Jacquard Weaving and Designing

by T. F. Bell

Fig. 185

[Fig. 185] is the plan of drawing-in and weaving a carpet similar to that shown in section in [Fig. 184]. The draft is given at A, and the treading and cording for a hand loom at B. A 10-row jacquard should be used for a 5-frame carpet, as twice over the 5 threads makes one row of the cumber board. Five threads are drawn into the harness, one from each frame, then two ground warp threads are brought through and drawn on two leaves of heddles. In weaving, one ground thread is raised and a shot thrown in; then all the pile warp and the same ground thread are raised for the next shot; the third tread raises the harness and a wire is inserted to draw up the pile; the fourth tread crosses the ground warp threads; the fifth tread raises this thread again, as well as all the pile warp, and the sixth tread raises the harness for the insertion of the second wire; this completes, the order of treading. For the second and fifth treads it will be observed that all the warp in the harness must be raised; this was usually done by having shafts through the harness or by raising the cumber board to act as a journal in the manner explained for Scotch carpet weaving; but now jacquards are made with bottom boards or gratings that can be raised or lowered to form these sheds.

The pile wires are now commonly inserted at the time the adjoining pick is being thrown in, a double shed being formed, and both the wire and shuttle passed across at the same time, the former being uppermost; in power looms the wires are both inserted and withdrawn by machinery; about twenty-five are inserted before any are drawn out, to prevent the loops from slipping. Jacquard machines are made specially for the purpose of forming this double shed, the grating raising the hooks from the bottom to the centre position, thus raising the worsted or figuring warp above the shuttle, while the griffe carries the figuring hooks on to the top, making a second or upper shed for the wire. The old method was to form the lower shed by raising the cumber board, and the upper one by the griffe. Jacquards with cords instead of hooks are frequently used.

Brussels carpets are made 27 in. wide, with nominally 260 loops or rows of pile in the width; but 256 rows are commonly used instead of 260 for the better classes of goods, and a further reduction of 30 or 40 loops is made for lower classes, the reduction going to cheapen the goods or to the credit of the manufacturer. Although only 256 loops are on the surface of the cloth, it must be remembered that for a 5-frame carpet there are 5 times this number of threads, and that 1,280 cords will be required for the harness, and an equal number of needles in the jacquard when the pattern is single, or not repeated on the cloth; but the design only covers 256 spaces on the point paper, each space or check across it representing 5 threads. In Scotland a reed with 350 splits on 37 in. is used, one row of pile warp with its ground warp going into each split. A carpet known as Axminster Brussels is made in Scotland. It is similar in structure to the common Brussels, but has in addition a woollen weft, which is thrown in pick-and-pick with the usual hemp weft. The addition of the wool weft adds to the softness and thickness of the carpet, giving more elasticity or spring to it, and making it wear better.

Designs for Brussels carpets are sketched out and coloured in the usual way; the method of repeating the patterns is much the same as is adopted for wall papers. Usually there is one repeat in the width of the cloth (27 in.), and the length of the repeat may be shorter or longer to suit the pattern, expense, &c.; 256 checks, = 3/4ths of a yard, is a common length, and 1-1/2 yard for bolder effects. The number of colours must be regulated to suit the frames to be employed in the weaving, unless the frames can be made to suit the pattern. Say five frames are to be used, this would suggest five colours; but it does not follow that only five colours can be used. A clever designer may work out most patterns so that six or more colours may be used on five frames, by arranging the design so that two colours may be put to one or more of the frames, which process is called ‘planting.’ But it may be that an extra number of colours will not improve the design, in which case they should not be used. The process of ‘planting’ or striping the warp—which is on the same principle as ‘chintzing’ by striping the weft in other makes of goods—will be best understood by referring to [Fig. 186], which is a Brussels carpet pattern on a small scale for working with five frames. The colours are indicated by different markings on the squares of the design-paper, as shown by the index or gamut below the design. On the first line of the gamut there are two varieties of markings, and as this line indicates reds, there are two colours of red used on this frame. Following up the design above these markings, it will be seen that one colour of red is used in one of the sets or rows of octagonal figures, and the other colour on the intermediate rows, and that the two colours of red are not required in the same portions of the design, the gamut showing where each is required. It is only necessary to arrange the spools on the frame in the loom and draw the threads through the harness, as shown by the gamut, to make this fall in correctly.

Fig. 186

What the designer must guard against is giving the pattern a striped appearance, which would be the case if the planted colours were brought to the surface too frequently; but if they are judiciously brought up at intervals, the effect of a 5-frame can be made almost as good as that of a 6-frame pattern, and this can be carried still further if desired; every frame may contain two colours, or one frame may contain several colours.