How to make rugs

by Candace Wheeler

Of course much of the beauty of the ingrain carpet rug depends upon the original colour of the carpet. Most of those which are without design will work well into rugs if a strongly contrasting colour is used in the warp. If, for instance, the carpet colour is plain blue, the warp should be white; if yellow, either an orange warp, which will make a very bright rug, or a green warp, which will give a soft yellowish green, or a blue, which will give a general effect of green changing to yellow.

If the carpet should be a figured one, a red warp will be found more effective than any other in bringing all the colours together. If it should happen to be faded or colourless, the breadths can be dipped in a tub of strong dye of some colour which will act well upon the previous tint. If, for instance, it should be a faded blue, it may be dipped in an indigo dye for renewal of colour, or into yellow, which will change it into green. A poor yellow will take a brilliant red dye, and a faded brown or fawn will be changed into a good claret colour by treating it with red dye. Faded brown or fawn colours will take a good dark green, as will also a weak blue. Blue can also be treated with yellow or a fresher blue.

Of course, in speaking of this kind of dyeing, the renewal of old tints, it is with reference to the common prepared dyes which are for sale—with directions—by every druggist, and with a little knowledge of how these colours act upon each other one can produce very good effects. It is quite a different thing from the dyeing of fibre which is to be woven into cloth. In the latter case it is far wiser to use vegetable dyes, but in the freshening of old material the prepared mineral dyes are more convenient and sufficiently effective.

CHAPTER V.

WOVEN RAG PORTIERES.

Rag weaving is not necessarily confined to rugs, for very beautiful portieres and table and lounge covers may be woven from carefully chosen and prepared rags. The process is practically the same, the difference being like that between coarse and fine needlework, where finer material and closer and more painstaking handiwork is bestowed. The result is like a homespun cloth. Both warp and woof must be finer than in ordinary carpet weaving. Instead of coarse cotton yarn, warp must be fine “mercerized” cotton, or of linen or silk thread, and the warp threads are set much closer in the loom. In place of ten or twelve threads to the inch, there should be from fifteen to twenty. The woof or filling may be old or new, and either of fine cotton, merino, serge, or other wool material, or of silk. The ordinary “silk-rag portiere” is not a very attractive hanging, being somewhat akin to the crazy quilt, and made, as is that bewildering production, from a collection of ribbons and silk pieces of all colours and qualities, cut and sewed together in a haphazard way, without any arrangement of colour or thought of effect, and sent to the weaver with a vague idea of getting something of worth from valueless material. This is quite a different thing from a silk portiere made from some beautiful old silk garment, which is too much worn for further use, where warp and woof colour are selected for fitness and harmony, and the weaver uses her rags, as the painter does his colours, with a purpose of artistic effect. If the work is done from that point of view, the last state of the once beautiful old garment may truly be said to be better than the first. If a light cloth is used for this kind of manufacture, it may be torn into strips so narrow as to simulate yarn—and make what appears to be yarn weaving. This cannot well be done with old or worn cloth, because there is not strength in the very narrow strip to bear the strain of tearing; but new muslin, almost as light as that which is known as “cheesecloth,” treated in this way makes a beautiful canvas-like weaving which, if well coloured, is very attractive for portieres or table covers.

If one has breadths of silk of a quality which can be torn without raveling, and is sufficiently strong to bear the process, it is delightful material to work with. If it is of ordinary thickness, a half-inch in width is quite wide enough, and this will roll or double into the size of ordinary yarn. If the silk is not strong enough to tear, it is better to cut the strips upon the bias than straight, and the same is true of fine woolens, like merinos, cashmeres, or any worsted goods. There is much more elasticity in them when cut in this way, and they are more readily crushed together by the warp.

I know a beautiful hanging of crimson silk, or rather of crimson and garnet—the crimson having been originally a light silk dress dyed to shade into the garnet. The two coloured rags were sewn together “hit or miss” fashion and woven upon a bright cardinal-coloured warp. There was no attempt at border: it was simply a length of vari-coloured coarse silk weaving, absolutely precious for colour and quality.

Treated in this way, an old silk gown takes on quite a new value and becomes invested with absorbing interest. Spots and tarnish disappear in the metempsychosis, or serve for scattered variation, and if the weaver chooses to still further embellish it with a monogram or design in cross stitch embroidery, she has acquired a piece of drapery which might be a valuable inheritance to her children.

Merino or cashmere which has been worn and washed, and is coupled with other material of harmonizing colour, like pieces of silk or velvet, is almost as valuable for the making of portieres and table covers as if it were silk. Indeed, for the latter purpose it is preferable, being generally washable.