Roman Art

Sold on alibris.com
( 4.8/5.0 ★ | 455 downloads )
-- Click the link to download --

https://click.linksynergy.com/link?id=*C/UgjGtUZ8&offerid=1494105.26
539780205988952&type=15&murl=http%3A%2F%2Fwww.alibris.com%2Fsearch%2
Fbooks%2Fisbn%2F9780205988952
Roman Art

ISBN: 9780205988952
Category: Media > Books > Non-Fiction > Education Books
File Fomat: PDF, EPUB, DOC...
File Details: 16.0 MB
Language: English
Website: alibris.com
Short description: Good. 384 p. Audience: College/higher education.

DOWNLOAD: https://click.linksynergy.com/link?id=*C/UgjGtUZ8&
offerid=1494105.26539780205988952&type=15&murl=http%3A%2F%2F
www.alibris.com%2Fsearch%2Fbooks%2Fisbn%2F9780205988952
 Roman Art

• Click the link: https://click.linksynergy.com/link?id=*C/UgjGtUZ8&offerid=1494105.2653978020598895

2&type=15&murl=http%3A%2F%2Fwww.alibris.com%2Fsearch%2Fbooks%2Fisbn%2F9780205988952 to do
latest version of Roman Art in multiple formats such as PDF, EPUB, and more.

• Don’t miss the chance to explore our extensive collection of high-quality resources, books, and guides on
our website. Visit us regularly to stay updated with new titles and gain access to even more valuable
materials.
.
Of more recent origin are the satin quilts made by Messrs. Barlow
and Jones, of Bolton, and some other firms. They consist of two
plain cloths, intimately bound together; one cloth has a fine warp
and a very coarse weft, and the other has a fine weft and a coarser
warp. When binding, the fine warp is made to catch on the fine weft,
and the thick warp and weft cover the bindings. Suppose the fine
warp to be white and the thicker warp to be blue, and let the
warping be two threads blue and one white. Let the white warp be
wefted with a thick twist weft—say four times as thick as the warp—
and this coarse weft will form the figure. Let the blue warp be
wefted with a blue weft perhaps double the count of its warp, and in
binding this weft catches on the fine white warp. The thick white
weft, which is fully double the thickness of the thick warp, effectually
covers the tie, and when the yarns are properly proportioned the
pattern stands out, producing a clear stamped or embossed effect.
These cloths may be made with a twilled ground, and either all
white or white and coloured. They are a good firm fabric and wear
well, but are liable to have a coarser appearance after being
washed. (See also Terry-Pile Quilts.)
Woollens and Worsteds.—Weaving woollen and worsted cloths in the
jacquard loom is merely an extension of the patterns produced with
shaft mountings, or sometimes the same patterns are woven on
small jacquards by those who prefer the jacquard to working a
larger number of healds when the cloth is not so heavy as to require
the latter to be used, healds as a rule making a firmer and heavier
cloth than a jacquard will. Light worsted goods for dress fabrics, &c.,
are figured like damask, or as double weft or double warp-faced
cloths, or may be as double cloths.
Curtains and Tapestries.—These, though sometimes of damask, are
usually made on some principle of double cloth, as indeed all cloths
must be when a rich brilliant effect of colours is required. One of the
simplest methods of making these fabrics, and which produces a
very good effect, is to employ a fine binding warp of twist cotton
and produce the pattern on it with two, three, or more coloured
wefts of worsted, mohair, or silk—say a spun silk ground weft and a
mohair or fine worsted figure. A small portion of a diamond pattern,
greatly reduced for want of space, is given in Fig. 165. It is intended
for three colours of weft—one for the ground and two for the figure.
The ground weft might be black or gold, and the figure wefts olive
green and dull red, or claret, the warp to be black or a deep navy
blue.
For this pattern three cards must be cut from each line of the design
paper—one for the ground weft and one for each colour of the
figure. The design is painted in various colours, which are here
represented by different markings on the squares. Let the black
squares represent the olive and the dotted squares the red of the
figure. The white squares represent the ground weft, and the
shaded squares on it are for binding the face weft down, while the
crosses are for binding up the weft at the back. The cutting of the
cards is as follows:—For the ground shuttle cut all the shaded, black,
and dotted squares—that is, the shaded squares on the ground and
all the figure. For the first figure shuttle (olive) cut all the ground
except the crosses (that is, the white and shaded squares) and the
dotted squares of the figure. For the second figure shuttle (red) cut
all the ground except the crosses, as before, and the black squares
of the figure.
 Fig. 165

