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]

Instead of knotting the fringe as suggested, two cords can be twisted at each side of the hammock in the same way that the woof cords are secured at the top and bottom. This forms a heading for the fringe. Take up two cords of the fringe at a time. If desired, the strings which extend from the rings to the hammock may be woven for the space of an inch or so close to the rings instead of making a buttonhole stitch. Make a stretcher for the head by covering a piece of rattan with buttonhole stitch. Fasten this to the hammock. A head-rest can also be woven and adjusted. To remove the hammock from the loom, cut the two rings apart, and then lift the warp strings from the grooves. A very pretty hammock can be made by stringing the warp of different colors, in order to make lengthwise stripes. Weave a neutral color through them. In this case, have a close warp. Pretty hammocks can be made by knotting instead of weaving.

[Sidenote: To string warp for hammock in order to have the sides shorter than the center]

Cut two semi-circular pieces from light wood or pasteboard. These should suit the width of the hammock to be made. If this is the width of the loom, then 9-1/2 inches long and two inches at the widest part. Cut the curved edge in notches to correspond with the number taken in the head piece. These pieces will be firmer and more satisfactory if made of wood and finished at the lower edges like the metal head piece. This can be easily done by glueing them to a narrow piece of wood so that they will stand. If furnished with perforations, they can be laced to the head and foot pieces or the rods can be run through them. By stringing the warp in this way, the sides of the hammock will be shorter than the center, and there will be no danger of Miss Dolly falling out.

The warp can be strung more quickly and easily if hammock hooks similar to those in the two illustrations below are used. Measure the right length—22 warp strings 31 inches long for the metal loom, or 29 the same length for the wooden loom—and wind as before.



[Sidenote: Hammock hooks]

[Sidenote: Weaving]

In using hammock hook No. 1, knot half the number of warp strings in the left-hand ring and half in the right-hand ring. If hook No. 2 be used, unpin the part at the right, knot the warp strings along the straight edge at the bottom, and then pin the right-hand part again. Weaving each cord separately across the loom makes a heavy fringe at the sides. If a lighter fringe be desired, cut the woof cords twice the width of the loom plus twice the length of the fringe. Weave across the loom, leaving enough for the fringe at the side, then around the rod and back again, drawing the cord through to the same length as the part left at first. Weave in the same way with the second color, having the loop on the same rod and the fringe at the same side as the other. Weave the next two cords with loops on the opposite rod and fringe on the opposite side. Continue in this way until the hammock is finished. Make a heading at the sides as described, only carry the two cords through the loops, crossing them between on top of the rods. The warp strings can be passed through the rings without buttonholing. A firm pretty finish can be made at the sides by cutting two cords—one of each color two yards long and buttonholing around the rods on top of the woof cords which extend at each side. Fasten these long cords at the bottom of the loom. After two pairs of woof cords have been tied, buttonhole the edge over them and around the rods and continue this until the hammock is finished.



Chapter Ten

FACE AND DISH CLOTHS AND BATH RUGS



[Sidenote: Materials]

The materials for making face and dish cloths are: cheese cloth cut bias, darning or knitting cotton, or candle-wicking. Those made from cheese cloth resemble the Turkish rags. Cut and splice the cheese cloth according to directions on page 83. The face cloth in the illustration is made from white cheese cloth, cut bias. String the warp 3/16 inch with white twine. It being desirable to have face and dish cloths as soft as possible, do not push the woof threads too closely together. When the cloth is removed from the loom, conceal the ends of the warp strings as previously directed. Fine white thread should be used. If preferred, the edges can be bound with tape. Cloths of candle-wicking are very quickly woven, but they are not so soft.

Face cloths of cheese cloth with borders of knitting cotton would be durable and satisfactory. Make them according to directions given for rugs with centers and borders.

Cross-barred face cloths made of knitting cotton No. 4, in two colors, are very pretty.

[Sidenote: Bath rug made with continuous warp]

Serviceable bath rugs can be made by making three strips as long as desired, and then fastening together. They are made of cheese cloth cut bias, but the woof threads are packed much tighter than in the face cloths. Finish the edges by stitching a white tape all around. Floor rugs of any kind can be made firmer by finishing in this way with tape of the same color.



