There is a calendering process employed in the final preparation of the dried silk, by which, we believe, its gloss is improved; but it was not in operation at the time of our visit. We saw, and watched with great curiosity, a still later process—more pretty to witness than easy to achieve—the making up of the hanks. This is actually the most difficult thing the men have to learn in the whole business. Of course, therefore, it is no matter for description. The twist, the insertion of the arm, the jerk, the drawing of the mysterious knot, may be looked at for hours and days, without the spectator having the least idea how the thing is done. We went from workman to workman—from him who was making up the blue, to him who was making up the red—we saw one of the proprietors make up several hanks at the speed of twenty in four minutes and a half, and we are no more likely to be able to do it, than if we had never entered a dye-house. Peeping Tom might spy for very long before he would be much the wiser; when done, the effect is beautiful. The snaky coils of the polished silk throw off the light like fragments of mirrors.
Another mysterious process is the marking of the silk which belongs to each manufacturer. The hanks and bundles are tied with cotton string; and this string is knotted with knots at this end, at that end, in the middle, in ties at the sides, with knots numbering from one to fifteen, twenty, or whatever number may be necessary; and the manufacturer's particular system of knots is posted in the books with his name, the quantity of silk sent in, the dye required, and all other particulars.
We were amused to find that there is a particular twist and a particular dye for the fringe of brown parasols. It is desired that there should be a claret tint on this fringe, when seen against the light; and here, accordingly, we find the claret tint. The silk is somewhat dull, from being hard twisted; it is to be made more lustrous by stretching, and we accompany it to the stretching machine. There it is suspended on a barrel and movable pin; by a man's weight applied to a wheel, the pin is drawn down, the hank stretches, and comes out two or more inches longer than it went in, and looking perceptibly brighter. A hank of bad silk snaps under this strain; a twist that will stand it is improved by it.
Looking into a little apartment, as we return through the yard, we find a man engaged in work which the daintiest lady might long to take out of his hands. He is making pattern-cards and books. He arranges the shades of all sorts of charming colors, named after a hundred pretty flowers, fruits, and other natural productions,—his lemons, lavenders, corn flowers, jonquils, cherries, fawns, pearls, and so forth; takes a pinch of each floss, knots it in the middle, spreads it at the ends, pastes down these ends, and, when he has a row complete, covers the pasted part with slips of paper, so numbered as that each number stands opposite its own shade of color. A pattern-book is as good as a rainbow for the pocket. This looks like a woman's work; but there are no women here. The men will not allow it. Women cannot be kept out of the ribbon-weaving; but in the dye-house they must not set foot, though the work, or the chief part of it, is far from laborious, and requires a good eye and tact, more than qualities less feminine. We found many apprentices in the works, receiving nearly half the amount of wages of their qualified elders. The men earn from ten shillings to thirty shillings a week, according to their qualifications. Nearly half of the whole number earn about fifteen shillings a week at the present time.
And, now, we are impatient to follow these pretty silk bundles to the factory, and see the weaving. It is strange to see, on our way to so thoroughly modern an establishment, such tokens of antiquity, or reminders of antiquity, as we have to pass. We pass under St. Michael's Church, and look up, amazed, to the beauty and loftiness of its tower and spire; the spire tapering off at a height of three hundred and twenty feet. The crumbling nature of the stone gives a richness and beauty to the edifice, which we would hardly part with for such clear outlines as those of the restored Trinity Church, close at hand. And then, at an angle of the market-place, there is Tom, peeping past the corner,—looking out of his window, through his spectacles, with a stealthy air, which, however ridiculous, makes one thrill, as with a whiff of the breeze which stirred the Lady Godiva's hair, on that memorable day, so long ago. It is strange, after this, to see the factory chimney, straight, tall, and handsome, in its way, with its inlaying of colored bricks, towering before us, to about the height of a hundred and thirty feet. No place has proved itself more unwilling than Coventry to admit such innovations. No place has made a more desperate resistance to the introduction of steam power. No place has more perseveringly struggled for protection, with groans, menaces, and supplications. Up to a late period, the Coventry weavers believed themselves safe from the inroads of steam power. A Macclesfield manufacturer said, only twenty years ago, before a Committee of the House of Commons, that he despaired of ever applying power-looms to silk. This was because so much time was employed in handling and trimming the silk, that the steam power must be largely wasted. So thought the weavers, in the days when the silk was given out in hanks or bobbins, and woven at home, or, when the work was done by handloom weavers in the factory—called the loom-shop. The