Читать книгу Triumphs and Wonders of the 19th Century: The True Mirror of a Phenomenal Era - James P. Boyd - Страница 48

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Antiquity conceals nothing more completely than the origin of the textile industry. Back in the dark ages and beyond authentic records, evidence is furnished that this art was not unknown. Egyptian mummies shrouded in fine linen fabrics give their silent testimony of ancient knowledge, but when or where the art had its inception still remains wrapped in mystery. Nearly every nation of the earth lays claim to its invention at some epoch in traditional existence. Thus the Chinese attribute it to the wife of their first emperor, the Egyptians to Isis, the Greeks to Minerva; but probably it had its birth in the Orient, where the making of cloth was known and practiced from the earliest times.

Whatever the merits of rival claimants, certain it is that for many centuries the simple distaff and spindle were the only instruments used for spinning, while the warp and weft were woven together by hand implements not less primitive in structure.

In the first spinning device, a mass of fibre was arranged on a forked stick, and, as drawn therefrom by hand, it was twisted between the fingers and wound on a spindle. During the reign of Henry VIII. of England, however, the spinning-wheel replaced the distaff and spindle, and in every cottage and palace it became an indispensable article of household equipment. The young women in all walks of life were taught to spin. Spinning became the female occupation of the age, and it is interesting to note that the modern term spinster, meaning an unmarried woman of advanced age, here had its origin.

The spinning-wheel, though superior to the distaff and spindle, was yet a crude machine. It consisted of a stand on which was mounted in horizontal bearings a spindle driven by a band from a large wheel propelled by hand or foot, and as twist was imparted to the fibre drawn through the fingers, the resulting yarn was wound on the spindle.

The art of weaving was not more advanced. It is true that the middle of the eighteenth century found the hand loom developed from the original Indian structure to contain many of the essentials of the modern power loom. It embodied the heddles, the lay, the take-up and let-off beams, the shuttle for passing the weft, and in 1740, John Kay added the fly shuttle motion, whereby the shuttle was thrown through the shed by a sudden pull on the picking stick; then in 1760, Robert Kay, son of John Kay, invented the drop box, whereby several colors of filling might be employed.

Brilliant as these achievements were, the hand loom remained the crude embodiment of the simple principles of weaving until near the dawn of the nineteenth century, when, by the invention of Cartwright, a period of development was introduced in all lines of textile manufacture unsurpassed in the annals of industrial progress. The first great stride, and that which opened the door for further advance, was the creation of the spinning-jenny, in England, by Hargreaves, about 1767, whereby eight or ten yarns could be spun at one time. Drawing rollers were subsequently added by Arkwright, and then traverse motion was given the bobbins in order to automatically build the yarn into a cop. It has developed since that the drawing-rollers constituted one of the most important fundamental improvements in the spinning art. Their function was to draw out the fibres into a proper size of roving, and to feed this to be spun. Without them the modern spinning-frame would not have been possible. Arkwright’s drawing-rollers and Hargreaves’s spinning-jenny combined under the invention of Crompton to produce, in principle at least, the modern spinning-mule.

DISTAFF AND SPINDLE.

Fairly good machines were thus provided on the advent of the nineteenth century for spinning unlimited quantities of yarn, but this, in turn, required proper loom structures to use the same and a corresponding supply of raw material. Inventive genius was abroad, and the necessity met by Eli Whitney, who, while at the home of General Greene, of Georgia, built the first practical machine for separating cotton fibre from its seed.

Whitney’s gin was constructed on the broad and simple principle that cotton fibre could be drawn through a smaller space than the attached seed, and this same principle is the soul and spirit of every saw-gin of the present day. Prior to Whitney’s gin, cotton fibre was separated from the seed by hand, a day’s work being represented by two or three pounds of cleaned fibre. The daily product of the gin now reaches between three and four thousand pounds.

SPINNING WHEEL.

Such figures demonstrate the important position taken by the cotton gin among the developing agents of the cotton growing States. It has rendered possible and profitable the cultivation of large districts of otherwise waste lands; it has stimulated cotton production; given employment to thousands of idle hands; cheapened the price of cotton cloths, and placed within the reach of the humblest people wearing apparel of fine and beautiful texture.

Unlimited supply of raw material being thus provided, attention reverted to perfecting the machines for spinning it, and under the magical touch of Richard Roberts, of Manchester, England, in 1830, the crude mule of Crompton took practical shape. He gave to it the quadrant winding motion, provided for the harmonious working of the counter and copping faller wires, perfected the “backing off” and “drawing up” mechanisms, and gave attention to construction of details that placed the mule before the world as a practical success.

