Chapter II: Part 2

The floor rug shown in the illustration on page 100 (1-1/4 yards by 3/4 yard) is woven in strips with a continuous warp. The center strip is one yard long and nine inches wide. It is made of deep cardinal carpet wool. The strips of black, nine inches wide at the sides and ends, terminate diagonally, as seen in the illustration. The black diagonal lines show where the weaving ends. The warp is then tied and cut close to the weaving. The strips are to be sewn or crocheted together.

[Sidenote: _Fine weaving_]

[Sidenote: _To produce a design with the woof_]

For very fine weaving, where it is necessary for the warp threads to _touch_ each other in order to produce a design with the woof, string a _double_ warp in every notch with the same material. Then, with a tape needle, separate the warp threads, twist one over the other so that all will lie side by side, and secure them by weaving a few times across the loom. By using this method, one can have a close warp on the wooden looms.

[Sidenote: _Warp for doll towels_]

In stringing warp in pairs for doll towels, have two strings on each bar and one extending one notch beyond at each side. This makes a good fringe for the edges of the towel.

Chapter Five

MATERIALS

[Sidenote: _Silkoline_]

Plain and figured silkoline should be cut in bias strips one-half inch wide. Stretch and pull through the hands until both edges are raveled. When these strips are woven, the rug or mat will be reversible. Figured silkolines give a pretty mottled effect, especially those in which Turkish colors predominate. Rugs having plain centers and mottled borders are beautiful. A full-sized rug requires nearly two yards of material.

[Sidenote: _Cheese cloth_]

Strips of cheese cloth can be prepared in the same way. Cut them three-fourths inch wide on account of the tendency to ravel. Serviceable face and dish cloths can be made of white cheese cloth. Some of the colored cheese cloths make pretty rugs. When a desirable color cannot be found, the white cloth can be dyed at home.

[Sidenote: _Dress linings_]

Soft dress linings come in many beautiful colors. Old pieces may be utilized by cleaning and dyeing. The pieces are cut in bias strips, one-half inch in width.

[Sidenote: _Silk_]

Pieces of old silk can also be prepared in this way. One can often obtain new pieces at dressmaking establishments.

[Sidenote: _Candle-wicking_]

Table mats, wash cloths, and similar articles can be made from candle-wicking. For lamp mats, cushion covers, and other articles the material may be dyed and woven in two colors, or in two tones of one color. A number of squares can be joined to make a hammock pillow. By stringing a close warp with white or colored wicking and weaving over and under one string with the same material, a coarse canvas can be made, upon which the children can cross-stitch a pretty border and center piece, or an all-over pattern by copying the kindergarten designs, or even initials and monograms. Most of the canvas sold at the stores, even the old Java canvas of our childhood days, is too fine for little children to work upon. In canvas made of candle-wicking by the child himself, the squares are large, and to this there is the added pleasure of the child being able to say when the work is finished, "I did it all myself."

[Sidenote: _Rope silk, or ropetine_]

Beautiful silk canvas can be made of rope silk and cross-stitched with another color or tone, or with chenille, making a velvet figure. This material is, of course, more expensive. Two colors or two tones may be woven with chenille and silk in a kindergarten design. Beautiful holiday and birthday gifts can be made from these materials, such as mats, cushion covers, and sachet cases. Glove, mouchoir, necktie, fan, and trinket boxes can be made by weaving the top, bottom, and sides in panels. Foundation boxes, which may be purchased for a few cents, are excellent for this purpose, or they can be made very well at home from three-ply cardboard. Make the hinges of ribbon and line the boxes with silk of a corresponding or contrasting color.

[Sidenote: _Carpet ravelings_]

Carpet ravelings may be obtained from the carpet stores, or pieces of carpet can be raveled by the children. Let them have the pleasure and benefit which come from sorting the ravelings. It is an excellent lesson in color, besides developing the patience, concentration, discrimination, and judgment so much to be desired in other work. After the wool is sorted--not before, because it is not all fast color--dip in water, wring, and let the children straighten it gently, one piece at a time. This will make it as smooth and soft as new wool. Procure some small boxes--shoe boxes are a good size--place one color in a box with a sample fastened outside at one end, and pile them upon a low shelf or window sill. Train the children to go to the "play store" to match their own wool. If they go quietly, one at a time, no one is disturbed and each child gains in knowledge of color as well as in independence. A little management of this kind helps the teacher as well as the child.

[Sidenote: _Carpet wools_]

New wools of various kinds and beautiful colors can be bought in large quantities from dealers in materials for industrial work. In some carpet departments you will find oriental wools which are used to mend rugs, and a small quantity can be bought. Some of the kindergarten supply stores and decoration companies have already advertised a stock of these materials.

[Sidenote: _Double Germantown wool_]

[Sidenote: _Germantown knitting yarn_]

An ideal material for little folks is double Germantown wool. The soft wool, used for both warp and woof, is excellent for weaving kindergarten designs. This should be done with a close warp, which may be extended each side of the head and foot piece as a fringe. By extending the warp any length desired beyond the head piece, long strips for slumber robes, afghans, and such articles can be woven. The warp may be strung with twine as near the color of the wool as possible, and a plain rug be made, with colored stripes at each end. A very pretty and easy gift for a little child to make is a holder for the teapot, as described on page 92. The Germantown knitting yarn, which is more tightly twisted, makes very pretty rugs and mats. It is sometimes used for Navajo blankets.

[Sidenote: _Darning cotton_]

White dolls'-towels, with red or blue stripes, are made of darning cotton. Baste a small piece of canvas at one end and cross-stitch Miss Dolly's initial.