day was at hand, however, when that should be done of which the Macclesfield gentleman despaired. A small factory was set up in Coventry by way of experiment, in the use of steam power, in 1831. It was burned down during a quarrel about wages,—nobody knows how or by whom. The weavers declared it was not their doing; but their enmity to steam power was strong enough to restrain the employers from the use of it. It was not till every body saw that Coventry was losing its manufacture,—parting with it to places which made ribbons by steam,—that the manufacturers felt themselves able to do what must be done, if they were to save their trade. The state of things now is very significant. About seventy houses in Coventry make ribbons and trimmings, (fringes and the like.) Of these, four make fringes and trimmings, and no ribbons; and six or eight make both. Say that fifty-eight houses make ribbons alone. It is believed that three-fourths of the ribbons are made by no more than twenty houses out of these fifty-eight. There are now thirty steam powerloom factories in Coventry, producing about seven thousand pieces of ribbons in the week, and employing about three thousand persons. It seems not to be ascertained how large a proportion of the population are employed in the ribbon manufacture: but the increase is great since the year 1838, when the number was about eight thousand, without reckoning the outlying places, which would add about three thousand to the number. The total population of the city was found, last March, to amount to nearly thirty-seven thousand. So, if we reckon the numbers employed in connection with the throwing-mills and dye-houses, we shall see what an ascendency the ribbon manufacture has in Coventry.
At the factory we are entering, the preparatory processes are going forward at the top and the bottom of the building. In the yard is the boiler fire, which sets the engine to work; and, from the same yard, we enter workshops, where the machinery is made and repaired. The ponderous work of the men at the forge and anvils contrasts curiously with the delicacy of the fabric which is to be produced by the agency of these masses of iron and steel. Passing up a step-ladder, we find ourselves in a long room, where turners are at work, making the wooden apparatus required, piercing the "compass boards," for the threads to pass through, and displaying to us many ingenious forms of polished wood. While the apparatus is thus preparing below, the material of the manufacture is getting arranged, four stories overhead. There, under a skylight, women and girls are winding the silk from the hanks, upon the spools, for the shuttles. Here we see, again, the clouded silk, which is to make plaid ribbons, and the bright hues which delighted our eyes at the dyeing-house. This is easy work,—many of the women sitting at their reels; and the air is pure and cool. The great shaft from the engine, passing through the midst of the building, carries off the dust, and affords excellent ventilation. Besides this, the whole edifice is crowned by an observatory, with windows all round; and no complete ceilings shut off the air between this chamber and the rooms of two stories below. In clear weather, there is a fine view from this pinnacle, extending from the house, gardens, and orchard of the Messrs. Hamerton below, over the spires of Coventry, to a wide range of country beyond.
Descending from the long room, where the winding is going on, we find ourselves in an apartment which it does one good to be in. It is furnished with long narrow tables, and benches put there for the sake of the work-people, who may like to have their tea at the factory, in peace and quiet. They can have hot water, and make themselves comfortable here. Against the door hangs a list of books, read, or to be read, by the people: and a very good list it is. Prints, from Raffaelle's Bible, plainly framed, are on the walls. In the middle of the room, on, and beside, a table, are four men and boys, preparing the "strapping" of a Jacquard loom for work. The cords, so called, are woven at Shrewsbury. We next enter a room where a young man is engaged in the magical work of "reading in from the draught." The draught is the pattern of the intended ribbon, drawn and painted upon diced paper,—like the patterns for carpets that we saw at Kendal, but a good deal larger, though the article to be produced here is so much smaller. The young man sits, as at a loom. Before him hangs the mass of cords he is to tie into pattern, close before his face, like the curtain of a cabinet piano. Upreared before his eyes is his pattern, supported by a slip of wood. He brings the line he has to "read in" to the edge of this wood, and then, with nimble fingers, separates the cords, by threes, by sevens, by fives, by twelves, according to the pattern, and threads through them the string which is to tie them apart. The skill and speed with which he feels out his cords, while his eyes are fixed on his pattern, appear very remarkable; but when we come to consider, it is not so complicated a process as playing at sight on the piano. The reader has to deal thus with one chapter, or series, or movement, of his pattern. A da capo ensues: in other words, the Jacquard cards are tied together, to begin again; and there is a revolution of the cards, and a repetition of the pattern, till the piece of ribbon is finished. In the same apartment is the press in which the Jacquard cards are prepared; just in the way which may be seen wherever silk or carpet weaving, with Jacquard looms, goes forward.
All the preparations having been seen—the making of the machinery, the filling of the spools, the drawing and "reading in" of the pattern, and the tying of the cords or strapping, we have to see the great process of all, the actual weaving. We certainly had no idea how fine a spectacle it might be. Floor above floor is occupied with a long room in each, where the looms are set as close as they can work, on either hand, leaving only a narrow passage between. It may seem an odd thing to say; but there is a kind of architectural grandeur in these long lofty rooms, where the transverse cords of the looms and their shafts and beams are so uniform, as to produce the impression that symmetry, on a large scale, always gives. Looking down upon the details, there is plenty of beauty. The light glances upon the glossy colored silks, depending, like a veil, from the backs of the looms, where women and girls are busy piercing the imperfect threads with nimble fingers. There seems to be plenty for one person to do; for there are thirteen broad ribbons, or a greater number of narrow ones, woven at once, in a single loom; yet it may sometimes be seen that one person can attend the fronts, and another the backs of two looms. In the front we see the thirteen ribbons getting made. Usually, they are of the same pattern, in different colors. The shuttles, with their gay little spools, fly to and fro, and the pattern grows, as of its own will. Below is a barrel, on which the woven ribbon is wound. Slowly revolving, it winds off the fabric as it is finished, leaving the shuttles above room to ply their work.
The variety of ribbons is very great, though in this factory we saw no gauzes, nor, at the time of our visit, any of the extremely rich ribbons which made such a show at the Exhibition. Some had an elegant and complicated pattern, and were woven with two shuttles (called the double-batten weaving) which came forward alternately, as the details of the rich flower or leaf required the one or the other. There were satin ribbons, in weaving which only one thread in eight is taken up,—the gloss being given by the silk loop which covers the other seven. On entering, we saw some narrow scarlet satin ribbons, woven for the Queen. Wondering what Her Majesty could want with ribbon of such a color and quality, we were set at ease by finding that it was not for ladies, but horses. It was to dress the heads of the royal horses. There were bride-like, white-figured ribbons, and narrow flimsy black ones, fit for the wear of the poor widow who strives to get together some mourning for Sundays. There were checked ribbons, of all colors and all sizes in the check. There were stripes of all varieties of width and hue. There were diced ribbons, and speckled, and frosted. There were edges which may introduce a beautiful harmony of coloring; as primrose with a lilac edge, green with a purple edge, rose color and brown, puce and amber, and so on. The loops of pearl or shell edges are given by the silk being passed round horse-hairs, which are drawn out when the thing is done. There are belts,—double ribbons,—which have other material than silk in them; and there are a good many which are plain at one edge, and ornamented at the other. These are for trimming dresses. One reason why there are so few gauzes, is that the French beat us there. They grow the kind of silk that is best for that fabric, and labor is cheap with them; so that any work in which labor bears a large proportion to the material, is peculiarly suitable for them.
We have spent so much time among the looms, that it is growing dusk in their shadows, though still light enough in the counting house for us to look over the pattern-book, and admire a great many patterns, most, till we see more. Young women are weighing ribbons in large scales; and a man is measuring off some pieces, by reeling. He cuts off remnants, which he casts into a basket, where they look so pretty that, lest we should be conscious of any shop-lifting propensities, we turn away. There is a glare now through the window which separates us from the noisy weaving room. The gas is lighted, and we step in again, just to see the effect. It is really very fine. The flare of the separate jets is lost behind the screens of silken threads, which veil the backs of the looms, while the yellow light touches the beams, and gushes up to the high ceiling in a thousand caprices. Surely the ribbon manufacture is one of the prettiest that we have to show.