Equipped in its present form, the self-acting mule presents one of the most striking examples of complex automatic mechanisms that can be found in the industrial world. The work of the attendant is confined to piecing broken ends and supplying roving, the machine passing through the entire cycle of its complicated movements without human direction. An idea may be had of its delicate and accurate operation when it is considered that one pound of cotton has been spun by it into a thread one hundred and sixty-seven miles long. Improvements have been made, indeed, on Roberts’s mule, but aside from changes in details and form, the machine, as it left the hands of this mechanical genius in 1830, remains unchanged.

PRIMITIVE HAND LOOM.

During this period, the fly frame was developed from the machines of Hargreaves and Arkwright, but while it constituted a great advance over these machines, it presented no radical departure in principle.

We may pause here, as we pass through the third decade of the present century, to witness the introduction of a spinning-frame, which, for originality of conception and far reaching influence on the textile industry, closely approximates the achievements of the pioneer inventions of this art. Reference is made to the ring frame in which the flyer is omitted, the bobbin being attached to the spindle and revolving with it. On the traverse rail, and surrounding each bobbin, is secured a flanged ring having loosely sprung thereon a light traveler, through which the yarn, as it comes from the drawing-rolls, is led to the bobbin. Revolution of the bobbin carries the traveler around the ring imparting twist to the yarn, and as it is spun it is wound on the bobbin in proportion to the feed of the drawing-rolls.

The invention of this machine is attributed to John Thorpe, of Rhode Island, in 1828, and so popular did it become by reason of decreased power necessary to drive it, incidental to the omission of the flyers, and good quality of yarn produced, that, between 1860 and 1865, it nearly replaced all other machines in America for spinning cotton.

The speed of the ring frame, as well as its output, appeared unbounded; but at high speeds, under unbalanced loads, the spindles were found to vibrate in their bearings, and the quality of yarn, in consequence, degenerated, the spindle bearings became worn, and the limit seemed to be reached at five thousand revolutions per minute. A careful examination of the ring frame revealed no vulnerable part of its general structure that could be improved so as to readily secure increased speed and steadiness of the spindles when unevenly loaded; but with admirable foresight, developing intellects set to improve the spindles themselves, and, in 1871, Jacob H. Sawyer introduced and patented a spindle and bearing, which was one of the most important improvements in the ring frame. He chambered the bobbin, and by carrying the bolster T well up inside supported the former near its load centre.

EARLY SPINNING JENNY.

The evolution of the spindle was not yet complete. The Sawyer type, at more than seven thousand revolutions, would vibrate, and of the many attempts to cure the defect none succeeded fully until the very simple change made by Mr. Rabbeth in 1878. He gave the spindle a small amount of play by making the bolster loose in its supporting case, and placed a packing between the two.

A.H. Sherman improved upon the Rabbeth structure by making the bolster and step in one piece and omitting the packing, the cushioning being dependent upon the lubricating oil.

GINNING COTTON. THE OLD WAY, PRIOR TO 1800.

GINNING COTTON. THE NEW WAY.

The acme of development in this small but most important part of the ring frame was now reached; and in its approved form it embodies the sleeve whirl extending into the bobbin, the loose, yet adjustable bolster, tapering spindle, removable step, and lubricating reservoir. Such spindles are capable of unlimited speeds,—twenty thousand revolutions per minute have been given,—and under absurdly unbalanced loads they run steadily and with less expenditure of power than the older forms at their slower speeds.

Increased speed in the spindles, however, brought increased breakage in the yarn, and although stop motion devices had been employed for several years, yet economy demanded ready means of piecing broken ends. This has been provided recently by mounting the stop clamp upon the roving rod well up near the first pair of drawing rolls, so that on pulling the stop wire into place the roving is at once fed between the drawing rolls and issues in front, over the spindle, to be easily pieced by one hand. Prior to this, the operative was required to reach over the machine, feed the roving to the rolls with one hand, hold the stop wire down with the other, and the broken end of yarn in his teeth.

THE MODERN MULE.

Excessive ballooning was also incidental to the use of high speed spindles, and, while inventive skill has never mastered it, yet the injurious effects have been obviated by an ingenious mounting of separators, one between each two spindles.

Aside from minor details perfecting the mechanical construction, such has been the evolution of the modern spinning frame. In 1830, it required the constant attention of one spinner to oversee twenty slow-running spindles, whereas, in 1896, the same attendant could, with less effort, “tend” seventy-five or more of the high speed type; and whereas, in 1790, when the first American cotton mill was established by Samuel Slater in Rhode Island, there were only seventy-five spindles on cotton fibre, in 1830, the number had increased to 1,246,703, and in 1890, to 14,188,103.

