
+Mat Weaves Spotted—198. Corkscrew Weaves with Extra Spotting
+Picks—199. Spotted Diagonals—200. Warp and Weft Spots compared—201.
+Spotting in both Warp and Weft—202. Advantages of the Warp and Weft
+Methods of Spotting—203. Yarns used for Spotting—204. Spotted Effects in
+Ordinary Weaves—205. Application of Fancy Yarns to Compound Weaves.</p>
+</div>
+
+<p class="unindent">189. <i>Varieties of Spotted Fabrics.</i>—Woollen, worsted, cotton,
+and linen fabrics are all more or less ornamented on the spotted
+principles of designing and colouring. In all cases, it is sought
+to distribute or arrange, on a tinted groundwork, a series of
+minute spots, which may be composed of either the same or of
+distinct shades from those used in the construction of the general
+surface of the fabric. When this species of pattern is developed
+in woollens and worsteds, the spotting consists of mere specks
+of colouring, resulting from the employment of a special scheme
+of interlacing the warp and weft yarns. Cotton and linen styles
+require bolder and clearer spots than woollens, and, as a rule, are
+fuller of effects. There are various points to be considered in
+the construction of these patterns, relating to the method of development,
+the plan of grouping, and the dimensions of the spots.</p>
+
+<p>Respecting the method of development, this is subjective to
+the facilities at command. Thus, if the spotting can only be
+worked out in those yarns that constitute the ground of the
+texture, then it is more a matter of inventing a suitable scheme
+<span class="pagenum" id="Page_268">[Pg 268]</span>
+of weave-design than of any specific process of colouring. But
+should a special series of warp threads be used for the spotting,
+then it becomes necessary to utilize both a particular type of
+weave and order of colours. Generally considered, spotted
+patterns are of four varieties, as follows:&#x2060;—</p>
+
+<p><abbr title="One">I.</abbr> Spots developed by the ordinary warp and weft of the fabric.</p>
+
+<p><abbr title="Two">II.</abbr> Spots obtained by using an extra series of warp yarns.</p>
+
+<p><abbr title="Three">III.</abbr> Spots obtained by using an extra series of weft yarns.</p>
+
+<p><abbr title="four">IV.</abbr> Spots obtained by using both an extra series of warp and
+weft yarns.</p>
+
+<figure class="figcenter illowp90" id="fig168" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig168.jpg" alt="Angled twill">
+  <figcaption>
+      <p><span class="smcap">Fig. 168.</span></p>
+  </figcaption>
+</figure>
+
+<p>The first is the simplest class of spots. It is due to special
+schemes of floating the warp, weft, or both these sets of yarns,
+at regular intervals in constructing the fabric; that is to say,
+if the construction of the texture were of the mat order, here
+and there the mat effect would be substituted by groups of warp
+and weft flushes, lending to the surface of the fabric a spotted
+aspect. This type of spotted weaving is largely practised in
+designing for various descriptions of fancy woollens, worsteds,
+and cottons. In the second, third, and fourth classes of these
+patterns extra groups of shades, entirely independent of those
+forming the ground of the texture, are employed. They allow
+of the production of more intricate effects than those developable
+by the first system, but are more difficult to manipulate in both
+weave and colour combinations. Ornamental styles coloured in
+<span class="pagenum" id="Page_269">[Pg 269]</span>
+the warp for vestings, dresses, robes, and mantlings, also in the
+weft, and in both warp and weft, are but developments of these
+forms of weaving and shade-arrangements. Subsequent analyses
+of these textiles will demonstrate the affinity of the principles of
+their construction with those of the spotted designs now under
+consideration.</p>
+
+<figure class="figcenter illowp40" id="fig169" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig169.jpg" alt="Effect of Fig 168">
+  <figcaption>
+      <p><span class="smcap">Fig. 169.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp80" id="fig170" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig170.jpg" alt="Spotted warp twill">
+  <figcaption>
+      <p><span class="smcap">Fig. 170.</span></p>
+  </figcaption>
+</figure>
+
+<p>190. <i>Spots due to Specific Systems of Weaving.</i>—As these are
+purely a product of the plan of building
+the fabric, they may be designated Weave-Spots.
+Thus the design given in <a href="#fig168">Fig. 168</a>
+would yield a spotted effect, however
+simple the system of colouring might
+be. The pattern resulting, <a href="#fig169">Fig. 169</a>, is an
+example. The shades in this texture are
+slate and white—the latter being the
+warp—and the effects consist of small
+white spots on a twilled surface. Of
+course in silk and worsted dress fabrics
+the spots are of various forms, and are
+arranged on geometrical bases; but in
+woollens small effects, as in the illustration, are the most appropriate.
+Still, the principles of this type of designing, whatever
+the form of the spot and the scheme of distribution, are the
+same, relating primarily
+to a diversification
+of the plan of
+weaving. In <a href="#fig168">Fig. 168</a>
+the twill is interrupted
+at certain
+periods, to allow of
+the formation of a
+spot composed of floats of warp yarn of some three threads in
+width and five picks in length. In Section <i>A</i> such spots lean
+to the right, and in Section <i>B</i> to the left, or in both parts of the
+style they run with the twill. It should be observed that,
+when modifying a common weave to develop spotted results,
+care must be exercised not to injure the general build of the
+fabric, for this is a factor that must always remain intact. As
+<span class="pagenum" id="Page_270">[Pg 270]</span>
+to the size of the spot, it varies according to the fineness of the
+fabric and the nature of the pattern to which it is applied.</p>
+
+<figure class="figleft illowp38" id="fig171" style="max-width: 18.75em;">
+  <img class="w100" src="images/fig171.jpg" alt="Spotted warp twill">
+  <figcaption>
+      <p><span class="smcap">Fig. 171.</span></p>
+  </figcaption>
+</figure>
+
+<p>191. <i>Swansdown Twill Spotted.</i>—The spots in this instance
+are due to the weft yarn. They may consist
+of small diamonds, minute figures, and
+other forms, and be arranged in diagonals,
+twills, or on such a system as to constitute
+an irregular effect. For example, in <a href="#fig170">Fig. 170</a>
+they run in oblique lines, and in
+<a href="#fig171">Fig. 171</a> they compose a vertical diagonal.
+As a rule, the colouring of these styles
+is of a simple order, merely comprising
+the employment of neatly-contrasting
+shades. If any additional shade-effects,
+besides those yielded by the spots of weft
+yarn, are required, fancy yarns are introduced
+into the warp to a limited extent.
+Take an illustration in colouring <a href="#fig170">Fig. 170</a>,
+in which the yarns are combined to form a striped pattern for
+cotton dresses:&#x2060;—</p>
+
+<table>
+<tr>
+<td class="tdc" colspan="4"><i>Warp.</i></td>
+</tr>
+<tr>
+<td class="tdr">26</td>
+<td class="tdc pad6">threads</td>
+<td class="tdc pad6">of</td>
+<td class="tdl">medium blue.<br></td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdl">slate.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdl">medium blue.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdl">medium blue.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdl">slate.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="4"><i>Weft.</i><br></td>
+</tr>
+<tr>
+<td class="tdl" colspan="4">All bright medium brown</td>
+</tr>
+</table>
+
+<p>This arrangement gives a pattern consisting of a bold band of
+medium blue, succeeded by fine lines of slate and white ornamented
+with spots of bright brown on a warp-twill ground.
+Now consider <a href="#fig171">Fig. 171</a> in relation to worsted dress goods.
+Taking the warp to be a light fawn shade and the weft brown,
+again a texture results with a twilled surface, but in this instance
+the ground parts are fawn spotted with brown. It will be
+apparent from these illustrations that in designs of this class
+but a small variety of colouring is needed, and that the fancy
+shades are usually worked into the warp, while the weft, in
+<span class="pagenum" id="Page_271">[Pg 271]</span>
+order to afford uniform emphasis to the spotting, is of one shade
+throughout the texture.</p>
+
+<figure class="figcenter illowp35a" id="fig172" style="max-width: 18.75em;">
+  <img class="w100" src="images/fig172.jpg" alt="Spotted effect">
+  <figcaption>
+      <p><span class="smcap">Fig. 172.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp37a" id="fig173" style="max-width: 18.75em;">
+  <img class="w100" src="images/fig173.jpg" alt="Spotted effect">
+  <figcaption>
+      <p><span class="smcap">Fig. 173.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp35a" id="fig174" style="max-width: 18.75em;">
+  <img class="w100" src="images/fig174.jpg" alt="Spotted effect">
+  <figcaption>
+      <p><span class="smcap">Fig. 174.</span></p>
+  </figcaption>
+</figure>
+
+<p>192. <i>Spots composed of</i> [1\3] <i>and</i> [3\1] <i>Twills.</i>—The main
+elements of these styles are the irregular character of the spotting,
+the uniformity of the weft floats—these never covering more than
+three threads in succession—and the clearness of the patterns
+when shades forming a strong contrast are used for warp and
+weft. They form an extensive series of weave combinations, and
+examples are given in Figs. <a href="#fig172">172</a>, <a href="#fig173">173</a>,
+ <a href="#fig174">174</a>, <a href="#fig175">175</a>, and <a href="#fig176">176</a>. Whatever
+the weft yarn employed in the manufacture of these
+textiles, it constitutes, as in the preceding styles, the spotting,
+while the warp yarns tint the ground of the fabric. Though
+in these designs the spots generally appear to be irregularly
+arranged, still, on closer examination, it will be obvious that in
+the planning of each weave well-defined principles of textural
+composition are observed. Thus, in <a href="#fig172">Fig. 172</a> each thread is
+depressed six times in each repeat of the design; in <a href="#fig173">Fig. 173</a>
+sixteen times; and in <a href="#fig174">Figs. 174</a> and <a href="#fig175">175</a> eight times. Here,
+therefore, is one element of uniformity of structure denoting the
+designing principles in these weaves. This uniformity of interlacing
+extends to the picks also, hence the designs are essentially
+<span class="pagenum" id="Page_272">[Pg 272]</span>
+regular in construction, and, with the exception of <a href="#fig172">Fig. 172</a>, yield
+patterns in which the flushes of warp and weft are equally
+balanced. It is needless to observe that this is an all-important
+characteristic in the
+build of spotted combinations.</p>
+
+<figure class="figcenter illowp50" id="fig175" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig175.jpg" alt="Stripe spotted design">
+  <figcaption>
+      <p><span class="smcap">Fig. 175.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp75" id="fig176" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig176.jpg" alt="grouping spots">
+  <figcaption>
+      <p><span class="smcap">Fig. 176.</span></p>
+  </figcaption>
+</figure>
+
+<p>Respecting the
+schemes of colouring
+practised here, they are
+so various that only a
+few of them may be
+indicated. First, suppose
+<a href="#fig172">Fig. 172</a> were woven in a brown and white twist warp, and
+crossed with black, slate, or blue weft. The pattern resulting
+from this arrangement would consist of a brown and white twist
+ground spotted with minute spots of different shapes of black,
+slate, or blue, according to the weft yarn used. <a href="#fig173">Fig. 173</a> produces
+a more regular
+cast of pattern than the
+preceding style. Here
+an appropriate method
+of colouring in the warp
+is two-and-two, while
+the weft again should
+be one solid shade. For
+example, let the warp
+be 2 threads of slate and
+2 threads of medium
+blue and white twist,
+and the weft brown,
+then the pattern would
+consist of some diversity
+of tinting. It is only furnished as an illustration in shade-arrangement,
+and ought, in practice, to be considerably varied;
+a fabric would result possessing a brown, slate, and medium
+blue and white twist ground, spotted with small patches of
+twist threads and of brown.</p>
+
+<figure class="figcenter illowp91" id="plate26a" style="max-width: 25.0em;">
+  <img class="w100" src="images/plate26a.jpg" alt="Donegal Tweed">
+  <figcaption style="color: blue;">
+      <p>Plate <abbr title="Twenty-six">XXVI</abbr><br>
+      <span class="allsmcap">FANCY YARN COLOURINGS</span><br>
+      <span class="smaller">1. Donegal Tweed</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp100" id="plate26b" style="max-width: 18.75em;">
+  <img class="w100" src="images/plate26b.jpg" alt="Compound Weave Worsted">
+  <figcaption style="color: blue;">
+      <p><span class="smaller">2. Compound Weave Worsted</span></p>
+  </figcaption>
+</figure>
+
+<p>A still more irregular plan is given in <a href="#fig174">Fig. 174</a>, by which a
+<span class="pagenum" id="Page_273">[Pg 273]</span>
+marked intermingled effect is acquired. The warp and weft shades
+used in this design should slightly contrast, but produce a soft
+mellow colouring. The pattern may be striped in the warp, 16
+threads of medium grey, and 16 threads
+of light grey, and woven with blue weft.</p>
+
+<p>The shade of blue used should form
+exactly the same depth of contrast with
+the light as with the medium grey.</p>
+
+<p><a href="#fig175">Fig. 175</a> is of the striped order, for the
+spotted effect is here combined with a
+band of sixteen threads of cassimere
+twill. Any simple method of colouring
+the twilled section may be practised,
+because if the scheme of colouring is too
+elaborate it does not contrast well with
+the shades forming the latter part of
+the design. Such a scheme as the one
+appended is typical of what is usually
+applied in this class of effects:&#x2060;—</p>
+
+<table>
+<tr>
+<td class="tdc pad4" colspan="3"><i>Warp.</i></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">black and grey twist.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">black and green twist.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">threads of</td>
+<td class="tdl">black and grey twist.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">black and green twist.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">threads of</td>
+<td class="tdl">black and grey twist.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">black and green twist.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">threads of</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">black and grey twist.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">black and green twist.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">black and grey twist.</td>
+</tr>
+<tr>
+<td class="tdr">16</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><i>Weft.</i></td>
+</tr>
+<tr>
+<td class="tdc" colspan="3">Blue.</td>
+</tr>
+</table>
+
+<figure class="figcenter illowp100" id="fig177" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig177.jpg" alt="Irregular spots">
+  <figcaption>
+      <p><span class="smcap">Fig. 177.</span></p>
+  </figcaption>
+</figure>
+
+<p>The former, or twilled part of the style, would thus be striped
+with lines of colour, while the latter part of the design would
+<span class="pagenum" id="Page_274">[Pg 274]</span>
+be developed in brown and blue, the brown shade composing the
+ground, and the blue the figured or spotted appearance.</p>
+
+<figure class="figcenter illowp100" id="fig177a" style="max-width: 36.9375em;">
+  <img class="w100" src="images/fig177a.jpg" alt="Pattern for Fig 177">
+  <figcaption>
+      <p><span class="smcap">Fig. 177a.</span></p>
+  </figcaption>
+</figure>
+
+<p><a href="#fig176">Figs. 176</a> and <a href="#fig177">177</a> are examples in
+the methods of colouring such weave.
+compounds in the weft, the weaves
+being grouped to form types of broken
+figuring. Both patterns are wefted
+one-and-one, but two-and-two and
+irregular weftings are also practised,
+the warp being, in each case, of one
+shade, but contrasting in colour with
+the shades used in the weft. <a href="#fig177">Fig. 177</a>
+gives the effect seen in <a href="#fig177a">Fig. 177<span class="smcap">a</span></a>, the
+warp of which is cotton and the weft
+fine woollen. Another feature of <a href="#fig177">Fig. 177</a>
+is that the floats of weft are increased
+in order to produce an additional
+effect in the fabric. This
+principle of designing and colouring
+is applicable to fabrics of a figured character, and may be
+developed in dress, vesting, and fancy cotton textures.</p>
+
+<figure class="figcenter illowp76a" id="fig178" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig178.jpg" alt="Pattern Fig 177">
+  <figcaption>
+      <p><span class="smcap">Fig. 178.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp66" id="fig179" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig179.jpg" alt="Broad effects">
+  <figcaption>
+      <p><span class="smcap">Fig. 179.</span><br>
+    ◻’s and ⊠’s = warp. ⊡’s and ◼’s = weft.</p>
+  </figcaption>
+</figure>
+
+<p>193. <i>Weave-Spotting produced
+by both Floats of Warp
+and Weft.</i>—A more elaborate
+and interesting species of
+patterns results from this plan
+of spotting than from that of
+producing the spots by the
+warp or weft separately. All
+the shades entering into the texture
+now assist in the development
+of the spotted effects—an
+element of the designs which
+increases the diversity of
+colouring and pattern formation feasible. Three very distinct
+specimens of this scheme of spotting are <a href="#fig178">Figs. 178</a>,
+ <a href="#fig179">179</a>, and
+<a href="#fig180">180</a>. Considering <a href="#fig178">Fig. 178</a>
+ first, it has a plain ground, the
+spots being arranged on an eight-shaft sateen base. Such a
+<span class="pagenum" id="Page_275">[Pg 275]</span>
+design may be coloured on two methods—the warp and weft
+may be of distinct or of the same shades. Supposing, therefore,
+that in the first place the warp is of one colour only, such as
+brown mixture and crossed with blue mixture, then the mingled
+effects due to the plain ground would be enhanced by the specks
+of these colours resulting from the spots in the weave marked
+in full squares. By adopting, in the second instance, the thread-and-thread
+system of colouring in both warp and weft, a still
+more diversified style would ensue. In such a case the ground
+of the fabric consists of vertical lines with slightly indistinct
+spots at regular intervals. For fabrics in which clear effects are
+requisite this latter system of colouring is the most appropriate,
+but in goods where mingled colouring is required the former
+<span class="pagenum" id="Page_276">[Pg 276]</span>
+scheme of colouring is preferable. <a href="#fig179">Fig. 179</a> shows how this
+principle of spotting is applied to designs of a more figured
+character. Section <i>A</i> may be used separately, forming a series
+of broken twills composed of spots of warp and weft floats
+alternately. The extended design gives a more varied style of
+pattern, but the principle is the same. Several schemes of
+colouring might be practised. First, the Simple orders of shades,
+such as one-and-one, and two-and-two, woven as warp in the
+same or different colours, or crossed in the weft: that is to say,
+one-and-one warping woven with two-and-two wefting, and
+<i>vice versâ</i>. Another method is to colour in stripe arrangement
+in the warp, and to use one shade of weft: the weft spots then
+form a distinct feature of the pattern. <a href="#fig180">Fig. 180</a> is a compound of
+cassimere twill and of a spotted
+weave. Part <i>A</i> is a spotted
+twill, the spotting comprising
+both warp and weft flushes,
+thus securing a proper balance
+of colouring when fancy yarns
+are used. The design is capable
+of modification, both in weave
+and colouring. For example, if
+it were worked out on twenty-four
+threads and twenty-four
+picks, with the same size of spots,
+these would be grouped on a sateen base. Provided a stripe were
+required, the eight threads of twill, bracketed <i>B</i>, might be added.
+A check, in which the same weave forms the principal factor, is
+obtainable by surrounding Section <i>A</i>, which should be doubled
+in size, with a band of eight threads and picks of common twill.</p>
+
+<figure class="figcenter illowp50" id="fig180" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig180.jpg" alt="Spotting on twill">
+  <figcaption>
+      <p>Lift blanks and crosses.<br>
+     <span class="smcap">Fig. 180.</span><br>
+     Spots ⊠ = warp.  ⊡ = weft.<br>
+ &emsp; &emsp; ◼ = weft.&ensp;◻ = warp.</p>
+  </figcaption>
+</figure>
+
+<p>A standard method of colouring is:&#x2060;—</p>
+
+<table>
+<tr>
+<td class="tdc pad4" colspan="3"><i>Warp.</i></td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">medium grey.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">dark grey.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><i>Weft.</i></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">pick of</td>
+<td class="tdl">medium grey.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc pad6">picks of</td>
+<td class="tdl">dark grey.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">pick of</td>
+<td class="tdl">medium grey.</td>
+</tr>
+</table>
+
+<p>The small spots developed in the design in ⊠’s by this scheme
+of colouring consist in the woven sample of dark grey warp,
+<span class="pagenum" id="Page_277">[Pg 277]</span>
+while the spots developed in ◼’s consist of medium grey weft; but
+as the groundwork of the pattern is a compound of small dark
+and medium grey checks alternating, the spots would not be
+pronounced. Another useful method of colouring is as follows:&#x2060;—</p>
+
+<table>
+<tr>
+<td class="tdc pad4" colspan="3"><i>Warp.</i></td>
+</tr>
+<tr>
+<td class="tdr">12</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">brown mixture.<br></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">black and blue twist.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">black and crimson twist.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">threads of</td>
+<td class="tdl">brown mixture.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">black and crimson twist.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">black and blue twist.</td>
+</tr>
+<tr>
+<td class="tdr">6</td>
+<td class="tdc">threads of</td>
+<td class="tdl">brown mixture.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><i>Weft.</i></td>
+</tr>
+<tr>
+<td class="tdc" colspan="3">Blue mixture.</td>
+</tr>
+</table>
+
+<p>In this instance, the spots marked in the design in ⊠’s would, in
+the texture, be brown mixture, and those in ◼’s blue. This arrangement
+of spotted pattern is also coloured on such principles
+as to form mixture, check, and other styles.</p>
+
+<p>194. <i>Irregular Spotted Stripes and Checks.</i>—These styles
+constitute a further important type of weave-spotting. Designs
+constructed on this base are compounds of three weaves.
+Generally the ground weave is common twill, but it may be also
+mat or any other crossing which combines well with the twills
+employed in forming the spotted lines. If the weaves are of
+the four-shaft class they are generally those combined in <a href="#fig181">Fig. 181</a>.
+This pattern (see <a href="#fig182">Fig. 182</a>) is a spotted check. The fine
+warp and weft lines running transversely and longitudinally
+in the fabrics are of similar dimensions. Thus the effects
+formed by threads <i>A</i> exactly correspond to those formed by
+picks <i>A</i>′. In both instances there is one small weft and warp
+line, and one large weft and warp line. It is a rule for each
+spotting thread and pick in these designs to be of the same
+interlacings.</p>
+
+<figure class="figcenter illowp79" id="fig181" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig181.jpg" alt="Spotting to form checks">
+  <figcaption>
+      <p><span class="smcap">Fig. 181.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp93" id="fig182" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig182.jpg" alt="Pattern for Fig 181">
+  <figcaption>
+      <p><span class="smcap">Fig. 182.</span></p>
+  </figcaption>
+</figure>
+
+<p>If <a href="#fig181">Fig. 181</a> is woven in a white warp and dark weft the cassimere
+twill sections would be a mixture of brown and white twills,
+while the surface of the texture would be dotted with lines of
+the respective shades, so grouped as to form indefinite rectangular
+figuring. Should the picks <i>A</i>′ be changed to common
+twill, the spotting would only be lengthways of the fabric,
+<span class="pagenum" id="Page_278">[Pg 278]</span>
+<span class="pagenum" id="Page_279">[Pg 279]</span>
+illustrating the principle on which the spots are made to produce
+striped patterns.</p>
+
+<p>There are several methods of colouring practised in this build
+of design. Firstly, the spotting threads and picks are alone
+fancy yarns, the intervening threads and picks being composed
+of solid colours, thus:&#x2060;—</p>
+
+<table>
+<tr>
+<td class="tdc pad4" colspan="3"><i>Warp.</i></td>
+</tr>
+<tr>
+<td class="tdr">10</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">medium grey.<br></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">black and green twist.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">black and orange twist.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><i>Weft.</i></td>
+</tr>
+<tr>
+<td class="tdr">10</td>
+<td class="tdc">picks of</td>
+<td class="tdl">dark grey.<br></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">pick of</td>
+<td class="tdl">black and blue twist.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">black and orange twist.</td>
+</tr>
+</table>
+
+<p>Secondly, the ground or common twill parts may consist of
+small checkings, and the spotting threads of bright shades.
+This scheme is worked out in fancy suitings and dress fabrics.
+A third arrangement comprises the use of cotton, silk, and
+worsted yarns, warping and wefting ten dark and two light,
+as in <a href="#fig182">Fig. 182</a>. This method is varied by using three or more
+colours for the spotting threads and picks, thus:&#x2060;—</p>
+
+
+<table>
+<tr>
+<td class="tdc pad4" colspan="3"><i>Warp.</i></td>
+</tr>
+<tr>
+<td class="tdr">10</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">white.<br></td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">light blue.</td>
+</tr>
+<tr>
+<td class="tdr">10</td>
+<td class="tdc">„</td>
+<td class="tdl">white.<br></td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">light brown.</td>
+</tr>
+<tr>
+<td class="tdr">10</td>
+<td class="tdc">„</td>
+<td class="tdl">white.<br></td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">green.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><i>Weft.</i></td>
+</tr>
+<tr>
+<td class="tdc" colspan="3">Same as warp.</td>
+</tr>
+</table>
+
+<p>195. <i>Spots developed by Single Extra Warp Threads.</i>—Patterns
+of this character are applicable to woollen, worsted, and
+cotton and silk textures. Differing in construction from the
+preceding examples, the system provides for the interlacings of a
+special series of fancy warp yarns in developing the spotted
+effects. These threads yield a pattern supplementary to that
+<span class="pagenum" id="Page_280">[Pg 280]</span>
+resulting from the colourings forming the ground of the fabric,
+and from the twilled or other weaves used in the structure of the
+cloth. Any plan of weave or system of colouring may be adopted
+in producing the general foundation of the pattern; for the
+spotting is obtained by a distinct set of threads, and is controlled
+by a section of the weaving plan entirely independent of the
+design giving the cloth proper. As all spots got on this
+principle are due to the use of a
+regular yarn, and not to fancy
+twists of a knop, cloud, or spangle
+class, the fabric resultant is quite
+uniform in texture and smooth on
+the surface. This is a feature the
+weave method of spotting possesses
+over the yarn system. Threads of
+a knop type, though giving the
+requisite spot, yield a fabric more
+or less rough in appearance and
+handle, while the patterns, as
+regards the spotting, have no
+definite form or arrangement. On
+the other hand, in the weave
+system, the spots may be located
+or distributed over the face of the
+fabric according to the effect required.
+If desirable, the spotting
+may be arranged to form check,
+diamond, small figure, and other
+designs. Further, there is another difference between these two
+systems of introducing spots of bright colouring into woven
+pattern. When fancy twist yarns are used for spotting, the
+whole design, both ground and weave effects, results from the
+interlacing of these threads; whereas, in the weave arrangement,
+the spotting yarns do not constitute the groundwork of the
+texture, but merely add freshness to the pattern.</p>
+
+<figure class="figcenter illowp44a" id="fig183" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig183.jpg" alt="Single-thread">
+  <figcaption>
+      <p>⌻ = Spotting threads depressed.<br>⊡ = Weft.<br>
+      ◼ = Spotting threads on face of fabric.<br>◻ = Warp.<br>
+      <span class="smcap">Fig. 183.</span></p>
+  </figcaption>
+</figure>
+
+<p><a href="#fig183">Fig. 183</a> is an illustration in this method of spotting. It will
+be observed that there are eight threads of twill to one thread of
+spotting. According to the patterns of warp which are given
+<span class="pagenum" id="Page_281">[Pg 281]</span>
+below, the spotting yarns are much brighter in colour than those
+forming the ground of the fabric. This is the general rule. The
+spots appear on the face of the pattern in those positions in the
+design where they flush over three picks in succession, but run
+on the back of the texture in all other instances. The spotting
+ends are so controlled that the small specks of bright colouring
+they give are arranged on the four-shaft broken swansdown base,
+and hence are not only regularly distributed, but are also at equal
+distances from each other in the woven cloth. The groundwork
+of the pattern is simple in colouring, and forms a species of
+shaded check.</p>
+
+<figure class="figcenter illowp85" id="plate27a" style="max-width: 25.0em;">
+  <img class="w100" src="images/plate27a.jpg" alt="Twill Weave">
+  <figcaption style="color: blue;">
+      <p>Plate <abbr title="Twenty-seven">XXVII</abbr><br>
+    <span class="allsmcap">COLOURING WITH CURL AND KNOP YARNS</span><br>
+    <span class="smaller">1. Twill Weave</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp85" id="plate27b" style="max-width: 25.0em;">
+  <img class="w100" src="images/plate27b.jpg" alt="Small Figure">
+  <figcaption style="color: blue;">
+      <p><span class="smaller">2. Small Figure</span></p>
+  </figcaption>
+</figure>
+
+<p>Two examples in colouring this design are appended:&#x2060;—</p>
+
+<table>
+<tr>
+<td class="tdc pad4" colspan="3"><i><abbr title="One">I.</abbr> Warp.</i></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">tan.</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">medium grey.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">blue.</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">threads of</td>
+<td class="tdl">light grey.</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">scarlet.</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">threads of</td>
+<td class="tdl">medium grey.</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">light grey.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><i><abbr title="One">I.</abbr> Weft.</i></td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">picks of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">medium grey.</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">light grey.<br></td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><i><abbr title="Two">II.</abbr> Warp.</i></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">green.</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">threads of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">lavender.</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">threads of</td>
+<td class="tdl">medium brown.</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">orange.</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">threads of</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">medium brown.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><i><abbr title="Two">II.</abbr> Weft.</i></td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">picks of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">medium brown.</td>
+</tr>
+</table>
+
+<figure class="figright illowp35b" id="fig184" style="max-width: 27.8125em;">
+  <img class="w100" src="images/fig184.jpg" alt="Single-pick weft">
+  <figcaption>
+      <p><span class="smcap">Fig. 184.</span></p>
+  </figcaption>
+</figure>
+
+<p>196. <i>Fabrics Spotted by Single Picks of
+Weft.</i>—There are various methods of producing
+weft spots, but they may be grouped
+under two heads, thus: First, effects in
+which certain picks of the weave are removed
+and substituted by special picks that
+will bring the spotting yarns on to the face
+of the texture; second, effects in which a special series of spotting
+picks is employed. The latter system is the one most practised,
+because it gives the best results and the most uniform style.
+<a href="#fig184">Fig. 184</a> is an illustration of the first method. It is a weave
+with a corkscrew-twill ground, the fifth pick of which has been
+<span class="pagenum" id="Page_282">[Pg 282]</span>
+changed to the pick marked in squares, which brings the fancy
+silk pick on to the face. The warp is usually a solid or mixture
+shade, and the weft the same or a contrasting shade, with the
+spotting pick in bright colour.</p>
+
+<p>197. <i>Mat Weaves Spotted.</i>—One of the most useful methods of
+spotting with weft is given in <a href="#fig185">Fig. 185</a>. The spotting picks, <i>A</i>,
+appear on the face of the fabric where the full squares are seen.
+They have been arranged on the eight-shaft sateen base, which
+ensures an even and regular distribution of the spots. The
+structure of the design is elementary. It only differs very slightly
+from the hopsack weave backed with weft. The solid squares
+◼, are the only features which cause it to possess a different
+structural appearance from the same weave when backed with the
+[1\3] twill. These marks are, however, sufficient to produce the
+required spotted effect in the woven cloth, when fancy yarns are
+introduced into picks <i>A</i> of the pattern.</p>
+
+<p>The following are two typical methods of colouring this class
+of weave. In the first system, the ground of the fabric is one
+solid colour, but in the second system, it is striped with twist
+yarns.</p>
+
+<table>
+<tr>
+<td class="tdc pad4" colspan="3"><i><abbr title="One">I.</abbr> Warp.</i></td>
+</tr>
+<tr>
+<td class="tdc" colspan="3">Blue or slate mixture worsted.<br></td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><i><abbr title="One">I.</abbr> Weft.</i></td>
+</tr>
+<tr>
+<td class="tdl" colspan="3">2 picks of blue or slate mixture worsted.</td>
+</tr>
+<tr>
+<td class="tdl" colspan="3">1 pick of silk, or worsted and silk twist.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><i><abbr title="Two">II.</abbr> Warp.</i></td>
+</tr>
+<tr>
+<td class="tdr">16</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">brown.<br></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">black and scarlet.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">threads of</td>
+<td class="tdl">black and lavender.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">black and scarlet.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><i><abbr title="Two">II.</abbr> Weft.</i></td>
+</tr>
+<tr>
+<td class="tdl" colspan="3">2 picks of black.<br></td>
+</tr>
+<tr>
+<td class="tdl" colspan="3">1 pick of black, blue, and white silk twist.</td>
+</tr>
+</table>
+
+<p>198. <i>Corkscrew Weaves with Extra Spotting Picks.</i>—The
+scheme of spotting given in <a href="#fig186">Fig. 186</a> possesses one advantage
+over that in <a href="#fig184">Fig. 184</a>—the ground weave or crossing is kept intact.