Chapter Eleven

RAFFIA MATS



[Sidenote: Method of making raffia mats]

[Sidenote: The rods and the warp strings in kindergarten patterns]

Mats of raffia are made like all the other mats. The warp may be of twine or carpet thread. In this case, the mat should be woven of raffia in the natural color, with stripes of bright color at each end; or, it may be of some dark tone with stripes of a contrasting color. By using a warp of raffia, many of the beautiful kindergarten designs can be produced. Use one color for the warp and another for the woof. The method of stringing a warp of raffia is described in "Methods of Stringing Warp," on page 45. The illustration shows a raffia mat in process of making. The natural color of raffia is used, with stripes of cardinal, and the method of stringing color in the warp to obtain this effect is clearly seen. The children will have no difficulty in carrying out the pattern, if they remember that the rods correspond to the border of the paper mat. Before stringing the warp for a kindergarten pattern, count the strips in the paper mat and begin to count on the loom from the rods. In this kind of work the string on top of the rod does not count. It forms the border of the mat.



[Sidenote: Stringing the warp]

In making mats, or matting, of raffia, the material can be carried over the rods as in wool-weaving, or it can be finished on the edges in the same way as the real matting is done. This will be easily understood by examining a piece of matting. In stringing the warp, have three strings over each bar instead of one. Cut the woof strips several inches longer than the width of the loom. Weave the first strip, leaving a piece at each side. Thread a tape needle with one end and weave it in and out the three warp threads on the rod. Then cut it off close to the edge. Finish off all the ends in this way. When the work is removed from the loom, press the edges flat with a warm iron. It is a little easier to keep the pattern right by weaving in this way, and the work resembles the real matting more nearly. Use a tape needle for weaving raffia.

[Sidenote: Porch curtains]

If the doll house which we are fitting is a large one with porches, one could complete the furnishings with a porch curtain, for sunny afternoons.

[Sidenote: Glove, trinket, and mouchoir boxes]

Boxes of all kinds can be made of raffia woven in panels. It will make the box stronger and firmer to overhand a piece of rattan around the edges of the panels before joining them in the form of a box. Thread a worsted needle with a narrow strip of raffia and buttonhole the edges of the panels together; or, sew them over and over and cover with a braid of raffia. Spiral-weaving is pretty for this finishing. It is described in an article entitled "Straw-Weaving," in "American Homes" for September, 1900, a magazine published in Knoxville, Tenn. Glove, trinket, and mouchoir boxes are pretty for holiday gifts. By using different patterns and colors a great variety of them can be made.

[Sidenote: Rugs of carpet wool]

For rugs made of carpet wool, string a three-eighths-inch warp of twine, or oriental cord, the color of the body of the rug. Use a deep tone of red, olive green, or any preferred color, with a stripe at each end. A study of rugs will soon enable one to get the right proportion of rug and stripe. Beautiful rugs are made with a succession of Roman stripes separated by a narrow one of deep red, green, or blue, the ends of the rug being woven of the same color. Center and corner patterns can be woven by placing the pattern under the warp. By stringing a close warp of the same material all the designs for paper-weaving can be easily reproduced. Lengthwise stripes are also pretty. String the warp with different colors and weave a neutral color through them. The rug in the frontispiece is woven of heavy carpet wool, some of which is seen on the table.

[Sidenote: Patterns for rugs]

[Sidenote: Fundamental form No. 1]

Beautiful patterns for rugs can be made by cutting squares and triangles of paper according to directions given in the "Kindergarten Guides." The "Paradise of Childhood" has some very pretty ones. There are two fundamental forms for this paper-cutting. The first is made from a nine-inch square. Fold one diagonal, place the right acute angle upon the left so as to produce four triangles resting upon each other. The form now lies before you with the right angle at the right and two acute angles (one on top of the other) at the left. Lift one of these acute angles and place on top of the angle at the back, creasing the fold; then fold the remaining acute angle under to the same angle at the back, creasing as before. Now place the form with the right angle at the back and hold all the open edges to the left while cutting. Illustrations in the "Kindergarten Guides" show a network drawn on the triangle at the top as an aid to transferring the pattern.