Under such competition no wonder the spinning-wheel of our grandmothers has followed the economic law, that the fittest alone survive, and has been relegated to the wood-pile or garret, or, bedecked with ribbons, finds a resting-place in the chimney-corner as a decorated curiosity. Its mighty rival is here. Its attendants have been liberated to more ennobling pursuits. The homespun has been replaced by beautiful fabrics, and the monster spinning frames of to-day pour forth their hourly product in miles of spun fibre, where the wheels of our grandmothers were taxed to the utmost to produce a very small fraction of the amount. To appreciate the wonderful change, pause beside the domestic wheel used within the memory of the living, and compare its “whirr,” in slowly producing its single thread, to the “buzz” of the modern spinning frame turning out its product from a thousand spindles.

HAND COMB OF THE EIGHTEENTH CENTURY.

The production of yarn required something more than spinning. The fibres in the massed cotton or wool, as delivered to the manufacturer, must be opened, untangled, straightened out, and laid parallel by a series of preparing machines prior to being spun, among which the carding engine ranks first. In the incipient form, this machine dates as far back as the middle of the eighteenth century, when, by hand manipulation, two cylinders covered with small teeth and working in close proximity disintegrated the fibrous mass; but the fibres were much broken and not evenly arranged. The addition of the workers and strippers around a rapidly revolving swift gave increased utility to the machine, and Bramwell’s feed, in 1871, so regulated the amount of fibre fed at intervals that the resulting lap possessed the desired even character. This feed weighs the fibre as it is fed, stops the lifting apron while the scale pan dumps its load, resets the scale pan, and automatically starts the lifting apron to again feed the scale,—a cycle of operations indicating a near approach to human intelligence.

One additional machine at least, the comb, requires notice before passing to the all-important progress made in the loom structure. With advancing civilization and refinement came demands for superior fabrics, which could only be answered by a supply of better fibre. Such fibre could only be secured from the bale by separating the long from the short, a problem well calculated to tax the ingenuity of an enlightened age. Attempts had been made to do this by hand implements not unlike the curry-comb of to-day, except that the teeth were long and tapering. This remained the only means employed for years, while other textile machinery passed through its phenomenal period of development. At last, in 1841, it occurred to Heilman, while watching a lady comb her hair, that a machine might be constructed to comb wool by drawing a bunch of fibres over pins. He constructed a device on this principle, and in a developed form it is used still and known as the Heilman or nip comb.

NOBLE COMB OF 1890.

In 1853, James Noble gave to the world the circle comb, wherein two flat circular rings, having projecting from one face vertical pins, were mounted, one eccentrically within the other, and revolved in the same direction, the object being to dab the fibre on the rings where they met; and then as they revolved and separated the short fibre would be drawn off the large ring, leaving the long fibre freed from the short. These machines were successful, and above all they were practical—the operation of the hand comber disappeared from the face of the earth.

The sudden birth and rapid development of mechanically perfect means for preparing and spinning fibres were due largely to the comparatively simple movements required to draw and twist the yarn, but in the loom no such problem was presented. Here the movements were complicated and varied, and the application of power to the manipulation of the delicate threads was not susceptible of sudden and successful solution. The warps, stretched in a sheet between two beams, had to be opened to form the shed, the shuttle had to be passed therethrough, the weft beaten to place, and means provided to feed the warp and to take up of the fabric an amount at each beat-up corresponding to the size of the weft. These were the movements necessary in the most simple kind of weaving, and though fully understood for many centuries, as evidenced by the Indian and Egyptian looms, and as embodied in hand machines of the seventeenth century, it was not till 1787 that they were clothed with the application of power. Even then the first embodiment did not emanate from the hands of a weaver or engineer, but from Dr. Cartwright, a clergyman in the church of England. It was not surprising that these looms failed of their expectations, for the shuttle would frequently get trapped in the shed, the driven power-lay would break out the warp threads, the take-up and let-off motions were not graduated to compensate for the decrease of the warp and increase of the cloth beams, resulting in thin and thick places in the cloth. But this application of power to the loom was the initial step in the industrial supremacy of the machine, which to-day works with the perfect cadence of an automaton.

PLAIN POWER LOOM, 1840.

The first years of the present century were of unsurpassed activity in the inventive field. The spinners were putting forth more yarn than the hand-looms could use. It remained for the loom to keep pace with the times. Miller, in 1800, Todd and Horrocks in 1803, Johnston in 1807, Cotton in 1810, Taylor in 1815, and many others, concentrated their efforts to develop the plain power-loom; but the second decade of the present century saw the old hand-loom with its slow and cumbrous movements still mistress of the art.