[Sidenote: _Knitting cotton_]

Plain white bedspreads, or white combined with a color in a kindergarten design, can be made of knitting cotton which is a little coarser than darning cotton. Knot a fringe on all sides. Lunch cloths and table covers for Miss Dolly can be made in the same way.

[Sidenote: _Macreme cord_]

Macreme cord is the best material for hammocks. It comes in many beautiful colors, at a few cents a ball.

[Sidenote: _Leather strips_]

To weave a kindergarten design in two colors of leather strips, have the leather cut the desired width, and fasten them to a piece of strong muslin at the top and bottom of the mat or panel. Fit the muslin over the teeth in head and foot pieces by cutting a small opening.

[Sidenote: _Celluloid strips_]

[Sidenote: _Leather strips_]

Celluloid strips may be treated in the same way. Leather and celluloid strips can be woven free-hand like the paper strips.

[Sidenote: _Raffia_]

Many beautiful articles can be made of raffia, which is a palm fibre brought from the island of Madagascar. It can be obtained in the natural color at most of the department stores, the kindergarten supply houses, and the florists. The cost is usually 20 cents or 25 cents per pound, although the florists will sell a few cents' worth. It can be dyed easily, and with little expense, with Diamond or aniline dyes. It should first be washed. Care should be taken, in the selection, to obtain long, smooth pieces which will be at least one-half inch wide when wet, and of an even color. Some of the raffia is musty and badly spotted. It is well to wet all of it first, then straighten and allow it to dry. While weaving, keep the raffia moist by dipping the fingers now and then in a cup of water. Experience has proved this method to be more satisfactory than to allow the raffia to remain in water and become thoroughly soaked, particularly the colored raffia. If one cares to expend money instead of time and trouble, the raffia can be dyed in very beautiful colors at the dye houses.

[Sidenote: _Shetland wool_]

Blankets for Miss Dolly can be made of the soft Shetland wool and Germantown zephyr. For bed blankets, cream color, with stripes of two or more colors, are very attractive. Carriage blankets made with white centers and colored borders, or with a tone for the center and a shade for the border, are a great addition to the carriage, as well as a source of comfort to the little occupant. Bind the edges with ribbon and run a narrow one through the beading formed by taking out the extra rods. This ribbon can be run all around the center part by leaving out a few woof threads at the top and bottom.

[Sidenote: _Knitting silk_]

By stringing a close warp of knitting silk and extending it the required length, shawl-straps, suspenders, belts, and garters can be woven. The rods should be adjusted for the desired width. Finish at each end with pieces of silk elastic of the same color, and with buckles.

[Sidenote: _Angora wool_]

Angora wool makes pretty Tam O'Shanters. Initials can be woven in any article.

[Sidenote: _Books of patterns_]

Small books containing cross-stitch designs can be found at the German and French embroidery stores in large cities--sometimes, but rarely, at the art counter in department stores. The "Kindergarten Guides" can be obtained at most public libraries, or a kindergartner friend will be glad to loan one.

Chapter Six

DIRECTIONS FOR DYEING

[Sidenote: _Diamond dyes_]

A few hints with regard to dyeing raffia, cheese cloth, white cord for hammocks, and other materials, may be found useful. For raffia use the Diamond dyes which are intended for wool or silk. Wash the raffia first. The color will be improved by soaking the raffia a day in alum water, one-half pound to the gallon. Dye once used can be kept in an air-tight dish and reheated whenever needed.

[Sidenote: _Vegetable dyes_]

Should one be interested in vegetable dyes much information can be obtained at the public libraries. Dr. Washington Matthews speaks of Indian dyes in his article on the Navajo weavers mentioned in this book. "How to Make and How to Mend" also contains some good suggestions about dyes.

[Sidenote: _Mrs. Candace Wheeler's pamphlet_]

In her little pamphlet, _Home Industries and Domestic Weavings_, published by the Associated Artists, 115 East 23d Street, New York City, Mrs. Candace Wheeler has an interesting chapter on "Rag-Carpet Weaving." Her suggestions for dyeing rags apply equally to yarns and to other materials which may be used on hand looms for children. Through her kind permission I am allowed to quote the following suggestions:

[Sidenote: _Uses of the indigo tub_]

"In the early days of this present century a dye tub was as much a necessity in every house as a spinning-wheel, and the reestablishment of it in houses where weaving is practiced is almost a necessity; in fact, it would be of far greater use at present than in the days when it was only used to dye the wool needed for family knitting and weaving. All shades of blue, from sky-blue to blue-black, can be dyed in the indigo tub; and it has the merit of being a cheap as well as an almost perfectly fast dye. It could be used for dyeing warps as well as fillings, and I have before spoken of the difficulty, indeed almost impossibility, of procuring indigo-dyed carpet yarn.

[Sidenote: _Blue universally used_]

[Sidenote: _Green_]

"Blue is, perhaps, more universally useful than any other color in rag-rug making, since it is safe for both cotton and wool, and covers a range from the white rug with blue warp, the blue rug with white warp, through all varieties of shade to the dark blue, or clouded blue and green rug, also, upon white warp. It can also be used in connection with yellow or orange, or with copperas or walnut dye, in different shades of green; and, in short, unless one has exceptional advantages in buying rags from woolen mills, I can hardly imagine a profitable industry of rag-weaving established in any farmhouse without the existence of an indigo dyeing tub.