[Sidenote: Fundamental form No. 2]

The second fundamental form is made from a six-fold equilateral triangle. Directions for folding and cutting this from the square are given in the "Paradise of Childhood." It can be cut, also, from a circle whose diameter is equal to the width of the rug desired. In drawing and cutting the pattern, hold the form with the entirely open sides toward you. The whole pattern is cut at once and the unfolding often reveals a charming design for a rug, which can be woven in tones or contrasting colors. If cut from colored paper, it can be mounted on white and placed under the warp. Beautiful original designs in conventional leaf and flower patterns can also be made.

[Sidenote: Conventional leaf forms]

To make a conventional leaf form, use fundamental form No. 1. Cut the leaf on the mid-rib and lay this part on the base of the triangle with the point of the leaf on the open edges at the left, and the stem on the closed part at the right. Draw around the edges of the leaf and cut, taking care not to separate the leaf forms at the center, which is at the closed part at your right hand.

Some excellent suggestions for this leaf-cutting in centerpieces and borders can be found in the "Pratt Institute Monthly" for April, 1900.

[Sidenote: Dusters]

Dusters for hardwood floors are best made of strips of old flannel. They can be made of stocking strips, or cheese cloth. Make two mats the full size of the loom, sew on three sides and run a gathering-string around the top. It will fit better if it has a piece of cheese cloth sewn at the top through which the gathering-string can be run. This makes a fine duster to slip over a broom. If one prefers, a continuous warp can be strung—the length to be twice the length of the broom part—and a long piece woven which will require sewing on two sides only.



[Sidenote: Doll towels]

[Sidenote: Patterns for towel borders]

[Sidenote: Lunch cloths]

[Sidenote: Bedspreads]

[Sidenote: Quilts]

Doll towels are very fascinating things to make. Adjust the loom for the required size. The exact proportion can be ascertained from a large towel. String the close warp with fine darning cotton and have the strings in pairs with fringe at each end. Allow several inches for fringe so that it can be knotted easily. The woof threads, which are also of fine darning cotton, should be pushed very closely and smoothly together. Plain stripes of red or blue, or fancy stripes made with a kindergarten design, can be woven. Observe the same directions for spacing the stripes which are given with the silkoline rug. The towel in the illustration is made of white darning cotton, with the stripes and initial of red. The children will be delighted to lay towel borders with their tablets, and after cutting and pasting with colored paper, weave them in towels for Miss Dolly's housekeeping. Cross-stitch the initial as previously directed. Lunch cloths and bedspreads can be made in the same way. These should be fringed all around. A cross-barred cloth or spread can be made by putting the color in the warp at regular intervals and weaving across with color and white to form squares. Pretty quilts of coarse cotton can be made with kindergarten designs. By weaving many squares, a large quilt can be made. See directions on page 50.

[Sidenote: Bed and carriage blankets]

Bed and carriage blankets are best made of single zephyr, although Germantown wool will do. The heavy carpet wools are also pretty. Some suggestions for this work have already been given under the head of Materials. These blankets are really mats, but made only for another use, and are to be woven in a similar way. Those with centers and borders are pretty, and the plaid ones are always attractive. (See illustration of the holder on page 92.)

[Sidenote: Doll shawls]

For doll shawls choose a pretty Scotch plaid and match the colors in fine wool. String a close warp with wool, copying the Scotch plaid exactly. Weave the colors across so that a "truly" plaid shawl may grace Miss Dolly's shoulders on the cold winter mornings. A striped shawl is pretty, or one having one color for the center and another for the border.

[Sidenote: Doll skirt]

Miss Dolly may have a lovely petticoat, too. String a continuous warp long enough for the width of the skirt. Adjust the rods for the length. By using a little color in the warp near the right edge of the weaving, the skirt will have some stripes. Twist a cord of the wool and run in the top for a draw-string.

[Sidenote: Reins]

To make reins, adjust for a narrow strip and string a close, continuous warp the length desired. Make a piece, also, to go across the front. Use Germantown knitting yarn. A black warp with a bright red woof is pretty.