The name of Richard Roberts stands preëminent at this period, between 1820 and 1825, as giving to the power-loom several perfecting touches in the means for letting off the warp the small amount necessary at each pick, the means for taking up the finished cloth, the means for shedding the warp for the passage of the shuttle, and the adaptation of the stop motions of his predecessors. These changes gave practical life to the machine, and overthrew the barrier that obstructed the advance of the textile industry. They were, however, only a few of the improvements added in perfecting the power-loom, such as the automatic temple to hold the cloth extended and prevent drawing of the weft, the shuttle-guard to prevent accidental jumping of the shuttle from the race, the perfect weft-stop to bring the loom to a stand on breakage or failure of the weft, the protector mechanism to obviate a “smash” when the shuttle failed to box, and the loose reed, all of which stand out in bold relief as evidences of the progressive tendencies of the age, and combined in about the year 1838, more than a half century after Cartwright’s first conception of the idea, to complete the practical power-loom.

The loom had not reached a stage of mechanical perfection; much yet remained to be done, but the plain power-loom of this period was both a practical and financial success. By its immediate predecessor, the hand-loom, a good weaver and assistant could work from forty to fifty picks per minute, and weave plain cloth. By the power-loom of 1840, one weaver could “tend” two looms running from 100 to 120 picks per minute and produce the same cloth. Without passing through the various steps which culminated in the power-loom for plain cloth, now in use, and tracing the causes that led to perfection of details, the amazing advance from the ancient and 18th-century hand loom to the power-loom of 1840 and that of to-day may well be shown by comparing the machines themselves.

Such was the simple form of the power-loom. One half of the warps were alternately raised and lowered for the shot of weft; but as a woven fabric is one in which the warp and weft are united by passing them over and under each other, the figure or pattern of the cloth will be varied as the threads are crossed in different combinations, and this will depend on the order of raising and lowering the warp threads, and the introduction of different characters and colors of weft. This brings up for review the most important parts of the loom structure—the shedding mechanism and shuttle-box motions—through whose agencies the most beautiful and complicated designs are produced.

WEAVING. THE OLD WAY.

WEAVING. THE NEW WAY.

Shedding mechanism was present of course in all looms, but in the power-looms of the early part of this century it was confined to tappets adjusted on a revolving shaft, and the number of heddles was limited to six or eight. Fairly good twills and other like fabrics could be produced within the limits of the few heddles, but with the introduction of the “dobbie,” or that part of the loom which raises and lowers the harness-frames, a new era in fancy weaving was inaugurated. By this ingenious device as many as thirty-six or even forty heddles could be used and raised at will to form figures. The creation of the dobbie belongs to the 19th century, and it is found in practical form about 1863 in the United States under the name of the American or Knowles dobbie. The essentials are the two cylinder gears revolving constantly, the vibrating gears, carried on the end of pivoted arms and having teeth on a part of their periphery, the harness jacks connected to the heddle frames, and the links joining the vibrating gears and harness jacks in such manner that part revolution of the former causes the latter to move the connected heddle frame, and consequently the warp threads, up or down. A pattern chain determines what vibrator gears shall engage the cylinder gears, and, once the chain is fitted to the design to be woven, nothing remains for the loom tender but to oversee the operation of the machine.

LOOM OF 1890.

Another form of dobbie, not less popular than the Knowles, developed into a perfect automatic device about fifty years ago in England. Here two reciprocating knives are engaged, under the direction of a pattern chain, by one of two hooked jacks connected to the harness levers, and the shed is again formed without human intervention. Other forms of dobbie structures have been evolved during the last fifty years, but these two, with some modifications and additions of details, have come extensively into practical use, and represent the zenith of development at the present time. By their aid great variety is rendered possible in the design on the resulting fabric. The figured tablecloths, damasks, twills, satins, bordered and cross-bordered fabrics, are now possible at a cost of a thousandth part only of that incurred when produced by any of the old types of machines.

JACQUARD MACHINE.