[Sidenote: _Red_]

[Sidenote: _Copperas_]

[Sidenote: _Dull green_]

"The next important color is red. Fortunately, red warps can be bought which are reasonably fast, but the only way to procure red rags in quantity is to dye them, and, although the dye is somewhat expensive, there are two colors, turkey red and cardinal red, which are extremely good for the purpose. Probably these could be bought at wholesale from dealers in chemicals and dyestuffs at much cheaper rates than by the small paper from the druggist or the country store. Copperas gives a fast nankeen-colored dye, and this is very useful in making a dull green by an after dip in the indigo tub.

[Sidenote: _Domestic dyes_]

[Sidenote: _Nut stains_]

[Sidenote: _Leaf stains_]

[Sidenote: _Iron rust_]

[Sidenote: _Ink stains_]

"There are some valuable domestic dyes which are within the reach of every country dweller, the cheapest and best of which is walnut or butternut stain. This is made by steeping the bark of the tree or the shell of the nut until the water is dark with color, and setting it with alum. It will give various shades of yellow, brown, dark brown, and green brown, according to the strength of the decoction or the state of the bark or nut when used. If the bark of the nut is used when green, the result will be a yellow brown; and this stain is also valuable in making a green tint when an after dip of blue is added. Leaves and tree-bark will give a brown with a very green tint, and these different shades used in different rags woven together give a very agreeably clouded effect. Walnut stain will itself set or fasten some others; for instance, pokeberry stain, which is a lovely crimson, can be made reasonably fast by setting it with walnut juice. Iron rust is the most indelible of all stains, besides being a most agreeable yellow, and it is not hard to obtain, as bits of old iron left standing in water will soon manufacture it. It would be a good use for old tin saucepans, and various other house utensils which have come to a state of mischievousness instead of usefulness. Ink gives various shades of gray according to its strength, but it would be cheaper to purchase it in the form of logwood than as ink.

[Sidenote: _Vegetable dyes_]

"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 colors, especially in combination, in safe and satisfactory ways.

[Sidenote: _The variety of shades_]

"Everyone who undertakes domestic weaving must know how to dye one or two good colors. Black, of course, and the half-black, or gray, which a good colorist of my acquaintance calls _a light black_. Indigo blue equally, of course, in three shades of very 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 color. 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.

[Sidenote: _Carding and twisting_]

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

[Sidenote: _Blue_]

[Sidenote: _Pink_]

[Sidenote: _Gray_]

[Sidenote: _Clouding_]

"Dark blue and white and 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 color which it is impossible to get in any other way. Clouding, which is almost an indispensable process for rug centers, 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 color. If it is to be two shades of one color, 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."

[Sidenote: _Mrs. Albee's manual_]

Through the courtesy of Mrs. Helen R. Albee, who has done much to revive an interest in rug-weaving, I am allowed to quote the following detailed suggestions on the subject of dyeing from her helpful manual, _Abnakee Rugs_. This little manual treats fully of the "Abnakee Rug Industry," the "Materials," "Methods of Work," and "Dye Formulas." It was issued through the Riverside Press in 1901.

Speaking of combinations of color, Mrs. Albee says:

[Sidenote: _Combinations of color_]

[Sidenote: _Safe tones_]

[Sidenote: _Colors in rugs_]

[Sidenote: _Use of white_]

"A careful study of the effects of colors upon each other will show that colors which are in themselves beautiful are often inharmonious when combined. Also, a little of a color may be good, when a larger proportion seems to destroy the balance or harmony. Success in this matter is largely a matter of close observation and experience, although some persons have a natural feeling or instinct regarding color which is seldom in error. Strong colors should never be used, especially greens. Though they may be modest in the piece, when worked in with other colors, they have an unfortunate way of becoming intensified tenfold. The safest tones for an amateur to deal with are dull gray green, yellow green, and a soft, full, but dark olive. In striking a certain key in color it should be maintained throughout. Thus, if a full rich color predominates, rich dark colors should be used through the whole scheme. If a light tone is the body color, soft light tones of other colors will be found most harmonious. Thus, for example, a rug for a library, or a hall, in which a good deal of rich terra cotta appears, should have a border or design worked in dark blues, full shades of olive green, and dull yellow. There is an apparent exception to this in the use of dull reds, old ivory, and black as seen in Bokhara rugs. But if studied, the cream color is very dull, and is used in such small quantities as to be quite subdued by the black that is used freely in the pattern. Old rose, warm golden browns, and olive may be used effectively. A light Gobelin blue may be worked with ivory, old pink, light dull olive, and the outlines can be either a dark yellow brown or very dark bronze green. An ivory center is lovely with an old pink border worked in green. A tan center may be combined with old rose, sage green, bronze green, light yellow, cream color, and dark brown outlines. Indigo blue, forest green, and dull yellow are excellent colors when combined. A great variety of beautiful rugs may be made by using only blue and white, and unless one wishes to go extensively into dyeing, it might be well to choose a certain simple color scheme such as blue and white, red, black, and ivory, and abide by it. Let it be remembered that white in rugs is not white, neither is it a delicate cream. Unless it is decidedly yellowish or even grayish in tone, when in combination with other colors, it becomes a staring white that is anything but artistic. I dye my cream colors, just as much as I do dark reds or greens.