[Sidenote: A square Tam O'Shanter]

In order to obtain a Tam O'Shanter for Dolly, first weave a square the required size. String a close warp with wool and weave a kindergarten pattern with two colors. When completed, remove from the loom, fold four corners to the center, turn them in to form an opening for the head, and fasten the edges by sewing, or by lacing with a cord made of the two colors. Fasten a tassel on the top and it is finished. Angora wool is pretty for these caps.



[Sidenote: Fringe]

[Sidenote: Threading the needle]

[Sidenote: Making the fringe into tassels]

[Sidenote: Removing the fringe from the loom]

The head piece of the loom should be adjusted for the width of the rug for which the fringe is required. A rug nine inches wide would require fringe nine inches long. Adjust the rods one inch apart—that is, with one perforation between the rods. String the warp in every groove, one string over each rod and three between, making five in all. Weave over and under one until the heading is finished. If you have an extra side rod, place it in the sixth perforation from the right-hand rod. This will make tassels a little over two inches long. If a shorter fringe is preferred, adjust accordingly. If you have not an extra side rod remove the left one and place as directed, leaving the right one in the heading until the whole fringe is finished. Thread a large tape needle with two pieces of worsted, as long as the two can be conveniently managed. If the fringe is made of two colors, take one of each for the tassels, weaving the heading with the one which predominates in the rug. Run the ends in the grooves to fasten them. Wind under the right rod, which was left in the heading, through the first stitch, which includes the warp string over the rod, then over the extra rod to the right. Wind under again through the next stitch in the heading (always around the rod) and so on until the end is reached. To make this fringe into tassels, separate six strands of each color and tie with the two colors, running the tape needle and worsted along from one tassel to another, or tie each one securely and cut. The fringe will need no finishing at the ends. Run the short ends, which were wound through the grooves in the beginning in order to fasten them, through a few stitches in the heading. The fringe can be made of one color, and of any width. To take the fringe from the loom, first remove the rod at the end of the tassels and cut the fringe before removing the rods from the heading. This will insure straight cutting at the ends of the tassels. If one prefers a knotted fringe, cut and knot before removing the heading. By examining rug fringes in the furniture stores one can get a very good idea of the manner of knotting. (See also directions for splicing Germantown wool on page 84.)

[Sidenote: Knotting]

A simple fringe can be knotted quickly and easily in the ends of the warp strings, after the rug is taken from the loom. First decide upon the length of the fringe when finished. Add at least two inches to allow for knotting. Cut each piece of wool twice this length, double, and thread a tape needle. Pass the needle from the right side of the rug to the wrong, through the warp strings at the end of the rug. Draw the loop of wool through and unthread the needle. Pass the two ends of the wool down through the loop and draw it tight. When this has been done in every pair of warp strings, knot every other piece of the fringe together, in the same way that towel fringe is made.

This question of whether a rug should have fringe or not is much discussed at present. It is largely a personal one. The best way, perhaps, is to study different kinds of rugs and know which ones are usually made with fringe and which are not.



[Sidenote: Bed shoes, or socks]

[Sidenote: Bed shoes]

[Sidenote: Baby shoes]

Bed shoes of all sizes are easily woven, and make a useful holiday gift. They are made without soles and are intended to be drawn up around the ankle like a high moccasin. Use the soft double Germantown wool. White, fastened together with pink or blue, or white striped with a color, may be used, and are attractive. The socks in the illustration are of white wool with a pink seam up the instep and pink scallops around the top. One sock is shown on a last, and the other as it appears off the foot. The stripes in the knitting can be shown in the weaving by using a color. The full size of the loom makes a shoe of medium size. String a close warp with white wool. If the shoe is to be all white, weave with the same, leaving the color for the finishing. If it is to be striped, weave perhaps eight or ten times across with color and then with white; when the weaving is finished you will have a mat 9 x 12 inches. Double one of the short edges and sew over and over on the wrong side with white wool. This is the toe. The two long edges now lie together. They may be crocheted, or knitted, with colored wool by holding them close and fulling in, or by puckering a little. If this is done in color, it makes a pretty seam on the top of the foot and front of the ankle. The top may be finished by crocheting a beading and scallops of the colored wool. Run a ribbon or worsted cord through the beading. If desired, the long edges may be laced together with ribbon one-half inch wide. Baby shoes are made in the same way. To ascertain what length to adjust the loom, measure the sole, then up, back of the heel, to a point above the ankle. For the width, measure around the foot. Finish the cord with tassels or balls.