The subject of shedding, i.e., of opening the warp-threads to afford a passage for the shuttle, is so inseparably connected with the name of Jacquard, that attention is now carried to that wonderful invention evolved in the first few years of the present century, and by the use of which it may truly be said that anything can be woven as figure in a fabric that can be designed by the hand of man. It is as well adapted for the finest silks as for heavy carpets and figured velvets, and by an operation theoretically so simple as to excite wonder that it remained hidden until this age. Jacquard was a native of France and exhibited his machine complete in 1804, but so bitter was the opposition that the first machine was destroyed and burned. Its merits were clear, however, and reconstruction and general adoption in France followed soon after. It has since been applied not only for shedding but for every purpose where mechanical operations could be controlled by a pattern. In brief, this machine simply controls each warp thread separately by a cord having a hook attached. These hooks are arranged near the path of a reciprocating griffe or frame carrying cross bars, and are controlled, as to engagement with the bars, by a card perforated according to a pattern; thus any one or any number of threads can be raised at will. The dobbie controls harness frames each carrying a large number of warp threads; the Jacquard controls every thread separately. The greatly increased capacity of the latter machine is apparent. Thus a 1500-hook Jacquard will do the work of thirty dobbies of fifty jacks each.

The hand-shuttle box mechanism of Kay’s time has developed into the machine operated as a sliding or revolving shuttle-box controlled by pattern devices, which, being added to a dobbie or Jacquard equipped loom within the last twenty-five years, presents the highest point of perfection attained in the textile art. In such looms the warp threads, arranged in any colors, may be raised at will collectively or individually, any one of ten or twelve different colored wefts may be introduced as desired, and combinations may thus be formed to produce designs of the most complicated nature.

Pile fabrics, cut, uncut, and tufted, represent a type quite distinct from those produced on the ordinary fancy loom just described, and, in the form of velvets, imitation animal skins, and Brussels carpet, were almost unknown prior to the invention of Samuel Bigelow of Boston, in 1837. Fabrics of this character, if made at all, were the products of tedious hand methods, and on account of the consequent high price were the exclusive property of the very wealthy. Carpets with pile surface had been made by the Persians and Turks ages ago, by tying pieces of woolen yarn around longitudinal or warp threads, and binding the whole together by a weft at intervals; and such tufts, being carefully selected as to color, were made to present rich designs, but, like all other hand-produced fabrics, these were the property of the few.

The pile fabric loom of Bigelow opened the way for an advance in the carpet industry which continues to the present time; its ultimate effect being to place carpets within the reach of the humble cottager; and floors which were strewn with brush, or at best concealed by the home-made rag carpet, now became covered by a soft and beautifully figured fabric. This loom was a practical machine, and at once commended itself to the manufacturer. It consisted of the old power-loom provided with a Jacquard, already well understood, to which was added an attachment to introduce wires at intervals as false weft, and bind the warp around them by the usual weft threads. The wires being withdrawn after a few shots had been woven, left the warp loops standing, and these loops being formed under the dictates of the Jacquard, any character of beautiful design could be produced. Velvets, brocades, even the fine imitation of sealskin, are the simple products of this form of power-loom when the pile loops are cut. Greater cheapness in weaving cut pile fabrics has been secured by a slight modification in the Bigelow loom, so that two fabrics could be woven at one time. This idea was introduced about 1850, and it contemplated weaving the two fabrics face to face, keeping them separated by the usual pile wires of Bigelow, and passing the pile threads from one fabric to the other. Upon cutting the two cloths apart through the threads uniting them, two cut pile or velvet fabrics resulted. This loom required the service of two shuttles and double the number of warp-beams, but it worked well, and is to-day largely in use and well adapted to its purpose.

SMITH AND SKINNER LOOM FOR MOQUETTE CARPETS.

The demand for tufted pile fabrics, meaning those in which the pile is formed from tufts or yarns, individually tied to the foundation fabric, and of which the rich Turkish and Persian rugs are examples, had not been met by the Bigelow loom; in fact it was only about forty years ago that the mechanical production of such fabrics became possible. Smith and Skinner were the pioneers to enter this field, and the first, by the aid of machinery, to compete with the cheap hand-labor of the orientals. The invention of a machine that will select any desired color from a large number of yarns, carry it between the warp-threads at the exact spot necessary to form the figure, tie it around these threads, cut it off to the length necessary to form an even and smooth surface, return the unused portion to place, and do all quickly, accurately, and with little cost, is an achievement that may rightly claim the admiration of the industrial world. Yet this is what the machine inaugurated by Smith and Skinner does to-day. The general movements and complicated parts of the power-loom are present as for weaving a plain fabric, and on beams or large spools carried by a chain, under the control of a pattern, are arranged the tuft yarns, in the order in which they should appear in the figure. Through the pattern devices the proper spool or beam is brought into position to be seized by a pair of fingers which rise, take the spool from the chain, lower it to the warp, pass the ends of the tuft yarn through and around the proper warp thread, hold them till the insertion of a binding weft, then, when they have been properly cut to length, return the spool into its place in the chain. This creation of mechanical genius takes rank with the wonders of the spinning mule and, like that machine, passes through its entire operation with the precision of an automaton. By its aid close imitations of the oriental hand-made rugs are placed before the world at one quarter the former price, and, as a result, the fine moquette and axminster carpets lend their beauty to nearly every home in the land.