In this example the figure is so small as not to require binding dots

over it, but for a large figure the ground weft threads would require
to be bound up at the back of the figure in the same way that the
figure threads are bound up at the back of the ground in the design
given. The figure wefts might also require to be bound at both face
and back. On the design these binding marks would be dotted over
the figure in the same way as they are dotted over the ground on
the design given, using any suitable texture that may be desired.
To make the cutting clear, five lines of the pattern (Fig. 165) are put
upon design paper in Fig. 165a, as they would be cut on the cards,
beginning with the ground weft, olive and red following, in all
making 15 lines or 15 cards. This cutting would make the upper side
of the cloth in the loom the right side or face; but it may, in some
cases, be desirable to weave the cloth with the face down to avoid
heavy lifts in the harness. This pattern would suit for a warp of
about 50 threads of warp per inch, and say 60 to 80 shots per inch
of each colour.

Fig. 165a

For the convenience of the designer and card-cutter, a much better

plan of working this class of fabric is to have an additional binding
warp, which may be in heddles or in a front row of the harness. This
warp can work plain twill or satin as required, and, being light and
openly set, can bind the back weft up and the face weft down, or
the face may be bound by the warp in the harness and the back
bound by the binding weft; but in this case there should be a fine
thread of weft thrown in every fourth pick, which should pass over
the warp in the harness, or a portion of it, and under that in the
heddles, so as to bind both warps together. In this case the twilling
dots on the design are omitted, which simplifies the cutting and
designing of the pattern. If the face is to be twilled with the harness
warp, the dots for binding must, of course, be put on the design, or
the figure only may be twilled on the design, and let the ground be
bound by the binders. Shafts mounted in this way may be wrought
from tappets if the loom is mounted with them, or may be wrought
by strong hooks at each side of the jacquard and sunk with springs.
The principle of working fabrics of this description has been given in
detail, as from it many other varieties can be wrought out, and any
number of shuttles used to suit the colours wanted.
Figuring with two warps and one weft is a common method of
working, and gives three colours on the face of the cloth. An extra
warp of fine yarn may be used for binding the wefts, admitting of
the coloured weft being more used for figuring. Extra warps cannot
be used to so great an extent as extra wefts, as they crowd up the
reed and prevent proper shedding, particularly when soft or hairy
yarns are used; but when properly suited to the reed they make a
firmer and more regular cloth than a weft cloth, and on account of
less picking the weaver gets over the work much faster. Two warps,
each having its own weft, are a good method of figuring, but unless
for goods with a large number of threads and picks per inch, so that
fine yarn can be used, it makes a heavy cloth. Two warps and two
wefts, all of different colours, with a fine binding warp in addition, to
admit of the colours of the wefts being kept comparatively pure,
gives a still richer effect. In this case the binding warp may be of
fine black cotton, the two figure warps of thicker cotton, and two
threads drawn into each mail; the colours may be, say, dark blue
and dark citrine, or clear sage. The wefts are soft wool or worsted,
say light gold and deep dull red. In this method of weaving, pure red
and pure gold can be got from the wefts, as the black binders show
but little. Pure blue and pure citrine can be got in small quantities by
floating the warps, and an admixture of the warps and wefts can be
got in any place desired.
A very handsome curtain fabric can be made as follows:—There are
120 to 140 threads of warp per inch; every second or every fourth
thread of the warp is used for binding the ground, which may be a
plain texture or a three-shaft twill. The binders may be an extra
warp, wrought with heddles, forming plain all over the cloth, or may
be in the harness and be portion of the ordinary warp working plain