[Sidenote: Worsted balls for bed shoes, and other articles]

To make worsted balls, first cut two small circles from cardboard. From the center of each cut a smaller circle. Hold one circle over the other, and with a worsted or tape needle threaded with wool, wind over and over very closely until the hole in the center is completely filled. Always piece the wool on the outside edge. Cut the wool all around on the outside. Make a cord of the wool and slip between the two circles. Then tie so as to fasten all the pieces of wool in the middle, leaving the cord long enough to tie in a bow if desired. Tear the pasteboards, remove them, and trim the wool evenly. A second ball should be fastened on the other end of the cord, after it has been laced through the beading.

[Sidenote: Photograph frames]

To weave photograph and picture frames of silk, chenille, raffia, celluloid, or leather, proceed in the same way as for a bordered rug, having the oblong or square center the required size for the picture. Foundation frames for mounting the work can be purchased, usually, at the stores where tissue paper and flowers are sold.

[Sidenote: Table mats]

Square and oblong table mats for hot dishes can be made of candle-wicking, knitting cotton, or cheese cloth.

[Sidenote: Tippet or scarf]

To-day, tippets and scarfs are very little used, but they are very comfortable things to wear to school on a cold day. In order to make them, string a continuous warp of the required length with Germantown dark colored wool. Weave the same color for the woof, and brighten it at intervals with Roman stripes. A plaid scarf can be woven, if preferred; while with a close warp one can have a kindergarten pattern in another, or contrasting color.

[Sidenote: Wristlets]

In making wristlets, one must decide how long they are to be, and adjust the length on the loom. Measure around the wrist for the width, remembering that the wristlets will stretch when pulled over the hand. Weave in stripes or plaid, or, if desired, plain, stringing the warp with the same wool as is used in weaving. Remove the mat and sew the edges together.

[Sidenote: Sleeve protectors]

Sleeve protectors can be woven of raffia in the same way as wristlets. Make them so they can be fastened on the outside of the sleeve, like a cuff.



[Sidenote: Purses, or chatelaine bags]

Purses, or chatelaine bags, are made of knitting-silk. Beads can be added, if desired. Adjust the loom for the required size, and string a continuous warp, if necessary. One can obtain the silver or nickel tops, which open and close, at the department stores.



[Sidenote: Shopping and school bags]

[Sidenote: Opera glass bags]

It will be better to use heavier material for shopping and school bags. Raffia makes a strong bag; silk strips are serviceable, and leather strips are good for school bags. For opera-glass bags, make two mats and lace or weave them together, or string a continuous warp. Use rope silk, chenille, or knitting silk with beads.



When one has mastered the mysteries of weaving thoroughly enough to make a good mat, it is very easy to "turn them into" various articles. There is no sleight of hand about it.

[Sidenote: Panels of silk canvas for boxes]

Silk canvas panels are made by adjusting the loom for the required size of the sides of the box, and weaving a plain mat for the top. A number of suggestions have been given on page 52, under the head of Materials.

Pretty neckties of fine knitting silk can be made on the loom by using a continuous warp of the same material.



[Sidenote: Sofa pillows, cushions, sachet cases and veil cases]

The accompanying illustration, and another on page 98, and also the vignette on the title page, show squares of silk canvas, and will give one many ideas of how they may be used. One has a cross-stitched pattern of chenille, and in another the chenille was alternated with silk in the warp, and both chenille and silk were used in the woof. The squares can be made up in cushion and box covers, sachet cases, sofa pillows, or the larger squares can be used as veil cases. A number of them can be joined for large sofa pillows. In the latter case they can be made of wool, and many of them could be crocheted together for an afghan or slumber robe.