The credit for improving the power-loom so as to adapt it for weaving fancy cassimeres and suitings, belongs to William Crompton, a native of England, who came to the United States in 1836, and shortly thereafter, in the Middlesex Mills at Lowell, Mass., constructed and operated the first fancy cassimere power-loom, not only in this country, but in the world. Prior to this the harness for all woolen and worsted power-looms was worked by cams, and the cloth was woven plain; but Crompton’s loom of 1840 started a new era in the woolen industry, rendering it possible to produce any fancy weave by an arrangement of pattern chain and large number of harnesses in connection with the change shuttle-boxes. Improvements followed, by the substitution of the reverse shuttle-box motion in 1854, the perfection of the general loom structure in 1857, the addition of the upright lever harness motion in 1864, and the centre-stop in 1879, so that at the present time this machine is adapted to run at high speeds and weave at moderate cost the most complicated designs in woolen and worsted—such as shawls, checks, suitings, and all forms of fancy cassimeres.

The general industrial activity in all matters pertaining to textile manufacture between the years 1835 and 1860, brought forth many forms of looms of special adaptation to meet the increasing demands of society. The narrow-ware loom appeared in the third decade of this century, and the addition of the dobbie, or Jacquard, later, equipped this loom for the simultaneous production of several ribbons, or narrow fabrics, side by side, having plain or figured effect. The lay was divided into several reed spaces, and a corresponding number of shuttles, operated by rack and pinion, carried the weft-threads through the adjacent warp.

About the middle of this century, and until the adoption of the more rich and delicate fabrics, hair-cloth was the accepted covering for furniture, and power-looms for its production quickly answered the demand. They reached such a degree of perfection and efficiency in this country that almost the entire industry was centred here. This fabric was made from the hair of horses’ tails as weft, and a strong cotton warp; and as the weft could not be wound upon bobbins, as usual, each separate hair was inserted by an ingenious device made to reciprocate through the shed, and select one out of a bundle of hairs cut to the same length. The conception of a power device capable of the delicate operation necessary to weave hair-cloth, could never have been realized except in a highly intelligent manufacturing community; but in 1870, Rhode Island alone produced on such machines over 600,000 yards, consuming thereby the hair of about eight hundred thousand horse-tails.

CIRCULAR LOOM.

The evolution of the lappet loom started between 1840 and 1850 in England and Germany. It sought to enhance the pleasing effect of plain fabrics, by placing an embroidered or raised figure over the surface during the weaving process. Near the lower edge of ladies’ skirts, on the ends of neckties and like articles, an embroidered effect was desirable; and this has been secured by the lappet attachment to the present power-loom. In this a needle is mounted in appropriate location, usually back of the lay, and through an eye in the end thereof the lappet thread is led from a suitable supply. This needle is normally either above or below the warp. When a spot or figure is wanted, it is caused to move into the plane of the opposite warps of the shed, under the direction of suitable controlling pattern mechanisms. The shuttle being then shot, the lappet thread appears upon the surface, and it may be made to thus appear as often as desired; its position being shifted as necessary under the guidance of a pattern-chain to form, in embroidery effect, any character of small design.

Closely allied to the lappet loom in the effect produced is the swivel-shuttle loom, which has come extensively into use during the last thirty years to supply demands for spotted or embroidered figures. The loom is of the plain type, having small swivel-shuttles movable in carrier blocks, which are secured to the supporting bar near the top of the lay-reed, in convenient location to permit the shuttles to be depressed into the shed. Each swivel-shuttle is provided with a rack engaging a suitable operating pinion to move the shuttles simultaneously from one carrier to the next. Normally these shuttles are held above the warp plane, and the loom in this condition weaves tabby or twill. At the desired moment, the supporting-bar is lowered by a cam or Jacquard to bring the shuttles in the shed; the shuttles are moved from one carrier to the next adjacent, and then all are raised to their normal position above the warp. The ground weft is laid and the beat-up takes place. Repetition develops a spot or figure at intervals across the entire fabric, and with the use of different colored swivel-threads the greatest diversity of embroidered effect is secured over the entire ground. Some of the most beautiful spotted silks for ladies’ dresses and fancy scarfs, never before contemplated, are now woven on this loom at prices that are very moderate for such a class of goods.