for the ground, but rising to assist in forming the figure, which may
be bound as desired, say 8-or 10-end satin. The warp is of fine silk
yarn loosely twisted, and may be one or more ply, of a rich olive-
green or deep scarlet colour. There are two wefts, one a rich silk,
say a golden colour, of twist yarn; the other is a backing weft of the
same colour as the warp, and of cotton yarn, about the same
thickness as the silk weft. There are from 50 to 60 threads of weft
per inch of each colour. The gold weft forms the ground of the
pattern, and the warp the figure, which is bound with an 8-end satin
binding. The cotton weft goes to the back when the silk weft is on
the face, forming the ground of the pattern, the warp lying between
them; but when the warp is on the face for figuring, the gold weft
goes to the back and the cotton weft lies under the warp face,
binding it and giving an embossed effect to the figure. The gold weft
is bound up by sinking a portion of the warp. The ground may be
formed with the warp, and the figure with the weft, if desired,
producing a sunk figure on a raised ground; but this is just a
reversal of the process, or making the ground in this case as the
figure in the previous case. This makes a light, close, and very rich
fabric.
Figured Poplins are among the richest description of curtain fabrics;
they may be made of all silk, or silk and fine wool, the latter forming
the weft. The ground is a clean, sharp cord running across the cloth,
and the figure is formed by flushing the warp over the cords, binding
it with a long twill or satin binding. The weft may also be used for
figuring; but in this case it should be a silk weft put in for the
purpose of figuring.
Two portions of patterns of good makes of figured poplins or repps
are given in Figs. 166 and 167. Fig. 166 is warped two threads of
rich crimson silk and one thread of rich golden yellow silk, 180
threads per inch. The weft is pick-and-pick, 50 picks per inch, one
thread a round, firm cord of firmly twisted worsted of the same
colour as the warp, and the other yellow silk, the same as the warp.
This thread passes over the crimson warp and under the yellow, the
crimson cord reversing this, thus producing a very fine yellow line
between each pair of cords. The method of forming the figure can
easily be seen from the pattern. Instead of a thick cord being put in
for the weft to form the rib, several fine shots could be thrown in as
one, as in repp figuring, and these threads could be brought out for
figuring as well as the warp; but they would in this case require to
be of silk, which would make the cloth very expensive.

Fig. 166

Fig. 167

Fig. 167 makes a very rich and handsome fabric. It is warped all a
rich purplish-brown silk, 180 threads per inch. There are four weft
picks in the pattern. The first is a clear olive-green silk about double
the thickness of the warp silk, the second shot is a round, firmly
twisted worsted cord of the same colour as the warp, the third is the
same as the first, and the fourth is silk of the same colour as the
warp. There are 100 picks per inch, but the two green silks go along
with the cord to form the complete cord or ridge. These silk picks
can be brought out to the surface for figuring, as shown by the
shaded squares in the pattern, which are not cut on the cards. The
black squares are the warp figuring, the dots the warp raised for the
ground, and the crosses the warp of the binding threads raised.
These binding threads rise over the brown silk pick, and are similar
to the yellow warp in the previous pattern.
For richer fabrics than these we must go to pile work, which is,
perhaps, the most exquisite production of the loom. Curtains or
hangings can be made extremely rich by figuring a rich corded silk
ground with a pile of different lengths and colours. The long pile can
be cut to form a plush or velvet pile, and the shorter pile may be left
uncut to form a looped or terry pile. By a judicious arrangement of
colours and length of pile, fabrics of extreme beauty can be made
(see Pile Work). For curtains of a heavy description chenille is much
used, and makes a very rich, warm-looking fabric; but it is too heavy
and of too coarse a nature for small rooms unless they are very well
lighted. It is very suitable for screens, or curtains dividing two
portions of a room (see Chenille).
 CHAPTER IX
TAPESTRY AND PILE WORK