[Sidenote: _Planning a color scheme for a rug_]

"I have been asked many times what is the best way to plan a color scheme for a rug. This is a point I cannot determine for another. Some may find help in making water color sketches of what they wish to do. In my own work I never use them, as it requires making a reduced drawing of great accuracy, and much time to color it. Often I plan a combination mentally, and match it up from the dyed flannels I always have on hand. Other times I vary the scheme of some rug I have already made, experimenting with different combinations, using other rugs as if they were books of reference. I have discovered one rather curious thing, which is, that when all my experimenting is done I find some particular color scheme fits a certain rug as no other does. It seems to clothe or to fulfill the pattern as if it belonged personally to it. When I once discover this elective affinity of a pattern for its special coloring, I never make it again save in that one guise.

[Sidenote: _Shading_]

[Sidenote: _Directions for shading_]

"Much skill can be shown by an artistic worker in the use of slight shades of difference in the same color. For example, in the plain center of a rug, several tones representing shades of the same color will give the effect of a play of light on a silky surface, which is very beautiful. By using material that has been dyed a trifle darker at one end of the rug, and working in gradually lighter tones, the result is surprisingly effective. To do this, each three or four yards should be dyed with these slight differences of tone; then when within thirty strips of the end of one color (more or less, according to the width of the rug), work in a broken line of the next tone all across the rug. Then use a few rows (not worked in single rows, however) of the first color across the entire rug, then a wider broken line of the second color. Broken lines blend better than continuous lines do. The portions of the second line should fall above the broken spaces left in the first line (in the same way that masons lay bricks), then a little more of the first color, using less and less of it, and increasing the width of the second in masses, until the first color has become only broken lines upon the ground of the second color. All the way through, any changes of color should be merged in this way. Be sure to work this method from side to side across the rug, as the frameful is filled.

[Sidenote: _Coloring_]

"This is the most difficult feature of the whole handicraft, the actual coloring, and yet for fine effects I should recommend only the use of hand-dyed materials. Goods dyed by professional dyers are perfectly uniform in color throughout, and rugs made of such material will have nothing of that difference of tone, that play of color, that is absolutely necessary for beauty.

[Sidenote: _Dye kettles_]

"In dyeing use only brass, copper, granite, or porcelain kettles, unless one goes into it on a large scale and uses regular machinery. Brass and copper vessels are to be preferred, while iron, or tin showing iron, are to be carefully avoided, as the mordants have a great affinity for iron and ruin the color. I use a large brass kettle holding about five gallons.

[Sidenote: _Mordants_]

"For mordants I use Glauber salts and sulphuric acid, and with the weight of cloth I use, it takes 3 oz. of Glauber salts and 3/4 oz. of sulphuric acid (full strength) to each six yards of flannel. I use a one-ounce Phenix graduate (American standard) measuring glass, and as full strength sulphuric acid has about twice the specific gravity of water, one should measure by the scale engraved on the right-hand side of the glass. The left-hand scale is based upon the standard unit of weight, which is water.

[Sidenote: _Uses of acids_]

"In using sulphuric acid I dilute it in a little cold water in a cup by pouring the acid on to the water, as sulphuric acid in uniting with water causes a chemical reaction. Where a large quantity of acid is used this reaction is accompanied by a sudden burst of steam, if the water falls upon the acid. But in a small quantity as this, there is no possible danger of accident if the acid is poured on the water. Sulphuric acid should be closely stoppered and used with care, as it is corrosive, eating holes in cotton or linen fabrics. With ordinary precautions it can be used without the least difficulty.

[Sidenote: _Salts set the dyes_]

"Glauber salts are too well known in commerce to need description, and are used to neutralize the acid. The two in combination do not injure woolen fabrics, but merely set the dyes.

[Sidenote: _Preparation of a dye bath_]

"In preparing the dye bath allow three gallons of water, and 3/4 oz. of sulphuric acid; stir thoroughly and add 3 oz. Glauber salts to six yards of cloth. Then add the dyestuff in required proportions. Stir thoroughly as each ingredient is added, for the evenness of the dye depends upon the thorough distribution of the mordants and color in the dye bath. Generally it is advised to strain the dye before it is added, but, as an even tone is not the desired result for this special handicraft, I never follow this suggestion.

[Sidenote: _Coloring depends on temperature_]

"The proper temperature for introducing the color in the bath is not over 150 deg. F., but if one has not a bath thermometer, the temperature must be very hot, yet far below boiling point. Temperature plays a great part in dyeing, for if the dye bath is too hot when the cloth is introduced, the dye, having a great avidity for wool, will be absorbed unequally by the cloth, the ends and outside folds of the cloth absorbing more color than is desired, and the inner folds will have less. I am not discussing the process of dyeing as it should be done on a large scale with vats and suitable reels, etc., but as it is likely to be done by an amateur, in a small way. When the bath is too hot, the cloth takes the dye unequally and is quite spotted. A little irregularity is necessary for a play of color, but it should be secured in a definite way and only to a certain degree, and not as the result of accident. If the cloth has come out spotty, it may be redipped, having added more dye and mordants to the bath, but it will come out a darker shade. If the bath is anywhere near the boiling point before the cloth is dipped, reduce it by adding a quart or two of cold water."

[Sidenote: _Process of dyeing yarn or raffia_]

[Sidenote: _Clear days are best for dyeing_]

Before dyeing yarn or raffia, bind the skeins loosely in several places to prevent tangling. "Having prepared the bath, gather the cloth in the right hand at half a dozen places along one selvedge, and drop it in, spreading it at once, using two stout sticks, lifting it up and down continually so as to expose all parts to the dye. The temperature should be increased to the boiling point and continued for three-quarters of an hour. Then lift the cloth up and drain it, then rinse in cold water, wring dry, but do not press with an iron, as the soft wooly texture is very desirable. When a quantity of the same color is desired, the same water can be used again by adding acid and Glauber salts, together with more dyestuff with each fresh dip of cloth. It must be stated, however, that the color will not be so clear with succeeding dips, but that does not matter, as a difference is desired. The process of dyeing is very delicate, and the utmost precision must be observed in following proportions and directions regarding temperature, etc. Dyeing is more successful in clear weather than on rainy days, and soft water is required to get good results. If water contains much lime or earthy salts it is unfit for dyeing, and must be neutralized by acetic acid. In such cases it would be still better to use rain water.