A radical departure from the paths traveled by prior inventors was inaugurated about 1859, in adapting the power-loom for weaving tubular fabrics, resulting twenty years later in perfecting a machine in which the warp threads were arranged in circular series and the weft laid in the circular shed by a continuously moving shuttle. Fire-hose and like tubular cloths resulted. Rapid development continued from the middle of the present century, so that nearly every conceivable form of loom, from the light running plain fabric and gingham looms to the heavy structures for weaving canvas and wire cloth, claimed the attention of the inventor; and in this last decade of the century looms are constructed to weave anything that can be woven. Wire, slats, cane, straw, and glass, as well as the light fibres of cotton, wool, or silk, are now easily manipulated on the power-loom and woven into cloths, mattings, baskets, cane-seats for furniture, bottle-covers, and ever so many irregular forms that, in the dormant condition of this industry prior to the nineteenth century, were quite beyond consideration of the most active enthusiast of the art.

Wonderful as these achievements have been, the restless ambition of inventive genius remains unsatisfied. Improvements continue—especially in the United States, under the fostering care of a liberal patent system—and attempts are now being made, and with success, to form the power-loom into a thoroughly automatic machine incapable of producing any but the best quality of cloth. Upon the breakage or undue slackening of a warp thread, the loom would continue to weave and produce imperfect fabric until the attendant had pieced the broken end or adjusted the slack thread. Means were devised some years ago to remedy this defect, but with only partial success until near the close of this century. Breakage or failure more often occurred in the weft, however, and though the weft stop-motion successfully detected the fault and stopped the loom, yet much valuable time was lost, and constant attention was needed to supply new filling. Progressive tendencies of the closing years of this decade have sought to meet this difficulty. As a result, means are now provided whereby, on failure or breakage of the weft, the loom discharges its imperfect filling from the shuttle, supplies itself with a new weft from the hopper, places it in the shuttle, and continues to weave. Such a loom provided with a warp stop-motion is almost incapable of producing imperfect cloth, and so long as the warps remain intact and the hopper is kept supplied with weft-bobbins, it will continue to weave. In fact, in many mills of the New England States these looms are now left to run during the dinner hour without an attendant, and no imperfect cloth is produced.

Such machines are almost independent of human attention, yet they are the evolution of the old-time hand loom. Just one hundred years ago the hand loom, running at 40 or 50 picks to the minute, required the watchful care of an expert weaver; in 1840, the same weaver could “tend” from two to four power-looms running 100 to 120 picks; to-day he oversees from 10 to 16 looms running from 150 to 200 picks.

THE FIRST KNITTING MACHINE.Lee.

The homespun, with its old familiar butternut dye, has disappeared. The spinning-wheel and loom no longer occupy a part of every home. In their stead, the farmer, as he looks beyond the thriving cornfields, beholds the reeking chimneys of a thousand mills as they proclaim the majesty of the power machines. The fabrics produced are beautiful and varied in design, and their cost so low as to excite wonder that such progress could have been the result of one hundred years of industrial activity.

The emancipation of knitting, as a domestic occupation, dates from the romantic experiences of William Lee, a subject of Queen Elizabeth, of whom it is related that while watching the deft fingers of his lady-love guide the knitting needle from loop to loop, conceived the idea of performing the operation by mechanical means. It is a singular coincidence also that the invention of this the first machine for knitting purposes, like that of the power-loom for weaving, should have emanated from the hands of a student and clergyman, unfamiliar with the art.

Lee’s device was naturally crude. It contained only twelve needles, arranged in a row with about seven or eight to the inch, but it successfully formed a knitted web. Further progress in the art was slow, on account of the strong opposition to all machines which seemed likely to deprive the hand artisan of occupation. The Queen refused to grant a patent to Lee for this reason, and knitting remained the exclusive prerogative of women for many years. Like the spinning-wheel, however, the hand knitting-needle beheld a rival, which in the diversity of human wants was destined to create one of the great industrial pursuits of the age.

Stockings, like all other garments, were first made by sewing together pieces of linen, silk, cotton, or woolen cloth, resulting in a poorly fitting article, prolific of uncomfortable seams. Knitting the entire hose in a single piece by hand needles overcame these defects to an extent, and the Lee machine opened the way for the production of such articles on a scale that now furnishes the civilized world.

Lee’s machine produced a straight web which required to be cut and sewn to shape; then to it was added the ribbing device and the narrowing and widening attachment, to shape the web to fit the body without cutting; but still a seam existed in the stocking where the edges united. In 1816, however, M.I. Brunel built a circular machine having an endless row of needles, and in 1831, Timothy Bailey, of New York, applied power to the knitting frame; the result being that at this time a tubular seamless fabric could be produced on a power machine.