Tapestry.—What are generally known in trade as tapestries, are

figured fabrics for curtains, hangings, &c., not damask, which is
distinct, being woven with only one warp and weft. Real tapestry is a
hand-made fabric of very ancient origin, being in use since the days
of the ancient Egyptians, who wove or worked it in a manner very
similar to that employed at the present time. It does not belong to
‘jacquard weaving,’ but being the first in point of the excellence of its
patterns amongst figured fabrics, a short description of it may not be
out of place. Henry VIII. tried to establish tapestry weaving in this
country, but failed, but James I. had a flourishing factory at
Mortlake. Tapestry weaving appears to have been introduced into
France about the ninth century. The Flemish were celebrated for it
from the twelfth century. Arras work surpassed all the others, and
tapestry was commonly known as arras work. The sixteenth century
gave a new impulse to the trade in France. Francis I. founded the
manufactory of Fontainebleau, and Henry IV. re-established tapestry
making in Paris in the years 1595 to 1606. About the year 1666
Louis XIV. bought the Gobelins Works (which take their name from
the original owners, a rich family of wool dyers), and established the
Royal Gobelins Tapestry Manufactory, which is now one of the sights
of Paris.
There were two methods of working tapestries—one known as
‘basse lisse,’ or low warp, the threads of warp being placed in a
horizontal position in the loom; the other was called ‘haute lisse,’ or
high warp, as the threads of warp were placed in an upright or
vertical position. It is the latter method of working that is now
adopted.
The loom consists of an upright frame of wood of a size to suit the
cloth to be made. There is a strong roller at the top, which acts as a
warp beam, and another at the bottom for the cloth beam. Both
these rollers have ratchet wheels on one end, and are held with
pawls or catches so as to allow the warp to be wound off and the
cloth to be wound up when required, and then hold the stretch of
warp steady to be woven. The warp is coarse, but a clean, regular
thread of twist, cotton, or linen, about 12 to 18 threads per inch
(more or less, as desired,) and of such a thickness that the spaces
between the threads are somewhat less than the diameter of the
threads. The weft is usually of fine wool but a fairly thick thread, say
4’s or 6’s worsted. This is generally used alone, of whatever shade of
colour is required, and there is no end to the shades used; but in
some places, to give brilliancy and richness of effect, silk is used
along with the wool, and sometimes tinsel or gold cord. These are
put in separate threads along with the woollen or worsted weft. The
silk is much finer than the worsted, say about equal to 12’s or 16’s
cotton, and, of course, can be regulated to give the effect required.
The gold is sufficient to give sparkle to the portion it is employed in.
After leaving the warp beam the warp is divided by two thick glass
lease rods. Then every alternate thread, those to the front of the
frame, is drawn through a doup of a half-leaf of heddles which is
fixed in a horizontal position above the weaver’s head. This enables
a plain shed to be formed, as the thick lease rod divides the threads
and forms one shed. Then, when the weaver, sitting at the back of
the loom, draws back the half-leaf of heddles, all the front threads or
any portion of them can be drawn back past the back set, and form
a cross shed. As the doups of the heddles are long and strong, the
weaver can take any number of them he requires and draw the front
warp back; then putting his fingers into the shed thus formed, clear
it down to the fell of the cloth and insert his bobbin.
The pattern is painted on design paper, shaded in the way it is to
appear on the cloth, and the weaver must have a bobbin of weft to
suit each tint or shade of colour on the design. The outline of the
pattern is traced on the warp to guide the weaver, and the painted
pattern is fastened up either
before him or to one side of
him, so as to be convenient to
read the stitches off it. When
ready for work he looks at the
pattern and finds perhaps 20
stitches of blue; then he selects
a bobbin of the correct shade
and passes it through the open
shed of the warp round 10
threads; then he draws the 10
doups of the heddles that are
round the 10 threads
intermediate with and in front of Fig. 168
these, pulling them back
through the others and forming
a cross shed. The same bobbin is now passed through this shed, and
the weft pressed down with a pin or comb, both of which articles the
weaver uses for straightening and beating up the weft. This covers
20 threads of warp with blue weft. The texture of the cloth is plain
throughout, the weft being bent round the warp and pressed close
together, forming a rib. Now, instead of completing this weft line all
along the cloth, as is usual in coloured weaving, the weaver goes on
working with the bobbin he has taken up, following the colouring on
the pattern, and may change his bobbin when required for a new
shade or colour, and go on working this portion for some distance
upwards, and then begin an adjoining portion and work it up in the
same way. This will come all right when the outlines of the portion
he is working run obliquely; but if they should run upright for any
distance in the same direction as the warp, it is plain there would be
two selvages coming together without any connection between
these portions of the cloth, as shown in Fig. 168. When the pattern
runs in a diagonal direction, the weft threads passing across from
one warp thread to the next one make a sufficient binding or
connecting link between the two colours, as may be seen at the
upper portion of this figure, which would be quite sufficiently
connected when it is considered that the weft threads are pressed so
closely together as to entirely cover the warp. To remedy the
objection of a slit or division between the two portions of a pattern
in the case of a vertical line, it is customary to tack the bobbin of
one colour of weft round the first warp thread of the adjoining
colour, at intervals of, say 3/16 in. This produces a toothed
appearance, but is not very remarkable. The only other remedy
would be to link the two wefts on each other occasionally. In many
of the old tapestries it may be seen that this was neglected, even
when the distance was as much as 3 in. or 4 in. Sometimes they
were stitched afterwards in these places with a needle and thread.
When there are many long straight lines running in one direction, as
in architectural subjects, it is best to work the pattern so that these
will run in the direction of the weft, to avoid any joining being
required. Patterns can be wrought sideways or upright on the cloth
as desired to suit the size, subject, &c.
 Fig. 169