+Any weave or combination of weaves may be employed for
+<span class="pagenum" id="Page_283">[Pg 283]</span>
+forming the texture, and the spots may be distributed on any
+simple principle. If a fancy effect is required, special spots can be
+made to form diamond, check, and small figured patterns. The
+spots are somewhat more distinct than in the previous design,
+but in this example they have only been arranged to give a
+very minute dot in the fabric. Should a heavier texture be
+wanted than it is possible to produce by this single weave, a
+warp back, as in <a href="#fig187">Fig. 187</a>, may be added. In a single-make
+fabric it may be woven in one shade of warp and ground weft,
+with the spotting pick in bright colour.</p>
+
+<figure class="figcenter illowp50" id="fig185" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig185.jpg" alt="Single-pick weft">
+  <figcaption>
+      <p><span class="smcap">Fig. 185.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp35b" id="fig186" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig186.jpg" alt="Modification Fig 184">
+  <figcaption>
+      <p><span class="smcap">Fig. 186.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp50" id="fig187" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig187.jpg" alt="Warp-backed design">
+  <figcaption>
+      <p><span class="smcap">Fig. 187.</span></p>
+  </figcaption>
+</figure>
+
+<p>199. <i>Spotted Diagonals.</i>—Fancy diagonals, as well as other
+types of fancy weaves, are frequently spotted with silk yarns,
+particularly in the construction of vesting patterns. An example
+in this class of designing is furnished in <a href="#fig188">Fig. 188</a>, which consists
+of a twenty-four shaft diagonal composed of corkscrew and
+ordinary twilled effects.</p>
+
+<p>Here special picks have been inserted for developing the spot.
+Thus the picks <i>A</i>, marked in ⊠’s, produce the spotting. They form
+a broken twill pattern, two of the spots leaning to the left and
+two to the right. The weave comprises three distinct effects:
+first, a solid, compact warp twill; second, a similar twill of weft-flush;
+and, third, a furrow of corkscrew twill. The warp
+<span class="pagenum" id="Page_284">[Pg 284]</span>
+colouring might be solid, but the weft should consist of one pick
+silk and of six picks of worsted.</p>
+
+<figure class="figcenter illowp50" id="fig188" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig188.jpg" alt="Diagonal">
+  <figcaption>
+      <p><span class="smcap">Fig. 188.</span></p>
+  </figcaption>
+</figure>
+
+<p>200. <i>Warp and Weft Spots compared.</i>—Probably the method
+of developing spots by an extra series of warp threads is better
+adapted to woollens and cottons than to worsteds. In the last
+style of fabrics silk is the common material used for spotting
+purposes. Being fine and lustrous, it imparts richness of
+character to the woven fabric. For several reasons it is preferable
+to use extra picks in spotting worsteds. Thus the weft
+principle of spotting allows of considerable latitude for figured
+work and variety of pattern,
+and does not largely increase
+the cost of weaving, nor add
+materially to the complication
+of design construction. In
+spotting worsteds by the
+warp system with silk, an
+extra warp or chain beam is
+required, and an additional
+set of healds—which multiply
+the difficulties of the weaving
+process. Even when these increased
+facilities are requisitioned,
+the amount of figuring
+feasible is limited; whereas, by the weft method, the spot can be
+of any form or dimensions. On the other hand, the warp scheme
+is specially suitable for woollen effects of a tweed order in which
+colouring is the main element, and where the extra yarns form
+mere dots of colour on the surface of the texture. Each principle
+has therefore its specific place in textile designing.</p>
+
+<p>201. <i>Spotting in both Warp and Weft.</i>—This principle of
+design combines the two preceding methods of spotting—making
+it feasible to spot the surface of the fabric both in the warp and
+weft. It follows that patterns fuller of effect and richer in
+spotting are producible by this system. There is, however, one
+disadvantage in the employment of this method of spotting—it
+adds to the intricacy of the weaving operation, for special
+threads and picks are necessary in the production of fabrics.</p>
+
+<p><span class="pagenum" id="Page_285">[Pg 285]</span></p>
+<figure class="figright illowp50" id="fig189" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig189.jpg" alt="Single-thread">
+  <figcaption>
+       <p>▧ Weft Spots  ◼ Warp Spots<br>
+     <span class="smcap"><a href="#fig189">Fig. 189</a>.</span></p>
+  </figcaption>
+</figure>
+
+<p>The spotted twill, <a href="#fig189">Fig. 189</a>, illustrates the plan of arrangement.
+The twill or ground weave is, in designs of this class,
+continuous, and forms, independently of the spotting threads
+and picks, a perfect texture. Further, the spotting is so
+arranged that it does not interrupt the twilled effect. It is
+an additional and separate element of the design. When constructing
+such styles, the order and size of the spots are the two
+main points for consideration. The methods of grouping the
+spots are similar in both warp and weft; thus, if there are four
+threads of ground weave to one thread of spotting in the warp,
+there will be the same
+proportion of ground and
+spotting picks in the
+weft. Adherence to this
+rule results in the manufacture
+of a uniform
+pattern. Having decided
+upon the scheme
+of grouping, say five
+threads of ground to
+one thread of spotting,
+as in <a href="#fig189">Fig. 189</a>, proceed
+by marking out the
+spotting threads and
+picks on point paper in
+colour, next add the
+ground weave, and, lastly, determine the dimensions and order
+of the spots. As to the ground, it may consist of any well-planned
+assortment of twills, mats, or fancy weaves. With
+regard to the size of the spots, this varies according to the class
+of the texture being manufactured. For tweed fabrics, small
+effects are the neatest, but in some types of mantlings, in which
+the spotting yarn is mohair or lustre worsted, large, clear, and
+bold spots yield the best patterns. Worsteds, linens, and cottons,
+with silk or mercerized cotton yarns for spotting, are, as a rule,
+designed with minute, precise, and smart effects. Distribution of
+the spots is done on numerous systems, such forms of arrangement
+as the diamond, simple figures, and sateens being used. In
+<span class="pagenum" id="Page_286">[Pg 286]</span>
+the example, <a href="#fig189">Fig. 189</a>, the spots are grouped on a broken-check
+base. Three methods of colouring this design require explanation.</p>
+
+<p class="p2 center">
+  <abbr title="One">I.</abbr>—<span class="smcap">Colouring for Cottons.</span>
+</p>
+<p class="center">
+  <a id="FNanchor_14_14" href="#Footnote_14_14" class="fnanchor">[14]</a>&#x2060;<i>Warp and Weft.</i><br>
+</p>
+
+<table class="autotable">
+<tr>
+<td class="tdr" rowspan="2">For 5 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">tan.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">fawn.</td>
+</tr>
+<tr>
+<td></td>
+<td></td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">pale blue (spotting).</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">For 5 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">fawn.</td>
+</tr>
+<tr>
+<td class="tdr">⎩</td>
+<td class="tdl">1</td>
+<td class="tdl">„</td>
+<td class="tdc">tan.</td>
+</tr>
+<tr>
+<td></td>
+<td></td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">rose pink.</td>
+</tr>
+</table>
+<br>
+<p class="center"><abbr title="Two">II.</abbr>—<span class="smcap">Colouring for Worsted Suitings.</span>
+</p>
+<p class="center"><a href="#Footnote_14_14" class="fnanchor">[14]</a>&#x2060;<i>Warp and Weft.</i><br>
+</p>
+
+<table class="autotable">
+<tr>
+<td class="tdr">5</td>
+<td class="tdc">threads of</td>
+<td class="tdl">dark blue mixture.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">black worsted and green silk twist.</td>
+</tr>
+<tr>
+<td class="tdr">5</td>
+<td class="tdc">threads of</td>
+<td class="tdl">dark blue mixture.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">black worsted and russet silk twist.<br></td>
+</tr>
+</table>
+<br>
+<p class="center"><abbr title="Three">III.</abbr>—<span class="smcap">Colouring for Woollens.</span>
+</p>
+<p class="center"><a href="#Footnote_14_14" class="fnanchor">[14]</a>&#x2060;<i>Warp and Weft.</i><br>
+</p>
+
+<table class="autotable">
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">threads of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">dark blue.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">dark brown and green.</td>
+</tr>
+<tr>
+<td class="tdr">3</td>
+<td class="tdc">threads of</td>
+<td class="tdl">dark blue.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">black and tan.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">threads of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">3</td>
+<td class="tdc">„</td>
+<td class="tdl">blue.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">dark brown and green.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">dark blue.</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">threads of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">black and tan.</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">threads of</td>
+<td class="tdl">dark blue.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">dark brown and green.<br></td>
+</tr>
+<tr>
+<td class="tdr">3</td>
+<td class="tdc">threads of</td>
+<td class="tdl">black.<span class="pagenum" id="Page_287">[Pg 287]</span></td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">dark blue.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">black and tan.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">threads of</td>
+<td class="tdl">dark blue.</td>
+</tr>
+<tr>
+<td class="tdr">3</td>
+<td class="tdc">„</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">dark brown and green.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">threads of</td>
+<td class="tdl">dark blue.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">black and tan.</td>
+</tr>
+</table>
+
+<p>In the first colouring, the ground of the fabric is a composition
+of tan and fawn grouped on the thread-and-thread system, the
+spotting yarns being pale blue and rose pink. The second
+scheme is for textures consisting of one solid shade in the
+ground; the surface of the fabric in this instance is dark blue
+mixture, having the check spotting produced by the weave—<a href="#fig189">Fig.
+189</a>—in fancy worsted and silk twists. The third arrangement is
+a simple four-and-four check composed of black and blue, the
+spots falling in different parts of the checks. Should it be
+necessary to have the spotting always in the centre of the four
+threads, the construction of the design would have to be modified.
+Instead of the arrangement being five threads of ground to one
+thread of spotting, it would require to be four threads of ground
+to one thread of spotting.</p>
+
+<p>202. <i>Advantages of the Warp and Weft Method of Spotting.</i>—In
+all fabrics in which spotting is the chief characteristic, the
+warp and weft principle of design construction is the most
+effective. Mantlings of a matelasse order, worsted dress textures,
+fancy cottons for vestings and quiltings, are all spotted by this
+method. Allowing, as it does, for the employment of a double
+series of spotting yarns, it yields patterns characterized by much
+diversity of tinting and intermingled effects. By causing the
+two sets of spotting threads to interlace with each other, and
+arranging for them to be of different colours, patterns full of
+textural details are produced. Still, for ordinary suiting fabrics
+either the warp or weft method is generally practised, because
+in these textiles the spotting yarns are only intended to dot the
+surface of the fabric with minute specks of bright colouring, and
+not to form decided patterns, as in mantling and dress styles.</p>
+
+<p><span class="pagenum" id="Page_288">[Pg 288]</span>
+203. <i>Yarns used for Spotting.</i>—The yarns used for spotting
+purposes are of various types. All classes of fancy threads,
+including knop yarns produced in carding, but single in construction,
+and twists or folded yarns of various types are used.</p>
+
+<p>The first type is that employed in the production of Donegal
+tweeds, where the yarns are single, but coloured knops or specks
+are formed at intervals on the thread. These are due to
+distributing on the material, during carding, neps of fibrous
+material of different colours, which enter into the condensed
+sliver and become part of the spun thread. By this method the
+position of the colour on the thread is not mechanically controlled,
+but the selection of the nebs of fibres used for spotting determines
+the harmony of colour result in the woven fabric. There must
+first be a suitable blend of ground colour obtained in the carding
+of the material, and this having been fixed, the strength and
+blend of colour for nepping purposes is arranged. No Donegal
+pattern would be satisfactory in colour quality—which is the
+chief design characteristic such fabrics possess—unless the
+nepping colours gave strength and character of contrast to the
+ground colouring, as seen in <abbr title="Number">No.</abbr> 1, <a href="#plate26a">Plate <abbr title="Twenty-six">XXVI.</abbr></a></p>
+
+<p>Some of the fancy and folded threads used for similar purposes
+as knop carded yarns, are those illustrated in <a href="#plate25a">Plate <abbr title="Twenty-five">XXV.</abbr></a>, comprising
+3-ply, cloud, knop produced in twisting, curl, and gimp
+yarns. Yarns <i>A</i>, <i>B</i>, and <i>C</i> are ordinary threefold twists, being
+composed thus: <i>A</i>, black and scarlet worsteds, and salmon silk;
+<i>B</i>, black and green worsteds, and salmon silk; <i>C</i>, black, russet,
+and orange. For spotted worsteds, there are few yarns so useful
+as this class of worsted and silk twists. Samples <i>D</i>, <i>E</i>, <i>F</i>, <i>G</i>,
+and <i>H</i> are cloud threads. They are chiefly used in fancy tweeds.
+As a rule, they are rich in colouring. Threads <i>D</i>, <i>E</i>, <i>G</i>, and <i>H</i>
+are analogous in construction, for they are all composed of four
+colours and have one thread, which may be termed the central
+or principal yarn, all other threads twisting or twining round it.
+The composition of these respective twists is as follows:&#x2060;—</p>
+
+<p><i>D.</i> Black for the central thread or shade, and crimson, green,
+and blue for the intermittent colours.</p>
+
+<p><i>E.</i> Grey for the central thread or shade, and scarlet, black,
+and tan for the intermittent colours.</p>
+
+<p><span class="pagenum" id="Page_289">[Pg 289]</span>
+<i>G.</i> Dark olive for the central thread or shade, and blue, yellow,
+and light olive for the intermittent colours.</p>
+
+<p><i>F.</i> Light drab for the central thread or shade, and black,
+scarlet, and tan for the intermittent colours.</p>
+
+<figure class="figcenter illowp57" id="plate28" style="max-width: 33.8125em;">
+  <img class="w100" src="images/plate28.jpg" alt="Costume Colouring">
+  <figcaption style="color: blue;">
+      <p>Plate <abbr title="Twenty-eight">XXVIII</abbr><br>
+    <span class="allsmcap">COSTUME COLOURING IN FANCY YARNS</span></p>
+  </figcaption>
+</figure>
+
+<p>Obviously, the result of using such yarns is to spot the surface
+of the texture with the various tints entering into their composition.</p>
+
+<p>Threads <i>F</i>, being of several thicknesses, differ in construction
+from threads <i>D</i>, <i>E</i>, <i>G</i>, and <i>H</i>. Still, this type of thread gives
+effects in the fabric somewhat resembling those resulting from
+the yarns with which it is grouped, and is also designated a
+“cloud” or “flock.” It is, however, less complex in colouring,
+and forms an elongated spot in the texture.</p>
+
+<p>The curled yarns are illustrated in types <i>I</i>, <i>J</i>, and <i>K</i>. Three
+examples are given—slate, crimson, and fawn. The curls or
+loops are of different sizes. Such threads are applied to both
+woollen and worsted fabrics, but mainly to tweeds and fancy
+costumes. They give to the pattern a richly-tinted aspect. Some
+classes of trimmings may be made entirely of these threads, but
+their relation to spotted fabrics is here alone considered.</p>
+
+<p>Gimp and knop twists are also employed largely in
+designs of a spot class. Five illustrations of these are given in
+samples <i>L</i>, <i>M</i>, <i>N</i>, <i>O</i>, and <i>P</i> on <a href="#plate25d">Plate <abbr title="Twenty-five">XXV</abbr></a>. These threads are
+generally only applied to the more fancy designs. Yarn <i>L</i> is a
+composition of three threads—black, blue, and tan. The black
+and blue form a two-ply twist to which the tan is added in the
+twisting operation. Small knops, causing the yarn to be somewhat
+irregular in thickness, are formed at intervals by the tan
+thread. Compound <i>M</i> is more irregular in colouring and construction.
+Loose in twine, and of various thickness, it gives a
+novel type of spot, but on account of the lack of adhesiveness in
+its composition it is a difficult thread to manipulate in weaving,
+and hence is but sparingly employed. Yarn <i>N</i> is a real gimp.
+Two black threads, well tensioned in twisting, have been combined
+with yellow and crimson threads of slack twist, and running
+loosely. Thread <i>O</i> is similarly constructed to <i>N</i>, only the
+gimp is not so prominent, owing to the several colours being
+more evenly tensioned during twisting. Compound P is a
+<span class="pagenum" id="Page_290">[Pg 290]</span>
+combination of gimp and knop. Thus knops or buttons of tan
+colour—see <i>a</i>—are formed at intervals on the thread. Yarns <i>N</i>,
+<i>O</i>, and <i>P</i> are suitable twists for spotted goods of various
+descriptions.</p>
+
+<p>204. <i>Spotted Effects in Ordinary Weaves.</i>—The several classes
+of spotted patterns analyzed have all resulted from the employment
+of special builds of weaves. There are, however, some
+important species of these effects obtained in designs constructed
+on the ordinary principles of intertexture, which are extensively
+developed in both plain and ornamental fabrics. Allusion will
+now be made to several types of these patterns. It may be
+observed that in producing the spotting in these styles the fancy
+twists described in the preceding paragraph are utilized.
+Pattern <abbr title="Number">No.</abbr> 1 on <a href="#plate27a">Plate <abbr title="Twenty-seven">XXVII.</abbr></a> is a specimen of fancy tweed
+spotted by this method. The cloth is woven from a twelve-end
+twill, the weft being black, and the order of warping as
+appended:&#x2060;—</p>
+
+<ul>
+  <li>2 threads of dark blue.</li>
+  <li>1 thread of black and tan curl.</li>
+  <li>2 threads of dark brown.</li>
+  <li>1 thread of black, brown, and white small curl.</li>
+  <li>2 threads of dark grey.</li>
+  <li>1 thread of black and blue curl.</li>
+</ul>
+
+<p>It is scarcely necessary to observe that the curled yarns are
+the main elements of this colouring, spotting the fabric with
+small loops of tan, blue, and white. Knop, cloud, and gimp
+threads are similarly introduced into fancy fabrics. The effect
+of the knop twist is seen in the next illustration—Pattern <abbr title="Number">No.</abbr> 2,
+<a href="#plate27b">Plate <abbr title="Twenty-seven">XXVII</abbr></a>. The minute figuring is due to combining two
+broken crow weaves. It is a style of design for union mantlings,
+and is capable of being varied to an unlimited extent in both
+colouring and ornament. The warp is entirely composed of
+brown and white knop cotton twist. The dots of white noticed
+in the texture are a product of the warp yarns, and not of any
+peculiarity in the structure of the weave or design. Such an
+irregularly spotted combination as this sample is only producible
+by yarns of the knop and cloud kind.</p>
+
+<p><span class="pagenum" id="Page_291">[Pg 291]</span>
+A third example, full of colour elements, <abbr title="Number">No.</abbr> 1,
+ <a href="#plate28">Plate <abbr title="Twenty-eight">XXVIII.</abbr></a>,
+may be described. It has been designed for a fancy coloured
+costume in the plain weave, and is illustrative of the variety
+of effect producible by order of warping and wefting, and
+diversity of yarn structure in which hues, tints, and shades of
+colours are used. The yarns are of six varieties, <i>A</i>, <i>B</i>, <i>C</i>, <i>D</i>, <i>E</i>, and
+<i>F</i>, being composed of two or more colours, and all different in
+construction. <i>A</i> is a pronounced knop yarn; <i>B</i> a curl yarn, of
+four varieties of colour, namely, deep crimson, orange, pale orange,
+and green; <i>C</i> shows the difference in thickness and in wavy effect
+possible in gimp yarns; <i>D</i>, irregular twist with knops of fibres;
+<i>E</i> and <i>F</i>, more ordinary twists, slack and hard spun intermittently.
+These, when arranged as in the fabric to make a check pattern,
+with over-checking in green, make a groundwork of colour
+which can only be acquired in textiles by using diversity of yarn
+structure. Blending in the material, or distributing colour in
+the weave, as in the spotted designs, <a href="#fig168"><abbr title="Numbers">Nos.</abbr>
+ 168</a> to <a href="#fig180">180</a>, all repeat
+the colour regularly or in a prescribed pattern; but when the
+yarns are so diversified in construction, the colours are, as seen
+in the fabric, not selected on any definite method.</p>
+
+<p>205. <i>Application of Fancy Yarns to Compound Weaves.</i>—Only
+two examples need be considered here, as the character of the
+results is similar to that of those obtained in single weave fabrics;
+only by reversing the position of the threads in the warp and
+weft, a prescribed form of pattern, see <a href="#plate29">Plate <abbr title="Twenty-nine">XXIX.</abbr></a>, may be
+produced. On this principle, any type of design, as to figure or
+form, may be constructed, but it will have the same varied tinting
+as single weave fabrics, in which similar yarns are used.
+In this design, fancy knops and other cotton twists have been
+used. These yarns give the spots of lavender, tan, and scarlet,
+which are regularly distributed throughout the pattern. It is a
+double-weave structure arranged one thread ground, one thread
+of fancy yarn, and one thread of ground.</p>
+
+<p>A different example produced in worsted yarns, and worsted and
+cotton twists, is that given in <abbr title="Number">No.</abbr> 2, <a href="#plate26b">Plate <abbr title="Twenty-six">XXVI</abbr></a>. It is double
+in structure, arranged one thread ground, and one thread fancy
+yarn, and not two-and-one, as the style on <a href="#plate29">Plate <abbr title="Twenty-nine">XXIX.</abbr></a> The
+ground yarn is a single thread, forming the plain portions of the
+<span class="pagenum" id="Page_292">[Pg 292]</span>
+fabric, the curled yarn being in dark crimson, heliotrope, orange,
+and pale orange. A certain simple outline of pattern is formed
+by reversing the face and backing yarns. It is a good blend of
+colour, in which there is contrast of hue between the heliotrope
+and orange, and contrast of tone between the crimson and
+heliotrope; but the chief characteristic is the diversity of colour
+surface due to the curl or loop twist yarns, and the way in
+which the colours in consequence of their arrangement are
+softened in quality.</p>
+
+<div class="p2 footnotes"><h4>FOOTNOTES:</h4>
+
+<div class="blockquot">
+<div class="footnote"><p class="unindent"><a id="Footnote_14_14" href="#FNanchor_14_14" class="label">[14]</a> <i>In each case, the order of picking must correspond with the order of the spotting
+picks, in the designs.</i></p></div></div>
+</div>
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<span class="pagenum" id="Page_293">[Pg 293]</span>
+  <h2 class="nobreak" id="CHAPTER_XIII">
+    CHAPTER <abbr title="Thirteen">XIII.</abbr>
+  </h2>
+   <h3 style="display: none; visibility: hidden;">COLOURING OF DOUBLE WEAVES AND REVERSIBLES</h3>
+   <p class="center"><span class="larger strong">
+    COLOURING OF DOUBLE WEAVES AND REVERSIBLES.</span>&#x2060;<a id="FNanchor_15_15" href="#Footnote_15_15" class="fnanchor">[15]</a>
+  </p>
+</div>
+
+<div class="blockquot">
+<p>206. Principles of Double Cloth Colouring—207. Styles of Colour Effects
+obtained in Double Weaves—208. Double Plains—209. Classification of
+Double Plain Stripes—210. Double Plain Stripes in Two Shades—211. Two-Shade
+Stripes Warped Irregularly—212. Styles in Three Colours—213. Double
+Plains combined with other Weaves—214. Intermingled Double Plain Compounds—215.
+Reversibles—216. Methods of Colouring Double Plain
+Reversibles—217. Colouring of Figured Designs containing Double Plain
+and other Weaves—218. Reversibles arranged Two-and-One—219. Figured
+Compound Weave Patterns—220. Compound Colourings in Compound
+Weaves—221. Colouring of Double Cloths, such as Golf Cloakings and Rugs.</p>
+</div>
+
+<p>206. <i>Principles of Double Cloth Colouring.</i>—As briefly
+indicated in Chapter <abbr title="Five">V.</abbr>, the general principles of colouring
+fabrics of a backed and double-make structure, resemble those
+applied to single textures. Particularly is this the case when
+the fabrics are the ordinary types of trousering, coating, and
+suiting styles. This follows from the fact that the face of these
+cloths largely consists of patterns of similar composition to those
+produced in single textiles. Still there are some builds of backed
+fabrics, which, owing to being coloured on both surfaces, involve
+the employment of two distinct schemes of colouring—one for
+each side of the fabric. The object to be attained in such fabrics
+is the development on the under side of the texture of a pattern
+that will, in general tone and character, correspond with that
+appearing on the face; but, though this species of colouring on
+the back is frequently necessary, inasmuch as it enhances the
+selling qualities of the fabric, yet the grouping of the face shades
+is the primary consideration, for it must be in accordance with
+<span class="pagenum" id="Page_294">[Pg 294]</span>
+the weave-compound used in the construction of the cloth,
+whereas the scheme of colouring applied to the back is of
+secondary importance, and should be made to coincide in its
+main outlines with the style of colouring composing the face
+of the texture. An example may be analyzed. <a href="#fig163">Fig. 163</a> is a
+weave-combination, which it is required to back with warp and
+colour on such lines as to obtain a stripe style of pattern on the
+under surface. The face order of colouring is given on <a href="#Page_261">page 261</a>,
+and has already been treated of. Without describing the
+structure of this build of backed fabric, it may be stated that
+the arrangement is generally one thread of face weave and one
+thread of backing throughout the design. It is usual to plan
+the backing warp according to the composition of the face
+design, so that the following scheme would, in this instance, be
+appropriate:&#x2060;—</p>
+
+<table>
+<tr>
+<td class="tdr">30</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">light mixture.</td>
+</tr>
+<tr>
+<td class="tdr">14</td>
+<td class="tdc">„</td>
+<td class="tdl">medium mixture.</td>
+</tr>
+<tr>
+<td class="tdr pad2">30</td>
+<td class="tdc">„</td>
+<td class="tdl">light mixture.</td>
+</tr>
+<tr>
+<td class="tdr">6</td>
+<td class="tdc">„</td>
+<td class="tdl">slatish blue.</td>
+</tr>
+</table>
+
+<p class="unindent">This would result in the production of an effect in colouring on
+the back of <a href="#fig163">Fig. 163</a> quite in keeping with the scheme applied
+to the face, though the exact order of the face warping is not
+followed. The simpler the arrangement of shades on the back
+the better, so long as it conforms with the order of colours
+producing the pattern on the face side.</p>
+
+<p>Another method of duplicate colouring in double and backed
+cloths, consists in having any ordinary scheme on the back
+which comprises a number of threads that is a multiple of the
+number occupied by the face pattern. Thus, in the scheme of
+colours for the design considered, <a href="#fig163">Fig. 163</a>, there are eighty
+threads, hence arrangements comprising twenty, forty, and
+eighty threads might be utilized. These are divisible into two
+or four stripes, according to the style of effect required on the
+back of the texture. In this kind of colouring it is evident that
+the combination of face shades is not closely worked to—a
+stripe neat in colour composition being the main factor for
+development.</p>
+
+<p>When the yarns for the face and back of the fabric are of the
+same size and material, it is a rule in making out the pattern of
+<span class="pagenum" id="Page_295">[Pg 295]</span>
+warp to combine the two schemes of colouring, but each scheme
+is necessarily designed separately. In fabrics backed on the
+warp principle, it is feasible to have patterns of a striped
+character on the under surface, while if the fabric is backed
+with weft, colouring on the back results in striping the texture
+transversely; it is, therefore, only by employing the double-cloth
+method that all forms of colour effects may be developed
+on both sides of the fabric.</p>
+
+<p>207. <i>Styles of Colour Effects obtained in Double Weaves.</i>—While,
+as is evident from the brief definitions of the principles of
+double-cloth colouring furnished in the preceding paragraph, the
+application of fancy shades to the ordinary groups of double
+weaves is more or less analogous to their application to single
+weaves and compound designs, yet there are some builds of
+double cloths which produce specific styles of patterns, such as
+are not obtainable in other descriptions of weaving and schemes
+of colouring. Amongst the most useful of these types are the
+double-plain, the double-cassimere, the double-mat, and combinations
+of these weaves. Patterns obtained in these makes, cover
+a large diversity of styles for trouserings, coatings, suitings,
+mantlings, shawls, rugs, curtains, and carpets. Here, however,
+the plan of colouring is not usually elaborate, being adapted to
+the structure of the design. The main characteristic of these
+fabrics which distinguishes them from effects obtained in single-make
+designs is the firmness and strength of the cloth, combined
+with clearness and precision of ornament or pattern. The
+utility of this class of design is evident in the varieties of
+textures, in which patterns are products of the double-weave
+system of cloth construction. As the structure of the weave
+is uniform in the fabrics mentioned, there are certain principles
+of colouring applicable to each class of effects. But, generally
+speaking, the use of a new double-weave necessitates the practice
+of a distinct system of colouring.</p>
+
+<p>208. <i>Double Plains.</i>—For giving variety of effect and pattern,
+there is no class of double make more useful than the double
+plain. The analyses made in <a href="#CHAPTER_VIII">Chapter <abbr title="Eight">VIII.</abbr></a> of the schemes of
+colouring used in the single weave make it evident what are the
+common principles of gaining effect by combining fancy shades
+<span class="pagenum" id="Page_296">[Pg 296]</span>
+in double plain; and, moreover, what is the type of pattern
+here producible; for, as the system of interlacing is still plain—one
+fabric being formed above or over the other—whatever
+pattern is workable in the single weave may, by duplicating
+the plan of colouring, be also obtained in the double weave.
+Bearing this principle in mind, the methods of pattern development
+in double-weave designs of all classes will be readily
+understood.</p>
+
+<p>The simplest type of effects developed in this structure of
+weave is stripe patterns. It includes fabrics of two, three, and
+four shades. As a rule, the shades combined are of a mellow
+and subdued character, being more in keeping with the build of
+the fabric than bright shades. Still, in fine worsted and cotton
+textures, somewhat brighter shades are employed than in woollen
+fabrics, which, being usually felted, mainly consist of patterns
+resulting from combining toned colours. These stripes may be
+of any dimensions, from line-like effects to broad bands several
+inches in width. Next to stripe patterns in importance are
+intermingled patterns. Such styles possess a peculiar diversity
+of minute effects, which makes them readily distinguishable from
+the mingled patterns obtained in other weaves and methods
+of colouring. Some of these effects will be analyzed. Checks,
+diagonals, small figured styles, and elaborately ornamented
+textiles, are also developed in these weaves. All these fabrics
+are double plain throughout. Though the weave is apparently
+an unimportant factor, yet it is closely related to the pattern
+produced, and has moreover to be modified with every change
+effected in the outline and form of the design resultant. Strictly
+speaking, all double plain patterns are composed of at least
+two weaves—one of which brings the odd series of yarns on
+to the face, and the other the even series. It follows that if a
+cloth is warped and woven one-and-one—say black and white—that
+one make gives a black, and the other a white effect
+on the face of the fabric. Remembering this principle, it
+will be evident how, by changing these weaves in working out
+figured or ornamental patterns, any construction of design may
+be acquired.</p>
+
+<figure class="figcenter illowp51" id="plate29" style="max-width: 30.3125em;">
+  <img class="w100" src="images/plate29.jpg" alt="Reversible Knop-twist">
+  <figcaption style="color: blue;">
+      <p>Plate <abbr title="Twenty-nine">XXIX</abbr><br>
+     <span class="allsmcap">REVERSIBLE KNOP-TWIST YARN PATTERN</span></p>
+  </figcaption>
+</figure>
+
+<p><span class="pagenum" id="Page_297">[Pg 297]</span>
+209. <i>Classification of Double Plain Stripes.</i>—Striped designs,
+obtainable by colouring double plain designs according to various
+systems, are as follows:&#x2060;—</p>
+
+<p>&ensp;<abbr title="One">I.</abbr> Patterns in two shades.</p>
+<p>&thinsp;<abbr title="Two">II.</abbr> Patterns in three shades.</p>
+<p><abbr title="Three">III.</abbr> Patterns in four shades.</p>
+<p><abbr title="Four">IV.</abbr> Patterns in two, three, or four shades, comprising double
+  plain and other weaves.</p>
+
+<p>The most elementary form of pattern obtained in the double
+plain is the “hairline.” It resembles in appearance the effect
+produced by warping and wefting the single plain make thread-and-thread,
+only the fabric is sounder and firmer in build, as
+well as finer and more compact in construction. This simple
+style is a product of a certain method of colouring the double
+plain, but the same weave can be arranged and coloured to yield
+an endless variety of patterns.</p>
+
+<p>Three-shade stripes are, on the average, richer in colouring
+than the first order of patterns, and include the most useful
+forms and builds of double plain stripes. The third class, while
+composed of a larger number of shades, lacks scope for diversity
+of arrangement. As to the patterns comprised in the fourth
+class, they are rarely composed of more than two shades, but
+owing to containing additional weave elements they are more
+diversified in design.</p>
+
+<p>210. <i>Double Plain Stripes in Two Shades.</i>—These are of two
+types: <abbr title="One">I.</abbr> Patterns warped and woven one-and-one; and <abbr title="Two">II.</abbr>
+Patterns coloured variously, but in strict accordance with the
+structure of the design used. Allusion will primarily be made
+to the <abbr title="One">I.</abbr> type of these styles. In this form of pattern, it is a
+question of arranging the double plain weaves on such principles
+as to produce any style of stripe pattern. Take an illustration.
+Patterns 1 and 2 on <a href="#plate30a">Plate <abbr title="Thirty">XXX.</abbr></a> are double plain stripes obtained
+by this method. The colourings are as follows:&#x2060;—</p>
+
+<table>
+<tr>
+<td class="tdc pad4" colspan="2">1.</td>
+<td></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">thread of</td>
+<td class="tdl">olive.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">slate.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="2">2.</td>
+<td></td></tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">brown and white twist.</td>
+</tr>
+</table>
+
+<p>The feature for analysis is, how the various combinations of
+stripes, and in Pattern 2 of twilling, are developed in these
+<span class="pagenum" id="Page_298">[Pg 298]</span>
+textures, which are composed solely of double plain weaves.
+Pattern 1 is an assortment of small stripes of four different sizes
+worked out in two shades. If necessary, the design—<i>i.e.</i> the
+plan of weave—could be so modified as to give a pattern in
+which the stripes would not only run from a broad to a narrow
+band, but tone off on both sides. A brief analysis of the design
+for this texture, given in <a href="#fig190">Fig. 190</a>, will make it evident what the
+principles of weaving are, which determine the construction of
+this kind of pattern. Here two double plain makes are combined,
+one of which floats the odd, and the other the even threads and
+picks on the face. Now these weaves are so grouped in this
+design that they give a pattern corresponding in every detail with
+<abbr title="Number">No.</abbr> 1 on <a href="#plate30a">Plate <abbr title="Thirty">XXX.</abbr></a> The use of these two weaves, and the
+method of adjustment, are two elements of design to which all
+such styles of woven effects are due. The weave marked in grey
+is the reverse of that marked in dots, for it brings the even set
+of threads on to the face, while the weave, ⊡, takes them on to
+the back. When it is considered that the arrangement of
+colouring is one slate and one olive, and that each of these
+weaves forms two fabrics one over the other, it becomes obvious
+that in Sections <i>A</i> of the design (<a href="#fig190">Fig. 190</a>) a slate stripe of plain
+fabric will cover an olive stripe of similar dimensions; but in
+Sections <i>B</i> a plain olive band conceals a corresponding stripe of
+slate. Referring to <a href="#fig191">Fig. 191</a>, which is the weave arrangement
+for producing Pattern 2 of <a href="#plate30a">Plate <abbr title="Thirty">XXX.</abbr></a>, it will be observed that it
+is a style containing, in addition to the stripe effects, a series of
+clear twills. Evidently these have been developed on the same
+system as the preceding example, which consists of the identical
+weaves and order of colouring as <a href="#fig191">Fig. 191</a>. Diversity of
+pattern has, therefore, been acquired by adopting a different
+method of combining the weaves. This is effected by first
+sketching out on point paper the exact form of the pattern
+required, and then adding weave <i>A</i> of <a href="#fig190">Fig. 190</a> to the uncoloured
+parts, and weave <i>B</i> to the coloured sections. It will
+be subsequently shown that reversible double plain styles are but
+developments of this species of designing.</p>
+
+<figure class="figcenter illowp100" id="fig190" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig190.jpg" alt="Double-plain stripe">
+  <figcaption>
+      <p class="smcap">Fig. 190.</p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp100" id="fig191" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig191.jpg" alt="Double-plain stripe">
+  <figcaption>
+      <p class="smcap">Fig. 191.</p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp100" id="fig192" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig192.jpg" alt="Double-plain stripe">
+  <figcaption>
+      <p class="smcap">Fig. 192.</p>
+  </figcaption>
+</figure>
+
+<p>211. <i>Two-Shade Stripes Warped Irregularly.</i>—First, there
+are styles of this class which are compositions of two shades, and
+<span class="pagenum" id="Page_299">[Pg 299]</span>
+in which variety of pattern is only producible by ingenious
+methods of grouping fancy yarns. By the aid of two examples
+(Patterns 1 and 2, <a href="#plate31a">Plate <abbr title="Thirty-one">XXXI.</abbr></a>) it may, however, be shown that
+even when thus limited to the use of two colours a considerable
+range of patterns may be acquired. The order of shades for
+Pattern 1—the design for which is given in <a href="#fig192">Fig. 192</a>—is:&#x2060;—</p>
+
+<table>
+<tr>
+<td colspan="2"></td>
+<td class="tdc" colspan="2"><i>Warp</i>.</td>
+<td></td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">For 54 threads.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">6</td>
+<td class="tdl pad6">threads of</td>
+<td class="tdc">slate.<br></td>
+</tr>
+<tr>
+<td class="tdr">⎩</td>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">For 58 threads.</td>
+<td class="tdr">⎧</td>
+<td class="tdl">8</td>
+<td class="tdl pad6">threads of</td>
+<td class="tdc">black.<br></td>
+</tr>
+<tr>
+<td class="tdr">⎩</td>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">slate.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdc pad4" colspan="2"><i>Weft</i>.<br></td>
+<td></td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">1</td>
+<td class="tdc pad6">pick of</td>
+<td class="tdl">slate.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">black.</td>
+</tr>
+</table>
+
+<p><span class="pagenum" id="Page_300">[Pg 300]</span>
+One principle that requires to be taken cognizance of in
+making double plain stripes is, that while only every other
+thread comes on to the face, every pick, to some extent, is useful
+in forming the pattern on the right side of the fabric. As the
+principal feature of such styles is the solidity of the several lines
+of colour, providing these do not exceed four in number, it
+becomes a problem of so constructing the design that each shade
+of weft used, shall only float or flush over that colour of warp
+yarn it is supposed to match. To produce a stripe in two colours
+is comparatively simple; but, in the example given in Pattern 2
+on <a href="#plate31b">Plate <abbr title="Thirty-one">XXXI.</abbr></a>, the difficulty of arranging the plan of weave
+is increased by varying the order and size of the lines of colour.
+Thus, there are bands of colour of eight, six, and two threads
+each, or, on the face, of four, three, and one thread respectively.
+If the design, <a href="#fig192">Fig. 192</a>, is examined, it will be observed that the
+odd picks only cover the face-threads in parts <i>D</i>, which are the
+slate threads in the fabric, while the even picks are arranged
+to cover the face-threads in part <i>A</i> only. Should the weave
+be further dissected, it will also be noticed that picks 1, 3, 5,
+and 7 interlace plain with the face-threads of <i>D</i>, but that picks
+2, 4, 6, and 8 interlace plain with the face-threads of sections
+<i>A</i>. In this manner, the solidity of each stripe of colour, which
+is the essential feature of such styles, is kept intact, and a
+pattern formed possessing distinctness of parts. This example,
+and <abbr title="Number">No.</abbr> 1 of <a href="#plate31a">Plate <abbr title="Thirty-one">XXXI.</abbr></a>,
+ illustrate the numerous effects producible
+in these weaves by this method of colouring. Both parts
+<i>A</i> and <i>B</i> of Pattern 1 form stripe arrangements. By varying
+the number of bands of these respective combinations, useful
+species of pattern are producible. Pattern <abbr title="Number">No.</abbr> 2 shows how a
+broad band of one shade may be worked into the texture, and
+then a line-like stripe of a second shade formed upon it.</p>
+
+<p>There is one peculiarity about the weave-design—<a href="#fig193">Fig. 193</a>—forming
+the drab band in Pattern 2 of this Plate, which contains
+eighteen threads. The ordinary double plain used in <a href="#fig190">Figs. 190</a>,
+<a href="#fig191">191</a>, and <a href="#fig192">192</a> is untied;
+ it follows that if some sixteen or more
+threads were used, as in this instance, the woven pattern would
+be loose and unsatisfactory in structure. So long as no more than
+eight threads form a stripe, tieing may not be necessary; but when
+<span class="pagenum" id="Page_301">[Pg 301]</span>
+this number is exceeded, a weave must be employed that, while
+tied or stitched, will not interfere with the neatness, compactness,
+and uniformity of this type of woven colouring. The weave
+generally used for this purpose is given in part <i>A</i> of <a href="#fig193">Fig. 193</a>.
+Though somewhat irregular in construction, it produces a fabric
+perfectly even on both surfaces, and as smart and clear in other
+respects as the double plain texture. The order of colouring
+for this example is: <i>Warp</i>, 18 threads of drab, 2 threads of
+brown; and <i>weft</i>, 1 pick of brown and 3 picks of drab. The
+drab picks never float over the face-ends of brown, and, on the
+other hand, the brown picks always float under the drab face-ends—this
+being the principle of intertexture to which the
+solidity of the respective lines of colour is due.</p>
+
+<figure class="figcenter illowp50" id="fig193" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig193.jpg" alt="Double-plain stripe">
+  <figcaption>
+      <p><span class="smcap">Fig. 193.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp40" id="fig194" style="max-width: 23.6875em;">
+  <img class="w100" src="images/fig194.jpg" alt="Double-plain stripe">
+  <figcaption>
+      <p><span class="smcap">Fig. 194.</span></p>
+  </figcaption>
+</figure>
+
+<p>212. <i>Styles in Three or more Colours.</i>—Some extremely
+interesting and effective stripes are got in double plain weaves
+by employing three and four colours. Two examples—Patterns
+3 and 4 on <a href="#plate31b">Plate <abbr title="Thirty-one">XXXI.</abbr></a>—are furnished in styles composed of
+three shades. The weave for producing the former (<a href="#fig194">Fig. 194</a>) is
+simple, being so constructed as to form lines of lavender, claret
+brown, lavender and white. By comparing the order of colouring—which
+is given below—with the weave, the principles of
+design in which the pattern is obtained are obvious:&#x2060;—</p>
+
+<table>
+<tr>
+<td class="tdc pad4" colspan="3"><i>Warp.</i></td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">lavender.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">claret brown.</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">lavender.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">stained white.</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="3"><i>Weft.</i></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">pick of</td>
+<td class="tdl">lavender.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">stained white.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">lavender.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">claret brown.</td>
+</tr>
+</table>
+
+<p>It will be noticed that the first pick is lavender; the reason
+for this is, that in the design the face-thread of lavender is down,
+and if it were covered by any other colour but its match in
+<span class="pagenum" id="Page_302">[Pg 302]</span>
+shade, the solidity of the lavender line would be interrupted.
+Pattern 4 of this <a href="#plate31b">Plate</a> contains the same number of colour
+elements, but is quite different in arrangement. The design for
+this styles—<a href="#fig195">Fig. 195</a>—is so planned as to yield an effect, on the
+face of the fabric, as follows: a stripe of four threads of claret
+brown and white twist, a fine line of lavender, a stripe of four
+threads of claret brown and
+white twist, a fine line of
+lavender, a fine line of claret
+brown, a fine line of twist,
+a fine line of claret, and
+a fine line of lavender; in
+other words, it forms a compound of eight separate bands of
+colour. The plans of warping and wefting are appended:&#x2060;—</p>
+
+<table>
+<tr>
+<td class="tdc pad4" colspan="3"><i>Warp.</i></td>
+</tr>
+<tr>
+<td class="tdr">8</td>
+<td class="tdc pad6">threads of</td>
+<td class="tdl">claret brown and white twist.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">lavender.</td>
+</tr>
+<tr>
+<td class="tdr">8</td>
+<td class="tdc">„</td>
+<td class="tdl">claret brown and white twist.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">lavender.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">claret.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">claret brown and white twist.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">claret.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">lavender.</td>
+</tr>
+</table>
+<table>
+<tr>
+<td class="tdc pad4" colspan="3"><i>Weft.</i></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">pick of</td>
+<td class="tdl">claret brown and white twist.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">lavender.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">claret brown and white twist.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">claret.</td>
+</tr>
+</table>
+
+<p>The effects in four shades are somewhat limited in variety,
+the respective stripes being of a single-thread character on the
+face. They are constructed on the same lines as the three-coloured
+patterns just described.</p>
+
+<figure class="figcenter illowp50" id="fig195" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig195.jpg" alt="Double-plain stripe">
+  <figcaption>
+      <p><span class="smcap">Fig. 195.</span></p>
+  </figcaption>
+</figure>
+
+<p>213. <i>Double Plains combined with Other Weaves.</i>—Patterns
+of this class are made in worsted, woollen and cotton yarns.
+Certain weaves of a warp flush character, including types of
+corkscrews, combine satisfactorily with this double plain. The
+twills or makes used should be capable of forming neat patterns
+<span class="pagenum" id="Page_303">[Pg 303]</span>
+when coloured on the one-and-one system, which is the invariable
+method of wefting such designs. Referring to <a href="#fig196">Fig. 196</a>, which is
+a weave compound of this description, stripes of double plain
+are united with a stripe of corkscrew, resulting in the construction
+of the style given in Pattern 3 on <a href="#plate30a">Plate <abbr title="Thirty">XXX</abbr></a>. The
+colours are maroon and dark green, and are grouped on the end-and-end
+system in both warp and weft; hence the solid lines of
+these shades in the double plain parts, and the oblique twills of
+maroon and green in the corkscrew sections of the fabric.
+Practically there are two points to consider in the selection of
+weaves for combining with double plain crossings, namely, the
+wefting capacity of the crossing, <i>i.e.</i>, its power to weave regularly
+with the plain; and, second, its structure in regard to the scheme
+of shade-assortment practised in these designs. Respecting the
+first point, if another double make should be used, such as
+cassimere or mat for face, and plain for back, there would not be
+much liability to form a fabric lacking regularity of construction
+and hence evenness of surface; but, should the additional weaves
+be single in construction, they must be exactly of such structure
+as to work uniformly with the double plain. One point that may
+be noted in designing for these combinations, is to frequently
+divide the pattern, and so avoid the formation of broad bands of
+the several weaves. Then, as to the structure of the crossings in
+respect to colouring. Warp twills and warp weaves are most
+suitable, because they do not exhibit the weft colouring to any
+marked degree, and hence they allow of quite a distinct method
+of tinting being introduced in the warp of the sections of the
+design in which they occur.</p>
+
+<figure class="figcenter illowp90" id="fig196" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig196.jpg" alt="Compound design">
+  <figcaption>
+      <p><span class="smcap">Fig. 196.</span></p>
+  </figcaption>
+</figure>
+
+<p>Styles of this description are neat in form and colouring.
+Being characterized by smartness of composition and richness
+of textural effects, they are developed to a large extent.</p>
+
+<p>214. <i>Intermingled Double Plain Compounds.</i>—The most
+<span class="pagenum" id="Page_304">[Pg 304]</span>
+uncommon effects producible in double plain crossings are
+possibly those resulting from employing schemes of colouring
+containing an odd number of threads, such as 2, 1, 1 and 1, and
+the 4, 1, 1 and 1 groupings. The
+weave used in such schemes of combining
+shades is given in <a href="#fig197">Fig. 197</a>.
+In larger styles, sections <i>A</i> and <i>B</i> are
+increased to sixteen threads and picks
+each. By the aid of an example the
+principles underlying this form of
+pattern construction may be expounded.
+Pattern 5, <a href="#plate31e">Plate <abbr title="Thirty-one">XXXI.</abbr></a>,
+results from the following arrangement of colours and the
+weave, <a href="#fig197">Fig. 197</a>:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+<td class="tdc" colspan="5"><i>Warp and Weft.</i><br></td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">⎧</td>
+<td class="tdl">4</td>
+<td class="tdc">threads of</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdr">For 42 threads.</td>
+<td class="tdl">⎨</td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">black and white twist.<br></td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">⎪</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">⎧</td>
+<td class="tdl">4</td>
+<td class="tdc">threads</td>
+<td class="tdl">of brown.</td>
+</tr>
+<tr>
+<td class="tdr">For 14 threads.</td>
+<td class="tdl">⎨</td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">black and white twist.<br></td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">⎪</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">orange silk.</td>
+</tr>
+</table>
+
+<figure class="figleft illowp50" id="fig197" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig197.jpg" alt="Double-plain check">
+  <figcaption>
+      <p><span class="smcap">Fig. 197.</span></p>
+  </figcaption>
+</figure>
+
+<p>The pattern is weavable on eight shafts, one repeat containing
+112 threads, so that it possesses the leading characteristics of a
+Jacquard design. The dimensions of each repeat of the pattern
+are due to the order of grouping the colours, combined with the
+weave. Thus, as there are fifty-six threads in each repeat of the
+colourings before the plan of weaving coincides with the order
+of the shades, the pattern of warp must run through two, and
+the weave through sixteen repetitions. The cause of the construction
+of this pattern consists in the appropriation of a system
+of colouring, containing a number of threads not a multiple of
+the number of ends and picks in the weave. This scheme of
+colouring is practised in fine worsteds and woollens for mantlings,
+in medium counts of yarns for suitings, and also in linen and
+cotton textures for vestings.
+</p>
+
+<figure class="figcenter illowp79" id="plate30a" style="max-width: 25.0em;">
+  <img class="w100" src="images/plate30a.jpg" alt="Stripe patterns">
+  <figcaption style="color: blue;">
+      <p>Plate <abbr title="Thirty">XXX</abbr><br>
+     <span class="allsmcap">DOUBLE-PLAIN STYLES</span><br>
+     <span class="smaller">1. 2. 3. Stripe Patterns</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp83" id="plate30d" style="max-width: 25.0em;">
+  <img class="w100" src="images/plate30d.jpg" alt="Figured shawl">
+  <figcaption style="color: blue;">
+      <p><span class="smaller">4. Figured Shawl</span></p>
+  </figcaption>
+</figure>
+
+<p><span class="pagenum" id="Page_305">[Pg 305]</span>
+There is practically no limit to the variety of effects obtained
+on this system of colouring double plain designs. On the
+diamond base, forming Pattern 5 of <a href="#plate31e">Plate <abbr title="Thirty-one">XXXI.</abbr></a>,
+ an indistinct
+check in orange silk is distinguishable; and in this plan of weave
+and by irregular orders of colouring, many varieties of spotting,
+intermingled checkings, and other effects in minute and in clear,
+bold patterns, are produced in various counts of both woollen and
+worsted yarns. The 2 black, 1 twist, 1 grey, and 1 twist, method
+of colouring is also useful for this purpose, yielding a form of
+pattern that can be diversified by modifications in colouring.</p>
+
+<p>215. <i>Reversibles.</i>—Double and treble weaves are employed
+in the construction of these effects. Amongst the compound
+weaves used for this purpose, the double plain is one of the
+most important. It gives a species of figuring as clearly developed
+on one side of the texture as on the other. The system
+of colouring is mainly one-and-one, with some slight modification,
+such as a stripe or check effect in addition to the ornamental
+details worked out in colour. This principle of weaving is
+practised in the decoration of woollen and worsted shawls and
+rugs, tapestries, curtains, and Kidder and Scotch and other carpets.
+In the examples given in <abbr title="Number">No.</abbr> 4, <a href="#plate30d">Plate <abbr title="Thirty">XXX.</abbr></a>,
+ and <abbr title="Numbers">Nos.</abbr> 1 and 2,
+<a href="#plate32a">Plate <abbr title="Thirty-two">XXXII.</abbr></a>, two builds of fabrics are represented, namely,
+the double plain and the double twill. An important element of
+all such figuring, distinguishing it from that obtained by other
+schemes of weaving, is the clearness with which the details and
+component parts of the design are developed. This characteristic
+is a product of the double-weave arrangement. Taking, for
+instance, the shades of a texture thus constructed to be black and
+white, it follows that from any double-make combination in which
+the figuring is produced by changing the positions of the weaves,
+that is, by transferring that weave on to the back which has
+appeared on the face, and <i>vice versâ</i>, there must result a pattern
+clear in outline and general composition. No other principle
+of weaving is capable of giving effects so well pronounced in
+these features: other figured styles are more or less wanting in precision
+and regularity of outline. Reversibles are made in double
+weaves arranged on the one-and-one, the two-and-one, and the
+three-and-one principles. The first method is the most frequently
+<span class="pagenum" id="Page_306">[Pg 306]</span>
+practised. When the second and third schemes are adopted, the
+yarns used are of two sizes—that forming the figure being considerably
+thicker than that employed for the ground of the texture.</p>
+
+<figure class="figcenter illowp74" id="fig198" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig198.jpg" alt="Figured reversible">
+  <figcaption>
+      <p><span class="smcap">Fig. 198.</span></p>
+  </figcaption>
+</figure>
+
+<p>216. <i>Methods of Colouring Double Plain Reversibles.</i>—Generally
+these are not very intricate, the main work in ornamenting
+such fabrics consisting in the adoption of a well-arranged
+design, with the various sections of the figuring correctly represented
+on point paper. A few illustrations may be described.
+On <a href="#plate30d">Plate <abbr title="Thirty">XXX.</abbr></a>, Pattern
+4, and on <a href="#plate32a">Plate <abbr title="Thirty-two">XXXII.</abbr></a>,
+are textures for dressing-gowns
+and shawls.
+Sections of each design
+are given in <a href="#fig198">Figs.
+198</a>, <a href="#fig199">199</a>, and <a href="#fig201">201</a>. It
+should be observed
+that in executing these
+styles the first work
+relates to sketching the
+pattern on point paper,
+the weaves being subsequently
+added. The
+ground sections are
+occupied by the opposite
+weave to that applied to the figured parts. There should not
+be figure outlines requiring less than two threads and picks to
+develop, or the effect in the woven fabric will not be satisfactory.
+It should be considered in preparing these designs that practically
+every other thread and pick are duplicate yarns—both the odd
+and even threads not being utilized simultaneously in the construction
+of the pattern on the face of the cloth. Providing
+the figure has been correctly worked out on point paper, an
+appropriate scheme of colouring has then to be applied. Here
+various technical details and other points have to be considered,
+such as the structure of the design, whether bold or subdued
+colouring is the most suitable, and the scheme of grouping shades
+necessary to develop the ornamental forms of the style. First, the
+shades of yarn are arranged, one-and-one, throughout, in order to
+<span class="pagenum" id="Page_307">[Pg 307]</span>
+meet the structure of the double plain weaves. Second, it may
+be useful to consider types in which the designs are clearly
+pronounced in every detail, and others in which the figuring
+is more or less subdued. Take, for example, the worsted shawl
+pattern, <abbr title="Number">No.</abbr> 4 on <a href="#plate30d">Plate <abbr title="Thirty">XXX</abbr></a>. By warping and wefting thus:&#x2060;—</p>
+
+<table class="smaller">
+<tr>
+<td class="tdr" rowspan="2">96</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc pad6">thread</td>
+<td class="tdl">dark shade,</td>
+<td class="tdl pad2" rowspan="2">96</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdl pad6">thread</td>
+<td class="tdl">dark shade,</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">blue,</td>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdl">„</td>
+<td class="tdl">white,</td>
+</tr>
+</table>
+
+<p class="unindent">the figuring on the face of the fabric is developed in the dark shade,
+and the ground in the white and blue, the effects on the under
+side being exactly the reverse of those on the face. For shawls
+few principles of design are more useful than this, for it gives a
+texture in every particular as neatly ornamented and constructed
+on one surface as the other. The border of these goods generally
+consists of a different pattern from the centre or groundwork of
+the shawl, and is also differently coloured. Take the following
+as an example:&#x2060;—</p>
+
+<div style="overflow-x:auto;">
+<table class="autotable yetsmaller">
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">dark</td>
+<td class="tdl" colspan="2">brown.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="2">For 96</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="4">192 threads—the edge of the shawl.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl" colspan="3">blue.</td>
+<td class="tdl">⎭</td>
+<td class="tdl">⎬</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">dark</td>
+<td class="tdl" colspan="2">brown.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="2">For 96</td>
+<td class="tdl">⎪</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl" colspan="3">white.</td>
+<td class="tdl">⎭</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">blue.</td>
+<td class="tdl">⎫</td>
+<td class="tdr" rowspan="2">24</td>
+<td class="tdl">⎫</td>
+<td class="tdl" colspan="3" rowspan="18">Border—repeat; 768 threads in border.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+<td class="tdl">⎪</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">scarlet.</td>
+<td class="tdl">⎫</td>
+<td class="tdr" rowspan="2">24</td>
+<td class="tdl">⎪</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+<td class="tdl">⎪</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">blue.</td>
+<td class="tdl">⎫</td>
+<td class="tdr" rowspan="2">24</td>
+<td class="tdl">⎪</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+<td class="tdl">⎪</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">orange.</td>
+<td class="tdl">⎫</td>
+<td class="tdr" rowspan="2">24</td>
+<td class="tdl">⎪</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+<td class="tdl">⎪</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">blue.</td>
+<td class="tdl">⎫</td>
+<td class="tdr" rowspan="2">192</td>
+<td class="tdl">⎬</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+<td class="tdl">⎪</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">orange.</td>
+<td class="tdl">⎫</td>
+<td class="tdr" rowspan="2">24</td>
+<td class="tdl">⎪</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+<td class="tdl">⎪</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">blue.</td>
+<td class="tdl">⎫</td>
+<td class="tdr" rowspan="2">24</td>
+<td class="tdl">⎪</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+<td class="tdl">⎪</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">scarlet.</td>
+<td class="tdl">⎫</td>
+<td class="tdr" rowspan="2">24</td>
+<td class="tdl">⎪</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+<td class="tdl">⎪</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">blue.</td>
+<td class="tdl">⎫</td>
+<td class="tdr" rowspan="2">24</td>
+<td class="tdl">⎪</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">dark</td>
+<td class="tdl" colspan="2">brown.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="2">For 96</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="4">3648 threads—centre of the shawl.<span class="pagenum" id="Page_308">[Pg 308]</span></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">blue.</td>
+<td colspan="2"></td>
+<td class="tdl">⎭</td>
+<td class="tdl">⎬</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">dark</td>
+<td class="tdl" colspan="2">brown.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="2">For 96</td>
+<td class="tdl">⎪</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td colspan="2"></td>
+<td class="tdl">⎭</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl" colspan="7">Repeat the border.</td>
+</tr>
+<tr>
+<td colspan="2"></td>
+<td class="tdl" colspan="7">Repeat the edge.</td>
+</tr>
+</table>
+</div><!--end overflow-->
+
+<figure class="figcenter illowp75" id="fig199" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig199.jpg" alt="Figured reversible">
+  <figcaption>
+      <p><span class="smcap">Fig. 199.</span><br>
+    (Section only.)</p>
+  </figcaption>
+</figure>
+
+<p>The above arrangement is for a fine worsted shawl made of
+about twofold fifty’s yarns and set in twenty’s reed four’s. The
+centre and edges of
+the shawl are simple
+in colouring, but the
+border consists of
+checks of blue, scarlet,
+and orange on a white
+groundwork. As the
+white yarns alternate
+with each of these
+colours, the figuring on
+one side of the shawl
+in the border is solid
+white on the checks
+named, but on the reverse
+side the figuring
+is developed in the
+various colours, while the ground is white. Other and simpler
+forms of colouring besides this are adopted; for instance, another
+appropriate method of colouring the border and the centre of the
+shawl, Pattern 4 of <a href="#plate30d">Plate <abbr title="Thirty">XXX.</abbr></a>, using a double-plain diagonal
+weave for the edges, is thus:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">end of</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="2">96</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">light grey.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">end of</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="2">96</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">dark grey.</td>
+<td class="tdl">⎭</td>
+</tr>
+</table>
+
+<figure class="figcenter illowp100" id="plate31a" style="max-width: 25.0em;">
+  <img class="w100" src="images/plate31a.jpg" alt="one-and-one">
+  <figcaption style="color: blue;">
+      <p>Plate <abbr title="Thirty-one">XXXI</abbr><br>
+     <span class="allsmcap">VARIOUS DOUBLE PLAIN DESIGNS</span><br>
+     <span class="smaller">1. Warped and Wefted one-and-one</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp59" id="plate31b" style="max-width: 25.0em;">
+  <img class="w100" src="images/plate31b.jpg" alt="Double plain designs">
+  <figcaption style="color: blue;">
+      <p><span class="smaller">2. 3. 4. System of Warp Colouring Coinciding with the Weave Construction</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp100" id="plate31e" style="max-width: 25.0em;">
+  <img class="w100" src="images/plate31e.jpg" alt="Irregular colouring">
+  <figcaption style="color: blue;">
+      <p><span class="smaller">5. Irregular Warp and Weft Colouring</span></p>
+  </figcaption>
+</figure>
+
+<p>When this class of designing and colouring is executed in
+woollen yarns for rugs, the fabrics are covered with pile on both
+surfaces, causing the colourings to possess a very mellow aspect.
+Pattern <abbr title="One">I</abbr> on <a href="#plate32a">Plate <abbr title="Thirty-two">XXXII.</abbr></a> is an example of this kind. The
+<span class="pagenum" id="Page_309">[Pg 309]</span>
+design (<a href="#fig199">Fig. 199</a>) is made on the same system as that for the
+preceding style. The arrangement of shades is as follows:&#x2060;—</p>
+
+<table>
+<tr>
+<td class="tdc pad4" colspan="5"><i>Warp.</i></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">thread of</td>
+<td class="tdl">dark grey.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="2">For 48 threads.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">thread of</td>
+<td class="tdl">light grey.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="2">For 48 threads.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdc pad4" colspan="5"><i>Weft.</i></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">pick of</td>
+<td class="tdl">dark grey.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="2">For 48 picks.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc pad6">pick of</td>
+<td class="tdl">brown.</td>
+<td class="tdl">⎫</td>
+<td class="tdl" rowspan="2">For 48 picks.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">white.</td>
+<td class="tdl">⎭</td>
+</tr>
+</table>
+
+<figure class="figcenter illowp81" id="fig200" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig200.jpg" alt="Figured reversible">
+  <figcaption>
+      <p><span class="smcap">Fig. 200.</span></p>
+  </figcaption>
+</figure>
+
+<p>217. <i>Colouring of Figured Designs containing Double Plain
+and other Weaves.</i>—One illustration in this type of fabric will
+show the principles of colouring and weaving which have now to
+be considered. The object is to obtain three or more effects in
+figured fabrics mainly composed of double plain crossings, and at
+the same time to develop with special emphasis the ornamental
+forms combined. A feature to be avoided in the construction of
+these designs is the employment of such quantities of the single
+weaves as will result in the production of a fabric irregular in
+build. <a href="#fig200">Fig. 200</a> shows the manner of combining the different
+<span class="pagenum" id="Page_310">[Pg 310]</span>
+crossings to obtain such effects. Intricate orders of colouring are
+feasible here, providing the thread-and-thread scheme is retained:
+the more ingenious the system of grouping the shades, the more
+valuable the results.</p>
+
+<figure class="figcenter illowp74" id="fig201" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig201.jpg" alt="Double-weave">
+  <figcaption>
+      <p><span class="smcap">Fig. 201.</span><br>
+      ⊡ = Weft in ground.  ◻ = Warp in ground.<br>
+      ◍ = Weft figure.   ⧄ = Warp figure.</p>
+  </figcaption>
+</figure>
+
+<p>218. <i>Reversibles arranged Two-and-One.</i>—This type of textiles
+is produced in various kinds of yarns, such as worsted, woollen,
+fancy cottons, and mohair. It is a useful build of fabric, being
+developed in dresses,
+suitings, mantlings,
+vestings, and quiltings.
+An example in cottons
+is given on <a href="#plate29">Plate <abbr title="Twenty-nine">XXIX.</abbr></a>
+A section of the design
+used in producing
+this fabric is <a href="#fig201">Fig. 201</a>,
+from which it is
+evident there are two
+ends and picks of
+ground weave to one
+end and pick of figure.
+The weave applied to
+the ground may be
+plain, twill, mat, or
+any other simple crossing,
+but that applied to the figuring threads is invariably
+plain in order to secure a texture quite fast in build throughout.
+The following is the method of colouring practised
+here:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">fine white cotton.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">thick white cotton twisted with scarlet (knop).</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">threads of</td>
+<td class="tdl">fine white cotton.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">thick white cotton twisted with lavender (knop).</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">threads of</td>
+<td class="tdl">fine white cotton.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">thick white cotton twisted with tan (knop).</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">fine white cotton.</td>
+</tr>
+</table>
+
+<p>When the following scheme of shades is adopted, the aspect of
+the design is completely changed:&#x2060;—</p>
+
+<p><span class="pagenum" id="Page_311">[Pg 311]</span></p>
+<table class="autotable">
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">fine medium blue cotton.</td>
+<td class="tdl"></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">thick white</td>
+<td class="tdl">„</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">fine medium blue</td>
+<td class="tdl">„</td>
+</tr>
+</table>
+
+<p class="unindent">This latter order gives a solid blue ground with a clear figure.</p>
+
+<p>There are several distinct methods of colouring these designs.
+First, the figuring threads, as in the first of these examples, are
+coloured variously, while the ground threads are of one shade.
