The art of weaving, by hand and by power, with an introductory account of its rise and progress in ancient and modern times . It is necessary to observe, that in order to produce the twine orgauze twistj as represented at A* under Fig. 49, in forming the CROSS WEAVING. 127 sheds, the threads do not rise and fall alternately, as in plain weav-ing, nor at intervals as in tweeling. In both sheds the thread A isalways raised and the thread B sunk ; but in the open shed, Fig. 49,the threads are not crossed, and in the cross shed, Fig. 50, they examining these two figures (49 and 50,) the way
The art of weaving, by hand and by power, with an introductory account of its rise and progress in ancient and modern times . It is necessary to observe, that in order to produce the twine orgauze twistj as represented at A* under Fig. 49, in forming the CROSS WEAVING. 127 sheds, the threads do not rise and fall alternately, as in plain weav-ing, nor at intervals as in tweeling. In both sheds the thread A isalways raised and the thread B sunk ; but in the open shed, Fig. 49,the threads are not crossed, and in the cross shed, Fig. 50, they examining these two figures (49 and 50,) the way of drawingthe warp through the headles will become apparent, and this is animportant part of every branch of cross weaving. The thread A isdrawn through the third leaf, but as it always rises, it is not takenthrough the clasp, or eye, of the headle, but above it, through whatthe weavers usually call the upper doup, as at, X^ Fig. 49. Inlike manner the thread B, which always sinks, is drawn throughthe under doup of the fourth leaf as at Y^ Figs. 49 and this has been done, the thread A is crossed under the thread
Size: 1011px × 2473px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1800, bookdecade1840, booksubjectweaving, bookyear1844