The latch-needle, which has given to the knitting machine great capacity and diversity of product, was not invented until about 1847, by Mr. Aiken, of New Hampshire. A period of development then set in that continues to the present time. The needles by cam mechanism were made independently operative in a circular carrier; narrowing and widening devices to produce pouches, such as the heels and toes of stockings, were added, as was also feeding mechanism for the introduction of different colored yarn, or a reinforcing thread. Such machines, of 1868 and 1870, would form a stocking or undergarment well fitted to the form; but they required the constant attention of a skilled knitter, until pattern mechanism was introduced to control the time of introduction of the colored or additional thread, and the place for formation of the narrowed or widened web. In forming the heel and toe pockets, a part of the needles are thrown out of action, and the movements to operate the active needles are changed from round and round, or circular work, to reciprocating. At each reciprocation one or more needles, at the end of the series, are rendered inactive, until one half the required pocket is formed; then they are successively returned to action, and circular knitting resumed. It may be also an additional thread is introduced to reinforce the wearing qualities of the heel and toe, or a differently colored yarn may be thrown in to give figure, but all such movements are now automatically controlled by a pattern mechanism. The ribbed leg portion of a stocking is formed either in the same machine that fashions the foot or in a separate machine to which the foot is transferred, but in either case the pattern mechanism again controls.

KNITTING IN THE OLD WAY.

Within the last twenty years this art has been so greatly improved, especially in the hosiery line, that the automatic machine of to-day passes through the entire operation of knitting the article, finishing it off, and starting afresh without other aid than a supply of yarn. Moreover, the machine now to be considered practical must be so constructed that it will continue thus to operate without repairs or loss of time from month to month; and its daily output will average more than the old hand machines could accomplish in a week. By hand knitting one hundred loops could be formed per minute; by Lee’s machine as many as fifteen hundred were possible in the same time; but to-day, the automatic machine will average between 300,000 and 400,000 loops, and at the same time will produce a finer web, shaped to fit the form of the wearer.

Such comparisons reveal the vitally important progress made in the knitting industry, through which most of our underwear, stockings, scarfs, neck-comforts, and woolen gloves are supplied. The labor and time saving devices developed in this class of machines, and the fact that unskilled workmen may “tend” from fifteen to twenty of them, largely accounts for the universal adoption of warm and comfortable wearing apparel by all classes of society.

The number of patents granted on textile machinery during the nineteenth century furnishes an index to the progress made. Prior to 1800, less than one hundred patents were granted in the United States, while since that time, and up until July, 1895, about 15,200 patents were issued, covering tangible and material improvements over the old structures. The beneficent effects of these inventions are attested by the wonderful and continuous reduction in cost to the consumer of all kinds of textile fabrics. For the manufacturer, these have made possible increased production in a given time with less manual labor. When it is remembered that the labor cost is about one half the total cost of production of textile fabrics, it will be apparent that the beneficial effects of any labor-saving device are felt as well by the consumer as the producer.

In 1870 the number of textile establishments in the United States was 3035, giving occupation to 146,897 employees, and consuming annually 359,420,829 pounds of textile fibres, while in 1890 the number of establishments had increased to 4114, employing 511,897 hands, and consuming the enormous amount of 1,572,548,933 pounds of fibres; representing progress and growth in the textile arts not excelled by any other manufacturing industry.

Food and clothing constitute the primary wants of man. The former grew ready for his use as a natural product of the soil. The latter he had to produce by artificial means to afford that protection which nature failed to provide. Next to agriculture, therefore, man’s early attention was directed to securing a covering for the body. Looking back through the vista of years dimmed by the mists of very remoteness, we find the animal and vegetable kingdoms destined to contribute to his needs. There were the blue flax-fields; cotton-bolls, scattered like powdered snow about the land, coquetting in wanton abandon with winds tempered by an all-wise Power to the shepherd-watched sheep; goats roaming the vale of Cashmere; silk-worms of Ceres, and the grasses of spring, overflowing with allurements of assistance for his adornment. With these essentials has man wrought a mighty miracle. The genius of Industrial Art, awakened by the fascinating influence of Nature, invoked the Goddess of Invention, approaching her temple not with loud acclaim, as marked the herculean strides in other arts and sciences, but modestly, though tenaciously and most effectually. For not more is woman emancipated by the sewing machine than both sexes by the doing away of the spinning-wheel, the household knitter, and hand-worked loom. Not more do electricity and steam power facilitate the various occupations of man than do the many textured fabrics add to his needs.