The design in the illustration is a pattern which may be used for either a Wilton or Axminster rug, or for mats, sachet cases, cushion or box covers, or cross-stitch embroidery on burlap, or silk, or wool canvas. The patterns given on pages 120, 125, 130, and 134 will be found adaptable for rugs or squares.

[Sidenote: Slumber robes or afghans]

[Sidenote: Portieres]

Slumber robes or afghans have been previously mentioned on page 54, under the head of Materials. It will be found very easy, after a little experience with a continuous warp, to make strips of any length. It is better to wind the extra lengths of warp upon spools, as has been suggested, or around the tops of the rods. Large portieres can be made of long strips of silk or silkoline cut bias. Fasten the long strips together horizontally in imitation of Bagdad curtains.



[Sidenote: Hair receivers]

Hair receivers are easily made from raffia. Make a square mat and fold it in cornucopia form.



Chapter Twelve

ORIENTAL RUGS

[Sidenote: Rugs and draperies]

To be quite up to date, Miss Dolly should have oriental rugs and draperies in her house beautiful. These are easily made on the loom, and the little girl or boy, who has first copied a pattern and then seen it grow under patient fingers, has a thing of beauty and a joy forever. What could give more pleasure than to be able to say fifty years from now: "I wove that, my dear, when I went to school"? Truly the grandchildren would reply: "How I wish I could have gone to grandma's school!"—only they may have something equally beautiful which will take its place in that far-off time—who knows?



[Sidenote: Patterns]

[Sidenote: Oriental colors]

The patterns for oriental rugs familiar in the East have descended through hundreds of years, and the exquisite colors, produced by vegetable dyes, and increasing in richness and beauty with age, are only to be seen in old rugs. We have nothing in our modern dyes to compare with the old color. One is soon interested in the study of these Eastern treasures, and it becomes second nature in a short time not only to chat familiarly of Kermans, Serebends, Khivas, Bokharas, and Kiz-Kilims, ad infinitum, but to jot down now and then in one's notebook, or still better in one's design book (made of the kindergarten squared paper, one-eighth inch), a pretty border or centerpiece for the rug which is to grace some doll house. The patterns of Turkish rugs (see page 127) are of geometrical or arabesque designs—an edict from the Koran having prohibited the reproduction of living things. The Persians, however, weave animals, birds, etc., as their ancestors did in days gone by.

[Sidenote: Inscriptions on Persian rugs]

There is some very interesting reading in "Oriental Rug Weaving," by V. Kurdji, on the subject of inscriptions often found on Persian rugs. He says: "If the possessors of some of the rare pieces that are sold in this country knew the meaning of the inscriptions woven in their rugs, the knowledge would add a charm and interest which would make them more valuable than the harmonious colors so beautifully blended."



[Sidenote: Bokkara rugs]

[Sidenote: Khiva rugs]

Oriental rugs take their names from the countries or provinces in which they are made. Bokhara rugs are made in mountainous districts of Turkestan, and have never been successfully imitated, because the dyes used are made from a plant grown only in that district. The designs are geometrical, and the colors deep maroon or blue. The pile is woven as close as velvet. They are noted for the superior quality of their dyes. Khiva rugs, sometimes called afghan, are made in Turkestan. They resemble the Bokhara rugs, but are coarser in texture and heavier in pile, and they differ from them in having a wide selvage at each end. Some Khivas have a small pattern in red mosaic over the surface with a circle in the center. One often sees a rug made of a rich golden yellow with a background of dark red.



[Sidenote: Kiz-Kilim rugs]

The Kiz-Kilim rugs have no nap, and are woven with a needle. They are thin and almost alike on both sides. The larger sizes are woven in two strips fastened together so that they can be taken apart and used for curtains. "These Kiz-Kilims are woven by Armenians and Turks in Anatolia (the land of sunrise, and the Greek name for Asia Minor). The literal translation of the word Kiz-Kilim is bride's rug, it being a custom in that country for a bride to present to her husband one of these rugs, which she has woven during her engagement to him. The quality of the rug is supposed to measure the quality of the husband's affection for his bride, consequently we have many beautiful specimens of this class, the brilliant hues and intricate designs of which could only have been inspired by the whisperings of Cupid. They are in open-work patterns—called perforated—and often have long tufts of colored silk tied to the rugs with blue beads, in order to keep them from the effects of the Evil Eye." The Kiz-Kilim rug in the illustration was copied from a genuine rug. The filling is a deep blue and the borders are in oriental colors. The center figure is white, with red, brown, and yellow inside. There are four kinds of Kilims. Much interesting and valuable information can be found in John Kimberley Mumford's "Oriental Rugs"; New York: Charles Scribner's Sons, 1900, where directions for weaving Kiz-Kilims, Khivas, and Bokharas are given, with a few patterns.



