The warp can be made of strong cotton yarn which is manufactured for this very purpose and can be bought for about seventeen cents a pound. This is probably cheaper than it could be carded and spun at home even on a cotton-growing farm.

The wool filling should be coa.r.s.e and slack-twisted, and on wool-growing farms or in wool-growing districts is easily produced. If it is of home manufacture, it may be spun as loosely or slackly as possible, dyed and woven without doubling, which will be seen to be an economy of labor. The single thread, slackly twisted, gives a very desirable elasticity to the fabric, because the wool fibre is not too closely bound or packed. On the other hand, if the wool as well as the warp must be bought, it is best to get it from the spinning machine in its first state of the single thread, and do the doubling and twisting at home. In this case it can be doubled as many or as few times as it is thought best, and twisted as little as possible.

The next and most important thing is colour, and it is a great advantage if the dyeing can be done at home. There is a strong and well-founded preference among art producers in favor of vegetable dyes, and yet it is possible to use certain of the aniline colours, especially in combination, in safe and satisfactory ways.

Every one who undertakes domestic weaving must know how to dye one or two good colours--black, of course, and the half-black or gray which a good colourist of my acquaintance calls _light black_; indigo blue equally, of course, in three shades of very dark, medium and light; and red in two shades of dark and light. Here are seven shades from the three dyes, and when we add white we see that the weaver is already very well equipped with a variety of colour. The eight shades can be still further enlarged by clouding and mixing. The mixing can be done in two ways, either by carding two tints together before spinning, or by twisting them together when spun.

Carding together gives a very much better effect in wool, while twisting together is preferable in cotton.

Dark blue and white or medium blue and white wool carded together will give two blue-grays, which cannot be obtained by dyeing, and are most valuable. White and red carded together give a lovely pink, and any shade of gray can be made by carding different proportions of black and white or half-black and white. A valuable gray is made by carding black and white wool together (and by black wool I mean the natural black or brownish wool of black sheep). Mixing of deeply dyed and white wool together in carding is, artistically considered, a very valuable process, as it gives a softness of colour which it is impossible to get in any other way. Clouding--which is almost an indispensable process for rug centres--can be done by winding certain portions of the skeins or hanks of yarn very tightly and closely with twine before they are thrown into the dye-pot. The winding must be close enough to prevent the dye penetrating to the yarn. This means, of course, when the clouding is to be of white and another colour. If it is to be of two shades of one colour, as a light and medium blue, the skein is first dyed a light blue, and after drying is wound as I have described, and thrown again into the dye-pot, until the unwound portions become the darker blue which we call medium.

In a neighbourhood where weaving is a general industry, it is an advantage if some one person who has a general apt.i.tude for dyeing and experiments in colours undertakes it as a business. This is on the principle that a person who does only one thing does it with more facility and better than one who works in various lines. Yet even when there is a neighbourhood dyer, it is, as I have said, almost indispensable that the weaver should know how to dye one or two colours and to do it well.

Supposing that the material, in the shape of coa.r.s.e cotton warp, black, red or white, has been secured, or that a wool filling in the colours and shades I have described has been prepared for weaving; the loom is then to be warped, at the rate of fifteen or less threads to the inch, according to the coa.r.s.eness or fineness of the filling.

It is well to weave a half-inch of the cotton warp for filling, as this binds the ends more firmly than wool. Next to this, a border of black and gray in alternate half-inch stripes can be woven, and following that, the body of the rug in dark red, clouded with white.

After five feet of the red is woven, a border end of the black and gray is added, and the rug may be cut from the loom, leaving about four inches of the warp at either end as a fringe. If the filling yarn is of good colour, and has been well packed in the weaving, _so as to entirely cover the warp_, the result will be a good, attractive and durable woolen rug, woven after the Navajo method.

In this one example I have given the bare and simple outline by following which a weaver whose previous work has been only rag carpet weaving can manufacture a good and valuable wool rug. The difference will be simply that of close warping and a subst.i.tution of wool for rags. Its value will be considerably increased or lessened by the choice of material both in quality and colour and the closeness and perfection of weaving.

The example given calls for a rug six feet long by three feet in width. To make this very rug a much more important one, it needs only to vary the size of the border. For a larger rug the length must be increased two feet, and the border, which in this case must be of plain or mixed black--that is, it must not be alternated with stripes of gray--must measure one foot at either end. When this is complete, two narrow strips one foot in width, woven with mixed black filling, must be sewed on either side, making a rug eight feet long and five in width. It is not a disadvantage to have this border strip sewn, instead of being woven as a part of the centre. Many of the cheaper Oriental weavings are put together in this way, and as many of the older house-looms will only weave a three-foot width, it is well to know that that need not prevent the production of rugs of considerable size.