+This affords a clear development of the design, particularly when
+the ground and figuring yarns are of contrasting shades. The
+production by such arrangements of a monotonous groundwork
+is obviated by spotting here and there with the figuring yarns,
+as in the patterns on <a href="#plate07a">Plates <abbr title="Seven">VII.</abbr></a>
+ and <a href="#plate29"><abbr title="Twenty-nine">XXIX.</abbr></a> A second system
+admits of the ground being composed of stripes or checks of
+any dimensions over which the figuring in bright colourings is
+distributed. Third, for woollen vestings, to which this type of
+design in simple twill and spotted effects may be applied, such
+orders of colouring as are given below being practised:&#x2060;—</p>
+
+<div class="small">
+<p class="center"><abbr title="One">I.</abbr></p>
+<table class="autotable">
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">black.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">black and blue twist.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">threads of</td>
+<td class="tdl">brown.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">black and light olive twist.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">threads of</td>
+<td class="tdl">blue.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">black and scarlet twist.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">black.</td>
+</tr>
+</table>
+<p class="center"><abbr title="Two">II.</abbr></p>
+<table class="autotable">
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">light grey.</td>
+<td class="tdl">⎫</td>
+<td class="tdl"></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">black and white twist.</td>
+<td class="tdl">⎬</td>
+<td class="tdl">For 9 threads.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">light grey</td>
+<td class="tdl">⎭</td>
+<td class="tdl"></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">dark grey.</td>
+<td class="tdl">⎫</td>
+<td class="tdl"></td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">black and white twist.</td>
+<td class="tdl">⎬</td>
+<td class="tdl">For 9 threads.</td>
+</tr>
+<tr>
+<td class="tdr">1</td>
+<td class="tdc">„</td>
+<td class="tdl">dark grey.</td>
+<td class="tdl">⎭</td>
+<td class="tdl"></td>
+</tr>
+</table>
+</div><!--end small font-->
+
+<p>The ground shades in the first method should be of similar
+depths of hue, while the twists must not only harmonize with
+them but also with each other. The checks of light and dark
+<span class="pagenum" id="Page_312">[Pg 312]</span>
+grey in the second example may, in practice, be of different sizes.
+One feature of this system is that the groundwork may be varied
+in colour composition, but the twist yarns making the small
+ornamental effects suitable for fancy coatings, are of the same
+shade in both sections of the pattern.</p>
+
+<figure class="figcenter illowp75" id="fig202" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig202.jpg" alt="Double-twill">
+  <figcaption>
+      <p><span class="smcap">Fig. 202.</span></p>
+  </figcaption>
+</figure>
+
+<p>219. <i>Figured Compound Weave Patterns.</i>—In general colouring
+these are treated on similar principles to reversible double
+plains—such duplicate schemes of shades as are workable in the
+single weaves being employed. Double cassimeres are coloured
+on such various methods as to be used in the manufacture of
+plain and figured textures.
+From <a href="#fig202">Fig. 202</a>,
+which is a plan of the
+weaves for the curve
+effect seen in Pattern
+2, <a href="#plate32b">Plate
+ <abbr title="Thirty-two">XXXII.</abbr></a>, it will
+be apparent how the
+designs are constructed.
+It is the same weave
+which is run on to the
+ground as on to the
+figure, only in the
+former the odd threads
+appear on the face, and
+in the latter they
+appear on the back,
+while the even threads come on to the face. The order of warping
+and wefting is one thread of blue and one thread of stained
+white, so that the structure of the weave-design produces the
+ground of the texture in blue, and the figure is stained white.
+The opposite effect obtains on the reverse side of the fabric
+from that represented in the illustration, the colours which
+form the ground on one side composing the figure on the
+other.</p>
+
+<p>220. <i>Compound Colourings in Compound Weaves.</i>—This is a
+good principle of colouring for vesting styles, either in woollen
+or worsted yarns. Some diversity of yarn structure is used,
+that is to say, woollen combined with worsted, or with worsted
+<span class="pagenum" id="Page_313">[Pg 313]</span>
+and silk, in order to obtain a difference in brightness of surface
+in the texture. <abbr title="Number">No.</abbr> 1, <a href="#plate33">Plate XXXIII</a>, is an example. The ground
+colouring is one-and-one in a double cassimere twill; and by reversing,
+the square spots in the illustration are developed in
+other methods of colourings which harmonize with the thread-and-thread
+order. A section of the design is given in <a href="#fig203">Fig. 203</a>,
+showing how the reversing is effected. This brings on to the
+face in one portion of the design the two-and-two colouring, and
+in another part of the design the four-and-four colouring. Other
+compound arrangements may be used.</p>
+
+<figure class="figcenter illowp75" id="fig203" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig203.jpg" alt="Double-weave">
+  <figcaption>
+      <p><span class="smcap">Fig. 203.</span></p>
+     <table class="small">
+      <tr><td class="tdr">▨</td>
+      <td class="tdl">⎫</td>
+      <td class="tdc" rowspan="2">Sections in which the colours are reversed from
+                back to face of the texture.</td></tr>
+      <tr><td class="tdr">⊡</td>
+      <td class="tdl">⎭</td></tr>
+      </table>
+  </figcaption>
+</figure>
+
+<p>The method of designing consists in arranging, first, the face
+warp and weft, usually in some simple order of colouring; and,
+second, a compound scheme for the back, of two or more simple
+orders of colouring, which, by combining reversible double weaves,
+may interchange with the face to give the style required. In
+addition, it is usual in such patterns to colour the face to form
+either a stripe or a check, irrespective of the special design or
+pattern due to reversing the backing scheme of colourings to the
+face, as shown in <abbr title="Number">No.</abbr> 1, <a href="#plate33">Plate <abbr title="Thirty-three">XXXIII.</abbr></a> In this pattern, for
+example, the face colouring is as follows:&#x2060;—</p>
+
+<p><span class="pagenum" id="Page_314">[Pg 314]</span></p>
+<p class="center"><i>Face Warp.</i></p>
+
+<table class="autotable">
+<tr>
+<td class="tdr" rowspan="2">For 24.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">white woollen.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">dark grey woollen.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">For 16.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">white silk.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">dark grey woollen.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">For 24.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">l</td>
+<td class="tdc">thread of</td>
+<td class="tdl">white woollen.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">dark grey woollen.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">For 16.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">white silk.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">green worsted.</td>
+</tr>
+</table>
+
+<p class="center"><i>Face Weft.</i></p>
+
+<table class="autotable">
+<tr>
+<td class="tdr" rowspan="2">For 32.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">medium grey woollen.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">white woollen.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">For 16.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">medium grey woollen.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">l</td>
+<td class="tdc">„</td>
+<td class="tdl">white silk.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">For 32.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">l</td>
+<td class="tdc">thread of</td>
+<td class="tdl">medium grey woollen.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">white woollen.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">For 16.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">white silk.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">olive brown worsted.</td>
+</tr>
+</table>
+
+<p class="unindent">One colour thus alternates with the white woollen and white
+silk, and, in the last portion, the white silk alternates with the
+green worsted warp and olive brown weft.</p>
+
+<p>The backing warp and weft are:&#x2060;—</p>
+
+<p class="center"><i>Warp.</i></p>
+
+<table class="autotable">
+<tr>
+<td class="tdr" rowspan="2">For 24.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">white woollen.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">dark grey woollen.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">For 16.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">2</td>
+<td class="tdc">threads of</td>
+<td class="tdl">white woollen.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">dark grey woollen.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">For 24.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">white woollen.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">dark grey woollen.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">For 16.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">4</td>
+<td class="tdc">threads of</td>
+<td class="tdl">white woollen.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">4</td>
+<td class="tdc">„</td>
+<td class="tdl">dark grey woollen.</td>
+</tr>
+</table>
+<p><span class="pagenum" id="Page_315">[Pg 315]</span></p>
+
+<p class="center"><i>Weft.</i></p>
+
+<table class="autotable">
+<tr>
+<td class="tdr" rowspan="2">For 32.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">medium grey woollen.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">white woollen.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">For 16.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">2</td>
+<td class="tdc">threads of</td>
+<td class="tdl">medium grey woollen.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">2</td>
+<td class="tdc">„</td>
+<td class="tdl">white woollen.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">For 32.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">thread of</td>
+<td class="tdl">medium grey woollen.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">white woollen.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">For 16.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">4</td>
+<td class="tdc">threads of</td>
+<td class="tdl">medium grey woollen.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">4</td>
+<td class="tdc">„</td>
+<td class="tdl">white woollen.</td>
+</tr>
+</table>
+
+<p class="unindent">Or three simple orders of colouring, either the two-and-two or
+four-and-four being brought on to the face to form the squares.</p>
+
+<figure class="figcenter illowp90" id="plate32a" style="max-width: 37.5em;">
+  <img class="w100" src="images/plate32a.jpg" alt="Velvet finish">
+  <figcaption style="color: blue;">
+      <p>Plate <abbr title="Thirty-two">XXXII</abbr><br>
+      REVERSIBLE DOUBLE-WEAVE FABRICS<br>
+      1. Double-plain: Velvet Finish</p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp100" id="plate32b" style="max-width: 43.75em;">
+  <img class="w100" src="images/plate32b.jpg" alt="Double twill">
+  <figcaption style="color: blue;">
+      <p>2. Double-twill</p>
+  </figcaption>
+</figure>
+
+<p>221. <i>Colouring of Double Cloths, such as Golf Cloakings and
+Rugs.</i>—These are compound in structure, so that a different
+scheme of colour may be employed for the face from the back of
+the fabric. It is not, as in the preceding example, a question of
+reversing the position of the colours, but of confining one scheme
+of colour arrangement to each side of the fabric. In Pattern 2,
+<a href="#plate33">Plate <abbr title="Thirty-three">XXXIII.</abbr></a>, the face side is one colour, khaki, and the
+under-side a tartan check; but, as seen from <a href="#fig205">Fig. 205</a> (weave
+<a href="#fig205a">205a</a>), both sides of the fabric may be coloured variously.
+This applies both to the ordinary golf cloaking or wrap, and to
+double-weave rugs, where the material, as well as the colouring,
+may be different on the face and the back of the texture: but in
+the example on <a href="#plate33">Plate <abbr title="Thirty-three">XXXIII.</abbr></a>,
+ the weave, <a href="#fig204">Fig. 204</a>, is of a special
+structure in order to produce on the face side a sateen warp
+effect, in which the colouring for the back does not penetrate on to
+the face, nor the face colouring penetrate on to the back. The
+weave for the under-side is [2/2] twill, suitable to the development
+of such colouring. The scheme of colouring for the
+backing warp and weft is as follows:&#x2060;—</p>
+
+<p class="center"><i>Backing Warp.</i></p>
+
+<table class="autotable">
+<tr>
+<td class="tdl">Red</td>
+<td class="tdr">60</td>
+<td class="tdr">-</td>
+<td class="tdr">60</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+</tr>
+<tr>
+<td class="tdl">Black</td>
+<td class="tdr">8</td>
+<td class="tdr">8</td>
+<td class="tdr">60</td>
+<td class="tdr">4</td>
+<td class="tdr">4</td>
+<td class="tdr">-</td>
+<td class="tdr">4</td>
+<td class="tdr">4</td>
+<td class="tdr">60</td>
+</tr>
+<tr>
+<td class="tdl">Blue</td>
+<td class="tdr">12</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+</tr>
+<tr>
+<td class="tdl">Blue green</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+<td class="tdr">12</td>
+<td class="tdr">12</td>
+<td class="tdr">48</td>
+<td class="tdr">48</td>
+<td class="tdr">12</td>
+<td class="tdr">12</td>
+<td class="tdr">-</td>
+</tr>
+<tr>
+<td class="tdl">Yellow</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+<td class="tdr">12</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+</tr>
+</table>
+
+<p class="center"><span class="pagenum" id="Page_316">[Pg 316]</span>
+<i>Backing Weft.</i></p>
+
+<table class="autotable">
+<tr>
+<td class="tdl">Red</td>
+<td class="tdr">56</td>
+<td class="tdr">-</td>
+<td class="tdr">56</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+</tr>
+<tr>
+<td class="tdl">Black</td>
+<td class="tdr">8</td>
+<td class="tdr">8</td>
+<td class="tdr">64</td>
+<td class="tdr">4</td>
+<td class="tdr">4</td>
+<td class="tdr">-</td>
+<td class="tdr">4</td>
+<td class="tdr">4</td>
+<td class="tdr">64</td>
+</tr>
+<tr>
+<td class="tdl">Blue</td>
+<td class="tdr">12</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+</tr>
+<tr>
+<td class="tdl">Blue green</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+<td class="tdr">12</td>
+<td class="tdr">12</td>
+<td class="tdr">42</td>
+<td class="tdr">42</td>
+<td class="tdr">12</td>
+<td class="tdr">12</td>
+<td class="tdr">-</td>
+</tr>
+<tr>
+<td class="tdl">Yellow</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+<td class="tdr">12</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+</tr>
+</table>
+
+<p class="unindent">The weft is similar in colouring but the number of picks is
+not the same as the threads of warp. The colour compound
+forming the check consists of red, black, blue, blue green,
+and yellow, the method of finishing the fabric having toned
+the colours into each other, and softened or mellowed the style
+of the check. The difference between the effect on the face
+and on the back is here extreme, but it serves to illustrate how
+distinct in colour quality each side of such a fabric may be, by
+employing a suitable weave and counts of yarn.</p>
+
+<figure class="figcenter illowp50a" id="fig204" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig204.jpg" alt="Double-twill">
+  <figcaption>
+      <p><span class="smcap">Fig. 204.</span><br>
+      ◼ = Face weave.<br>
+      ⊠ = Backing weave.</p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp50" id="fig205a" style="max-width: 18.75em;">
+  <img class="w100" src="images/fig205a.jpg" alt="Weave for Fig 205">
+  <figcaption>
+      <p><span class="smcap">Fig. 205a.</span><br>
+      ◼ = Face weave.<br>
+    ⊠ = Backing weave.<br>
+    ⊡ = Contre warp stitching.</p>
+  </figcaption>
+</figure>
+
+<p>The method of colouring <a href="#fig205">Fig. 205</a>, produced in <a href="#fig205a">Fig. 205<span class="allsmcap">A</span></a>, is as
+follows:&#x2060;—</p>
+
+<p class="center"><i>Face Warp.</i></p>
+
+<table class="autotable">
+<tr>
+<td class="tdr">3</td>
+<td class="tdc">threads of</td>
+<td class="tdl">heliotrope and white twist.</td>
+</tr>
+<tr>
+<td class="tdr">6</td>
+<td class="tdc">„</td>
+<td class="tdl">brown and white twist.</td>
+</tr>
+</table>
+
+<p class="center"><i>Face Weft.</i></p>
+
+<table class="autotable">
+<tr>
+<td class="tdr">3</td>
+<td class="tdc">threads of</td>
+<td class="tdc">brown and</td>
+<td class="tdl">white</td>
+<td class="tdc">twist.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdl">fawn</td>
+<td class="tdc">„</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdl">white</td>
+<td class="tdc">„</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdl">fawn</td>
+<td class="tdc">„</td>
+</tr>
+</table>
+
+<p><span class="pagenum" id="Page_317">[Pg 317]</span></p>
+
+<figure class="figcenter illowp100" id="fig205" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig205.jpg" alt="Golf cloaking">
+  <figcaption>
+      <p><span class="smcap">Fig. 205.</span></p>
+  </figcaption>
+</figure>
+
+<p><span class="pagenum" id="Page_318">[Pg 318]</span></p>
+
+<p class="center"><i>Backing Warp and Weft.</i></p>
+
+<table class="autotable">
+<tr>
+<td class="tdr">30</td>
+<td class="tdc">threads of</td>
+<td class="tdl">white woollen.<br></td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">brown and white twist.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">white woollen.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">brown and white twist.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">dark olive and white twist.</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">white woollen.</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">brown and white twist.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">dark olive and white twist.</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">white woollen.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">dark olive and white twist.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">white woollen.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">dark olive and white twist.</td>
+</tr>
+<tr>
+<td class="tdr">2</td>
+<td class="tdc">„</td>
+<td class="tdl">white woollen.</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">dark olive and white twist.</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">white woollen.</td>
+</tr>
+<tr>
+<td class="tdr">4</td>
+<td class="tdc">„</td>
+<td class="tdl">brown and white twist.</td>
+</tr>
+</table>
+
+<p>Contrasts in form of pattern—on the face and back of the
+cloth respectively—as in this example, are applied to golf
+cloakings and rugs, in stripe and check combinations.</p>
+
+<div class="p2 footnotes"><h4>FOOTNOTES:</h4>
+
+<div class="blockquot">
+<div class="footnote"><p class="unindent"><a id="Footnote_15_15" href="#FNanchor_15_15" class="label">[15]</a> For information on the principles of designing double-make fabrics, the
+reader is referred to <cite>Woollen and Worsted Cloth Manufacture.</cite></p></div></div>
+</div>
+<hr class="chap x-ebookmaker-drop">
+
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_319">[Pg 319]</span></p>
+  <h2 class="nobreak" id="CHAPTER_XIV">
+    CHAPTER <abbr title="Fourteen">XIV.</abbr>
+  </h2>
+   <h3>
+    FIGURED TEXTILES COLOURED IN THE WARP.
+  </h3>
+</div>
+
+<div class="blockquot">
+<p>222. Methods of Colouring Figured Fabrics—223. Special Elements of
+Ornamental Woven Design—224. Art and Technique—225. Styles of Figured
+Fabrics Coloured in the Warp—226. Cotton Quilting Fabrics—227. Ornamental
+Characteristics of Quilting Designs—228. Attributes of Plush Fabrics—229.
+Origin of Velvet Weaving—230. Velvets, Compound in Structure—231.
+Two Classes of Plush Fabrics—232. Warp Plushes—233. Methods of
+securing the Pile—234. Analysis of the Process of Velvet or Warp Plush
+Weaving—235. Colouring of Warp Plushes and Figured Velvets—236.
+Brussels and Tapestry Carpets compared—237. How the Pattern is developed
+in Brussels—238. Structure of Pile Carpets.</p>
+</div>
+
+<p class="unindent">222. <i>Methods of Colouring Figured Fabrics.</i>—There are three
+distinct systems of colouring figured textiles—namely, colouring
+in the warp, colouring in the weft, and colouring in both
+warp and weft. According to the first method, the fancy
+shades are introduced into the warp only—the weft being of
+one colour throughout the texture. This scheme of colouring is
+practised in various types of mantlings and dress fabrics, also
+pile textures of a figured velvet and plush class, and Brussels,
+tapestry, and velvet pile carpets. Each additional colour in these
+styles of woven productions may involve the use of a separate
+set of warp yarns, which, as will be indicated, materially
+increases the complications of manufacture. Turning to the
+second system of colouring named, which also obtains in certain
+descriptions of dress textiles, and in vestings, rugs, and matelasses,
+it necessitates the employment of several groups of weft
+threads of different colours. On comparing these two distinct
+schemes, it may be observed that while the former relates to
+the utilization of various warp shades—which multiplies the
+difficulties of weaving in two ways, first, by requiring a Jacquard
+<span class="pagenum" id="Page_320">[Pg 320]</span>
+of large figuring capacity; and, second, by increasing the
+diversity of the warp colouring—the latter relates to the employment
+of various groups of weft yarns, which add to the complexity
+of production by increasing the number of cards necessary
+in the construction of the design, and by making the use of
+a number of shuttles a necessity. Lastly, the third method is
+a combination of the arrangements just considered, and is
+applicable to similar fabrics. It is, for obvious reasons, the
+most complex system of colouring, and is only feasible in looms
+specially constructed and mounted for the weaving of figured
+fabrics, comprising both warp and weft colouring in a considerable
+diversity of shades.</p>
+
+<p>223. <i>Special Elements of Ornamental Woven Design.</i>—Woven
+design requires distinct treatment from other species of
+decoration; it is not simply surface ornamentation, for it also
+relates to the production of a suitable fabric for developing the
+details of the pattern. Every description of textile designing
+has, in a word, a two-fold relation, for it is both utilitarian and
+ornamental. Primarily, it relates to the construction of a
+texture uniform in surface and of the requisite quality and
+strength; and, secondly, it relates to the decoration of the fabric.
+Ornament in woven structures is inseparable from the weave
+which produces it. Consequently, it cannot be applied with the
+same facility to a textile surface as to paper-hangings, porcelain,
+etc. In these instances, the designer’s work consists in the
+embellishment of an article obtained by a distinct process
+of manufacture; whereas, in textiles, warp and weft are the
+elements out of which both the pattern and the fabric are
+evolved. Design or ornament and texture have by these
+agents to be developed simultaneously. Instead of manipulating
+straight and curved lines in the formation of the pattern, threads
+of warp and weft have to be interlaced on such methods as to
+constitute the design required. In order to develop the integral
+parts of woven design, by imparting appropriate prominence to
+certain sections and subordinating others, a knowledge of the
+structure of textile fabrics in general is indispensable. Elaborate
+textile designing is only perfect so far as the various figures
+and details of the ornament are clearly defined in weaving.
+
+<span class="pagenum" id="Page_321">[Pg 321]</span>
+The correct delineation of the objects, and evenly-balanced
+grouping and distribution of figure, chiefly affect the artistic
+phases of the subject. Textile pattern is too frequently marred
+by defective and faulty development. Either the materials used
+are unsuitable for displaying the characteristics of the style, or
+the designer has only partially understood the work. With the
+form and general conception of the design there is no fault to
+be found, but with the manner in which it has been executed.</p>
+
+<figure class="figcenter illowp78" id="plate33" style="max-width: 43.75em;">
+  <img class="w100" src="images/plate33.jpg" alt="Vesting">
+  <figcaption style="color:blue">
+      <p>Plate <abbr title="Thirty-three">XXXIII</abbr><br>
+      <span class="allsmcap">1. VESTING<br>
+      2. REVERSIBLE GOLF CLOAKING</span></p>
+  </figcaption>
+</figure>
+
+<p>224. <i>Art and Technique.</i>—It will be obvious from the preceding
+paragraph that technical dexterity in textile designing is
+the power of developing, with appropriate emphasis, all types of
+ornamental effects, whether in relation to form or colour, with
+the construction of a fabric uniform in texture and soundly
+built. Technology relates primarily to weaving, but in an
+ampler sense to the invention and combination of schemes of
+crossings calculated to add novelty and uniqueness to woven
+design. Technical or weave patterns provide, however, infinite
+diversity of texture. It may be ribbed, furrowed, twilled,
+diagonalled, or covered with pile. Weave design is the feature
+of the ornamentation of some types of silk patterns (see <a href="#fig232">Fig. 232</a>).
+Of course it is materially enhanced by artistic elements of form
+and colour, for technique and art are, in these fabrics, essential
+to each other. In all woven decoration, art is the natural and
+requisite associate of technique. Technique determines the
+strength and fineness of the fabric; art determines its ornamental
+force and symmetry of the design. Technique regulates
+the distribution of materials; art appoints the forms, groups the
+figures, and blends the colours.</p>
+
+<p>225. <i>Styles of Figured Fabrics Coloured in the Warp.</i>—The
+simplest type of figured textures coloured on the warp principle
+is essentially single in construction. There is no duplicate
+series of yarns for colouring purposes, but a special set of threads
+used in certain sections of the ground warp of the fabric.
+Pattern 1 on <a href="#plate34a">Plate <abbr title="Thirty-four">XXXIV.</abbr></a> illustrates this scheme of colouring.
+From this example and the section supplied of the design in its
+production—<a href="#fig206">Fig. 206</a>—it is apparent that the texture is constructed
+on the single-weave principle, the only irregularity
+consisting in a number of threads—white in the pattern—being
+<span class="pagenum" id="Page_322">[Pg 322]</span>
+flushed or floated on the surface of the fabric to form the figure
+in stripes <i>A</i>, <i>B</i>, <i>C</i>, and <i>D</i>. The weft effect is therefore concealed
+in these sections of the texture. In warp matelasses, the same
+principles of weaving and colouring obtain—the weft yarns
+acting as binding agents, and not appearing on the face in the
+figuring, unless a special set of weft yarns is employed, as in
+some styles of matelasse vestings, spotted with bright colours.
+This description of warp effect is, however, a compound fabric,
+possessing two warps and two
+wefts, and may be arranged
+two threads of figuring to
+one thread of ground in the
+warp, but one-and-one in the
+weft. The ground warp is
+invariably cotton, but the
+figuring warp is worsted,
+silk, or mohair. One weft is
+thick cotton or wool, and is
+used for wadding or for
+giving fulness and clearness
+to the design, and the other
+is fine cotton, worsted, or
+silk, according to the quality of fabric produced. Not infrequently,
+an additional woollen weft is employed for backing.</p>
+
+<figure class="figcenter illowp50a" id="fig206" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig206.jpg" alt="Weave for Fig 205">
+  <figcaption>
+      <p>Part 4 of Pattern 1, Plate <abbr title="Thirty-four">XXXIV.</abbr><br>
+      ▨ &thinsp; ◼ = warp.<br>
+      <span class="smcap">Fig. 206.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp80" id="fig207" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig207.jpg" alt="Extra-warp figuring">
+  <figcaption>
+      <p>Marks = warp.<br>
+    <span class="smcap">Fig. 207.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figright illowp50a" id="fig207a" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig207a.jpg" alt="Section Feb 207">
+  <figcaption>
+      <p>First 16 threads of <a href="#fig207">Fig. 207</a>.
+    <span class="smcap">Fig. 207a</span>.</p>
+  </figcaption>
+</figure>
+
+<p>Quite a distinct scheme of warp colouring is practised in some
+classes of dress and plush textures from that just alluded to.
+These fabrics are, in those sections in which several colours run
+m the same line of the design, two-, three-, and fourfold in
+structure, according to the number of colours used. In Pattern
+2 on <a href="#plate34b">Plate <abbr title="Thirty-four">XXXIV.</abbr></a> a fabric coloured on this principle is given.
+It is a vesting style of the quilting character, but is illustrative of
+the common methods of colouring by extra series of warp yarns.
+On analysis, it is found to be composed of three tints—a white
+ground, and brown and tan figuring. These are introduced in
+the warp. Now in such textures there is invariably a ground
+warp or chain which runs through the fabric, and forms, conjointly
+with the weft, a firm fabric to which the figuring yarns
+are secured. This ground warp, usually of one colour, is drawn
+<span class="pagenum" id="Page_323">[Pg 323]</span>
+on to a set of shafts, and is worked plain, twill, mat, and other
+simple crossings. The method of combining the figuring yarns
+is shown in <a href="#fig207">Figs. 207</a> and <a href="#fig207a">207<span class="allsmcap">A</span></a>. In the former, the effects
+are arranged as they are seen in the texture, the blank spaces
+representing the ground of the fabric, the greys the tan spotting,
+and the solid blacks the brown figuring.
+<a href="#fig207a">Fig. 207<span class="allsmcap">A</span></a> shows how
+the figuring threads succeed each other in the harness. Between
+each two threads of figuring there is one ground end. When
+three or four colours are employed
+in figuring, there is one ground end
+for each group of threads. The
+different series of fancy yarns, working
+on distinct systems with the weft,
+have to be run on to separate beams—an
+arrangement which adds to the
+cost of manufacture. Moreover, the
+principle of construction minimizes
+the weaving capacity of the machine.
+If a design, for example, requiring a
+192 Jacquard to produce it when developed in one colour,
+had to be modified to be woven in three colours, each of
+which formed some part of the figure, it could not be produced
+in a machine possessing a less capacity than 576 wires. In
+addition to this machine, the ground of the texture would be
+obtained by shafts or heddles. The same design, if coloured in
+the weft, would be weavable in a 192 Jacquard, but would
+<span class="pagenum" id="Page_324">[Pg 324]</span>
+require 576 cards for developing the figure and 192 cards for
+producing the ground of the fabric. Hence, while the warp
+method of colouring is the most economical in respect of cards,
+weaving, and card stamping, the weft method does not necessitate
+the employment of a Jacquard of such large figuring capacity.</p>
+
+<p>Amongst the ornamental styles of woven goods coloured in
+the warp that may be analyzed, are cotton quiltings, velvets,
+and various classes of pile fabrics.</p>
+
+<p>226. <i>Cotton Quilting Fabrics.</i>—Quiltings being one of the
+most interesting and important of warp-coloured figured textures,
+may be primarily examined.</p>
+
+<p>In texture and ornament, they constitute a specific type of
+woven fabrics. One essential in which they differ from other
+textures of a vesting character consists in the figure or ornamentation
+being produced by several colours, or rather series,
+of warp threads. Belonging to that class of fabrics figured
+by the warp and not by the weft yarns, the designs are
+arranged to elevate or depress any particular set of threads,
+according to the section of the pattern being formed. The
+threads which constitute the ground of the texture, compose
+what is termed the ground warp, while other series of yarns
+are “extras.” A similar arrangement of warps is employed
+in some classes of plush, tapestry, and carpet weaving, but in no
+fabric is an identical effect obtained to that which characterizes
+this kind of vesting.</p>
+
+<p>The warps which produce the figured pattern in quiltings
+do not flush or float loosely on the surface, but are regularly
+secured to the foundation texture, making a “fast” figure, that
+is, a pattern which, though marked and well pronounced, is
+even on the surface and firm in construction.</p>
+
+<figure class="figcenter illowp100" id="plate34a" style="max-width: 43.75em;">
+  <img class="w100" src="images/plate34a.jpg" alt="Stripe design">
+  <figcaption style="color:blue;">
+      <p>Plate <abbr title="Thirty-four">XXXIV</abbr><br>
+      EXTRA-WARP COLOURING<br>
+      1. Stripe Design</p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp54" id="plate34b" style="max-width: 43.75em;">
+  <img class="w100" src="images/plate34b.jpg" alt="Quilting texture">
+  <figcaption style="color:blue;">
+      <p>2. Quilting Texture</p>
+  </figcaption>
+</figure>
+
+<p>Generally, quiltings have a light or white groundwork, which
+is neatly ornamented with small lozenge, diaper, or other figured
+effects. The plan of the design (<abbr title="Number">No.</abbr> 2,
+ <a href="#plate34b">Plate <abbr title="Thirty-four">XXXIV.</abbr></a>) is
+geometrical, yet there is an absence, due to the floral details,
+of that rigid appearance which is frequently associated with
+patterns constructed on this base. Weave, or the system of
+interlacing adopted, is the factor which imparts a variety of
+tone and effect to the style. The texture is woven in three
+<span class="pagenum" id="Page_325">[Pg 325]</span>
+colours—brown, tan, and white. The floral and sprig combinations
+are formed of the first colour, the raised or diamond
+portions of white, and the indentions of tan. The quantity
+of white or tan in any particular part of the fabric is due
+to the structure of the design employed. The groundwork
+of the fabric is neat and effective. It consists of a fine texture
+of white, slightly raised above the indented border surrounding
+the figures. The small diamond effects are produced by the
+lifting of the figuring warp, which imparts an indented appearance
+to the cloth. On this groundwork, two rectangular objects
+are placed in such a way that the inverted figures they
+contain oppose each other. Treating of the rectangular objects
+first, they are separated by the diamond groundwork, and
+also by the narrow border of dotted effect, in which, in the
+fabric, the tan colour is the most prominent. The space
+between this edging and the central figures on which the
+floral and sprig work are delineated, consists of rib or rep.
+Here the white and tan are equally balanced. The sprig
+ornamentation is characteristic of this style of vestings. It has
+not been produced, nor can it be applied with such facility, to
+other types of woven fabrics. The fineness of the texture,
+and smallness of the threads employed, make it possible to
+develop the most minute figuring quite distinctly. A neat
+and interesting contrast is obtained by having the sprig effect
+in one figure faintly marked, while in the other the floral work
+is both bolder in form and more compact in arrangement.</p>
+
+<p>227. <i>Ornamental Characteristics of Quilting Designs.</i>—The
+ornament applied to this make of fabric is so unique that it
+deserves to be briefly noted. It is typical of the texture
+in which it is developed, being, so to speak, part of its construction.