As the weaver sits at the back of his frame or loom when working,
he has to come round occasionally to examine the face of his work.
Sometimes he keeps a looking-glass in front to show him how he is
getting on. He has also a rough pattern on the back of the cloth
similar to that on the front, as the nature of the weave must give
him the same on both sides were it not for the loose ends at each
change of bobbin, which have to be tacked up at the back. Tapestry
weaving is a very tedious process of working, but in skilful hands
very beautiful, and artistic results can be produced.
Figured Pile Fabrics.—When we come to pile work we have a great
scope for the ornamentation of fabrics, but the nature of the work is
such that it is only suited to heavy or moderately heavy cloth, and a
large number of either threads or picks per inch are required.
Forming stripes of plain or figured pile alternately with twilled or
figured stripes can easily be accomplished with either a weft or warp
pile, but when we come to figure indiscriminately over the cloth
there is more trouble. For a length of time there was a difficulty in
cutting weft-pile figured fabrics, as the knife or cutter would not
always enter the proper ‘race’ round the edges of the figure, and the
floats were cut irregularly. This has now been overcome by
arranging the design to suit. Fig. 169 is a common velveteen
designed for a weft pile figure. Only a portion of the pattern is given,
but enough to show the method of arranging the design. It will be
seen that the figuring is produced by flushing the weft on one side
of the cloth, and for the ground it passes to the other side. The
edges of the pattern are moved across the design paper in steps of
two, and no flush or float is less than over four threads. In addition
to this the figure should be turned in the centre on an odd number
of ends, which in cutting keeps the race end on the inside of the
step into which the knife enters. The knife is run up on all the odd
numbers of ends moving across in steps of two, and, leaving no
flushes of less than four, gives it a better chance of entering in the
proper place along the edges of the pattern.
Fig. 170 is another make of velvet for a heavier fabric, with 60
threads of warp per inch, and from 350 to 400 picks. It makes a
good firm cloth, suitable for curtains or furniture coverings. The
principle of designing is the same as for Fig. 169. Both these
patterns are portions of a diamond figure.
When the figure is produced with a warp pile, it is only necessary to
raise the proper warp threads with the jacquard for the insertion of
each wire, but the difficulty to contend with is that there will be an
irregular take-up of the warp pile threads, and this can only be
remedied by having a number of small warp beams. In some cases a
separate spool for each warp thread may be required, which, of
course, for a fine velvet means a very intricate arrangement, though
it suits very well for pile carpets. Different heights of pile can be
formed through a pattern in this way—say, a short pile to be left
looped, and a longer pile to be cut, which, in suitable colours of pile
and ground, forms a very beautiful though costly fabric.

