Fig. 76
Fig. 77
[Fig. 78] is a pattern that would suit for dress goods if woven similarly to [Fig. 76]; and if woven much coarser, say 25 to 30 threads per inch, it is suited for quiltings. Great variety can be made in this style of quilts, particularly when floral and other forms are interspersed through the texture, and also when the honeycomb texture is employed, an example of which is given in [Fig. 79] in combination with diaper or bird-eye figures; only a portion of this pattern is given, but it shows all that is required. In either pure white, or with a warp of one colour and a weft of another colour, these patterns are very effective when made from good twist yarn and coarsely set in the reed; the flushing might be over twice as many threads as is shown in the patterns, and then more threads of warp and weft be used. It is perhaps to the woollen and worsted trades we must turn to find the greatest variety of patterns of the description we are now dealing with. True, the greater portion of them can be wrought on shafts, and perhaps a greater number of shafts are used in these trades than in any other branch of textile work, as shafts produce a firmer cloth than a harness; but when large fancy patterns are required, recourse must be had to the jacquard. [Fig. 80] is an example of a fancy twill stripe which could be wrought on 48 shafts if desired, but might also be wrought on a small jacquard with greater simplicity, unless very heavy cloth is required. Patterns of this description require considerable skill in designing, and are in some cases more difficult as they increase in size. It may be seen that the pattern or figure is composed of different textures, and to make a perfect cloth the various textures should all work together at an even tightness, or so that there will be an equal amount of take-up of shrinkage of the warp for each. When checks or large patterns are to be formed this is most essential, but in smaller patterns it can in a great measure be remedied by letting the various textures follow each other, so that if one tightens a little another will make a corresponding slackness, and all together will balance each other. Another important point is to join the edges of the various textures together so that there will be no break, or floats of warp and weft greater or less than in the textures themselves. In some cases tight and loose textures are wrought together to give a special effect, and figures may be formed by the close texture pressing the looser threads together.
Fig. 78