+No other build of fabric admits of the production of
+such fine, line-like, and detailed figured effects as are obtainable
+by this principle of weaving. The most minute decoration
+is here delineated with a precision that it would be difficult to
+surpass with the pencil. All the figures employed are graceful
+and delicate in appearance, due mainly to the absence of
+floats of warp or weft from their composition. Elaborate designs,
+crowded with combinations of form, are thus produced by a neat,
+<span class="pagenum" id="Page_326">[Pg 326]</span>
+tasteful method. Some patterns which would appear coarse in
+other makes of fabric, possess in these textures clearness, combined
+with an effective arrangement. The examples supplied in
+Pattern 2 on <a href="#plate34b">Plate <abbr title="Thirty-four">XXXIV.</abbr></a>,
+ and Pattern 1, <a href="#plate35a">Plate <abbr title="Thirty-five">XXXV.</abbr></a>, are
+illustrations of the minute character of the ornamental forms
+developed in these fabrics. Whatever the class of figuring
+practised, it is full of small twig and floral effects and clear and
+precise details.</p>
+
+<p>228. <i>Attributes of Plush Fabrics.</i>—Another description of
+woven production coloured in the warp is plushes, including
+imitation astrakhans, the figured velvet, and several classes of
+carpets, for example, Eastern, tufted, and Axminster. The distinguishing
+quality of all plush fabrics is the soft shag or pile
+with which they are so covered that one of the essential features of
+a woven texture—namely, the crossing of warp and weft threads—is
+entirely concealed. The pile is of two kinds: in some
+fabrics it consists of a uniform mass of cut short filaments,
+while in others it is in the form of minute curls or loops compactly
+clustered together; but in both cases, it projects from the
+surface of an ordinary texture. The fineness of the fibre and
+density of the plush both combine to conceal the foundation
+on which it is produced. The characteristic appearance of
+velvet, as well as its quality of softness, which distinguishes it
+from all other loom products, are due to the pile alone. The
+beauty of the fabric is dependent upon the compactness and
+uniform evenness of the pile, any inequality in the length of
+the fibres of which it is composed producing an irregular and
+defective appearance in the texture. In plush weaving, one
+series of threads forms a species of curl or loop on the ground
+of the fabric; or such threads, after having been secured to the
+foundation of the texture, are cut into short filaments, causing
+them to be erect on the surface of the texture: hence a plush or
+velvet fabric is an ordinary texture overspread with a compact,
+dense pile.</p>
+
+<p>229. <i>Origin of Velvet Weaving.</i>—Velvets are said to have
+been originally produced in Asia. The Chinese claim to have
+been the makers of a fabric of this description at a comparatively
+early date. Velvet manufacture, for a considerable period after
+<span class="pagenum" id="Page_327">[Pg 327]</span>
+its introduction into Europe, was confined to Italy, where, in
+the weaving establishments of Venice, Milan, Florence, and
+Genoa, it was extensively carried on with marked success. Two
+Genoese manufacturers, Etienne Turquetti and Barthélemy Narri,
+under the patronage of Francis <abbr title="One">I.</abbr>, in 1536, are reported to have
+commenced velvet weaving in Lyons, at which place it has
+down to the present day remained an important industry. The
+productions of the French looms speedily surpassed those of
+Italy, both in fineness of texture and in soft, lustrous appearance.
+Rather more than a century after velvet manufacture had been
+established in France, it was introduced into England by the
+refugees of that nation when compelled, by the Revocation of
+the Edict of Nantes, in 1685, to leave their country, who, coming
+over to England, settled in Spitalfields, the ancient seat of the
+English silk industry, and there domesticated this important
+textile art.</p>
+
+<p>230. <i>Velvets, Compound in Structure.</i>—All velvets are what
+may be termed compound in construction—that is to say, one
+series of threads is appropriated to the production of the <i>ground</i>
+of the texture, while a second series is employed in the formation
+of the <i>pile</i>; in other words, there are distinct warps or wefts
+necessary to produce the plush and foundation of the fabric
+respectively. As to the ground, it may be formed of the plain
+make or of a fine twill. The threads used in the production of
+the pile may be of various colours, and treated in such a manner
+as to yield a shag or plush of several lengths. When the pile is
+obtained in the warp it may be either cut or uncut; that is,
+the plush may be formed of small, curl-like loops, or of merely
+the ends of threads projecting from the body of the cloth. In
+figured plushes, the various parts of the pattern are developed
+by resorting to these two modes of producing effects, some
+sections of the pile being cut, and others remaining uncut, while
+to further enhance the character of the design an ottoman rib
+effect may also ornament specific portions of the fabric.</p>
+
+<p>231. <i>Two Classes of Plush Fabrics.</i>—Technically, plushes are
+divisible into two great classes: (1) Weft plushes, or fabrics in
+which the pile is formed of flushes of extra weft yarns distinct
+from those producing the ground of the fabric. (2) Warp plushes,
+<span class="pagenum" id="Page_328">[Pg 328]</span>
+or fabrics in which the pile results from the use of extra warp
+yarns distinct from and independent of the warp utilized in
+forming the foundation of the texture proper.</p>
+
+<p>The richest effects are producible on the latter principle,
+which is probably the original method of plush weaving. Weft
+plushes comprise, however, a considerable variety of textures,
+including velveteens, corded velveteens, corduroys, astrakhans,
+and feather trimmings.</p>
+
+<p>232. <i>Warp Plushes.</i>—In the first place, let it be understood
+that for whatever purpose the fabric is intended, at least two
+warps are essential in its production. Though wound on to
+separate beams and subjected to different tensions, yet they are
+so combined by the weft yarn, that they both, when amalgamated,
+become important factors in the same texture. The
+weave used in the construction of a warp plush is essentially of
+a two-fold character, consisting of a ground crossing, and of a
+flush arrangement for producing the pile effect. Plain, mat, rib,
+and twill weaves are applied to the ground, according to the
+fineness and characteristics of the required texture. As to the
+pile, it may be either cut or uncut, of one or several colours, and
+also of such variable lengths as are requisite to the development
+of the forms contained in the pattern. Whatever the character
+of the plush, it is due to the employment of wires which are
+inserted between the threads of the pile warp. Thus the wires
+are introduced when the series of threads in the ground warp is
+depressed, and such threads elevated in the pile warp as are in
+accordance with the formation of the design. In some velvets
+the whole of the pile warp is lifted for the insertion of each wire.
+<a href="#fig208">Fig. 208</a> illustrates the system on which the wires are employed,
+as well as the manner in which they produce the pile. Only
+nine warp threads, six picks of weft, and three wires are represented.
+The threads lettered <i>A</i> form the pile, and those lettered
+<i>G</i> the ground warp. In this diagram the wires are shown
+entering the warp when threads <i>G</i> are depressed and threads <i>A</i>
+elevated.</p>
+
+<figure class="figcenter illowp87" id="fig208" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig208.jpg" alt="Warp-pile structure">
+  <figcaption>
+      <p><span class="smcap">Fig</span>. 208.</p>
+  </figcaption>
+</figure>
+
+<p>233. <i>Methods of securing the Pile.</i>—Fastening the pile is an
+important feature of the weaving process. Unless a sufficient
+number of ground picks is inserted between the wires, and unless
+<span class="pagenum" id="Page_329">[Pg 329]</span>
+they form such interlacings with the pile warp as to secure
+the threads it contains to the ground of the texture, whether
+the plush is looped or cut, it will draw out, and the result will
+be a defective fabric. A point, therefore, that should have
+careful attention is that of securing the pile in such a manner
+that it will remain erect after the withdrawal of the wires.
+The usual method of effecting this consists in arranging for the
+ground picks to float over the pile threads, both immediately
+before and after the insertion of the wires, as illustrated in <a href="#fig208">Fig. 208</a>.
+This plan is adopted, because it has not only a tendency
+to force the wires into position, but to keep them there. It is
+not, however, the only system; in fact, there are two other
+useful methods of forming a “bed” or foundation for the wires.
+One feature of this arrangement is common to all systems,
+namely, the pile warp is depressed after the insertion of each
+wire; consequently any difference existing between this and
+other modes of fastening the plush will be found in the plan
+of interlacing the picks <i>preceding</i> the wire. For example, in
+making tapestry carpets, the pile warp is not down, but up,
+in the shed before that formed for the wire; while in a third
+system, the pile threads float over two ground picks and the
+wire in succession. Both these systems are better adapted for
+<span class="pagenum" id="Page_330">[Pg 330]</span>
+the insertion of a large number of wires to the inch of the fabric
+than the first method described.</p>
+
+<p>234. <i>Analysis of the Process of Velvet or Warp Plush Weaving.</i>—The
+The weaver, having interlaced the requisite series of
+ground shoots between the threads of the combined warps,
+proceeds to form a division in the threads, by depressing the
+whole of the ground warp, and in some cases the half of the pile
+warp, for the admission of the wire. This shed remains formed
+until the wire has been passed from side to side of the warp
+and with the grooved edge towards the sley of the going part.
+On the wire having thus been fixed, the reed is brought
+against the texture already woven, carrying the wire along
+with it, which it causes to rest on its lower edge. In this
+upright position it is maintained by keeping the going part
+in contact with it, till a new division of the threads (obtained
+by depressing all the threads covering the wire and elevating a
+portion of those floating under it) is secured, when the sley or
+reed is removed from the fell of the cloth and a ground pick
+introduced to be driven into contact with the ground shoot
+which preceded the wire. On this principle the wires are bound
+to the ground of the fabric, for the threads covering them are not
+only securely woven into the texture by the shoots preceding,
+but also by those following their insertion. After the proper complement
+of ground picks has been added, the process of inserting
+the wires is repeated, several wires always being retained in the
+fabric. The necessity for this is obvious; thus, if the weaver,
+before he has introduced a sufficient number of wires, passes his
+knife within the groove of the first wire, and so cuts the loops
+covering it, the pile ends would, when tension was put on the
+warp in the formation of the next shed, draw out, and thus the
+plush would be destroyed. This is descriptive of the hand
+method, by which some of the finest decorative silk pile fabrics
+are produced. In ordinary velvets and carpet weaving, whether
+Brussels (loop pile) or Axminster (cut pile), the wires are inserted
+and withdrawn by automatic mechanism. In cut pile carpet
+weaving, at the end of each wire is a short blade tapering to
+the end of the wire, so that, when the wire is withdrawn, the
+threads of pile warp covering its upper edge are cut.
+</p>
+
+<figure class="figcenter illowp92" id="plate35a" style="max-width: 43.75em;">
+  <img class="w100" src="images/plate35a.jpg" alt="Vesting design">
+  <figcaption style="color:blue;">
+      <p>Plate <abbr title="Thirty-five">XXXV</abbr><br>
+      <span class="allsmcap">COLOURING OF FIGURED FABRICS IN THE WARP</span><br>
+      <span class="smaller">1. Old Vesting Style (Quilting)</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp56" id="plate35b" style="max-width: 32.8125em;">
+  <img class="w100" src="images/plate35b.jpg" alt="Pile pattern">
+  <figcaption style="color:blue;">
+      <p><span class="smaller">2. Cut and uncut Pile Pattern</span></p>
+  </figcaption>
+</figure>
+
+<p><span class="pagenum" id="Page_331">[Pg 331]</span>
+235. <i>Colouring of Warp Plushes and Figured Velvets.</i>—Plushes
+made in imitation of animal skins may be composed of
+several colours, and also of different lengths of pile. <a href="#fig209">Fig. 209</a> is
+a weave for a plush of this order. Threads <i>B</i> are grey pile, and
+threads <i>T</i> are white pile. The ground of the texture is formed
+by threads and picks <i>G</i>. The two sets of pile yarns are wound
+on to separate beams. As the marks in this case indicate
+threads lifted, it will be noticed that on the first wire only one
+pile thread is up, namely, <i>B</i>¹, both the white and the ground
+ends being depressed. The second wire elevates <i>T</i>¹, the third
+wire <i>B</i>², and the fourth wire <i>T</i>²; so that
+in each repeat of the design all the pile
+yarns are up once. This is one method of
+colouring plush fabrics, and is practised in
+the production of fancy effects in which no
+figure or ornamental design is required.
+When colour is introduced into styles of a
+figured class for robes and mantlings, it is
+accomplished on other systems. Pattern 2, <a href="#plate35b">Plate <abbr title="Thirty-five">XXXV.</abbr></a>, and
+Pattern 1, <a href="#plate36">Plate <abbr title="Thirty-six">XXXVI.</abbr></a>, are illustrations of two types of plush
+or velvet colouring.</p>
+
+<figure class="figcenter illowp30" id="fig209" style="max-width: 18.75em;">
+  <img class="w100" src="images/fig209.jpg" alt="Weave structure">
+  <figcaption>
+      <p><span class="smcap">Fig. 209.</span></p>
+  </figcaption>
+</figure>
+
+<p>Pattern 2 on <a href="#plate35b">Plate <abbr title="Thirty-five">XXXV.</abbr></a> is a velvet pile colouring. Several
+warps have been employed in its construction, white silk for
+ground, pale sage green for the principal figure, and variously
+coloured warps for the minor parts of the pattern. To produce
+elaborate textiles of this description a complicated form of loom
+mounting is necessary. First, the ground warp, which is run off
+a special beam, is passed through a set of shafts hung before the
+harness and worked by the Jacquard or a dobbie machine.
+Second, one section of the harness receives the green warp, and
+other sections the various hues composing the remaining warps.
+These figuring warps are also mounted on separate beams or
+run off bobbins or miniature beams, each thread being tensioned
+separately. The designs have to be so prepared that all the
+effects which are intended to be of one colour will fall exactly
+in the same line or occupy the same threads in design.</p>
+
+<p>This is also illustrated in <a href="#plate36">Plate <abbr title="Thirty-six">XXXVI.</abbr></a>,
+ a pattern with silk
+sateen ground, and with the figuring developed as follows:&#x2060;—</p>
+
+<p><span class="pagenum" id="Page_332">[Pg 332]</span></p>
+<p class="unindent indent5">Green leaves and stems in loop and cut pile.<br>
+  Tinted-rose flowers in loop and cut pile.<br>
+  Underneath or subdued design in terry or loop pile.
+</p>
+
+<p class="unindent">An effective contrast, which is characteristic of pile colouring, is
+seen in the tone of the cut and loop pile in the green and tinted
+rose. The difference is so marked as to appear the result of
+colours of dissimilar qualities. The cut pile imparts a soft, full
+colour, and the terry, an apparently lighter colour, but of the
+same hue. This technicality relates specially to pile-fabric
+colouring. By using the same colour of yarn, <i>e.g.</i> green or
+salmon pink, two tones of green and two tones of pink are
+acquired. This design element is used in the development of
+ornamental details; shading in either leaves or flowers being
+rendered feasible with one colour of yarn.</p>
+
+<p>Another contrast to be noted is that between the sateen ground
+and the terry pile figuring. The terry is deeper in quality, and,
+if produced in cut pile, would be still fuller in depth of tone.
+In construction or loom mounting, the sateen warp would be on
+one beam, the ground or foundation warp on a second beam,
+and the pale green, dark green, and salmon-pink warps on
+bobbins, being individually tensioned, as in Axminster or Brussels
+carpet weaving.</p>
+
+<p>236. <i>Brussels and Tapestry Carpets compared.</i>—Brussels
+and tapestry carpets are so similar in appearance that they
+might be regarded as fabrics of the same structure. But, when
+the principles on which the pattern is obtained in the respective
+carpets are examined, it is at once evident that in the Brussels
+the design is purely a woven effect, in the tapestry it is a print.
+The technical differences between these manufactures being
+understood, there are causes apparent for the superior wearing
+qualities of the Brussels. First, in point of colouring it possesses
+a distinct advantage over the tapestry, for all the shades used in
+its composition are supposed to be “fast,” the yarns being hank
+dyed and not coloured in the warp. Second, the pile is fuller
+and made of better materials, while the thickness and substance
+of the fabric are not due to strengthening threads, like the
+“body” of the tapestry, but to the worsted yarns used in the
+formation of the pile. Third, the pattern is more smartly
+<span class="pagenum" id="Page_333">[Pg 333]</span>
+defined, its various parts being clearly and distinctly developed;
+whereas the figure in tapestry carpets is more or less indistinct,
+arising from the system on which the pattern is produced.</p>
+
+<p>237. <i>How the Pattern is developed in Brussels Carpets.</i>—The
+weaving of this carpet possesses some characteristic features.
+The pile warp, for instance, instead of running off ordinary yarn
+beams, is wound, as stated, on bobbins, or miniature beams, fixed
+in frames, or a large creel, placed behind the loom. Each colour
+requires what is technically called a separate frame. A five-frame
+Brussels is a carpet with this number of colours succeeding each
+other in the same line of the fabric. The manner in which the
+various colours are controlled—in other words, in which they
+are concealed from, or brought into, view—is an important
+factor in the manufacture of this article. On examining a
+Brussels carpet, it will be observed that the individual threads
+forming the pile seem either to be composed of several colours,
+or to be substituted by yarns of other shades, according to the
+section of the pattern being formed. For instance, in the same
+line of the design, looking at the fabric lengthways, apparently
+in the same thread, as many as from three to five colours, such as
+brown, green, fawn, scarlet, and blue, form the pile in succession.
+If these effects are not due to a printed yarn, they result
+from the employment of five distinct threads, each of which is
+so controlled that it only appears in the pile when assisting to
+develop the design. The question occurs, How are the threads
+concealed when not appearing on the face of the fabric? An
+important principle of weaving is implied in the production of
+results of this character. Whatever the colour of the warp yarn
+in a single cloth, the pattern is, throughout the piece, continuously
+tinged with that shade, excepting in such positions as it is
+crossed with the weft thread. In a double cloth two colours of
+warp yarns may be applied to one line of the fabric; that is
+to say, supposing the shades selected were black and white, the
+pattern produced might be composed of these colours alternately,
+while in a triple-make fabric three shades could be brought on
+to the surface of the texture in succession. Effects of this order
+are due to changing the positions of the threads of the respective
+warps by reversing the weaves. The several shades of
+<span class="pagenum" id="Page_334">[Pg 334]</span>
+a Brussels carpet are manipulated on this compound-weave
+principle of intertexture. To obtain a three-frame pattern composed,
+say, of green, scarlet, and olive, at least three separate
+weaves are necessary—one for each shade. Thus the weave
+used in forming the shed in the warp for the green pile is so
+arranged as to depress the scarlet and olive, while that for
+giving the scarlet pile conceals the green and olive threads,
+and lastly, that for producing the olive pile conceals the green
+and scarlet ends; so that, by an appropriate application of
+these respective weaves to the design, the colours are brought
+up in the figure where required.</p>
+
+<figure class="figcenter illowp80" id="fig210" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig210.jpg" alt="Three-colour pile">
+  <figcaption>
+      <p><span class="smcap">Fig. 210.</span></p>
+  </figcaption>
+</figure>
+
+<p>238. <i>Structure of Pile Carpets.</i>—<a href="#fig210">Fig. 210</a> is a sketch of the
+interlacing of the threads in a section of this class of carpet,
+and is a three-frame structure. The positions the threads
+occupy when not covering the wires, will be evident on examining
+the illustration. Thus it is clear that when a thread
+of pile yarn is not active in the formation of the figure, it is
+covered or concealed by the wire and ground shoots of weft.
+Take thread <i>b</i>, for instance, which, having covered the first
+two wires shown, floats underneath the succeeding wires; a
+similar arrangement obtains in the interlacings of thread <i>c</i>,
+which floats under wires 1 and 2, and over wires 3 and 4,
+while thread <i>a</i> is covered by the first four, but flushes over
+the last two wires; hence each class of pile threads interweaves
+with the ground weft on the same system, producing
+a carpet of uniform strength, and one in which every species
+of pile is equally permanent.</p>
+
+<figure class="figcenter illowp100" id="plate36" style="max-width: 43.75em;">
+  <img class="w100" src="images/plate36.jpg" alt="Sateen ground">
+  <figcaption style="color:blue;">
+      <p>Plate <abbr title="Thirty-six">XXXVI</abbr><br>
+      <span class="allsmcap">FIGURED PILE SPECIMEN, SATEEN GROUND</span></p>
+  </figcaption>
+</figure>
+<hr class="chap x-ebookmaker-drop">
+
+
+<div class="chapter">
+<span class="pagenum" id="Page_335">[Pg 335]</span>
+  <h2 class="nobreak" id="CHAPTER_XV">
+    CHAPTER XV
+  </h2>
+   <h3>
+    WEFT-COLOURED FIGURED FABRICS—CURL TEXTURES.
+  </h3>
+</div>
+
+<div class="blockquot">
+<p>239. Warp and Weft Colouring compared—240. Classes of Designs Coloured
+in the Weft—241. Designs in which the Pattern is a Product of the Ground
+Weft—242. Extra-Weft Styles—243. Vestings—244. Vestings with one Extra
+Weft—245. Two-Cover Vestings—246. Four-Cover Styles—247. Honeycomb
+Vestings—248. Two-Cover Designing—249. Four-Cover Pine Design—250.
+Paisley Shawl Colouring—251. Compound-Weft Reversibles—252. Warp and
+Weft Coloured Figuring—253. Curls, Textiles of the Astrakhan Group—254.
+Four Types of Curled Effects—255. Curls obtained by Wires—256.
+Process of Weaving Curls produced by Wires—257. Curls formed by the Weft
+in which the Warp is Cotton—258. The Weave of Weft Curls—259. Structure
+of Weft-Curl Fabrics—260. Operation of Cutting after Weaving—261. Curls
+developed by Milling—262. Points of dissimilarity in the various Builds of
+Curled Textures—263. Two kinds of Curls developed by Milling—264. Spiral
+Threads used for Warp—265. Variety of Pattern in Spiral-Warp Curls due
+to Colour—266. Twist-Yarn Cotton Warp Curls—267. Backed Weaves for
+Curled Cloths—268. Essential Characteristics of Cotton Warp Curls due to
+Milling—269. Examples in Designs for Cotton Warp Curls.</p>
+</div>
+
+<p class="unindent">239. <i>Warp and Weft Colouring compared.</i>—This class of
+figured styles is the most comprehensive. It includes vestings,
+robes, ribbons, and an endless diversity of ornamental textures.
+Richer combinations of tints are more feasible by this than the
+warp method of colouring. A comparison of these two important
+systems of introducing colours into figured fabrics, shows that
+the actual weaving process is less intricate so far as shuttling
+is concerned—not more than one or two shades of weft being
+employed—in warp-tinted textiles; but, as explained in <a href="#CHAPTER_XIV">Chapter
+<abbr title="Fourteen">XIV.</abbr></a>, each additional colour in the same line of the design
+requires a special warp beam. These arrangements are just
+reversed in the weft system, for here there may be from two to
+six shades of weft running in the same line of the fabric, but
+only one warp is utilized. These conditions make the production
+<span class="pagenum" id="Page_336">[Pg 336]</span>
+of such fabrics a laborious operation, inasmuch as the number
+of picks inserted to the inch in four- or five-colour styles may
+be very large. Thus, in a pattern composed of the latter number
+of colours throughout, two or more hundred picks to the inch
+is not uncommon.</p>
+
+<p>Whatever number of shades occur in succession across the
+pattern it is exactly so many fold in the weft, whereas if the
+colours are introduced in the warp the texture is several fold
+lengthways. The different kinds of weft or warp form layers
+of threads in the woven product. When they are composing
+the ornamental details of the design they appear on the face
+of the fabric, but when not thus used they float loosely on the
+back, only being stitched at intervals, and in patterns of several
+shades they are frequently not stitched at all. The loose yarns
+flushing on the under surface of the texture may be cut off.
+One other detail in the two systems affecting economic production
+is, that in the weft system, a somewhat inferior or
+rather less costly yarn may be used than when colouring by the
+warp scheme. There is a minimum degree of tension put on
+weft yarns and a maximum degree applied to warp yarns in
+weaving. In coarse fabrics and cotton textiles this condition
+does not materially alter the cost of manufacture, but in fine
+productions it is an item that has to be considered. Summarizing
+these points of dissimilarity, the warp method of colouring
+affords the most scope for the development of ornament in pile
+or plush goods; does not multiply the intricacies of shuttling,
+but tends to diminish the figuring power of the Jacquard, and
+requires yarns of a better quality than may be adopted for
+wefting; on the other hand, the weft method practically
+allows of more latitude for diversity of colouring and ornamentation
+of all types of fabrics excepting the plush and
+leno, and it is, moreover, in fine textiles, less costly, in so
+far as it makes it feasible to employ an inferior fancy
+thread with satisfactory results; and lastly, it utilizes the
+utmost capacity of the Jacquard in the construction of a figured
+design.</p>
+
+<p>240. <i>Classes of Designs Coloured in the Weft.</i>—Fabrics figured
+and coloured by the weft yarns are of various kinds, but to
+<span class="pagenum" id="Page_337">[Pg 337]</span>
+facilitate analysis they may be considered under the following
+distinguishing types:&#x2060;—</p>
+
+<table>
+<tr>
+<td class="tdr vlt"><abbr title="One">I.</abbr></td>
+<td class="tdh">—Designs in which the figure is a product of the ground weft.</td>
+</tr>
+<tr>
+<td class="tdr vlt"><abbr title="Two">II.</abbr></td>
+<td class="tdh">—Designs requiring one extra weft.</td>
+</tr>
+<tr>
+<td class="tdr vlt"><abbr title="Three">III.</abbr></td>
+<td class="tdh">—Designs requiring two extra wefts.<br></td>
+</tr>
+<tr>
+<td class="tdr vlt"><abbr title="Four">IV.</abbr></td>
+<td class="tdh">—Designs requiring three extra wefts.</td>
+</tr>
+<tr>
+<td class="tdr vlt"><abbr title="Five">V.</abbr></td>
+<td class="tdh">—Designs requiring four or five extra wefts.</td>
+</tr>
+<tr>
+<td class="tdr vlt"><abbr title="Six">VI.</abbr></td>
+<td class="tdh">—Designs composed of two or more wefts and reversible.</td>
+</tr>
+</table>
+
+<p>As in warp colouring, a ground warp is an essential element
+of the fabric, in textiles coloured in the weft—Classes <abbr title="One">I.</abbr> to <abbr title="Five">V.</abbr>
+inclusive—there must also be a ground weft, which forms a
+suitable texture on which the more elaborate ornamentation due
+to the fancy shades may be produced. By extras are meant the
+shades of weft in addition to the ground picks. A design with
+two extra wefts is called two-cover; with three extras, three-cover,
+and so on—the ground weft always being added. The
+word “cover” is therefore synonymous in this sense with
+“extra,” and has probably been adopted because it partially
+describes the texture to which it relates, which consists of so
+many layers or covers of weft threads in thickness.</p>
+
+<p>241. <i>Designs in which the Pattern is a Product of the Ground
+Weft.</i>—In this build of fabric there is comparatively little complication
+of fabric-structure, of weaving, and of colouring. Thus
+the weft, which interlaces with the warp to form the ground of
+the fabric, is also used in the construction of the design. Some
+types of dress fabrics, particularly those of a lustre character,
+and mantlings for summer wear, are coloured and ornamented
+on this principle. It may be regarded as the most elementary
+type of figured fabric. An example is given in Pattern 1 on
+<a href="#plate37">Plate <abbr title="Thirty-seven">XXXVII.</abbr></a>, which will show the scheme of colouring
+generally practised in this style of textures. A section of the
+weave-design is that in <a href="#fig211">Fig. 211</a>. It will be observed that the
+small figures are composed of solid weft floats, and are arranged
+on a fine sateen twill groundwork. The warp is composed of
+lavender cotton, and is mainly useful in constituting the foundation
+of the fabric, and in concealing the weft picks when they
+<span class="pagenum" id="Page_338">[Pg 338]</span>
+are not forming the figured effects. The small objects are
+chintzed with weft colouring, the order of picking being four
+of dark blue and four of white. This gives the pattern the
+aspect of a cloth composed of extra wefts. It should be noted
+that such a contrast in weft colouring, as obtains in this specimen,
+is only satisfactory in this build of texture when the warp is
+closely set, and flushes well in the ground sections. If these
+conditions were not complied with, the pattern produced
+would be chintzed by the weft in not only the figure, but
+also in other parts of the texture. A plain or twill weave, for
+example, would expose the blue and white shades right across
+the sample.</p>
+
+<figure class="figleft illowp49a" id="fig211" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig211.jpg" alt="Weft figuring">
+  <figcaption>
+      <p><span class="smcap">Fig. 211.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figright illowp49a" id="fig212" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig212.jpg" alt="Extra-weft colouring">
+  <figcaption>
+      <p><span class="smcap">Fig. 212.</span></p>
+  </figcaption>
+</figure>
+
+<p>Respecting the construction of this style of fabric: it is based
+on the single-make principle of design. The figure is purely
+a product of floats of the weft yarn, which are determined by
+the form of the figure being developed. In some patterns the
+ornamental sections are composed of twill and other fancy
+weaves to increase the diversity of effects obtained.</p>
+
+<figure class="figright illowp50" id="fig213" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig213.jpg" alt="Design for Fig 212">
+  <figcaption>
+      <p><span class="smcap">Fig. 213.</span></p>
+  </figcaption>
+</figure>
+
+<p>242. <i>Extra Weft Styles.</i>—Fabrics of this description are
+practically two-fold in the weft. An illustration will make the
+scheme of colouring and design arrangement evident. Pattern 3,
+<a href="#plate37c">Plate <abbr title="Thirty-seven">XXXVII.</abbr></a>,
+ is compound in the weft and single in the warp;
+<span class="pagenum" id="Page_339">[Pg 339]</span>
+for the wefting consists of deep lavender-blue wool, and of white
+silk, and the warping entirely of lavender cotton. The warp
+threads are concealed, but this is not an invariable rule, for they
+may be a different shade from the wefts, and be flushed on the
+surface of the texture. When this is the case, a buckskin weave
+is generally used for the ground of the cloth. Should, however,
+the wefts be worsted and silk, or woollen and silk, and the warp
+cotton, it is customary to conceal the latter by employing a
+weave which flushes the ground weft on the face. For vesting
+and mantling fabrics, this is the common arrangement, but in
+dresses and cottons, the warp is also used for enhancing the
+colouring of the fabric. This latter type of design is a compound
+form of the system illustrated in <a href="#fig211">Fig. 211</a>, two wefts being used
+instead of one, and each being
+utilized in the construction of
+the figured effects, and also in
+forming a fine warp twill in the
+ground of the fabric. Different
+principles of designing are
+practised from these, in the construction
+of such styles as are
+typified by Pattern 3 of <a href="#plate37c">Plate
+XXXVII</a>. <a href="#fig212">Figs. 212</a> and <a href="#fig213">213</a>
+are the weave designs to Section <i>A</i> of this pattern.
+The former
+illustrates the method of preparing designs of this class on point
+paper for the loom, and the latter the method by which the two
+series of picks are amalgamated during weaving. <a href="#fig213">Fig. 213</a> is
+the last eight picks of <a href="#fig212">Fig. 212</a>, the ◼’s of which form the odd
+and the ⊡’s the even picks. This is the structure of the fabric;
+for in stamping the cards each pick of the design as given in
+<a href="#fig212">Fig. 212</a> is treated twice: <abbr title="One">I.</abbr>, the ⊡’s and the ◻’s are cut; <abbr title="Two">II.</abbr>, the
+◼’s and ◻’s are cut. The stitches for the silk or figuring picks
+are added during stamping, and occupy similar positions in the
+design to those on picks <i>A</i> and <i>B</i> of <a href="#fig213">Fig. 213</a>. The principle of
+stitching here corresponds to that of stitching cloths backed
+with weft—so that the ties are, as far as feasible, introduced in
+such positions in the picks, that the threads on which they
+occur are depressed both before and after their insertion. Thus
+<span class="pagenum" id="Page_340">[Pg 340]</span>
+thread seventeen, on which the tie on pick <i>A</i> occurs, is depressed
+on picks twelve and fourteen—resulting in the concealment of
+this tie.</p>
+
+<p>Whatever the number of colours used in the construction of
+this style of figured fabrics, the designs are simply drawn out
+as in <a href="#fig212">Fig. 212</a>, which shows the relation of the colours to each
+other in the woven structure.</p>
+
+<p>The manner in which the different effects seen in Pattern 3 of
+<a href="#plate37c">Plate <abbr title="Thirty-seven">XXXVII.</abbr></a>
+ have been produced may be explained by referring
+to <a href="#fig213">Fig. 213</a>. The first pick of this sectional design—marked
+in solid squares—is a figure pick, being white in the texture, and
+corresponding to pick 25 of <a href="#fig212">Fig. 212</a>. The second pick is ground,
+and also corresponds to the twenty-fifth pick. Now it will be
+observed that the figuring picks in <a href="#fig213">Fig. 213</a> float under the
+threads occupied by the ground picks <i>succeeding</i> them; and
+also that the ground picks float under the threads occupied by
+the figuring picks <i>preceding</i> them. In this way the effects due
+to the two series of picks—lavender and white, or ground and
+figure—are kept separate and distinct, and a clear pattern is
+developed on an equally clear and regular groundwork.</p>
+
+<p>The figured sections here, as in Pattern 1 of the same plate,
+may be chintzed, as this process does not increase the number
+of “extras” required. As to the ground of these styles, it is
+generally a solid colour.</p>
+
+<figure class="figcenter illowp100" id="plate37" style="max-width: 34.375em;">
+  <img class="w100" src="images/plate37.jpg" alt="Chintzed">
+  <figcaption style="color:blue;">
+      <p>Plate <abbr title="Thirty-seven">XXXVII</abbr><br>
+      <span class="allsmcap">FIGURED AND SPOTTED FABRICS.