Fig. 170

Another method of warp pile weaving, more easily accomplished, is

that known as terry, or Turkish towel weaving. It is largely used for
quilts, toilet covers, towels, &c., and any bold figure can be woven
on it with almost as much ease as on ordinary damask work.
There are two methods of forming figures on the cloth in this style
of weaving, one by having two colours of pile warp and changing
them from one side to the other to form the figure or ground—that
is, supposing the one pile warp to be red and the other white—pile
would be thrown up on both sides of the cloth at the same time; on
one side the figure would be formed by the red pile and the ground
by the white pile, and the other side would be the reverse of this.
Fig. 171 is a portion of a pattern of this style. The black squares
represent, say, the red warp-forming loops on the face of the cloth,
and the shaded squares the same for the white warp. The crosses
are the ground or binding threads; and the dots represent the pile
threads of the colours they are on, raised to bind with the weft,
when these threads are forming pile on the underside of the cloth.
 Fig. 171

The other method is to have only one colour of pile warp—in fact, to
have only one pile warp, it might be said, instead of two, as in the
previous case. The cloth consists of a pile figure and a plain or solid
ground on one side, and the reverse of this on the other side. The
pile and ground may be of the same colour, or of different tints if
desired—say a rich cream ground and a white pile. This style of
working is very suitable for quiltings, toilet covers, &c. Fig. 172 is a
portion of a pattern for weaving in this way. The black squares
represent the pile-warp raised to form loops, and the round dots are
also pile-warp raised, but only for binding when the loops are being
formed at the other side of the cloth. The shaded squares show the
ground warp raised to form the body texture. This cloth has about
60 threads of warp per inch, and the same or a little more weft.

Fig. 172

Figs. 173 and 174 are two examples of six-shot pile cloth for quilts;
it is made with 50 to 60 threads of warp per inch, and double that
quantity of weft. The same method of marking the design paper is
used as that for 172 pattern. It will be seen that in Fig. 173 the
loops or flushes of pile are over five and under one, and in Fig. 174
they are over two, under one, over one, and under one, thus making
a fast pile fabric, whereas the floats of five in Fig. 173 would be
rather loose unless the cloth is over-wefted. Both these piles may be
used in the one cloth, one for the face and the other for the back, as
is given in the figures; the light portion of Fig. 173 being of the same
texture as the dark portion of Fig. 174. One pattern may be taken as
the face of the cloth and the other as the back. Of course they may
also be used separately if desired. Any full-harness mounting that
will suit the pattern will answer for these fabrics, the loops being
thrown up in the usual way, by leaving a few shots standing out
from the fell and then knocking all up, drawing forward the pile
warp, which is slackened at this beat, but sliding on the ground
warp, which is held firm.

Fig. 174

Fig. 173

Another method of forming figure pile is to weave a plain pile, and

when cut press or stamp a pattern on it with heated blocks cut to
the pattern; the standing pile is then shorn off, and afterwards that