[Sidenote: Materials used]

[Sidenote: Perforations]



Oriental wools or carpet ravelings are used for these rugs. Copy your figures and colors from genuine rugs. The accompanying patterns were obtained in this way. See directions on page 47 for stringing a double warp with fringe at each end. First fasten the pattern under the warp; then weave about one-quarter inch at each end with carpet thread like the warp. This will make it look like a "truly" Kiz-Kilim. Next to this, weave a very narrow strip of several colors each twice across, regarding the double strings as one. Then weave each part of the narrow border. To make the perforations, take up one thread of the double warp for one side of the pattern, and the other thread for weaving the pattern next to it. For instance, the "steps," as the children call them, of triangle No. 1, when finished, will stand close to the steps of triangle No. 2, with a little slit between. These perforations occur only where one pattern joins another of a different color, or the dark filling. For instance, in the white figure in the center, where three or five squares come together, the slits occur at each end, the part between being woven over the double strings as if they were only one. In this way the perforations of other parts are closed top and bottom. Use a tape needle and weave each section of the pattern separately. Weave the filling last. As this peculiar tone of blue could not be obtained in carpet ravelings, an eighth of a yard of terry was raveled for the purpose. Take care not to draw any part of the pattern too tight, or the perforations will be too large. The right and left edges of the rug are woven over the rods to keep them straight. Both narrow borders were woven before the center was commenced. The pattern in the illustration is for a Wilton or Axminster rug, but can be used for mats, or box, sachet, and cushion covers. It is made with cross-stitch embroidery on burlap, silk, or wool canvas. (See also page 120.)



[Sidenote: Turkish patterns laid with tablets]

The children can lay these Turkish patterns with square tablets upon their desks, the pattern being drawn upon the board, or on paper with a rubber pen. It will be a delight to the children to transfer them to paper by drawing and then coloring, or by cutting and pasting colored papers.

[Sidenote: Stitches for Khiva and Bokhara rugs]

The genuine Khiva and Bokhara rugs are made by weaving and knotting alternately. It will be easier at first to weave a web, or foundation. Choose a tight twisted yarn about the color of the rug to be woven. String a close warp of the wool and weave plain up and down, one string at a time, until you have a rug of the desired size. Put in the pattern first, and then the filling. This work will be almost too difficult for little children. Carpet wools and Germantown wool can be used. It will not be found difficult to follow the pattern, especially if one is used to cross-stitch embroidery. Each stitch counts for one of cross-stitch. Keep the stitches very close together so that the nap will stand up well when finished. Silk rugs can be copied in the same way, using floss or rope silk for the pile. If one prefers, a piece of burlap may be stretched across the loom and secured to the rods, instead of weaving a foundation, as suggested.



[Sidenote: Stitches for pile weaving]

[Sidenote: The first stitch]

Stitches for pile weaving are very easily made. This illustration showing examples of stitches for pile weaving illustrates the methods used in the stitches, and may be used for Axminster or Wilton rugs, for boxes, sachet cases, and other articles. The tape needle is the kind used for weaving when the large needle cannot be used. It is preferable to use one of this kind on account of the eye and blunt point, and it may be obtained at the notion counter in department stores for a few cents. There are two stitches, each occupying half of the illustration and numbered from left to right, beginning at the top. Make No. 1 by passing a tape needle threaded with wool down through the web, leaving a short end, then up one stitch to the left. This is the first step. In No. 2 continue over on the right side, past the stitch where you started, to the stitch on the right; then down and up through the first hole, and cut off the wool the same length as the end you left at first. No. 3 shows a stitch completed. No. 4, one row of stitches, and No. 5, three rows, showing how one row overlaps another. When the rug is finished, the ends should be cut evenly, so that the nap is like velvet. The children would say that this stitch looks like a two-legged stool, and so it does.