Endless variations of this very simple yarn rug can be made with variation in size as well as in colour. Two breadths and two borders, the breadths three feet in width and the borders one foot and six inches, will give a breadth of nine feet, which with a corresponding length will give a rug which will sufficiently cover the floor of an ordinary room. If the centre is skilfully mottled and shaded, it will make a floor spread of beautiful colour, and one which could hardly be found in shops.

[Ill.u.s.tration: ISLE LA MOTTE RUG]

The border can be made brighter, as well as firmer and stiffer, by using two filling threads together--a red and a black; or an alternate use of red and black, using two shuttles, will give a lighter and better effect than when black is used exclusively.

After size and weight--or, to speak comprehensively, _quality_--is secured in this kind of simple weaving, the next most important thing is colour. Of course the colour must be absolutely fast, but I have shown how much variety can be made by shading and mixing of three fast colours, and much more subtle and artistic effects can be produced by weaving alternate threads of different colours. Indeed, the effects obtained by using alternate threads can be varied to almost any extent; as, for instance, a blue and yellow thread--provided the blue is no deeper than the yellow--will give the effect of green to the eye. If the blue is stronger or deeper, as it will almost necessarily be, it will be modified and softened into a greenish blue.

Red and white woven in alternate threads upon a white warp will give an effect of pink, and with this colour for a centre the border should be a good gray.

Of course, alternate throwing of different coloured yarns makes the weaving go more slowly than when one alone is used, and something of the same colour effect can be produced by doubling, instead of alternating. It is, of course, not quite the same, as one colour may show either under or over the other, and the effect is apt to be mottled instead of one of uniform stripes.

The end in view in all these mixtures is _variation_ and liveliness of colour, not an effect of stripes or spots; indeed, these are very objectionable, especially when in contrasted or different colors. A deepening or lightening of the same colour in irregular patches, as will occur in clouded yarns, gives interest, whereas if these cloudings were in strongly contrasted colours they would be crude and unrestful. For this reason, if for no other, it is well to work in few tints, and use contrasting colours only for borders.

To show how much variety is possible in weaving with the few dyes I have named, I will give a number of combinations which will produce good results and be apt to harmonize with ordinary furnishing. By adding orange yellow, which is also one of the simplest and safest of dyes, we secure by mixture with blue a mottled green, and this completes a range of colour which really leaves nothing to be desired.

No. 1. _Colours black and red._ Border, alternate stripes of black and dark red, as follows: First stripe of black, one and a half inches; second stripe of red, one inch; third stripe of black, one inch; fourth stripe of red, one-half inch; fifth stripe of black, three-quarters inch; sixth stripe of red, one-half inch; seventh stripe of black, half-inch; centre of light red clouded with dark red; reversed border.

No. 2. _Colours black and red._ Border one foot in depth, of black and red threads woven alternately. Centre dark red, clouded with light red. Woven six feet, with one-foot border at sides as well as ends.

No. 3. _Colours red and white._ Border seven inches of plain red.

Centre of red and white woven alternately.

No. 4. _Colours red and black._ Border black and red, threads woven alternately, one foot in depth; centre of alternate stripes, two inches in width, of dark red and light red; eight feet in length, with foot-wide side borders, woven with alternate threads of red and black.

No. 5. _Colours red and black._ Border eighteen inches in depth, of alternate red and black, half-inch stripes. Centre of dark red, clouded with light.

No. 6. _Colours gray, red and white_, to be woven of doubled, slightly twisted threads. Border one foot in depth at ends and sides, woven of red and gray yarn twisted together. Centre of red and white yarn in twisted threads.

No. 7. _Colours red and white._ Border of plain red, twenty inches in depth. Centre in alternate half-inch stripes of red and white.

No. 8. _Colours blue, red and black._ Border four inches deep of black, two inches of plain red, one inch of black. Centre of clouded blue.

No. 9. _Colour blue._ Border eight inches of darkest blue. Centre of clouded medium and light blue.

No. 10. _Colours blue and white._ Border of very dark and medium blue woven together. Centre of blue and white yarn woven together.

No. 11. _Colours blue and white._ Border of medium plain blue. Centre of blue, clouded with white.

No. 12. _Colours blue and white._ Border of medium blue. Centre of alternate stripes of one inch width blue, and half-inch white stripes.