[Sidenote: _Vegetable dyes and chemical dyes compared_]

"There is a curious conviction prevailing in some quarters that beautiful durable colors are obtainable only from vegetable dyes. My first experiments were with barks, mosses, etc., but the difficulty of getting them, the enormous amount necessary to dye any quantity of goods, the tedious process in their use, and the fact that after all only a narrow range of colors is obtainable from them, compelled me to abandon them altogether. I began to investigate chemical dyes, and to gain information I applied to one of the largest woolen mills in New England, one which maintains a high reputation for the class of goods it manufactures; also to two wholesale houses dealing in all kinds of dyestuffs; and finally to one of the best experts in color in the country. Their verdict was unanimous, and is summed up in the opinion of the expert which he expressed in a letter to me on this question:

"'In regard to the use of vegetable dyes, I would say that they have almost disappeared from commerce, certainly for the purpose of dyeing fabrics.

[Sidenote: _Aniline colors_]

"'We know, of course, that there are strong prejudices still existing in the layman's mind in regard to the use of aniline colors, who supposes that they are not only fugitive, but that the resulting tones are harsh and unattractive. This, unfortunately, was so twenty-five years ago, and the impression made then upon the layman's mind has not been changed during all these years; but I can assure you that all the beautiful silk goods, tapestries, cloths, and all the colors which we see in fabrics to-day, are made, without exception, from aniline colors, which are immeasurably more permanent than are the vegetable dyes used up to, say, 1875.'

[Sidenote: _Formulas to be followed_]

"In using my range of eight colors I provide myself with large, strong glass bottles in which I keep my diluted colors. I use a pint measure for diluting the dyes. In preparing the fluid I put one half or one quarter of an ounce of dry color, whichever amount the formula calls for, into the pint measure and mix it thoroughly with a little cold water. The reason for using cold water is that the dyes are a tar product, and if mixed with hot water first, they are apt to grow waxy under the heat and not dissolve readily. Having dissolved them, I fill up the measure with hot water, stirring all the time. This makes a pint of liquid which is of uniform strength under all circumstances, and every formula is based upon this invariable pint measure of water. These formulas I have tried over and over again. They are made with special reference to the grade of flannel I have adopted, and doubtless will vary in results if used on other weights or weaves of wool goods."

DYE FORMULAS

NO. 1. DARK TERRA COTTA

[Sidenote: _Dark terra cotta_]

Dissolve 1/2 oz. of dull red in 1 pint of water.

Dissolve 1/4 oz. of green in 1 pint of water.

Take full pint measure of dull red dye and 4 tablespoonfuls of green dye to 6 yds. of cloth.

Mordants: 3/4 oz. sulphuric acid and 3 oz. Glauber salts. Boil 3/4 of an hour.

NO. 2. FULL TERRA COTTA

[Sidenote: _Full terra cotta_]

Dissolve 1/2 oz. of dull red in 1 pint of water.

Use full pint measure of dull red dye to 6 yds. of cloth.

Mordants: 3/4 oz. sulphuric acid and 3 oz. Glauber salts.

NO. 3. LIGHTER TERRA COTTA

[Sidenote: _Lighter terra cotta_]

Dissolve 1/2 oz. of dull red in 1 pint of water.

Use 22 tablespoonfuls of dull red dye to 6 yds. of cloth.

Mordants: 3/4 oz. sulphuric acid and 3 oz. Glauber salts.

NO. 4. RICH OLD RED

[Sidenote: _Rich old red_]

Dissolve 1/2 oz. of dull red in 1 pint of water.

Dissolve 1/4 oz. of green in 1 pint of water.

Use 24 tablespoonfuls of dull red dye and 3 tablespoonfuls of green dye to 6 yds. of cloth.

Mordants: Same as No. 1.

NO. 5. DULL OLD ROSE

[Sidenote: _Dull old rose_]

Dissolve 1/4 oz. of dull red in 1 pint of water.

Dissolve 1/4 oz. of bright blue in 1 pint of water.

Dissolve 1/4 oz. of dull yellow in 1 pint of water.

Use 16 tablespoonfuls of dull red dye, and 1 tablespoonful of bright blue dye, and 3 tablespoonfuls of dull yellow dye to 6 yds. of cloth.

Mordants: Same as in No. 1.

NO. 6. OLD PINK

[Sidenote: _Old pink_]

Dissolve 1/4 oz. of dull red in 1 pint of water.

Dissolve 1/4 oz. of dull yellow in 1 pint of water.

Dissolve 1 oz. of dark blue in 1 pint of water.

Use 6 tablespoonfuls of dull red dye, and 3 tablespoonfuls of dull yellow dye, and 1-1/2 teaspoonfuls of dark blue dye to 6 yds. of cloth.

Mordants: Same as in No. 1.

NO. 7. FULL YELLOW

[Sidenote: _Full yellow_]

Dissolve 1/4 oz. of bright yellow in 1 pint of water.

Dissolve 1/4 oz. of dull yellow in 1 pint of water.

Dissolve 1/4 oz. of green in 1 pint of water.