+         WEFT COLOURING</span><br>
+         <span class="smaller">1. Chintzed</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp100" id="plate37b" style="max-width: 31.25em;">
+  <img class="w100" src="images/plate37b.jpg" alt="Extra weft spotting">
+  <figcaption style="color:blue;">
+      <p class="smaller">2. Extra weft Spotting</p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp100" id="plate37c" style="max-width: 31.25em;">
+  <img class="w100" src="images/plate37c.jpg" alt="Extra weft">
+  <figcaption style="color:blue;">
+      <p class="smaller">3. Extra weft</p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp100" id="plate37d" style="max-width: 50.0em;">
+  <img class="w100" src="images/plate37d.jpg" alt="Extra weft spotting">
+  <figcaption style="color:blue;">
+      <p class="smaller">4. Extra weft Spotting</p>
+  </figcaption>
+</figure>
+
+<p>243. <i>Vestings.</i>—One of the most important species of woven
+design to which this scheme of colouring relates is vestings.
+These fabrics are composed of various materials, and constructed
+on different principles of design, and may be figured in the
+warp, weft, or both, but in this example only coloured and
+figured by the weft yarns. It necessarily follows that the
+most elementary type of this class of patterns only possesses
+one extra weft, as the example just considered. This extra
+colour does not, however, always run through the texture, but
+merely spots it at intervals. Some of these fabrics are composed
+of cotton and linen in the ground, with these materials or
+silk for spotting; others possess a worsted or woollen warp,
+with worsted or woollen ground weft and silk extras; a third
+class has a cotton warp, with woollen ground and silk figuring;
+<span class="pagenum" id="Page_341">[Pg 341]</span>
+while a fourth class has silk warp and weft for face, and cotton
+warp and weft for foundation. The first group is mainly produced
+in light shades for summer wear; the second series has
+either light or dark grounds; the third series is invariably developed
+in dark shades, and the fourth in dark and light colours.
+In the cotton and linen vesting the compound principle of
+intertexture is utilized; but whatever the weave-construction
+of the fabric, the scheme of colouring is uniform. Moreover,
+in the woollen and cotton ground textures, but little
+diversity of weave is practised in producing the groundwork of
+these styles; whereas, in the worsted and silk types, various
+crossings and combinations of weaves are used for this purpose.
+The construction of the worsted warp vesting affords scope for
+weave ornamentation in the foundation of the fabric as well as
+for elaborate figuring by variety of colouring. The two worsted
+vestings given in <abbr title="Number">No.</abbr> 2 and
+ <abbr title="Number">No.</abbr> 4, <a href="#plate37d">Plate <abbr title="Thirty-seven">XXXVII.</abbr></a>,
+ are, for
+example, very different from each other in groundwork. The
+former has a broad diagonal foundation (<a href="#fig216">Fig. 216</a>) composed of
+several thirteen-shaft weaves; but the latter a fine corkscrew
+twill in the ground. <a href="#fig214">Fig. 214</a> also illustrates another system of
+ornamenting the ground of these textures with weaves. If the
+spots developed in ⌻’s were removed, this design would be a rib
+pattern composed of fine twill and weft cord. With the addition
+of the spots it forms a neat vesting. In colouring, the rib consists
+of a distinct shade from either the twilled parts or the
+spotting. This is obtained by wefting as follows:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+<td class="tdr" rowspan="2">For 12 picks.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">pick of</td>
+<td class="tdl">black worsted.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">dark blue worsted.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="4">For 8 picks.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">pick of</td>
+<td class="tdl">silk.</td>
+</tr>
+<tr>
+<td class="tdl">⎨</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">black worsted.</td>
+</tr>
+<tr>
+<td class="tdl">⎪</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">silk.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">dark blue worsted.</td>
+</tr>
+</table>
+
+<p>This grouping of shades gives a silk spot in the twill parts on
+a black ground, and a rib effect in dark blue.</p>
+
+<p>In the designing of the ground sections of worsted vestings, it
+is important to obtain an effect which combines neatness with
+novelty and richness of colouring.</p>
+
+<p><span class="pagenum" id="Page_342">[Pg 342]</span>
+244. <i>Vestings with one Extra Weft.</i>—Only one specimen in
+this type of vesting is furnished. It is given in Pattern 4 on
+<a href="#plate37d">Plate <abbr title="Thirty-seven">XXXVII.</abbr></a>,
+ and, as stated in the previous paragraph, has a
+corkscrew ground. The weaving plan for this pattern is supplied
+in <a href="#fig215">Fig. 215</a>. The spots of which it is composed are arranged on
+the six-end sateen base. The silk picks used in forming the
+spotted effects are tied regularly, as indicated by the small line
+marks in the design; hence, in preparing for the loom, the first
+pick would be stamped twice thus: <abbr title="One">I.</abbr>, cut all but the marks ▨
+and—; <abbr title="Two">II.</abbr>, cut all but the marks ⌻.</p>
+
+<figure class="figcenter illowp59" id="fig214" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig214.jpg" alt="Rib or cord stripe">
+  <figcaption>
+      <p><span class="smcap">Fig. 214.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp59a" id="fig215" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig215.jpg" alt="Spotted vesting">
+  <figcaption>
+      <p><span class="smcap">Fig. 215.</span></p>
+  </figcaption>
+</figure>
+
+<p>It will be observed that the spots in the fabric (Pattern 4,
+<a href="#plate37d">Plate <abbr title="Thirty-seven">XXXVII.</abbr></a>)
+ are composed of green, blue, and crimson. This
+is due to the system of weft colouring practised, which is as
+appended:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+<td class="tdr" rowspan="2">For 8 picks.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">pick of</td>
+<td class="tdl">black worsted.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">crimson silk</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">For 8 picks.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">pick of</td>
+<td class="tdl">black worsted.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">blue silk.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">For 8 picks.</td>
+<td class="tdl">⎧</td>
+<td class="tdl">1</td>
+<td class="tdc">pick of</td>
+<td class="tdl">black worsted.</td>
+</tr>
+<tr>
+<td class="tdl">⎩</td>
+<td class="tdl">1</td>
+<td class="tdc">„</td>
+<td class="tdl">green silk.</td>
+</tr>
+</table>
+
+<p>Of course it is feasible to colour a design of this arrangement
+on other systems. Thus the spots could all be developed in the
+same colour, or they might each have been composed of two tints,
+such as crimson and white, claret and lavender, and blue and
+<span class="pagenum" id="Page_343">[Pg 343]</span>
+olive. The base on which the design is constructed causes the
+respective spots of blue, green, and crimson in the pattern to be
+neatly distributed over the corkscrew twill surface forming the
+groundwork of the fabric.</p>
+
+<figure class="figcenter illowp100" id="fig216" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig216.jpg" alt="Diagonal design">
+  <figcaption>
+      <p><span class="smcap">Fig. 216.</span></p>
+  </figcaption>
+</figure>
+
+<p>245. <i>Two-Cover Vestings.</i>—Vestings of this class possess one
+ground weft and two
+“extras” for figuring.
+Loud patterns only being
+occasionally required in
+these textures, a scheme of
+figuring is practised which
+reduces the cost of production.
+Thus the spots or
+figures are only produced
+here and there in the fabric,
+a considerable number of
+ground picks intervening.
+In this way, the quantity
+of silk used is considerably
+diminished. An example
+may be considered in which
+two extras are necessary
+in developing the spotted
+effects. It is the diagonal
+pattern given in <abbr title="Number">No.</abbr> 2 on
+<a href="#plate37b">Plate <abbr title="Thirty-seven">XXXVII.</abbr></a>, and referred
+to in the previous
+paragraph. The ground
+design here is composed of
+four weaves—fine corkscrew,
+weft sateen, twilled
+mat, and an upright twill—and,
+apart from the small
+figures, occupies 288 picks. The spots are developed in two hues,
+and are arranged on this diagonal base on a sateen method, six
+occurring in each repeat of the pattern. Those sections of the
+design—<a href="#fig216">Fig. 216</a>—in which the spots occur are three-fold in composition,
+the ground, crimson, and green wefts being combined.
+<span class="pagenum" id="Page_344">[Pg 344]</span>
+Picks lettered <i>A</i>, for example, comprise one spot, and include the
+ground, crimson, and green picks. The ties for the extra wefts
+are on the principle indicated. The system of wefting which
+has been practised in producing the pattern formed of the design
+worked out on the base of <a href="#fig216">Fig. 216</a> is as follows:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+<td class="tdr" rowspan="3">For 24 picks.</td>
+<td class="tdl">⎧1</td>
+<td class="tdc">pick of</td>
+<td class="tdl">black worsted.</td>
+</tr>
+<tr>
+<td class="tdl">⎨1</td>
+<td class="tdc">„</td>
+<td class="tdl">crimson silk.</td>
+</tr>
+<tr>
+<td class="tdl">⎩1</td>
+<td class="tdc">„</td>
+<td class="tdl">green silk.</td>
+</tr>
+<tr>
+<td></td>
+<td class="tdr">40</td>
+<td class="tdc">picks of</td>
+<td class="tdl">black worsted.</td>
+</tr>
+</table>
+
+<p class="unindent">Blue and white, orange and blue, and salmon and light-blue, also
+give neat patterns. Light shades may be, moreover, employed,
+with satisfactory results, in
+the ground of the fabric.</p>
+
+<figure class="figcenter illowp80" id="fig217" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig217.jpg" alt="Four-cover vesting">
+  <figcaption>
+      <p><span class="smcap">Fig. 217.</span></p>
+  </figcaption>
+</figure>
+
+<p>246. <i>Four-Cover Styles.</i>—Having
+considered two specimens
+of vestings in worsteds
+an example in five shades,
+may be examined in woollens.
+Each shade of weft in figured
+textiles adds to the construction
+of this type of design.
+First, it implies a larger
+number of cards; and, second,
+more picks to the inch, necessitating more weaving. While, however,
+these complications are the result of the employment of a
+diversity of colours, yet it is mainly by multiplying the shades
+of weft that richness of design is obtained. In the example
+in the four-cover vestings, <a href="#fig217">Design 217</a>, the foundation of the
+texture is broken crow or weft swansdown. All the effects are
+due to solid weft floats. The marks ⧅ represent Shade 1 in the
+fabric, the ▨’s Shade 2, the ⊡’s Shade 3, the ◼’s Shade 4, and
+⌻’s Shade 5. The order of weft colours is:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+<td class="tdr" rowspan="2">For 26 picks.</td>
+<td class="tdl">⎧1</td>
+<td class="tdc">pick of</td>
+<td class="tdl">Shade</td>
+<td class="tdl">1.</td>
+</tr>
+<tr>
+<td class="tdl">⎩1</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdl">2.</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">⎧1</td>
+<td class="tdc">pick of</td>
+<td class="tdl">Shade</td>
+<td class="tdl">1.</td>
+</tr>
+<tr>
+<td class="tdr">For 12 picks.</td>
+<td class="tdl">⎨1</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdl">2.</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">⎩1</td>
+<td class="tdc">„</td>
+<td class="tdc">silk,</td>
+<td class="tdl">Shade 3.</td>
+</tr>
+<tr>
+<td class="tdr"><span class="pagenum" id="Page_345">[Pg 345]</span></td>
+<td class="tdl">⎧1</td>
+<td class="tdc">pick of</td>
+<td class="tdl">Shade</td>
+<td class="tdl">1.</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">⎪1</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdl">2.</td>
+</tr>
+<tr>
+<td class="tdr">For 8 picks.</td>
+<td class="tdl">⎨1</td>
+<td class="tdc">„</td>
+<td class="tdc">silk,</td>
+<td class="tdl">Shade 3.</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">⎩l</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdl">4.</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">⎧1</td>
+<td class="tdc">pick of</td>
+<td class="tdl">Shade</td>
+<td class="tdl">1.</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">⎪1</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdl">2.</td>
+</tr>
+<tr>
+<td class="tdr">For 20 picks.</td>
+<td class="tdl">⎨1</td>
+<td class="tdc">„</td>
+<td class="tdc">silk,</td>
+<td class="tdl"> Shade 3.</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">⎪1</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdl">4.</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">⎩1</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdl">5.</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">⎧1</td>
+<td class="tdc">pick of</td>
+<td class="tdl">Shade</td>
+<td class="tdl">1.</td>
+</tr>
+<tr>
+<td class="tdr">For 9 picks.</td>
+<td class="tdl">⎨1</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdl">2.</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">⎩1</td>
+<td class="tdc">„</td>
+<td class="tdl">silk,</td>
+<td class="tdl">Shade 4.</td>
+</tr>
+<tr>
+<td class="tdr" rowspan="2">For 12 picks.</td>
+<td class="tdl">⎧1</td>
+<td class="tdc">pick of</td>
+<td class="tdl">Shade</td>
+<td class="tdl">1.</td>
+</tr>
+<tr>
+<td class="tdl">⎩1</td>
+<td class="tdc">„</td>
+<td class="tdc">„</td>
+<td class="tdl">2.</td>
+</tr>
+</table>
+
+<p>In preparing the cards, first cut all but ⧅; second, cut all but
+▨; third, cut all but ⊡; fourth, cut all but ◼; and, fifth, cut all
+but ⌻. Picks <i>A</i> are stamped twice, picks <i>B</i>
+three times, picks <i>C</i> and <i>E</i> four times, and
+picks <i>D</i> five times.</p>
+
+<figure class="figright illowp35" id="fig218" style="max-width: 18.75em;">
+  <img class="w100" src="images/fig218.jpg" alt="Honeycomb weave">
+  <figcaption>
+      <p><span class="smcap">Fig. 218.</span></p>
+  </figcaption>
+</figure>
+
+<p>247. <i>Honeycomb Vestings.</i>&#x2060;<a id="FNanchor_16_16" href="#Footnote_16_16" class="fnanchor">[16]</a>—These are an
+old style of woven textural effect produced
+in weaves irregular in structure, or in which
+there is contrast of warp and weft floats, forming
+diamond, mat, and other effects. The
+fabrics may be single, backed, or compound in structure. An
+example of the first type is given in Pattern 1,
+ <a href="#plate38">Plate <abbr title="Thirty-eight">XXXVIII.</abbr></a>,
+the weave being <a href="#fig218">Fig. 218</a>, on a diamond base. The warping
+and wefting are as follows:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+<td class="tdr"></td>
+<td class="tdl">2/18ˢ white</td>
+<td class="tdr">2</td>
+<td class="tdr">21</td>
+<td class="tdr">21</td>
+<td class="tdr">21</td>
+<td class="tdr">19</td>
+</tr>
+<tr>
+<td class="tdr">Double</td>
+<td class="tdl">22’s/2 yellow silk</td>
+<td class="tdr">3</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">2/16ˢ black</td>
+<td class="tdr">-</td>
+<td class="tdr">3</td>
+<td class="tdr">-</td>
+<td class="tdr">3</td>
+<td class="tdr">-</td>
+</tr>
+<tr>
+<td class="tdr"></td>
+<td class="tdl">10’s/2 red silk</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+<td class="tdr">3</td>
+<td class="tdr">-</td>
+<td class="tdr">-</td>
+</tr>
+</table>
+
+<p>A more irregular type is that seen in <a href="#fig219">Fig. 219</a>, in which the
+<span class="pagenum" id="Page_346">[Pg 346]</span>
+diamond principle is combined with mat weave, <a href="#fig220">Fig. 220</a>. The
+method of manufacture is as follows:&#x2060;—</p>
+
+<p class="center"><i>Warp.</i></p>
+
+<table>
+<tr>
+<td class="tdl">Three-fold 2/30’s white</td>
+<td class="tdc pad6 pad3">worsted</td>
+<td class="tdr pad2">-</td>
+<td class="tdr pad1">24</td>
+</tr>
+<tr>
+<td class="tdl">Four-fold 2/36’s blue</td>
+<td class="tdc">„</td>
+<td class="tdr">4</td>
+<td class="tdr">8</td>
+</tr>
+</table>
+
+<p class="center"><i>Weft.</i><br>
+<br>
+Three-fold 2/30’s white worsted.
+</p>
+
+<figure class="figcenter illowp80" id="fig219" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig219.jpg" alt="Honeycomb fabric">
+  <figcaption>
+      <p><span class="smcap">Fig. 219.</span></p>
+  </figcaption>
+</figure>
+
+<p>It will be seen from both examples that there is much
+irregularity of weave structure and also in counts of yarn.</p>
+
+<figure class="figcenter illowp80" id="fig220" style="max-width: 37.5em;">
+  <img class="w100" src="images/fig220.jpg" alt="Honeycomb stripe">
+  <figcaption>
+      <p><span class="smcap">Fig. 220.</span></p>
+  </figcaption>
+</figure>
+
+<p>248. <i>Two-Cover Designing.</i>—Several types of fabrics in
+addition to Pattern 2, <a href="#plate37b">Plate <abbr title="Thirty-seven">XXXVII.</abbr></a>,
+ are coloured and figured on
+this system, which admits of the production of a considerable
+diversity of effects. Pattern 1 of <a href="#plate39">Plate <abbr title="Thirty-nine">XXXIX.</abbr></a> is an example.
+The warp of this fabric is cotton, but as the ground weave is
+a five-end weft sateen, it flushes the worsted picks constituting
+<span class="pagenum" id="Page_347">[Pg 347]</span>
+the foundation of the texture on the surface, concealing thereby
+the cotton yarns. A section of the design used in weaving this
+example is given in <a href="#fig221">Fig. 221</a>. By changing the ground weave
+to twill, and employing a shade of warp distinct from the weft,
+the pattern could be improved in colouring. As here tinted,
+however, it is evident that by this scheme of designing ornamental
+details may be clearly developed in the texture. The
+order of wefting is one pick of light fawn, one pick of black
+silk, and one pick of lavender silk. The texture being two-cover,
+the process of card stamping is as follows: <abbr title="One">I.</abbr>, cut blanks,
+solid blacks, and small circles; <abbr title="Two">II.</abbr>, cut crosses, blanks, and
+circles; and <abbr title="Three">III.</abbr>, cut crosses, blacks, and blanks.</p>
+
+<figure class="figcenter illowp67" id="fig221" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig221.jpg" alt="Figured pattern">
+  <figcaption>
+      <p><span class="smcap">Fig. 221.</span></p>
+  </figcaption>
+</figure>
+
+<p>249. <i>Four-Cover Pine Design.</i>—An interesting specimen of
+four-colour figuring is given in Pattern 2 on
+ <a href="#plate38b">Plate <abbr title="Thirty-eight">XXXVIII.</abbr></a>
+<span class="pagenum" id="Page_348">[Pg 348]</span>
+It is a good combination of colours, textile effects, and principles
+of weaving. First, as to the blending of tints and the figuring
+obtained. Though only four colours are used in the weft—claret,
+lavender or blue grey, olive, and salmon—yet five-tinted
+effects are produced. The extra tint is due to interweaving the
+warp—which is a bright crimson—plain with the salmon weft,
+forming that intermingled colouring composing the ground of the
+interior of the pine figures. The rich claret shade which constitutes
+the ground of the fabric gives a velvety aspect to the
+entire pattern, and develops the other tints in the texture.</p>
+
+<figure class="figcenter illowp64" id="fig222" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig222.jpg" alt="Pine figuring">
+  <figcaption>
+      <p><span class="smcap">Fig. 222.</span></p>
+  </figcaption>
+</figure>
+
+<p>The order of wefting and colouring is thus: <i>warp</i>, all crimson;
+<i>weft</i>,1 pick of claret, 1 pick of salmon, 1 pick of lavender, and
+1 pick of olive. Each shade runs through the fabric, and
+<span class="pagenum" id="Page_349">[Pg 349]</span>
+is continually helpful in imparting tone and character to the
+whole composition of both ornamental and textural details.</p>
+
+<figure class="figcenter illowp82" id="plate38" style="max-width: 31.25em;">
+  <img class="w100" src="images/plate38.jpg" alt="honeycomb">
+  <figcaption style="color:blue;">
+      <p>Plate <abbr title="Thirty-eight">XXXVIII</abbr><br>
+         <span class="allsmcap">1. HONEYCOMB PATTERN</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp79" id="plate38b" style="max-width: 31.25em;">
+  <img class="w100" src="images/plate38b.jpg" alt="pine figuring">
+  <figcaption style="color:blue;">
+      <p><span class="allsmcap">2. PINE FIGURING</SPAN></p>
+  </figcaption>
+</figure>
+
+<p>As to the construction of the design. The ground weave—<a href="#fig222">Fig.
+222</a>—is a weft broken [1\3] twill. All the figured parts of the
+design, excepting where the warp yarns work plain with the
+salmon picks, are flushed solid. This is apparent from <a href="#fig222">Fig. 222</a>,
+which is the weave-design of the upper part of the pine figures.
+Here the solid squares correspond to the claret in the texture,
+the dots to the salmon, the circles to the lavender, and the grey
+marks to the olive. Every pick of the weave-design is stamped
+four times as follows:&#x2060;—</p>
+
+<table class="autotable">
+<tr>
+<td class="tdr"><abbr title="One">I.</abbr></td>
+<td class="tdc">Cut all marks but</td>
+<td class="tdl">solid black.</td>
+</tr>
+<tr>
+<td class="tdr"><abbr title="Two">II.</abbr></td>
+<td class="tdc">„</td>
+<td class="tdl">dots.</td>
+</tr>
+<tr>
+<td class="tdr"><abbr title="Three">III.</abbr></td>
+<td class="tdc">„</td>
+<td class="tdl">circles.</td>
+</tr>
+<tr>
+<td class="tdr"><abbr title="Four">IV.</abbr></td>
+<td class="tdc">„</td>
+<td class="tdl">greys.</td>
+</tr>
+</table>
+
+<p>The ground weft is tied regularly, but the other wefts are
+flushed on the under surface of the fabric.</p>
+
+<p>250. <i>Paisley Shawl Colouring.</i>—<a href="#fig223">Fig. 223</a> is on the pine base,
+similar to <abbr title="Number">No.</abbr> 2, <a href="#plate38b">Plate <abbr title="Thirty-eight">XXXVIII.</abbr></a>, but the ornament is of a more
+elaborate character. The structure of the fabric is seen from
+the section of a design of this character, <a href="#fig224">Fig. 224</a>, the colours
+being inserted chiefly in the weft. The weaves in the various
+parts of the figuring are fine twills running in different directions,
+and the ground is warp twill. Each kind of mark
+represents the different colour of weft in which the figuring
+is developed. Each colour stitches in the weft to make a continuous
+twill.</p>
+
+<figure class="figcenter illowp57" id="fig223" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig223.jpg" alt="Pine figuring">
+  <figcaption>
+      <p><span class="smcap">Fig. 223.</span></p>
+  </figcaption>
+</figure>
+
+<p>251. <i>Compound-Weft Reversibles.</i>—Reference should be made,
+in treating of fabrics coloured in the weft, to rugs and reversible
+textures, for some classes of shawls, and—in light materials—for
+mantlings. These textures are composed of weaves which
+are double or three-fold in the weft but single in the warp
+Thus they are of such a character as to allow of the employment
+of two series of weft threads of different colours. One
+layer of picks is spread over the other. This will be understood
+on referring to <a href="#fig225">Fig. 225</a>. The weaves used in the construction
+<span class="pagenum" id="Page_350">[Pg 350]</span>
+of this 2-ply build of fabric are supplied in <a href="#fig226">Fig. 226</a>. They are
+simply swansdown twills backed, hence, when combined and
+woven in a warp composed of small yarns, and with thick weft
+yarns arranged one pick black and one pick grey, a textile is
+produced of the same structure as that represented in <a href="#fig225">Fig. 225</a>.
+Here it is apparent that the system of weaving causes the black
+picks to cover the grey picks in part <i>A</i>, and <i>vice versâ</i> in part
+<i>B</i>. In the actual texture, the black picks are close together,
+completely concealing the layer of picks over which they are
+spread. The same may be remarked of the grey picks in part
+<span class="pagenum" id="Page_351">[Pg 351]</span>
+<i>B</i>; consequently the warp threads, being small, are all but
+entirely hid, and indeed they should not be observed on either
+side of the finished fabric.</p>
+
+<figure class="figcenter illowp89" id="fig224" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig224.jpg" alt="Paisley shawl">
+  <figcaption>
+      <p><span class="smcap">Fig. 224.</span></p>
+  </figcaption>
+</figure>
+
+<p>As the designs are two-fold in the weft, they may contain twice
+the number of picks to threads per inch, in which case they would
+be worked out on 8-by-16 point paper. Having determined on
+the ornamental arrangement of the pattern, say that given in
+<a href="#fig227">Fig. 227</a>, the sketch is transferred on to the plan paper on the
+same principle as in designing for double-plain reversibles.
+Weave <i>A</i> of <a href="#fig226">Fig. 226</a> is then applied to the figured sections, and
+weave <i>B</i> to the ground, and for the hard effect or shade, a weave
+arranged 2 picks face and 2 picks backing, intermingling the two
+colours, is also used. Should black and white wefts be employed,
+the figure on the upper surface would be in black and the ground
+in white, and the grey portions, <a href="#fig227">Fig. 227</a>, in black and white.</p>
+
+<p><span class="pagenum" id="Page_352">[Pg 352]</span></p>
+<figure class="figcenter illowp50" id="fig225" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig225.jpg" alt="reversible fabric">
+  <figcaption>
+      <p><span class="smcap">Fig. 225.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp50" id="fig226" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig226.jpg" alt="Weave for Fig 227">
+  <figcaption>
+      <p><span class="smcap">Fig. 226.</span></p>
+  </figcaption>
+</figure>
+
+<p>In the 3-ply colouring, <a href="#fig228">Fig. 228</a>, weaves, threefold in structure
+in the weft, have been used. A simple type of weave for this
+purpose is given in <a href="#fig229">Fig. 229</a>, where the face and back of the
+texture are in weft twills, and the centre in plain weave. If a
+finer fabric is required, then six-end sateen with warp prunelle
+twill in the centre may be used, <a href="#fig230">Fig. 230</a>. By such weaves,
+three colours of weft may be combined, one for each part of the
+figuring, and the pattern developed in three shades.</p>
+
+<figure class="figcenter illowp74" id="fig227" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig227.jpg" alt="Reversible fabric">
+  <figcaption>
+      <p><span class="smcap">Fig. 227.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp55" id="fig228" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig228.jpg" alt="Coloured reversible">
+  <figcaption>
+      <p><span class="smcap">Fig. 228.</span>—Three-ply Weft Reversible.</p>
+  </figcaption>
+</figure>
+
+<p>252. <i>Warp and Weft Colouring.</i>—This species of colouring is
+principally practised in figured textiles. The ordinary system
+relates to flushing the warp and weft—which are of different
+shades—in the construction of the figure, as is instanced in
+Pattern 3 of <a href="#plate39">Plate <abbr title="Thirty-nine">XXXIX.</abbr></a>
+ Here the outside of the oblong
+figures consists of floats of weft, and the interior of floats of
+warp. Now by warping 96 ends of crimson and 96 ends of
+<span class="pagenum" id="Page_353">[Pg 353]</span>
+<span class="pagenum" id="Page_354">[Pg 354]</span>
+lavender, and weaving 96 picks of tan and 96 picks of white,
+several tinted effects are obtained. First, a solid square of
+lavender is formed; second, square <i>B</i> is composed of crimson
+and lavender; third, square <i>C</i> is composed of crimson and tan;
+and fourth, square <i>D</i> is composed of tan and lavender. By this
+scheme of colouring and weaving, considerable diversity of
+pattern is producible.</p>
+
+<figure class="figcenter illowp30" id="fig229" style="max-width: 18.75em;">
+  <img class="w100" src="images/fig229.jpg" alt="four-shaft">
+  <figcaption>
+      <p><span class="smcap">Fig. 229.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp50" id="fig230" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig230.jpg" alt="Six-shaft">
+  <figcaption>
+      <p><span class="smcap">Fig. 230.</span></p>
+  </figcaption>
+</figure>
+
+<p><a href="#fig231">Design 231</a> is an example in compound warp and weft colouring.
+The colour of the warp of this fabric would partially form
+both the ground and the figured effects. Two wefts might be
+used, say brown and light brown, the former producing the
+figure and the latter the ground of the texture. The ⌻’s
+represent the rib groundwork, the dots the light brown, and
+the greys the solid floats of warp. Being composed of two
+wefts, the design is prepared for the loom by first cutting all
+but ⌻’s; and, second, by cutting all but ⊡’s. The light brown
+is regularly tied to the under-side of the texture.</p>
+
+<p>Other types of colouring, having “extras” in both warp and
+weft, are also practised. They are, however, mainly compounds
+of the two systems of colouring already illustrated.</p>
+
+<p>A useful example is Pattern 2, <a href="#plate39">Plate <abbr title="Thirty-nine">XXXIX.</abbr></a>
+ The broader
+floral figuring is developed in warp cord (see sectional design 232).
+Between such floats of warp making the cord, a firm groundwork
+is formed. The weft figuring consists of long floats
+of the light silk yarn, underneath which is also constructed a
+fast woven texture. The ground weave is a fine cord.</p>
+
+<figure class="figcenter illowp42a" id="fig231" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig231.jpg" alt="Warp cord ground">
+  <figcaption>
+      <p><span class="smcap">Fig. 231.</span></p>
+  </figcaption>
+</figure>
+
+<p>253. <i>Curls, Textiles of the Astrakhan Group.</i>—“Curls” are a
+<span class="pagenum" id="Page_355">[Pg 355]</span>
+type of textile that belong, strictly speaking, to fabrics of the
+astrakhan and lambskin type. One of the objects here is to
+manufacture a fabric similar in appearance, texture, and general
+character to the original astrakhan. But at the same time, it is
+sought to acquire these effects by cheaper and more expeditious
+methods than are practised in making astrakhan, lambskin, and
+<span class="pagenum" id="Page_356">[Pg 356]</span>
+<span class="pagenum" id="Page_357">[Pg 357]</span>
+similar fabrics. The production of cheap, serviceable “curls”
+has led to the construction of spiral, curled, and knopped yarns—all
+threads which, when appropriately employed, impart a
+curly surface to the cloth.</p>
+
+<figure class="figcenter illowp42a" id="fig232" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig232.jpg" alt="Solid weft floats">
+  <figcaption>
+      <p><span class="smcap">Fig. 232.</span>—Section of Design for Pattern 2,
+      <a href="#plate39">Plate <abbr title="Thirty-nine">XXXIX.</abbr></a></p>
+  </figcaption>
+</figure>
+
+<p>254. <i>Four Types of Curled Effects.</i>—Curled effects may be
+classified under four heads:&#x2060;—</p>
+
+<p>(1) Those in which the effect is obtained by employing wires
+in weaving.</p>
+
+<p>(2) Those in which the yarn is curled previous to weaving,
+and the flushes of weft thread cut after the piece leaves the
+loom.</p>
+
+<p>(3) Curls due to the employment of yarns composed of two or
+more classes of materials. The curl in this case is developed in
+milling.</p>
+
+<p>(4) Fabrics in which a curled thread is used in the weft.</p>
+
+<figure class="figcenter illowp80" id="fig233" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig233.jpg" alt="Section of pile fabrics">
+  <figcaption>
+      <p><span class="smcap">Fig. 233.</span></p>
+  </figcaption>
+</figure>
+
+<p>The first and second classes of curls represent the original
+methods of gaining effects of this kind, while the third and
+fourth classes represent the modern principles of manufacture.
+Examination of the different classes will show that each possesses
+some advantages which the other lacks, and also that certain
+defects are characteristic of each process of production.</p>
+
+<p>In the first species of curls—in which colour is introduced
+into the warp—are astrakhans, lambskins, and other classes of
+similar fabrics.</p>
+
+<p>255. <i>Curls obtained by Wires.</i>—Curls obtained by the use of
+wires are fabrics containing two warps—one of which forms the
+foundation, and the other the curled effect of the texture. The
+ground warp is usually cotton, the curled warp mohair, and the
+weft woollen. The mohair yarn is submitted to a process of
+curling or crimping before weaving, so that when the threads are
+cut over the wires, in the actual manipulation of the fabric, the
+ends thus produced twist, twirl, and roll into all kinds of shapes.
+<span class="pagenum" id="Page_358">[Pg 358]</span>
+The larger the curl, the thicker and more curly the material
+used in its formation, and the deeper the wires inserted into the
+cloth during weaving. <a href="#fig233">Fig. 233</a> will illustrate the principle on
+which the wires are employed and the part they play in the
+development of the curly appearance of such fabrics. In this
+sketch, which is a sectional drawing showing the interlacing of
+the threads and the position of the wires in a simple astrakhan
+prior to cutting, threads <i>A</i> represent the mohair warp, threads
+<i>C</i> the ground warp, <i>b</i> the picks or shoots of weft, and <i>W</i> the
+wires. It will be observed that there are several picks between
+each wire which interlace with threads <i>C</i> to form a texture,
+or foundation fabric, on to which a layer of curls, closely
+grouped together, is secured. There is a firm woven cloth in
+addition to the curled effect in all such structures; and it should
+be noticed that the more substantial this concealed portion of
+the foundation, the more durable the texture produced. An
+insecure ground texture should be prevented in the manufacture
+of all fabrics in which wires are employed. The picks
+<i>b</i> interweave with threads <i>C</i> on the plain principle, but not
+invariably so, as the three-end twill sometimes forms the plan of
+intersection for these yarns.</p>
+
+<p>No less than five ground picks are inserted between each wire
+in the fabric sketched, forming a firm foundation for the wires.
+Another point secured, by having this number of ground shoots
+intervening the wires, is the production of a large curl, because
+the wires are not forced into close or absolute contact with each
+other.</p>
+
+<p>256. <i>Process of Weaving Curls produced by Wires.</i>—The
+routine of the actual operation of weaving this style of curl may
+be briefly stated:—The proper number of ground picks <i>b</i>,
+having been interlaced with yarns <i>C</i>, one half of the mohair
+warp is elevated and wire 1 inserted; the same number of
+ground picks is again introduced into the warp <i>C</i>, and then the
+reverse half of the mohair warp raised and wire 2 inserted. This
+completes the process as far as the interlacing of the threads is
+concerned. One particular that has not been noticed is the mode
+of binding the curled warp to the texture; this is effected by
+depressing the mohair yarns both previous to, and after the
+<span class="pagenum" id="Page_359">[Pg 359]</span>
+insertion of the wires, crossing them of course with the picks b.
+After some five or six wires have been secured, as shown in the
+illustration, cutting takes place. This is done by the weaver
+running his knife down the grooved part of the wire, a process
+which divides the loops and liberates the threads, when their
+curling properties cause them to twist and curl so effectually
+together as to entirely cover the surface of the ground fabric
+on to which they have thus been fastly woven. The spiral
+condition into which the ends twist themselves on being liberated,
+is seen in <a href="#fig234">Figs. 234</a> and <a href="#fig235">235</a>, a section of an astrakhan fabric
+after cutting.</p>
+
+<figure class="figcenter illowp80" id="fig234" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig234.jpg" alt="Section of fabrics (cut)">
+  <figcaption>
+      <p><span class="smcap">Fig. 234.</span></p>
+  </figcaption>
+</figure>
+
+<p>A feature in which this class of curls differs from others is
+that if two or more shades of yarn, and several depths of
+wires are used, one for each colour of curled warp, then, by
+a suitable arrangement in the design, an attractive combination
+of effects results.</p>
+
+<figure class="figcenter illowp80" id="fig235" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig235.jpg" alt="Long curl effect">
+  <figcaption>
+      <p><span class="smcap">Fig. 235.</span></p>
+  </figcaption>
+</figure>
+
+<p>257. <i>Curls formed by the Weft in which the Warp is Cotton
+Threads.</i>—This class of “curls,” which may be examined in
+detail, also includes fabrics of the astrakhan group. But here,
+instead of the curl being obtained in the warp, it is obtained
+in the weft yarn. In cloths of this order the warp is invariably
+cotton, while the weft is woollen and mohair—the wool
+being utilized in the construction of the ground of the
+texture, and the mohair in the formation of the curly effect.</p>
+
+<p>The system of forming the curl by the warp offers larger
+scope for variety of pattern and texture, than when it is
+produced on the weft principle. In this instance, the cloth is
+<span class="pagenum" id="Page_360">[Pg 360]</span>
+simple in structure. It is possible, however, on this principle
+of intertexture, to have either a short or long curl. As in
+warp effects, the mohair yarn has to be curled or crimped
+prior to weaving by submitting it to a process of boiling,
+which may be continued for two or three hours, according
+to the quality of the yarn and the permanence with which
+it is sought to fix the curl.</p>
+
+<p>258. <i>The Weave of Weft Curls.</i>—The weave of this type
+of fabric is arranged on a simple principle. It first admits
+of several mohair or flush picks being introduced into the
+warp, which are followed by a plain ground shoot. If the
+weave occupies, say twenty-four threads, each flushing pick
+might float over seventeen ends, and then form a plain interlacing
+with the remaining seven ends of the series. This
+process securely fastens the curl picks on to the ground of
+the fabric.</p>
+
+<figure class="figcenter illowp80" id="fig236" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig236.jpg" alt="Long curl effect">
+  <figcaption>
+      <p><span class="smcap">Fig. 236.</span></p>
+  </figcaption>
+</figure>
+
+<p>259. <i>Structure of Weft-Curl Fabrics.</i>—<a href="#fig236">Fig. 236</a> is a section
+of the interlacing of the warp and weft yarns in this make of
+textile. Here dots <i>a</i> represent the ends of the warp threads;
+<i>B</i>, the mohair weft yarns or flushing picks; and <i>c</i>, the plain
+ground picks. The fabric is twofold in the weft and single
+in the warp. Picks lettered <i>B</i> are placed, in weaving, over
+the picks or shoots <i>c</i>, which produce, along with the ends
+lettered <i>a</i>, a foundation texture on to which shoots <i>B</i> may
+be fastened. The warp threads are thus made to interlace with
+both kinds of weft, producing, with the cotton or woollen
+weft <i>c</i>, a plain fabric, and, with the mohair picks <i>B</i>, a cloth
+in which the face is formed of long flushes of weft yarn.</p>
+
+<figure class="figcenter illowp59" id="plate39" style="max-width: 34.6875em;">
+  <img class="w100" src="images/plate39.jpg" alt="Figured Styles">
+  <figcaption style="color:blue;">
+      <p>Plate <abbr title="Thirty-nine">XXXIX</abbr><br>
+      <span class="allsmcap">FIGURED STYLES DEVELOPED IN WARP AND WEFT
+    COLOURINGS</span></p>
+  </figcaption>
+</figure>
+
+<p>Feather trimmings, <a href="#fig237">Fig. 237</a>, are made on this principle, only
+several widths, <i>A</i>, <i>B</i>, <i>C</i>, of the curl effect are formed in one width
+of the fabric. The mohair yarn to form the curl is crimped
+or curled before weaving. The floats in the texture vary in
+length, and extend from Series <i>A</i> to Series <i>B</i>, and from <i>B</i>
+<span class="pagenum" id="Page_361">[Pg 361]</span>
+to <i>C</i> In the illustration, the weft threads floating over such
+spaces have been severed and allowed to form the curl effect
+of which the trimming consists. Many methods of colouring
+are practised in the production of such fabrics, and also, as
+seen from the specimen <i>D</i>, special figuring due to the ordinary
+type of weaving.</p>
+
+<figure class="figcenter illowp72" id="fig237" style="max-width: 31.25em;">
+  <img class="w100" src="images/fig237.jpg" alt="Feather trimming">
+  <figcaption>
+      <p><span class="smcap">Fig. 237.</span></p>
+  </figcaption>
+</figure>
+
+<p>260. <i>Operation of Cutting after Weaving.</i>—When the cloth
+leaves the loom there is no appearance of a curl effect, its
+under surface being nothing but a plain weave, and the
+face consisting of long floats of mohair yarn. To produce
+the curl these flushes require to be severed or cut, when the
+ends thus obtained twist and twirl into the spiral forms
+shown in <a href="#fig235">Fig. 235</a>. The cutting process is done as follows:—About
+two yards of cloth having been stretched tightly
+on a frame, the cutter inserts the fine point of the knife
+and guide under one of the row of long flushes formed by
+picks <i>B</i>, <a href="#fig236">Fig. 236</a>; the loops or flushes being arranged in rows,
+the knife can be made to travel very accurately under each
+row of loops to the end of the length of texture spread on
+the frame. As it is forced through this tunnel of loops, it
+severs the threads, and, as the yarns were curled or crimped
+<span class="pagenum" id="Page_362">[Pg 362]</span>
+previous to weaving, they immediately assume curly, spiral
+conditions.</p>
+
+<p>By a slight modification of this principle of weaving it is
+possible to produce a large variety of patterns. One example
+of this class of effects is a pattern with a figured design (see
+<i>D</i>, <a href="#fig237">Fig. 237</a>), in which the pine pattern is developed in extra
+silk weft in addition to the curl effects. Mohair may be the
+material used for the curled figures and silk for the figuring.</p>
+
+<p>261. <i>Curls developed by Milling.</i>—In the two classes of
+these fabrics already described, the curl effect is the result
+of preparing the yarn by subjecting it to a crimping process
+before using it as warp or weft in the composition of the
+cloths. Both types of curls considered are, moreover, submitted
+to a cutting operation, which, severing the loops or
+flushes of mohair yarns, results in the production of the curled
+characteristic of the textures. In the curled cloths produced
+in milling, the curl is not due to cutting one series of the
+yarns in the fabric, but to the more rapid shrinking of some
+threads in the texture than others, a process which develops
+loops on the surface of the piece. The curl in this instance
+is produced by the doubling of certain threads, and not by
+any curling and cutting operations the yarns may be subjected
+to either previous to, during, or after weaving.</p>
+
+<p>262. <i>Points of Dissimilarity in the Various Builds of Curled
+Textures.</i>—If a fabric in which the curl is obtained in the
+warp and by the use of wires is dissected, it will be observed:—On
+removing, in the first place, to withdraw a curl thread
+it would be found to be divided into short lengths, each curl
+being a separate length. The entire series of curls might be
+removed and still a plain woven texture would remain intact;
+if, however, either the warp or weft of this foundation structure
+were disturbed, the whole fabric would be reduced to a group
+of loose ends.</p>
+
+<p>Let a fabric in which the curl is formed by the weft yarn
+and developed by cutting, after the piece leaves the loom,
+be next analyzed. Here it is possible to remove the curls,
+as in the other fabric, and yet to retain a woven texture.
+The wide dissimilarity between this fabric and the warp
+<span class="pagenum" id="Page_363">[Pg 363]</span>
+curl is to be found in the fact that the various short lengths
+of mohair which form the mass of small curls, covering the
+texture, are in this case sections of picks of weft and not
+threads of warp.</p>
+
+<p>Curl textures, which obtain the curly appearance in the
+milling machine (see <a href="#fig239">Figs. 239</a>, <a href="#fig241">241</a>,
+ and <a href="#fig243">243</a>), are constructed
+on an entirely different principle of manufacture. To remove
+any thread or pick from this fabric, curl or otherwise, destroys
+the structure of the cloth. In this type of curl there is only
+one warp and one weft, the threads of which appear alternately
+on both sides of the piece. Either warp or weft may contain
+both woollen and mohair yarns, but still the cloths are constructed
+from single weaves.</p>
+
+<p>263. <i>Two kinds of Curls developed by Milling.</i>—Curled
+fabrics of this group may be divided into two classes: (1)
+those in which the curl yarn is introduced into the warp; and
+(2) those in which it is employed in the weft. The warp
+thread which forms the curl is in some cases made of the noil
+resulting from combing mohair or alpaca, or the waste from
+the machines in making lustre worsted yarns. These materials
+possess exactly the curling properties that are requisite to
+the production of the effect characterizing this kind of curl.
+As to the weft thread, it is made chiefly of “extract” and
+similar materials.</p>
+
+<p>264. <i>Spiral Threads used for Warps.</i>—The warp is composed
+of twist threads known as “spirals,” a name applied to them
+on account of their crimpy form. They derive their principal
+characteristic from the system on which they are prepared; thus
+one of the two threads utilized in their production is, during
+twisting, only slightly tensioned, while the other thread is
+highly tensioned. This arrangement causes the compound yarn
+resultant to be crimpy or spiral, and to possess an undulated,
+wavy appearance. When the piece is subjected to heat, soapy
+moisture, and the friction of the milling process, the thick, slack
+thread shrinks up into loops, or forms small buttons, or curls,
+on the surface of the cloth. The process of fulling these
+cloths is interesting. Previous to this operation the fabric
+possesses a level surface; for there is little indication in the
+<span class="pagenum" id="Page_364">[Pg 364]</span>
+cloth when it leaves the loom as to any curly or looped effect.
+This is entirely a subsequent development. As soon as the
+felting operation commences, this characteristic appears, the
+thick and soft threads of the twist yarns forming loops or
+curls which cover both sides of the fabric.</p>
+
+<p>265. <i>Variety of Patterns in Spiral-Warp Curls due to Colour.</i>—Pattern
+or design in these goods is mainly due to colour
+combinations. As the weave is generally a four-end twill, there
+is facility for developing effects of this character with precision
+and clearness. Styles of a mixture, stripe, and check class
+are employed. One example of a mixture effect is as follows:
+Warp, two ends of maroon (spiral) and two ends of green
+(spiral); weft, all olive brown. The pattern thus obtained is
+intermingled in colouring, the warp threads giving
+indefinite and mellow patches of maroon and green,
+while the weft forms a solid and continued series
+of olive-brown twills.</p>
+
+<figure class="figcenter illowp27" id="fig238" style="max-width: 19.1875em;">
+  <img class="w100" src="images/fig238.jpg" alt="Weft curl weave">
+  <figcaption>
+      <p><span class="smcap">Fig. 238.</span></p>
+  </figcaption>
+</figure>
+
+<p>266. <i>Twist-Yarn Cotton-Warp Curl.</i>—This is a
+backed fabric, the face or right side being formed
+of curled twists and the back or under side of
+woollen yarn. Diversity of pattern or style is, in
+this kind of curl, obtained by employing several
+colours or shades of twists. Amongst the twists
+which are largely used three or four may be
+mentioned, namely, black and white, black and steel
+grey, black and olive, and black and medium blue,
+the white, steel grey, olive, and medium blue forming the loops
+or curls of the respective threads.</p>
+
+<p>267. <i>Backed Weave for Curled Cloth.</i>—A reference to
+ <a href="#fig238">Fig. 238</a>,
+which is a standard example of the description of crossing
+employed in making this sort of curls, shows that in reality this
+curled texture is constructed on the backed weave principle, a
+system of intertexture which readily allows of the production
+of a thick cloth. The picks marked in ⊠’s represent the woollen
+yarns, or weft for the ground, and the picks marked in ◻’s form
+the weave for the curl effect, or the looped twist weft. On
+examining the former series of picks, it will be observed that they
+interlace weft cord with the warp threads. The face weave—marked
+<span class="pagenum" id="Page_365">[Pg 365]</span>
+in dots—is the eight-heald doeskin or sateen, a plan of
+crossing which not only permits the curled yarn to be flushed
+on the right side of the fabric, but attaches it to the woollen
+and cotton ground texture in a uniform and secure manner.
+While the curl yarn should not show on the back of the cloth,
+the woollen yarn should not be visible on the face.</p>
+
+<p>Of course it will be understood that the character of the curly
+effect is dependent on the kind of twist
+weft employed; thus, should the yarn be
+of several colours and the loops on its
+surface large, a clear, bold curl will result;
+but should the loops be more of a knop
+than a curl, the pattern will be correspondingly
+indistinct.</p>
+
+<figure class="figcenter illowp61" id="fig239" style="max-width: 18.75em;">
+  <img class="w100" src="images/fig239.jpg" alt="Striped curl pattern">
+  <figcaption>
+      <p><span class="smcap">Fig. 239.</span></p>
+  </figcaption>
+</figure>
+
+<p>268. <i>Essential Characteristics of Cotton-Warp
+Curls due to Milling.</i>—The cotton
+warp, which constitutes the foundation of
+the fabric, possesses no felting power, but the mohair yarn which
+forms the weft, though not possessing the same fulling quality
+as some classes of wools, yet when floated on the surface of a
+cloth of this character, felts to such an extent as to draw, or
+compress, the warp ends into closer contact with each other;
+and it is this contracting of the texture in the direction of the
+weft that produces the curly or looped appearance desired.</p>
+
+<figure class="figcenter illowp80" id="fig240" style="max-width: 43.75em;">
+  <img class="w100" src="images/fig240.jpg" alt="Design for Fig 239">
+  <figcaption>
+      <p><span class="smcap">Fig. 240.</span></p>
+  </figcaption>
+</figure>
+
+<p>It must not be understood that because the curliness is
+entirely developed in fulling, the structure of the weave in no
+way affects the pattern obtained, for striped and other effects,
+can be woven by a proper modification in the arrangement of
+the design. A sketch of a curled stripe made on this principle
+is supplied in <a href="#fig239">Fig. 239</a>.</p>
+
+<p>269. <i>Examples in Designs for Cotton-Warp Curls.</i>—The
+<span class="pagenum" id="Page_366">[Pg 366]</span>
+weave, <a href="#fig240">Fig. 240</a>, is technically called a plain rib, being so
+constructed as to flush the curl yarn on the face of the cloth,
+and yet produce a fast, plain woven texture underneath the
+floats. All designs for curls of this description are made on the
+principle illustrated in this weave, and also <a href="#fig243">Fig. 243</a>, it being of
+equal importance to secure a fast fabric as to float the mohair
+yarn on the face side of the texture.</p>
+
+<figure class="figcenter illowp50" id="fig241" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig241.jpg" alt="Irregular curl">
+  <figcaption>
+      <p><span class="smcap">Fig. 241.</span></p>
+  </figcaption>
+</figure>
+
+<figure class="figcenter illowp80" id="fig242" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig242.jpg" alt="Design for Fig 241">
+  <figcaption>
+      <p><span class="smcap">Fig. 242.</span></p>
+  </figcaption>
+</figure>
+
+<p>Part <i>A</i> of the design forms the small curly effects drawn in
+Section 1 of <a href="#fig239">Fig. 239</a>, while part <i>B</i>
+gives the piping of curls represented
+in Section 2. When the
+odd picks—1, 3, 5, and 7—are
+woven into the warp they flush
+over the entire series of threads
+in <i>A</i>, but form a plain interlacing
+with the threads in Section <i>B</i>. On
+the other hand, when the even
+picks—2, 4, 6, and 8—are introduced
+into the warp, they flush
+over the threads in part <i>B</i>, but work plain with the threads in <i>A</i>.
+The woven result of this weave is, first, a striped pattern is
+formed on the upper side of the cloth, consisting of two distinct
+bands of curls; second, a firm cloth is produced, though the
+weft is flushed to such
+an extent on the upper
+surface as to conceal the
+cotton warp, for the
+picks which give the
+flushes for the curl in <i>A</i>,
+form a plain cloth under the picks which float over the threads
+<i>B</i>, while the picks yielding the curly appearance due to Section
+<i>B</i> of the design, at the same time form a plain texture underneath
+the shoots of weft which pass over threads <i>A</i>. So that
+on this principle, facility is afforded for a proper flushing of
+the weft yarns on to the upper side of the cloth, yet provision is
+made in the weave for the construction of an all but plain fabric
+to which the flushes of mohair that form the curl are securely
+attached.</p>
+
+<p><span class="pagenum" id="Page_367">[Pg 367]</span>
+Generally these textures are piece-dyed, but in such patterns as
+those given in <a href="#fig239">Figs. 239</a>, <a href="#fig241">241</a>,
+ and <a href="#fig243">243</a>, some excellent styles may
+be obtained by using two colours of weft yarn, such as black
+and maroon, blue and olive, and black and white. In such combinations
+one shade would form the broad and the other the
+narrow stripe of curls.</p>
+
+<figure class="figcenter illowp60" id="fig243" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig243.jpg" alt="Culr in two colours">
+  <figcaption>
+      <p><span class="smcap">Fig. 243.</span></p>
+  </figcaption>
+</figure>
+
+<p>In <a href="#fig241">Fig. 241</a> a fabric is sketched in which the curls are distributed,
+without any apparent design; yet according to the
+weave—<a href="#fig242">Fig. 242</a>—there is really a twilled or diagonal distribution
+of the curls. Felting, however, destroys this
+characteristic.</p>
+
+<figure class="figcenter illowp60" id="fig244" style="max-width: 25.0em;">
+  <img class="w100" src="images/fig244.jpg" alt="Design for weft curl">
+  <figcaption>
+      <p><span class="smcap">Fig. 244.</span></p>
+  </figcaption>
+</figure>
+
+<p>A more irregular pattern is that in <a href="#fig243">Fig. 243</a>, produced in
+<a href="#fig244">Fig. 244</a>, being woven one pick of light, and one pick of dark
+yarn alternately. In this way, varied colourings and forms of
+designs are obtainable in these structures.</p>
+
+<div class="p2 footnotes"><h4>FOOTNOTES:</h4>
+
+<div class="blockquot">
+<div class="footnote"><p class="unindent"><a id="Footnote_16_16" href="#FNanchor_16_16" class="label">[16]</a>
+ <i>Not infrequently with extra colour weft or warp spotting, but the example—Pattern
+1, <a href="#plate38">Plate <abbr title="Thirty-eight">XXXVIII.</abbr></a>—is coloured on the ordinary method.</i></p></div></div>
+</div>
+
+<p><span class="pagenum" id="Page_368">[Pg 368]</span></p>
+
+<hr class="chap x-ebookmaker-drop">
+<div class="chapter">
+  <h2 class="nobreak" id="INDEX">
+    INDEX.
+  </h2>
+</div>
+
+<ul class="index">
+  <li class="ifrst">Adjacent colours, effects of, <a href="#Page_42">42</a>.</li>
+
+  <li class="indx">Analogous colour contrasts, <a href="#Page_50">50</a>, <a href="#Page_55">55</a>.</li>
+
+  <li class="indx">Analysis of colour compounds, <a href="#Page_72">72</a>.</li>
+  <li class="isub1">of light, <a href="#Page_9">9</a>.</li>
+  <li class="isub1">of standardization scheme of colouring, <a href="#Page_62">62</a>.</li>
+
+  <li class="indx">Art and technique in design, <a href="#Page_320">320</a>.</li>
+
+  <li class="indx">Astrakhan fabrics, <a href="#Page_354">354</a>.</li>
+
+  <li class="indx">Attributes of blue, <a href="#Page_27">27</a>.</li>
+  <li class="isub1">of green, <a href="#Page_37">37</a>.</li>
+  <li class="isub1">of orange, <a href="#Page_37">37</a>.</li>
+  <li class="isub1">of purple, <a href="#Page_40">40</a>.</li>
+  <li class="isub1">of red, <a href="#Page_23">23</a>.</li>
+  <li class="isub1">of yellow, <a href="#Page_37">37</a>.</li>
+
+  <li class="ifrst">Backed cloths, colour applied to, <a href="#Page_94">94</a>.</li>
+
+  <li class="indx">Backed-weave combinations in relation to colour, <a href="#Page_96">96</a>.</li>
+
+  <li class="indx">Black and bright colour contrasts, <a href="#Page_55">55</a>.</li>
+  <li class="isub1">use of, in mixtures, <a href="#Page_78">78</a>, <a href="#Page_80">80</a>.</li>
+
+  <li class="indx">Blending, use of standard colours in, <a href="#Page_63">63</a>.</li>
+
+  <li class="indx">Blends, simple, <a href="#Page_70">70</a>.</li>
+
+  <li class="indx">Blue, derivatives of, <a href="#Page_28">28</a>.</li>
+  <li class="isub1">its properties and uses, <a href="#Page_27">27</a>.</li>
+  <li class="isub1">shades and tints of, <a href="#Page_30">30</a>.</li>
+  <li class="isub1">uses of, in twist yarns, <a href="#Page_33">33</a>.</li>
+
+  <li class="indx">Brodie tartan, <a href="#Page_150">150</a>.</li>
+
+  <li class="indx">Brussels carpets, <a href="#Page_332">332</a>.</li>
+
+  <li class="ifrst">Carpets, tapestry and Brussels, <a href="#Page_332">332</a>.</li>
+
+  <li class="indx">Characteristics of red, <a href="#Page_23">23</a>.</li>
+
+  <li class="indx">Check, basket (in two colours), <a href="#Page_128">128</a>.</li>
+  <li class="isub1">broken (in two colours), <a href="#Page_128">128</a>.</li>
+  <li class="isub1">(common) modification of, <a href="#Page_132">132</a>.</li>
+  <li class="isub1">consisting of two sizes of squares, <a href="#Page_124">124</a>.</li>
+  <li class="isub1">counter-change, <a href="#Page_126">126</a>.</li>
+  <li class="isub1">graduated, <a href="#Page_127">127</a>.</li>
+  <li class="isub1">interchanging, <a href="#Page_135">135</a>.</li>
+  <li class="isub1">ordinary (in three shades), <a href="#Page_130">130</a>.</li>
+  <li class="isub1">patterns, <a href="#Page_119">119</a>.</li>
+  <li class="isub1">set, <a href="#Page_131">131</a>.</li>
+  <li class="isub1">shaded (in black and white), <a href="#Page_136">136</a>.</li>
+  <li class="isub2">(in two colours, using designs composed of several weaves), <a href="#Page_139">139</a>.</li>
+
+  <li class="indx">Check and stripe designs, spotted, <a href="#Page_277">277</a>.</li>
+
+  <li class="indx">Checking, compound (in three shades), <a href="#Page_133">133</a>.</li>
+  <li class="isub1">principles of (in three shades), <a href="#Page_129">129</a>.</li>
+
+  <li class="indx"><span class="smcap">Checking, Principles of.</span> <i>See</i> List of Figs., <a href="#Page_xix">page xix</a>.</li>
+
+  <li class="indx">Checks, <a href="#Page_102">102</a>.</li>
+  <li class="isub1">fancy, <a href="#Page_145">145</a>.</li>
+  <li class="isub1">irregular and mixture, <a href="#Page_142">142</a>.</li>
+
+  <li class="indx">Citron, <a href="#Page_16">16</a>.</li>
+
+  <li class="indx">Clan Alpin tartan, <a href="#Page_157">157</a>.</li>
+
+  <li class="indx">Colour applied to single-make figured fabrics, <a href="#Page_95">95</a>.</li>
+  <li class="isub1">effects in the plain weave, <a href="#Page_99">99</a>.</li>
+  <li class="isub2">in the [2/2] twill, <a href="#Page_99">99</a>.</li>
+
+  <li class="indx"><span class="smcap">Colour Effects, Elementary Standard.</span>
+      <i>See</i> List of Figs., <a href="#Page_xx">page xx</a>.</li>
+
+  <li class="indx"><span class="smcap">Colour Effects in Compound Weave Designs.</span>
+       <i>See</i> List of Figs., <a href="#Page_xxii">page xxii</a>.</li>
+
+  <li class="indx">Colour, method of applying to textiles, <a href="#Page_5">5</a>, <a href="#Page_7">7</a>.</li>
+  <li class="isub1">in relation to backed and compound cloths, <a href="#Page_94">94</a>.</li>
+  <li class="isub1">in simple and fancy weaves, <a href="#Page_93">93</a>.</li>
+  <li class="isub1">occurrence and utility of, in fabrics, <a href="#Page_3">3</a>, <a href="#Page_4">4</a>.</li>
+  <li class="isub1">phenomena of, <a href="#Page_7">7</a>.</li>
+
+  <li class="indx">Colour standardization, <a href="#Page_61">61</a>.</li>
+  <li class="isub2">analysis of the scheme of, <a href="#Page_62">62</a>.</li>
+  <li class="isub2">application of, <a href="#Page_60">60</a>.</li>
+  <li class="isub2">by selected colours, <a href="#Page_62">62</a>.</li>
+  <li class="isub1">standards, use of in blending, <a href="#Page_63">63</a>.</li>
+
+  <li class="indx">Colouring, elements of, <a href="#Page_92">92</a>.</li>
+  <li class="isub1">figuring in the weft, <a href="#Page_96">96</a>.</li>
+  <li class="isub2">warp, <a href="#Page_97">97</a>.</li>
+  <li class="isub2">warp and weft, <a href="#Page_97">97</a>.</li>
+  <li class="isub1">1-and-1, figured styles in, <a href="#Page_164">164</a>, <a href="#Page_167">167</a>.</li>
+  <li class="isub1">3-and-3, effects in, <a href="#Page_170">170</a>.</li>
+  <li class="isub1">4-and-4, effects in, <a href="#Page_171">171</a>.</li>
+  <li class="isub1">4-and-4, effects in (fancy weaves), <a href="#Page_172">172</a>.</li>
+  <li class="isub1">6-and-6 and 8-and-8, <a href="#Page_173">173</a>.</li>
+  <li class="isub1">6-and-6 in various weaves, <a href="#Page_174">174</a>.</li>
+  <li class="isub1">mixture, <a href="#Page_67">67</a>.</li>
+  <li class="isub1">simple weave, <a href="#Page_94">94</a>.</li>
+  <li class="isub1">three-odd-thread arrangement of, <a href="#Page_175">175</a>.</li>
+
+  <li class="indx"><span class="smcap">Colouring of Spotted Designs.</span>
+      <i>See</i> List of Figs., page <a href="#Page_xxii">xxii</a>.</li>
+
+  <li class="indx"><span class="smcap">Colouring Specific Weaves and Designs, Illustrative of.</span>
+      <i>See</i> List of Figs., <a href="#Page_xix">page x</a>.</li>
+
+  <li class="indx">Colouring, tartan, <a href="#Page_145">145</a>.</li>
+  <li class="isub1">types of woven, <a href="#Page_93">93</a>.</li>
+
+  <li class="indx"><span class="smcap">Colouring in the Warp, Principles of.</span>
+      <i>See</i> List of Figs., <a href="#Page_xxiii">page xxiii</a>.</li>
+
+  <li class="indx"><span class="smcap">Colouring in the Weft, Principles of.</span>
+      <i>See</i> List of Figs., <a href="#Page_xxiii">page xxiii</a>.
+      <span class="pagenum" id="Page_369">[Pg 369]</span></li>
+
+  <li class="indx">Colourings, 1-and-1 and 2-and-2, <a href="#Page_163">163</a>.</li>
+  <li class="isub1">irregular simple order of, <a href="#Page_182">182</a>.</li>
+  <li class="isub1">methods of obtaining well-balanced, <a href="#Page_32">32</a>.</li>
+  <li class="isub1">(regular type), table of, <a href="#Page_161">161</a>.</li>
+  <li class="isub1">simple, <a href="#Page_159">159</a>.</li>
+  <li class="isub1">simple in four shades, <a href="#Page_180">180</a>.</li>
+
+  <li class="indx">Colours, changed by juxtaposition, <a href="#Page_42">42</a>.</li>
+  <li class="isub1">constants of, <a href="#Page_17">17</a>.</li>
+  <li class="isub1">methods of modifying, <a href="#Page_25">25</a>.</li>
+  <li class="isub1">primary, <a href="#Page_15">15</a>.</li>
+  <li class="isub1">pure, functions of, in design, <a href="#Page_21">21</a>.</li>
+  <li class="isub1">qualities of, <a href="#Page_20">20</a>.</li>
+  <li class="isub1">spectral, weave frequency of, <a href="#Page_9">9</a>.</li>
+  <li class="isub1">temperature of, <a href="#Page_17">17</a>.</li>
+  <li class="isub1">tints and tones of, <a href="#Page_25">25</a>.</li>
+
+  <li class="indx">Composition of coloured lights, <a href="#Page_14">14</a>.</li>
+
+  <li class="indx">Compound colouring, <a href="#Page_192">192</a>.</li>
+  <li class="isub1">composed of three elementary types, <a href="#Page_194">194</a>.</li>
+  <li class="isub1">in compound weaves, <a href="#Page_312">312</a>.</li>
+  <li class="isub1">types of, <a href="#Page_199">199</a>.</li>
+
+  <li class="indx"><span class="smcap">Compound Weave Colouring.</span>
+      <i>See</i> List of Figs., <a href="#Page_xxiii">page xxiii</a>.</li>
+
+  <li class="indx"><span class="smcap">Compound Colourings, Examples in.</span>
+      <i>See</i> List of Figs., <a href="#Page_xxi">page xxi</a>.</li>
+
+  <li class="indx">Compound colours, <a href="#Page_15">15</a>, <a href="#Page_72">72</a>.</li>
+
+  <li class="indx">Compounds composed of two simple types, <a href="#Page_201">201</a>.</li>
+  <li class="isub1">two types and three shades, <a href="#Page_203">203</a>.</li>
+  <li class="isub2">four shades, <a href="#Page_219">219</a>.</li>
+  <li class="isub1">irregular, <a href="#Page_218">218</a>.</li>
+
+  <li class="indx">Contrast, <a href="#Page_43">43</a>.</li>
+  <li class="isub1">economic, <a href="#Page_47">47</a>.</li>
+  <li class="isub1">examples in, <a href="#Page_46">46</a>.</li>
+  <li class="isub1">kinds of, <a href="#Page_38">38</a>.</li>
+  <li class="isub1">mono-chromatic, <a href="#Page_47">47</a>, <a href="#Page_50">50</a>.</li>
+  <li class="isub1">poly-chromatic, <a href="#Page_48">48</a>.</li>
+  <li class="isub1">shaded and tinted, <a href="#Page_53">53</a>.</li>
+  <li class="isub1">(strong colour) methods of neutralising, <a href="#Page_57">57</a>.</li>
+  <li class="isub1">tinted, <a href="#Page_50">50</a>.</li>
+
+  <li class="indx">Cord or rib weaves and colouring, <a href="#Page_240">240</a>.</li>
+
+  <li class="indx">Corkscrew weaves, colouring of, <a href="#Page_221">221</a>.</li>
+  <li class="isub2">modified and colouring, <a href="#Page_223">223</a>.</li>
+  <li class="isub1">and other weaves spotted, <a href="#Page_282">282</a>.</li>
+
+  <li class="indx">Cotton quiltings, <a href="#Page_324">324</a>.</li>
+  <li class="isub1">stripes, <a href="#Page_259">259</a>.</li>
+  <li class="isub1">weaves, colouring applied to, <a href="#Page_232">232</a>.</li>
+
+  <li class="indx">Crawford tartan, <a href="#Page_150">150</a>.</li>
+
+  <li class="indx">Cuninghame tartan, <a href="#Page_150">150</a>.</li>
+
+  <li class="indx">Curl textures, <a href="#Page_354">354</a>.</li>
+  <li class="isub1">(cotton warp) designs for, <a href="#Page_365">365</a>.</li>
+  <li class="isub1">developed in milling, <a href="#Page_362">362</a>.</li>
+  <li class="isub2">by using spiral twist yarns, <a href="#Page_363">363</a>.</li>
+  <li class="isub1">effects produced in, with wires, <a href="#Page_357">357</a>.</li>
+  <li class="isub1">formed in the weft, the warp being cotton, <a href="#Page_359">359</a>.</li>
+  <li class="isub1">four types of, <a href="#Page_357">357</a>.</li>
+  <li class="isub1">varieties of, due to colour, <a href="#Page_364">364</a>.</li>
+  <li class="isub1">(weft principle) structure of, <a href="#Page_362">362</a>.</li>
+
+  <li class="ifrst">Derivatives of blue, <a href="#Page_28">28</a>.</li>
+  <li class="isub1">of green, <a href="#Page_37">37</a>.</li>
+  <li class="isub1">of orange, <a href="#Page_39">39</a>.</li>
+  <li class="isub1">of purple, <a href="#Page_40">40</a>.</li>
+  <li class="isub1">of red, <a href="#Page_23">23</a>.</li>
+  <li class="isub1">of yellow, <a href="#Page_36">36</a>.</li>
+
+  <li class="indx">Design, elements of woven, <a href="#Page_1">1</a>.</li>
+  <li class="isub1">function of pure colours in, <a href="#Page_21">21</a>.</li>
+
+  <li class="indx">Designs composed of several weaves of varied structures, <a href="#Page_261">261</a>.</li>
+
+  <li class="indx">Diagonals, <a href="#Page_230">230</a>.</li>
+  <li class="isub1">composed of single and double weaves, <a href="#Page_231">231</a>.</li>
+  <li class="isub1">spotted, <a href="#Page_283">283</a>.</li>
+
+  <li class="indx">Double cloths, colour in relation to, <a href="#Page_94">94</a>.</li>
+  <li class="isub1">principles of colouring, <a href="#Page_295">295</a>.</li>
+  <li class="isub1">styles of colour effects in, <a href="#Page_296">296</a>.</li>
+
+  <li class="indx">Double-plain stripes, <a href="#Page_296">296</a>.</li>
+  <li class="isub2">in two shades, <a href="#Page_297">297</a>.</li>
+  <li class="isub3">(warped irregularly), <a href="#Page_298">298</a>.</li>
+  <li class="isub2">in three shades, <a href="#Page_301">301</a>.</li>
+  <li class="isub1">intermingled pattern, <a href="#Page_302">302</a>.</li>
+  <li class="isub1">weaves combined with other makes, <a href="#Page_302">302</a>.</li>
+
+  <li class="indx">Douglas (Grey) tartan, <a href="#Page_149">149</a>.</li>
+
+  <li class="indx">Dundas tartan, <a href="#Page_155">155</a>.</li>
+
+  <li class="indx">Duke of Rothesay tartan, <a href="#Page_146">146</a>, <a href="#Page_150">150</a>.</li>
+
+  <li class="ifrst"><span class="smcap">Elementary Colour Effects, Standard.</span>
+      <i>See</i> List of Figs., <a href="#Page_xx">page xx</a>.</li>
+
+  <li class="indx">Elements of textile colouring, <a href="#Page_91">91</a>.</li>
+
+  <li class="indx">Elliot tartan, <a href="#Page_153">153</a>.</li>
+
+  <li class="indx">Erskine tartan, <a href="#Page_146">146</a>.</li>
+
+  <li class="indx">Examples in colour contrasts, <a href="#Page_46">46</a>.</li>
+
+  <li class="indx"><span class="smcap">Examples in Compound Colourings.</span>
+      <i>See</i> List of Figs., <a href="#Page_xxi">page xxi</a>.</li>
+
+  <li class="indx">Extra-weft patterns, <a href="#Page_336">336</a>.</li>
+  <li class="isub1">colouring (two-cover styles), <a href="#Page_346">346</a>.</li>
+  <li class="isub2">(four-cover styles), <a href="#Page_347">347</a>.</li>
+
+  <li class="ifrst">Fabrics, compound patterns in, <a href="#Page_198">198</a>.</li>
+
+  <li class="indx">Fancy broken check, <a href="#Page_145">145</a>.</li>
+  <li class="isub1">weaves, colouring of, <a href="#Page_168">168</a>.</li>
+
+  <li class="indx">Feather trimming (weft-pile fabric), <a href="#Page_360">360</a>.</li>
+
+  <li class="indx">Figured fabrics, <a href="#Page_95">95</a>.</li>
+  <li class="isub1">methods of colouring, <a href="#Page_319">319</a>.</li>
+  <li class="isub1">striped in the warp, <a href="#Page_264">264</a>.</li>
+  <li class="isub1">warp colouring of, <a href="#Page_97">97</a>, <a href="#Page_321">321</a>.</li>
+  <li class="isub2">and weft colouring of, <a href="#Page_97">97</a>.</li>
+
+  <li class="ifrst">Gauze textures, <a href="#Page_234">234</a>.</li>
+  <li class="isub1">imitation, <a href="#Page_238">238</a>.</li>
+  <li class="isub1">systems of colouring, <a href="#Page_237">237</a>.</li>
+
+  <li class="indx">Gimp twist yarns, <a href="#Page_289">289</a>.</li>
+
+  <li class="indx">Golf cloakings, <a href="#Page_315">315</a>.</li>
+
+  <li class="indx">Gow tartan, <a href="#Page_150">150</a>.</li>
+
+  <li class="indx">Granite effects, <a href="#Page_228">228</a>.</li>
+
+  <li class="indx">Green, attributes of, <a href="#Page_37">37</a>.</li>
+  <li class="isub1">derivatives of, <a href="#Page_37">37</a>.</li>
+  <li class="isub1">tints of, <a href="#Page_38">38</a>.</li>
+
+  <li class="indx">Grey (bloomed) mixtures, <a href="#Page_81">81</a>.</li>
+  <li class="isub1">(coloured) mixtures, <a href="#Page_82">82</a>.</li>
+  <li class="isub1">(neutral) mixtures, <a href="#Page_80">80</a>.</li>
+
+  <li class="ifrst">Hairline patterns, <a href="#Page_105">105</a>.
+<span class="pagenum" id="Page_370">[Pg 370]</span></li>
+
+  <li class="indx">Hamilton tartan, <a href="#Page_151">151</a>.</li>
+
+  <li class="indx">Harmony, principles of colour, <a href="#Page_59">59</a>.</li>
+
+  <li class="indx">Hay tartan, <a href="#Page_146">146</a>.</li>
+
+  <li class="ifrst">Indian shawl, colouring of, <a href="#Page_22">22</a>.</li>
+
+  <li class="indx">Irregular compounds, <a href="#Page_218">218</a>.</li>
+  <li class="isub1">simple patterns in two shades, <a href="#Page_184">184</a>.</li>
+  <li class="isub2">in three shades, <a href="#Page_186">186</a>.</li>
+  <li class="isub1">simple colourings, tables of, <a href="#Page_182">182</a>.</li>
+  <li class="isub1">stripe and check spotting, <a href="#Page_277">277</a>.</li>
+
+  <li class="indx">Irregulars in two shades, <a href="#Page_183">183</a>.</li>
+  <li class="isub1">in three shades, <a href="#Page_186">186</a>.</li>
+  <li class="isub1">in four shades, <a href="#Page_188">188</a>.</li>
+
+  <li class="ifrst">Juxtaposed colours, <a href="#Page_43">43</a>.</li>
+
+  <li class="ifrst">Keith tartan, <a href="#Page_150">150</a>.</li>
+
+  <li class="indx">Knop twist yarns, <a href="#Page_289">289</a>.</li>
+
+  <li class="ifrst">Light, analysis of, <a href="#Page_9">9</a>.</li>
+
+  <li class="indx">Lights, coloured, composition of, <a href="#Page_14">14</a>.</li>
+
+  <li class="indx">Loom productions, occurrence and utility of colour in, <a href="#Page_3">3</a>.</li>
+
+  <li class="ifrst">MacArthur tartan, <a href="#Page_150">150</a>.</li>
+
+  <li class="indx">Macintosh tartan, <a href="#Page_150">150</a>.</li>
+
+  <li class="indx">MacKinnon tartan, <a href="#Page_154">154</a>.</li>
+
+  <li class="indx">MacLean tartan, <a href="#Page_157">157</a>.</li>
+
+  <li class="indx">MacLeod tartan, <a href="#Page_150">150</a>.</li>
+
+  <li class="indx">Makes of fabric, colour applied to, <a href="#Page_221">221</a>.</li>
+
+  <li class="indx">Marls, <a href="#Page_90">90</a>.</li>
+
+  <li class="indx">Mat weaves spotted, <a href="#Page_282">282</a>.</li>
+
+  <li class="indx">Materials, importance of pure in mixtures, <a href="#Page_68">68</a>.</li>
+
+  <li class="indx">Mathieson tartan, <a href="#Page_150">150</a>.</li>
+
+  <li class="indx">Maxwell tartan, <a href="#Page_151">151</a>.</li>
+
+  <li class="indx">Menzies tartan, <a href="#Page_146">146</a>.</li>
+
+  <li class="indx">Methods of applying colour to textiles, <a href="#Page_5">5</a>.</li>
+  <li class="isub1">of modifying colours, <a href="#Page_25">25</a>.</li>
+
+  <li class="indx">Mixture checks, <a href="#Page_142">142</a>.</li>
+
+  <li class="indx">Mixtures, bloomed grey, <a href="#Page_81">81</a>.</li>
+  <li class="isub1">coloured grey, <a href="#Page_82">82</a>.</li>
+  <li class="isub1">composed of a colour and black, <a href="#Page_78">78</a>.</li>
+  <li class="isub2">of a colour and white, <a href="#Page_77">77</a>.</li>
+  <li class="isub2">of two shades, <a href="#Page_75">75</a>.</li>
+  <li class="isub2">of two shades and black, <a href="#Page_78">78</a>.</li>
+  <li class="isub2">of two shades and white, <a href="#Page_76">76</a>.</li>
+  <li class="isub1">elements of colouring of, <a href="#Page_67">67</a>.</li>
+  <li class="isub1">multi-colour, <a href="#Page_87">87</a>.</li>
+  <li class="isub1">patterns, <a href="#Page_66">66</a>, <a href="#Page_103">103</a>.</li>
+  <li class="isub1">twist yarn, <a href="#Page_89">89</a>.</li>
+  <li class="isub1">two colour, <a href="#Page_86">86</a>.</li>
+  <li class="isub1">varieties of, compared, <a href="#Page_69">69</a>.</li>
+  <li class="isub1">weave, <a href="#Page_91">91</a>.</li>
+
+  <li class="indx">Mono chromatic contrasts, <a href="#Page_47">47</a>, <a href="#Page_50">50</a>.</li>
+
+  <li class="indx">Montgomery tartan, <a href="#Page_147">147</a>.</li>
+
+  <li class="ifrst">Neutralizing strong colour contrasts, <a href="#Page_57">57</a>.</li>
+
+  <li class="ifrst">Orange colour, <a href="#Page_15">15</a>.</li>
+  <li class="isub1">qualities of, <a href="#Page_37">37</a>.</li>
+  <li class="isub1">shades and tints of, <a href="#Page_39">39</a>.</li>
+
+  <li class="indx">Overchecking, examples in, <a href="#Page_125">125</a>.</li>
+
+  <li class="ifrst">Paisley shawl colouring, <a href="#Page_349">349</a>.</li>
+
+  <li class="indx">Pattern design, <a href="#Page_98">98</a>.</li>
+
+  <li class="indx">Patterns, checks (<i>see</i> also Checks), <a href="#Page_102">102</a>.</li>
+  <li class="isub1">drafted, <a href="#Page_249">249</a>.</li>
+  <li class="isub1">(drafted) consisting of two four-shaft weaves, <a href="#Page_251">251</a>.</li>
+  <li class="isub2">consisting of prunelle and [2\2] twill, <a href="#Page_254">254</a>.</li>
+  <li class="isub2">consisting of three or more weaves, <a href="#Page_256">256</a>.</li>
+  <li class="isub1">figured, <a href="#Page_104">104</a>.</li>
+  <li class="isub1">hairline, <a href="#Page_105">105</a>.</li>
+  <li class="isub1">mixture, <a href="#Page_66">66</a>.</li>
+  <li class="isub1">stripe, <a href="#Page_101">101</a>.</li>
+
+  <li class="indx">Persian carpet, <a href="#Page_22">22</a>.</li>
+
+  <li class="indx">Pigment and wool blends compared, <a href="#Page_71">71</a>.</li>
+
+  <li class="indx">Pigments, colours resulting from combining, <a href="#Page_15">15</a>.</li>
+
+  <li class="indx">Pile and curl fabrics, weft type of (cutting after weaving), <a href="#Page_361">361</a>.</li>
+
+  <li class="indx">Plaids, types of, <a href="#Page_146">146</a>.</li>
+  <li class="isub1">two-colour, <a href="#Page_146">146</a>.</li>
+  <li class="isub1">three-colour, <a href="#Page_150">150</a>.</li>
+  <li class="isub1">four-colour, <a href="#Page_153">153</a>.</li>
+  <li class="isub1">five, six, and multi-colour, <a href="#Page_157">157</a>.</li>
+
+  <li class="indx">Plush fabrics, <a href="#Page_326">326</a>.</li>
+  <li class="isub1">two classes of, <a href="#Page_327">327</a>.</li>
+  <li class="isub1">warp, <a href="#Page_328">328</a>.</li>
+
+  <li class="indx">Poly-chromatic contrasts, <a href="#Page_48">48</a>.</li>
+
+  <li class="indx">Primary colours, <a href="#Page_15">15</a>.</li>
+
+  <li class="indx"><span class="smcap">Principles of Checking.</span>
+      <i>See</i> List of Figs., <a href="#Page_xix">page xix</a>.</li>
+
+  <li class="indx">Principles of checking, <a href="#Page_120">120</a>, <a href="#Page_129">129</a>.</li>
+
+  <li class="indx">Prismatic experiments, utility of, <a href="#Page_11">11</a>.</li>
+
+  <li class="indx">Pure colours, functions of, in design, <a href="#Page_21">21</a>.</li>
+
+  <li class="indx">Purple, <a href="#Page_40">40</a>.</li>
+
+  <li class="ifrst">Qualifications of the textile colourist, <a href="#Page_21">21</a>.</li>
+
+  <li class="indx">Qualities of colour, <a href="#Page_20">20</a>.</li>
+
+  <li class="ifrst">Red, characteristics of, <a href="#Page_23">23</a>.</li>
+  <li class="isub1">derivatives of, <a href="#Page_26">26</a>.</li>
+
+  <li class="indx">Reversibles arranged 2-and-1, <a href="#Page_310">310</a>.</li>
+  <li class="isub1">figured (double-plain and other weaves combined), <a href="#Page_309">309</a>.</li>
+  <li class="isub1">in compound weaves, <a href="#Page_293">293</a>.</li>
+  <li class="isub1">in double and compound weaves, <a href="#Page_305">305</a>.</li>
+  <li class="isub1">methods of colouring, <a href="#Page_306">306</a>.</li>
+  <li class="isub1">weft compound, <a href="#Page_349">349</a>.</li>
+
+  <li class="indx">Rib or cord weaves, colouring applied to, <a href="#Page_240">240</a>.</li>
+
+  <li class="indx">Ross tartan, <a href="#Page_150">150</a>.</li>
+
+  <li class="indx">Royal Stuart tartan, <a href="#Page_157">157</a>.</li>
+
+  <li class="indx">Russet, <a href="#Page_16">16</a>.</li>
+
+  <li class="ifrst">Scale or “base” standard colours, <a href="#Page_62">62</a>.</li>
+
+  <li class="indx">Schemes of colouring, <a href="#Page_13">13</a>.</li>
+
+  <li class="indx">Shade and tinted contrast, <a href="#Page_53">53</a>.</li>
+
+  <li class="indx">Shaded checks, <a href="#Page_136">136</a>.</li>
+  <li class="isub1">figuring, <a href="#Page_142">142</a>.</li>
+  <li class="isub1">stripes, <a href="#Page_113">113</a>.</li>
+
+  <li class="indx">Shades and tints of blue, <a href="#Page_30">30</a>.
+<span class="pagenum" id="Page_371">[Pg 371]</span></li>
+  <li class="isub1">of colours, <a href="#Page_25">25</a>.</li>
+  <li class="isub1">of green, <a href="#Page_38">38</a>.</li>
+  <li class="isub1">of orange, <a href="#Page_39">39</a>.</li>
+
+  <li class="indx">Shawl (Paisley), colouring of, <a href="#Page_349">349</a>.</li>
+
+  <li class="indx">Single pick weft spotting, <a href="#Page_281">281</a>.</li>
+  <li class="isub1">thread warp spotting, <a href="#Page_279">279</a>.</li>
+
+  <li class="indx">Skene tartan, <a href="#Page_150">150</a>.</li>
+
+  <li class="indx">Spectral colours, wave frequency of, <a href="#Page_9">9</a>.</li>
+
+  <li class="indx">Spots composed of warp and weft floats, <a href="#Page_271">271</a>, <a href="#Page_274">274</a>.</li>
+
+  <li class="indx"><span class="smcap">Spotted Designs, Colouring of.</span>
+      <i>See</i> List of Figs., <a href="#Page_xxii">page xxii</a>.</li>
+
+  <li class="indx">Spotted effects, <a href="#Page_267">267</a>.</li>
+  <li class="isub1">due to system of weaving, <a href="#Page_269">269</a>.</li>
+  <li class="isub1">in ordinary weaves, <a href="#Page_290">290</a>.</li>
+
+  <li class="indx"><span class="smcap">Standard Elementary Colour Effects.</span>
+      <i>See</i> List of Figs., <a href="#Page_ix">page ix</a>.</li>
+
+  <li class="indx">Standardization of colour, <a href="#Page_60">60</a>.</li>
+  <li class="isub1">applications of the scheme of, <a href="#Page_65">65</a>.</li>
+  <li class="isub1">by selected colours, <a href="#Page_62">62</a>.</li>
+  <li class="isub1">scheme analyzed, <a href="#Page_62">62</a>.</li>
+  <li class="isub1">systems of, <a href="#Page_61">61</a>.</li>
+
+  <li class="indx">Stripe and check designs, spotted, <a href="#Page_277">277</a>.</li>
+
+  <li class="indx">Stripes, <a href="#Page_101">101</a>.</li>
+  <li class="isub1">composed of longitudinal and transverse lines, <a href="#Page_106">106</a>.</li>
+  <li class="isub2">of two colours, <a href="#Page_107">107</a>.</li>
+  <li class="isub2">of three or more colours, <a href="#Page_109">109</a>.</li>
+  <li class="isub1">hairlines, <a href="#Page_105">105</a>.</li>
+  <li class="isub1">in double-plain weave, <a href="#Page_296">296</a>.</li>
+  <li class="isub2">(two shades), <a href="#Page_297">297</a>.</li>
+  <li class="isub1">irregular and indefinite in two colours, <a href="#Page_111">111</a>.</li>
+  <li class="isub2">composed of black and white lines, <a href="#Page_110">110</a>.</li>
+  <li class="isub2">containing several colours, <a href="#Page_116">116</a>.</li>
+  <li class="isub2">(shades in two colours), <a href="#Page_112">112</a>.</li>
+  <li class="isub1">shaded (in two colours), <a href="#Page_113">113</a>.</li>
+  <li class="isub2">(in several colours), <a href="#Page_118">118</a>.</li>
+
+  <li class="indx">Strong colour contrasts, methods of neutralizing, <a href="#Page_57">57</a>.</li>
+
+  <li class="indx">Swansdown twill ([1\3] or [3\1]) spotted, <a href="#Page_270">270</a>.</li>
+
+  <li class="ifrst">Table of compound colourings, <a href="#Page_199">199</a>.</li>
+
+  <li class="indx">Tapestry and Brussels carpets, <a href="#Page_332">332</a>, <a href="#Page_333">333</a>.</li>
+
+  <li class="indx">Tartan, Brodie, <a href="#Page_150">150</a>.</li>
+  <li class="isub1">Clan Alpin, <a href="#Page_157">157</a>.</li>
+  <li class="isub1">Crawford, <a href="#Page_150">150</a>.</li>
+  <li class="isub1">Cunningham, <a href="#Page_150">150</a>.</li>
+  <li class="isub1">Duke of Rothesay, <a href="#Page_146">146</a>, <a href="#Page_150">150</a>.</li>
+  <li class="isub1">Dundas, <a href="#Page_155">155</a>.</li>
+  <li class="isub1">Elliot, <a href="#Page_153">153</a>.</li>
+  <li class="isub1">Erskine, <a href="#Page_146">146</a>.</li>
+  <li class="isub1">Fraser, <a href="#Page_156">156</a>.</li>
+  <li class="isub1">Gow, <a href="#Page_150">150</a>.</li>
+  <li class="isub1">Grey Douglas, <a href="#Page_149">149</a>.</li>
+  <li class="isub1">Hamilton, <a href="#Page_151">151</a>.</li>
+  <li class="isub1">Hay, <a href="#Page_146">146</a>.</li>
+  <li class="isub1">Keith, <a href="#Page_150">150</a>.</li>
+  <li class="isub1">MacArthur, <a href="#Page_150">150</a>.</li>
+  <li class="isub1">Macintosh, <a href="#Page_150">150</a>.</li>
+  <li class="isub1">MacKinnon, <a href="#Page_154">154</a>.</li>
+  <li class="isub1">MacLean, <a href="#Page_157">157</a>.</li>
+  <li class="isub1">MacLeod, <a href="#Page_150">150</a>.</li>
+  <li class="isub1">MacQueen, <a href="#Page_150">150</a>.</li>
+  <li class="isub1">Mathieson, <a href="#Page_150">150</a>.</li>
+  <li class="isub1">Maxwell, <a href="#Page_151">151</a>.</li>
+  <li class="isub1">Menzies, <a href="#Page_146">146</a>.</li>
+  <li class="isub1">Montgomery, <a href="#Page_147">147</a>.</li>
+  <li class="isub1">Ross, <a href="#Page_150">150</a>.</li>
+  <li class="isub1">Royal Stuart, <a href="#Page_157">157</a>.</li>
+  <li class="isub1">Skene, <a href="#Page_150">150</a>.</li>
+  <li class="isub1">Wallace, <a href="#Page_150">150</a>.</li>
+
+  <li class="indx"><span class="smcap">Tartans.</span>
+      <i>See</i> List of Figs., <a href="#Page_viii">page viii</a>.</li>
+  <li class="isub1">examples in the colouring of, <a href="#Page_145">145</a>.</li>
+  <li class="isub1">two-colour, <a href="#Page_146">146</a>.</li>
+  <li class="isub1">three-colour, <a href="#Page_150">150</a>.</li>
+  <li class="isub1">four-colour, <a href="#Page_153">153</a>.</li>
+  <li class="isub1">five, six, and multi-colour, <a href="#Page_157">157</a>.</li>
+  <li class="isub1">types of, <a href="#Page_146">146</a>.</li>
+
+  <li class="indx">Temperature of colours, <a href="#Page_17">17</a>.</li>
+
+  <li class="indx">Tertiary colours, <a href="#Page_16">16</a>.</li>
+
+  <li class="indx">Textile colourist, qualifications of, <a href="#Page_21">21</a>.</li>
+
+  <li class="indx">Three-and-three colouring, effects in, <a href="#Page_170">170</a>.</li>
+  <li class="isub1">odd thread colouring, arrangement of, <a href="#Page_175">175</a>.</li>
+  <li class="isub1">shade patterns, <a href="#Page_179">179</a>.</li>
+
+  <li class="indx">Tinted contrasts, <a href="#Page_51">51</a>, <a href="#Page_53">53</a>.</li>
+
+  <li class="indx">Tints of blue, <a href="#Page_30">30</a>.</li>
+  <li class="isub1">of colours, <a href="#Page_25">25</a>.</li>
+  <li class="isub1">of green, <a href="#Page_38">38</a>.</li>
+  <li class="isub1">of orange, <a href="#Page_39">39</a>.</li>
+
+  <li class="indx">Toned contrasts, <a href="#Page_51">51</a>, <a href="#Page_53">53</a>.</li>
+
+  <li class="indx">Tones of colours, <a href="#Page_25">25</a>.</li>
+
+  <li class="indx">Treatment of colour in textiles, <a href="#Page_4">4</a>.</li>
+
+  <li class="indx">Twist yarn mixtures, <a href="#Page_89">89</a>.</li>
+  <li class="isub1">yarns, uses of blue in, <a href="#Page_33">33</a>.</li>
+
+  <li class="indx">Two-and-two twill colour effects (warp 1-and-1), <a href="#Page_99">99</a>.</li>
+
+  <li class="indx">Two-shade compounds (in which white or black is one shade), <a href="#Page_75">75</a>.</li>
+  <li class="isub1">(in which black is used), <a href="#Page_78">78</a>.</li>
+  <li class="isub1">(in which white is used), <a href="#Page_76">76</a>.</li>
+
+  <li class="indx">Types of woven colourings, <a href="#Page_93">93</a>.</li>
+
+  <li class="ifrst">Utility of colour in loom productions, <a href="#Page_3">3</a>.</li>
+  <li class="isub1">of prismatic experiments, <a href="#Page_11">11</a>.</li>
+
+  <li class="ifrst">Velvets, compound in structure, <a href="#Page_327">327</a>.</li>
+  <li class="isub1">figured, <a href="#Page_331">331</a>.</li>
+  <li class="isub1">weaving, operation of, <a href="#Page_330">330</a>.</li>
+  <li class="isub2">origin of, <a href="#Page_326">326</a>.</li>
+
+  <li class="indx">Vestings, <a href="#Page_340">340</a>.</li>
+  <li class="isub1">cotton quiltings, <a href="#Page_324">324</a>.</li>
+  <li class="isub1">four-cover colouring, <a href="#Page_344">344</a>.</li>
+  <li class="isub1">honeycomb, <a href="#Page_345">345</a>.</li>
+  <li class="isub1">two-cover colouring, <a href="#Page_343">343</a>.</li>
+
+  <li class="indx">Violet in compounds of coloured lights, <a href="#Page_15">15</a>.</li>
+  <li class="isub1">in prismatic experiments, <a href="#Page_10">10</a>.</li>
+  <li class="isub1">wave frequency of, <a href="#Page_9">9</a>.</li>
+
+  <li class="ifrst">Wallace tartan, <a href="#Page_150">150</a>.</li>
+
+  <li class="indx">Warp and weft colouring, <a href="#Page_352">352</a>.
+<span class="pagenum" id="Page_372">[Pg 372]</span></li>
+  <li class="isub3">compared, <a href="#Page_335">335</a>.</li>
+  <li class="isub2">colouring and figured textiles, <a href="#Page_97">97</a>.</li>
+  <li class="isub2">(extra colouring) spotted, <a href="#Page_284">284</a>.</li>
+  <li class="isub1">colourings, figured effects obtained by, <a href="#Page_97">97</a>.</li>
+  <li class="isub1">figured fabrics coloured in the, <a href="#Page_321">321</a>.</li>
+  <li class="isub1">plushes, <a href="#Page_328">328</a>.</li>
+  <li class="isub1">(single-thread) spotting, <a href="#Page_279">279</a>.</li>
+  <li class="isub1">striping in figured designs, <a href="#Page_264">264</a>.</li>
+
+  <li class="indx">Wave frequency of spectral colours, <a href="#Page_9">9</a>.</li>
+
+  <li class="indx">Weave and colour compounds compared, <a href="#Page_197">197</a>.</li>
+  <li class="isub1">(single) colourings, <a href="#Page_94">94</a>.</li>
+  <li class="isub1">(backed and double) combinations, colour applied to, <a href="#Page_96">96</a>.</li>
+  <li class="isub1">compounds, <a href="#Page_244">244</a>.</li>
+  <li class="isub2">composed of two, <a href="#Page_6">6</a>, <a href="#Page_7">7</a>, <a href="#Page_8">8</a>, or 9-shaft weaves, <a href="#Page_254">254</a>.</li>
+  <li class="isub2">examples in colouring of, <a href="#Page_245">245</a>.</li>
+  <li class="isub1">mixtures, <a href="#Page_91">91</a>.</li>
+
+  <li class="indx">Weaves (compound), application of fancy yarns to, <a href="#Page_291">291</a>.</li>
+  <li class="isub2">figuring in, <a href="#Page_312">312</a>.</li>
+  <li class="isub1">(double) styles of colour effects in, <a href="#Page_295">295</a>.</li>
+  <li class="isub1">fancy, 1-and-l and 2-and-2 colourings in, <a href="#Page_168">168</a>.</li>
+  <li class="isub1">(ordinary) spotted effects in, <a href="#Page_290">290</a>.</li>
+
+  <li class="indx">Weft colouring, <a href="#Page_336">336</a>.</li>
+  <li class="isub2">figured effects obtained by, <a href="#Page_96">96</a>.</li>
+  <li class="isub1">compound reversibles, <a href="#Page_349">349</a>.</li>
+  <li class="isub1">(extra) styles, <a href="#Page_338">338</a>.</li>
+  <li class="isub1">(ground) used for figuring, <a href="#Page_337">337</a>.</li>
+  <li class="isub1">(single-pick) spotting, <a href="#Page_281">281</a>.</li>
+
+  <li class="indx">Weftings, cross, <a href="#Page_190">190</a>.</li>
+
+  <li class="indx">White and bright colour contrasts, <a href="#Page_55">55</a>.</li>
+  <li class="isub1">use of in mixtures, <a href="#Page_76">76</a>, <a href="#Page_77">77</a>.</li>
+
+  <li class="indx">Wool and pigment blends compared, <a href="#Page_71">71</a>.</li>
+
+  <li class="indx">Woollen, fancy weaves and colouring in, <a href="#Page_226">226</a>.</li>
+  <li class="isub1">irregular weave compounds in, <a href="#Page_268">268</a>.</li>
+
+  <li class="indx">Woven design, elements of, <a href="#Page_1">1</a>.</li>
+  <li class="isub2">(ornamental) elements of, <a href="#Page_320">320</a>.</li>
+  <li class="isub1">effects and simple colourings in, <a href="#Page_197">197</a>.</li>
+
+  <li class="ifrst">Yarns (fancy) with compound weaves, <a href="#Page_291">291</a>.</li>
+  <li class="isub1">gimp and knop twists, <a href="#Page_289">289</a>.</li>
+  <li class="isub1">marl, <a href="#Page_90">90</a>.</li>
+  <li class="isub2">composition of, <a href="#Page_90">90</a>.</li>
+  <li class="isub1">twist-yarn mixtures, <a href="#Page_89">89</a>.</li>
+  <li class="isub1">used for spotting, <a href="#Page_288">288</a>.</li>
+
+  <li class="indx">Yellow, attributes of, <a href="#Page_34">34</a>.</li>
+  <li class="isub1">derivatives of, <a href="#Page_36">36</a>.</li>
+  <li class="isub1">in woven design, <a href="#Page_35">35</a>.</li>
+</ul>
+
+<hr class="p4 medium">
+
+<p class="center">
+PRINTED BY NEILL AND <abbr title="Company">CO.</abbr>, <abbr title="Limited">LTD.</abbr>, EDINBURGH.
+</p>
+
+<div style='text-align:center'>*** END OF THE PROJECT GUTENBERG EBOOK 77150 ***</div>
+</body>
+</html>
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diff --git a/LICENSE.txt b/LICENSE.txt
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+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This book, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
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+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for eBook #77150
+(https://www.gutenberg.org/ebooks/77150)