Theory Of Silk Weaving

tion, then one or more on a
second and third, if the harness is divided in so many sets.

The following examples will illustrate the principle of these draws.

In Fig. 10, shafts 1, 2, 3, 4 from the first set, shafts 5 and 6 the
second, 8 threads are drawn straight on the first, then 2 on the second
section.

Fig. 11, first set shafts 1 to 6 inclusive, second set shafts 7 and 8.

Fig. 12 is drawn end and end on two sections having 8 shafts each.

Figs. 13, 14 and 15, while not strictly belonging to the class of section
draws, may, however, be considered under this heading. The idea is to draw
a certain number of ends in one part of the harness and another group in
another part, be it straight, point or skip, which will cause the effect on
the cloth to be accordingly transposed or broken up.

[Page 15]
* * * * *

THE WEAVES AND THEIR CONSTRUCTION

In any woven fabric we distinguish two systems of threads, the _Warp or
Chain_, running lengthways in the cloth, and the _Filling or Weft_,
crossing the former at right angles.

This crossing or interlacing consists of every individual warp-thread being
placed alternately under and over one or more threads of the filling
system. The arrangement of this interlacing is technically called the
_Weave_, and the variety in which the points of crossing can be distributed
is practically endless.

It is principally the weave that lends to a fabric its character,
influenced, of course, by the material used, the size and tension of the
threads and the combination of the colors.

The weaves are divided into three main classes: _the Foundation weaves_. In
the silk business they are known under the following names:

#The Taffeta Weave,
The Serge Weave,
The Satin Weave.#

In the foundation weaves each thread effects only one crossing in one
repeat of the weave, and the points of interlacing occur in a given
rotation. A repeat in the found

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