Use 6 tablespoonfuls of bright yellow dye, and 5 tablespoonfuls of dull yellow dye, and 2 tablespoonfuls of green dye to 6 yds. of cloth.

Mordants: Same as in No. 1.

NO. 8. RICH DULL YELLOW

[Sidenote: _Rich dull yellow_]

Dissolve 1/4 oz. of bright yellow in 1 pint of water.

Dissolve 1/4 oz. of dull red in 1 pint of water.

Use 12 tablespoonfuls of yellow dye and 6 tablespoonfuls of dull red dye to 6 yds. of cloth.

Mordants: Same as in No. 1.

NO. 9. DARK TAN YELLOW

[Sidenote: _Dark tan yellow_]

Dissolve 1/4 oz. of dull yellow in 1 pint of water.

Use 14 tablespoonfuls of dull yellow dye to 6 yds. of cloth.

Mordants: Same as in No. 1.

NO. 10. LIGHT OLIVE TAN

[Sidenote: _Light olive tan_]

Dissolve 1/4 oz. of bright yellow in 1 pint of water.

Dissolve 1/4 oz. of dull yellow in 1 pint of water.

Dissolve 1 oz. of dark blue in 1 pint of water.

Use 6 tablespoonfuls of bright yellow dye, 4 tablespoonfuls of dull yellow dye, 1-1/2 tablespoonfuls of dark blue dye to 6 yds. of cloth.

Mordants: Same as in No. 1.

NO. 11. OLD IVORY

[Sidenote: _Old ivory_]

Dissolve 1/4 oz. of bright yellow in 1 pint of water.

Dissolve 1/4 oz. of drab in 1 pint of water.

Dissolve 1/4 oz. of dull red in 1 pint of water.

Use 1 teaspoonful of yellow dye, and 1 teaspoonful of drab dye, and 1/4 teaspoonful of dull red dye to 6 yds. of cloth.

Mordants: Same as in No. 1.

NO. 12 RICH NAVY BLUE

[Sidenote: _Rich navy blue_]

Dissolve 1 oz. of dark blue in 1 pint of water.

Use full pint measure of dark blue dye to 6 yds. of goods.

Mordants: 1 oz. sulphuric acid, 3 oz. Glauber salts. Boil 1 hour.

NO. 13. DARK PERSIAN BLUE

[Sidenote: _Dark Persian blue_]

Dissolve 1 oz. of dark blue in 1 pint of water.

Dissolve 1/4 oz. of green in 1 pint of water.

Use 10 tablespoonfuls of dark blue dye, 6 tablespoonfuls of green dye to 6 yds. of cloth.

Mordants: Same as in No. 12.

NO. 14. GOBELIN BLUE

[Sidenote: _Gobelin blue_]

Dissolve 1 oz. of dark blue in 1 pint of water.

Dissolve 1/4 oz. of green in 1 pint of water.

Use 6 tablespoonfuls of dark blue dye, 4 tablespoonfuls of green dye to 6 yds. of cloth.

Mordants: Same as in No. 12.

NO. 15. LIGHT GRAY BLUE

[Sidenote: _Light gray blue_]

Dissolve 1 oz. of dark blue in 1 pint of water.

Dissolve 1/4 oz. of green in 1 pint of water.

Use 3 tablespoonfuls of dark blue dye, 2 tablespoonfuls of green dye to 6 yds. of cloth.

Mordants: Same as in No. 12.

NO. 16. LIGHT SAGE GREEN

[Sidenote: _Light sage green_]

Dissolve 1/4 oz. of green in 1 pint of water.

Dissolve 1/4 oz. of bright yellow in 1 pint of water.

Dissolve 1/4 oz. of dull red in 1 pint of water.

Use 10 tablespoonfuls of green dye, 2 tablespoonfuls of bright yellow dye, and 1-1/2 tablespoonfuls of dull red dye to 6 yds. of cloth.

Mordants: Same as in No. 1.

NO. 17. LIGHT OLIVE

[Sidenote: _Light olive_]

Dissolve 1/4 oz. of green in 1 pint of water.

Dissolve 1/4 oz. of bright yellow in 1 pint of water.

Dissolve 1/4 oz. of dull red in 1 pint of water.

Use 16 tablespoonfuls of green dye, 4 tablespoonfuls of bright yellow dye, and 3 tablespoonfuls of dull red to 6 yds. of cloth.

Mordants: Same as in No. 1.

NO. 18. DARK MOSS GREEN

[Sidenote: _Dark moss green_]

Dissolve 2 level teaspoonfuls of green in 1 pint measure of water.

Dissolve 1/4 oz. of bright yellow in 1 pint of water.

Use full pint measure of green dye and 15 tablespoonfuls of bright yellow dye to 6 yds. of cloth.

Mordants: 3 oz. of Glauber salts and 1 oz. of sulphuric acid. Boil 3/4 of an hour.

NO. 19. GOLDEN BROWN

[Sidenote: _Golden brown_]

Dissolve 1/4 oz. of dull yellow in 1 pint of water.

Dissolve 1/4 oz. of dull red in 1 pint of water.

Dissolve 1/4 oz. of green in 1 pint of water.

Use 20 tablespoonfuls of dull yellow dye, 5 tablespoonfuls of dull red dye, 15 tablespoonfuls of green dye to 6 yds. of cloth.

Mordants: Same as in No. 18.

NO. 20. DARK BRONZE

[Sidenote: _Dark bronze_]

Dissolve 1/4 oz. of green in 1 pint of water.

Dissolve 1/4 oz. of dull red in 1 pint of water.

Dissolve 1 oz. of dark blue in 1 pint of water.

Dissolve 1/4 oz. of bright yellow in 1 pint of water.

Use 8 tablespoonfuls of green dye, 12 tablespoonfuls of dull red dye, 4 tablespoonfuls of dark blue dye to 6 yds. of cloth.

Mordants: Same as in No. 18.

Redip in 4 tablespoonfuls of green dye and 5 tablespoonfuls of bright yellow dye.

Mordants: Repeat the one above.

[Sidenote: _These formulas are the basis for numerous tones_]

"These formulas can be taken as the basis of many other tones and shades which can be secured by a slight alteration of proportions. By adding a trifle more dull red, green, indigo, or drab liquid dyes, a color can be darkened. By using less of these than the formulas call for, the colors will be lighter. By using more of dull or bright yellow a color can often be made richer without darkening it. Beginners are cautioned against making changes until they become familiar with the dyes. In making new experiments, try them on yard lengths, carefully subdividing any given formula for both dyes and mordants, and increasing the proportion of any particular color desired. If the cloth should fail to take up the dye properly after boiling the full time, increase the quantity of acid, lifting the cloth out when adding the acid to the dye bath."

Excellent suggestions by Miss Albee for color schemes in stripes may be found on pages 64 and 65.

[Mrs. Albee is prepared to furnish any of the foregoing dyes at 20 cents an ounce. Her address is Mrs. Helen R. Albee, Pequaket, Silver Lake P. O., N. H.]

Chapter Seven

METHODS OF SPLICING MATERIALS FOR WEAVING

[Sidenote: _Woolens, fine worsteds, ravelings, and cottons_]

Such materials as carpet and oriental wools, fine worsteds, carpet ravelings, darning and knitting cotton should, in splicing, be run past each other. In weaving, run the wool through the warp to the very end. Start the new piece a few warp threads back, being careful to go over and under exactly the _same_ warp threads as you did when finishing the end. As you pass these threads you will find that you are taking up the right warp threads, and that no mistake has been made. It is best to run the threads past each other in the _middle_ of the mat rather than on the _sides_. The children learn this method of splicing very quickly and the result is much more satisfactory than knotting, because the back of the rug or mat will be smooth. As Mrs. Wiggin says: "There should never be a wrong side to work any more than there should be to folks."

[Sidenote: _Silkoline, cheese cloth, rags_]

[Sidenote: _Candle-wicking, chenille, and macreme cord_]

In splicing such materials as silkoline, rags, candle-wicking, chenille, and macreme cord, lay the end of one piece over another, each lapping about one-quarter inch, and sew securely with silk or thread of like color. Cut off the selvedge ends of rags. These strips can be run past each other, but the work will not be so smooth.

[Sidenote: _Germantown wool, heavy worsteds, and rope silk_]

In splicing Germantown wool, heavy worsteds, or rope silk, thread a worsted needle with one strand obtained by unwinding the wool or silk, lay one end over the other, and sew over and over. Twist the part just sewn between the thumb and finger and the splicing will be hardly visible.

When weaving stripes, splice the wool so that the piecing will come on top of the rod. In this way the new color will start at the edge of the rug, as it should, and the number of loops on the rod will be the same on each side. Consider the _under_ side of the weaving as the _right_ side. It is always smoother and cleaner, and the splicing can be done more neatly on top of the rod.

[Sidenote: _Raffia_]

Splicing raffia is the most difficult of all, and the method used in braiding and basket weaving is the best. As you near the end of a strip in weaving it usually becomes narrower. Find another strip having a narrow end, and place one over the other, securing, if necessary, by winding a very narrow piece--just a thread torn from a long piece--and fastening this by sewing a few times over and over. Or, the two narrow ends may be run past each other, as in carpet ravelings. Care should be taken to have the splicing the same width as the other parts of the weaving, so that the spliced parts will not be noticeable.

[Sidenote: _Leather, leatherette, and celluloid strips_]

Leather, leatherette, and celluloid strips should be long enough to extend the entire width and length of the frame without splicing. The ends can be cut, as is done in paper weaving, or turned in some pretty way like that in the splint work.

Chapter Eight

WOOL AND SILKOLINE RUGS OR MATS

[Sidenote: _Plain rug with end stripes_]

[Sidenote: _Finishing the ends_]

Silkoline rugs or mats are by far the prettiest for doll-house use. The method of preparing the strips is explained under Materials (page 51). Make the warp with twine of the same color as the silkoline. It should be a three-eighths-inch warp. Choose a plain color for the body of the rug, and a short distance from each end weave several stripes of a contrasting color. The rug in the illustration is of deep cardinal. The stripes can be of olive green, black, or any preferred color. Mottled stripes are also attractive and effective. When the stripes at the foot are woven, ascertain the distance from the foot piece to the last one. To know where to commence the first stripe at the head, measure the distance just found from the head piece down, and mark on both rods by tying or sewing a colored string to the warp. This helps the child to understand where the stripe should begin, which he soon learns to measure for himself; and this training in accuracy and independence is most excellent. There is nothing better than learning self-reliance, and the child who has been taught it, is not apt to ask others to do his examples for him. To learn the manner of making the stripes and spaces each of the same width, count the loops on the rods (one has to weave twice across the loom to have one loop on a rod), and have the same number on each side. Care should be taken not to _twist_ the strips in weaving. The method of splicing the strips and fastening the warp strings is explained in Chapter V. The rug may be finished with a wool or silk fringe of the predominating color, or a fringe of the combined colors. If desired, it may be left plain, catching the woof strips together at each end to conceal the warp strings. When a mistake has been made, run the needle back under the same strings instead of pulling out what is wrong. It prevents stretching and a destruction of the material.

[Sidenote: _Mottled rugs made of figured silkoline_]

Mottled rugs are made of figured silkoline. Choose oriental colors, no matter how gaudy the silkoline may look in the piece. It will have a beautiful effect when woven. Portieres are pretty made in this way. These rugs should always be plain--that is, without stripes.

[Sidenote: _Plain rugs with mottled borders, or mottled rugs with plain borders_]

Plain rugs with mottled borders, or mottled rugs with plain borders, are the delight of the children. Adjust the frame for the size required, and decide how wide the border is to be. It is necessary to have an extra pair of rods, if one desires a smooth and well-finished rug. The border of the rug represented in the illustration is two inches. This should be woven with a tape needle. Weave the border at the foot of the loom. This extends the entire width. Place the extra rods two inches toward the center from the side rods on the outside of the rug, keeping them _back_ of the border already woven at the foot. This will outline the sides of the plain oblong in the center. Weave the left and right hand borders up to a point two inches from the head piece, taking care to go around the rods just placed. Then begin the plain center. As you come to the border on each side, run your tape needle _through_ the loops of mottled silkoline which are around the rod, but do not go around the rod itself with the plain silkoline, since doing so would make a ridge in the rug. Draw the woof strips tightly and firmly, so that the work will lie flat and smooth when removed from the loom. Be sure to weave the center far enough, remembering that the upper woof strips in the border will crowd it down. When the center is finished, remove the extra rods and finish weaving the border to the head piece. In selecting a color for the center, match one of the colors in the figured silkoline. The color for the center in the rug of the illustration on page 90 is green, and the same color appears also in the mottled border, with yellow and brown. The ends should be left plain, the warp strings being concealed as directed. These rugs are very beautiful, and can be made in an infinite variety through the use of different colors, and by reversing the center and border. They can be made of carpet or Germantown wool, in two colors or in two tones of one color. In weaving rugs with centers and borders, weave a little farther than the exact measure, because the next woof threads will push down the woof already made, and you may find that you have not woven the correct measure. These rugs are useful as "heel rugs"; they are placed under the piano near the pedal to protect the carpet from the pressure of the heel. (See also page 82.)

[Sidenote: _Holder or mat_]

[Sidenote: _Many squares joined together_]

[Sidenote: _Small rug with fringe_]

[Sidenote: _Stair and hall carpets_]

Adjust the loom for the size required. The plaid effect in the holder illustrated on page 92 is obtained by stringing a close warp with green and white carpet wool, alternating two of white with four of green. In weaving, use two woof threads of white and _four_ of green to make the square correct. The kindergarten designs make pretty holders. If you have woven a holder, it will be finished when it is removed from the loom and the warp strings have been fastened. If you wish your holder to be very thick, weave two of these pieces, lay a square of felt or flannel between and sew or crochet the edges together. If the work is to be a mat, knot a pretty fringe all around it. Many of these squares can be joined to make sofa pillows, afghans, slumber robes, and other dainty articles. With a continuous warp, one can weave long strips for the same articles. If a small rug for Miss Dolly's bedroom is desired, string the warp so that the two ends will have a fringe. Stair and hall carpets for the doll house can be woven in these pretty designs by adjusting the loom for a narrow strip, and, if necessary, a continuous warp.

Chapter Nine

HAMMOCKS

[Sidenote: _Method of adjustment_]

[Sidenote: _Use of stripes for various colors_]

[Sidenote: _Lengthwise stripes_]

To weave a hammock, one must first adjust the loom to its full size. Tie two rings together and fasten them at the back of the loom, to head, foot, and sides, as in the illustration. One must then decide how close the warp is to be strung. Measure the string, which should be continuous, allowing enough to go to the rings at the back and make a buttonhole stitch each time. Then wind on a long thin stick or dress steel, in such a way that it will pass easily through the rings. In stringing the hammock in the illustration, a penholder was used. The rings are tied, with white cord, to the four sides of the loom. By doing this, all tangling of the warp string is avoided, and it is far preferable to splicing. Tie the first warp string to the top ring. Draw it tightly through the first groove, over the face of the loom to the opposite groove, then to the back of the loom through the bottom ring. Make a buttonhole stitch and return in the same manner over the face of the loom, around to the top ring, where you make a buttonhole stitch and return, until the whole warp is strung. Care should be taken to make it firm and tight. Hold the string and ring firmly in the left hand while making the buttonhole stitch with the right. Cut the woof cords long enough to allow a fringe on each side of the hammock. Weave each cord separately, tying in pairs around the rods. Stripes of one or more colors can be woven at each end or at intervals through the hammock. By weaving two colors alternately, the stripes will be lengthwise instead of crosswise. Knot the fringe at each side. To fasten the top and bottom woof cords so that they will not pull out of place, thread a tape needle with cord and tie each warp string close to the woof. Another way to secure the top and bottom woof cords is to weave two cords at one time, twisting one over the other between the warp strings. The bottom one should be woven before the hammock is commenced. The top one can be woven before the hammock is finished, and pushed up close to the head piece. Then fill up the space.

[Sidenote: _Making the fringe_]

[Sidenote: _The stretcher_]

[Sidenote: _The head-rest_]

[Sidenote: _Hammock with lengthwise colored stripes_]

[Sidenote: _Knotted hammocks_]