No. 13. _Colours blue and white._ Border twelve inches deep of dark blue, clouded with medium. Centre of alternate threads of medium blue and white.

No. 14. _Colours blue, black and orange yellow._ Border eight inches deep of black, one inch of orange, two of black. Centre, alternate threads of blue and orange.

No. 15. Border of doubled threads of dark blue and orange. Centre of alternate stripes of inch wide light blue and orange woven together, one-half inch stripes of clear orange and white woven together.

In the examples I have given, wherever doubled threads of different colours woven together are used, it must be understood that they are to be slightly twisted, and that the warping for double-filling rugs need not be as close as for single filling. Twelve threads to the inch would be better than fifteen, and perhaps ten or eleven would be still better. Doubled yarn of different colours produces a mottled or broken effect, and this can often be done where the colours of the yarns do not quite satisfy the weaver. If they are too dull, twisting them slackly with a very brilliant tint will give a better shade than if the original tint was satisfactory, but in the same way yarns which are too brilliant can often be made soft and effective by twisting them together with a paler tint. Minute particles of colour brought together in this way are brilliant without crudeness. It is, in fact, the very principle upon which impressionist painters work, giving pure colour instead of mixed, but in such minute and broken bits that the eye confounds them with surrounding colour, getting at the same time the double impression of softness and vivacity.

These examples of fifteen different rugs which can be woven from the three tints of blue, red and orange, together with black and white, do not by any means exhaust the possibilities of variety which can be obtained from three tints. Each rug will give a suggestion for the next, and each may be an improvement upon its predecessor.

CHAPTER VII.

COTTON RUGS.

The warp-covered weaving which I have described in a previous chapter as being the simplest and best method for woolen rugs, is equally applicable to cotton weaving. It is, in fact, the one used in making the cotton rugs woven in prisons in India, and which in consequence are known as "prison rugs." They are generally woven in stripes of dark and light shades of indigo blue and measure about four by eight feet. They are greatly used by English residents in India, being much better adapted to life in a hot climate than the more costly Indian and Persian rugs, which supply the world-demand for floor coverings.

In our own summer climate and chintz-furnished summer cottages they would be an extremely appropriate and economical covering for floors.

The warp is like that of the Navajo blanket, a heavy cotton cord, the filling or woof of many doubled fine cotton threads, which quite cover the heavy warp, and give the ridged effect of a coa.r.s.e _rep_.

As I have said, they are woven almost invariably in horizontal stripes of two blues, or blue and white, with darker ends and a warp fringe.

Simple as they are and indeed must be, as they are the result of unskilled labour, they are pleasant to look at, and have many virtues not dependent upon looks. They are warm and pleasant to unshod feet, and therefore suitable for bedroom use. They are soft to shoe tread, and give colour and comfort to a summer piazza. They can be hung as portieres in draughty places with a certainty of shelter, and can be lifted and thrown upon the gra.s.s to be washed by the downpour of a thunder shower, and left to dry in the sun without detriment to colour or quality.

Surely this is a goodly list of virtues, and the sum of them is by no means exhausted. Their durability is surprising; and they can be sewn together and stretched upon large floors with excellent colour effect.

They can be turned or moved from room to room and place to place with a facility which makes them more than useful. The manufacture is so simple that a child might weave them, while at the same time, by a skilful use of colour and good arrangement of border, they can be made to fit the needs of the most luxurious as well as the simplest summer cottage. In short, they are capable of infinite variation and improvement, without departure from the simple method of the "prison rug."

Of course the variation must be in colour and the arrangement of colour; and in studying this possible improvement it must be remembered that cotton will neither take nor hold dyes as readily as wool or silk, and that certain dyes which are very tenacious in their hold upon animal fibre cannot be depended upon when applied to vegetable fibre. There are, however, certain dyes upon which we can safely rely. Indigo blue, and the red used in dyeing what is called Turkey red, are reliable in application to both wool and cotton, and are water and sun proof as well. Walnut and b.u.t.ternut stains will give fast shades of brown and yellow, and in addition there is also the buff or nankeen-coloured cotton, the natural tint of which combines well with brown and blue.

In giving directions for rug colourings in cottons, I shall confine myself to the use of black, white, blue and red, because these colours are easily procurable, and also because rugs manufactured from them will fit the style of furnishing which demands cotton rugs.

The examples I shall give call for graduated dyeing, especially in the two tints of red and blue.

Any one expecting to succeed in rug weaving must be able to procure or produce from two to three planes of colour, as well as two mixtures in each. These would be as follows: