Jacquard Weaving and Designing
JACQUARD WEAVING AND DESIGNING
T. F. BELL
NATIONAL SCHOLAR IN DESIGN (1875-8) AND THIRD GRADE CERTIFICATED ART MASTER, SCIENCE AND ART DEPARTMENT, S. K.: MEDALLIST IN HONOURS AND CERTIFICATED TEACHER IN ‘LINEN MANUFACTURING,’ AND IN ‘WEAVING AND PATTERN DESIGNING,’ CITY AND GUILDS OF LONDON INSTITUTE
LONDON LONGMANS, GREEN, AND CO. AND NEW YORK: 15 EAST 16 th STREET 1895
All rights reserved
The contents of the following pages have been derived from a long course of art and technical training, together with a lengthened practical experience in textile manufacturing and designing; during which time I received much valuable assistance from many kind friends—especially Mr. B. Ashenhurst, when master of the Belfast Technical School, and his brother, of Bradford; also Mr. John Mitchell, of Belfast and Glasgow—which I thankfully acknowledge.
To supply a treatise that would be alike suitable to the manufacturer, the workman, and the student would be a difficult matter. To explain each point so fully that it would be clear to every person would make it wearisome to those having a knowledge of the subject. I have therefore endeavoured to keep the descriptions as concise as is compatible with a fairly clear explanation, which I hope will be considered the wisest plan to adopt; and, while quite aware of the many shortcomings of the work, I venture to hope that it will prove a valuable assistance to those wishing to improve their knowledge of jacquard weaving and designing.
T. F. BELL. Belfast, 1894.
It affords me much satisfaction to add a few words of introduction to this work of my friend Mr. Bell. I cannot pretend to criticise his explanation of technical processes, but, from an examination of the proof-sheets, I am convinced that the book will be found an invaluable aid to students of both art and technical schools. We already possess numerous text-books on designing as an art, as also on the technical processes of weaving, &c., and on the materials of manufacture. Mr. Bell has aimed at bringing the technical and artistic sides of the subject together in a practical form, and has thus provided us with a valuable handbook.
T. F. Bell
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READING OR LASHING THE PATTERN
CROSS’S COUNTERPOISE HARNESS
THE COMB DRAW LOOM
THE BARREL OR CYLINDER LOOM
FRENCH DRAW LOOM
DOUBLE-ACTING JACQUARD WITH TWO CYLINDERS
JACQUARD STOP MOTION
LINGOES OR LEADS
HARNESS TWINE
SETTING THE JACQUARD
HECKS OR GUIDE REEDS
PREPARING THE NECK OF THE HARNESS
CUMBER BOARDS AND HARNESS REEDS
SLABSTOCKS AND LEVELLING FRAMES
LEVELLING THE SLABSTOCK OR FRAME
TYING UP THE HARNESS
VARNISHING A HARNESS
TO ARRANGE THE TIE OF A HARNESS
TO MARK OUT A CUMBER BOARD
TO VARY THE SET OF THE HARNESS
LETTERS, MOTTOES, ETC.
WIRING CARDS
CROSS-BORDER JACQUARDS
OPEN-SHED JACQUARDS
THE VERDÔL JACQUARD
HALF HARNESS AND MUSLIN HARNESSES
SPLIT HARNESS
PRESSURE HARNESS
TWILLING JACQUARDS
HAND-LOOM GAUZE HARNESS.
GAUZE HARNESS
THE GAUZE REED.
DOUBLE CLOTH AND QUILTING HARNESSES
CONCLUSION