[Sidenote: The second stitch]

The second stitch is made so that the nap lies sideways from left to right. No. a is just like the preceding stitch. No. b shows the needle passing down the stitch where you started and up one stitch to the right. Cut off the wool and pull the end left at first over the last one. This pile should stand very straight and even. No. c shows a completed stitch; No. d one row, and No. e three rows. These stitches are useful in mending Khiva and Bokhara rugs.

[Sidenote: Wilton and Axminster rugs]

Wilton, Axminster, or any rugs having a pile, can be woven with the same stitches. The pattern in the illustration may be used for either a Wilton or Axminster rug, for a box cover, cushion, sachet case, or mat; and can be cross-stitched embroidery, on burlap, silk or woolen canvas.



Chapter Thirteen

NAVAJO BLANKETS



[Sidenote: A sketch]

[Sidenote: Indian weaving]

[Sidenote: The colors used]

[Sidenote: Old Indian blankets are rare]

[Sidenote: Description of the illustration]

Navajo blankets were first made by the Pueblo Indians, from whom the Navajo Indians learned the art, and not long after the latter excelled in the making of them. Among the Pueblo Indians the men do the work; but women are the weavers among the Navajos. In the illustration on this page is seen a miniature Navajo loom with the blanket commenced. The two cords woven at the sides with the woof can be easily seen. Simple looms are suspended between two posts or trees, and the weaver sits upon the ground. A twig is used for a shuttle, and a reed, fork-shaped like a hand, is used to push down the woof threads. The blanket is made waterproof by pounding down the threads with a batten, a good picture of which is seen in Dr. Washington Matthews' article on Navajo weavers in the Third Annual Report of the Bureau of Ethnology. Separate balls of color are used to carry out the pattern, which is sometimes traced in the sand before the work is commenced. As many as twenty-nine different balls have been seen hanging from a single blanket. Some of the designs have been handed down from one generation to another, and are carried entirely in the memory. They are often symbolical "and unfold a whole legend to the knowing eye of the native." The weaving is done from the bottom up, some working in one direction, while others weave first at the bottom, then turn the loom upside down, and, after weaving about the same distance there, finish in the middle. The last part of the weaving is like darning, and is often done with a needle. The colors most used are white, gray, black, a bright yellow, red (a scarlet, generally obtained by raveling bayeta cloth), and sometimes blue. In former times, when the Indians used vegetable dyes, the colors were beautiful and lasting. These old blankets are becoming more and more rare, and to-day in their places we have the bright and not always satisfactory results of aniline dyes. The blanket in the illustration facing this page has narrow stripes in the following colors: On each end (seven stripes) red, black, white, orange, green, white, black. The two groups of six stripes in the middle are: Black, white, red, green, white, black. Before the advent of the present squaw dress, the black, red, and dark blue blankets were used as clothing, but the best blankets were, and still are, worn at sacred dances. Dr. Matthews, in his report, gives an interesting description of the method of making these blankets, with several pictures of the better examples. Navajo blankets are finished with four border cords, which are secured as the weaving progresses, and the ends are fastened at the four corners by small tassels.



[Sidenote: Method of making]

[Sidenote: Indian blankets]

Small Navajo blankets can be woven on the loom. Draw the pattern and place under the warp, fastening it to the side rods. Use warp or carpet thread for the warp, and weave with a tape or upholstery needle. One may weave all the pattern first, and then put in the filling; while another will weave as the Indians do, filling in from one part of the pattern to the other by threading the needle with a different color. This can be done, without running the thread underneath, by hooking it in the loop of the pattern just finished. These little blankets are very fascinating things to make, and the children become much interested in them, and in Indian life as well.



[Sidenote: The colors in the blanket on page 141]

This very beautiful Navajo blanket, shown in the illustration, has three broad red stripes, two narrow red stripes about one-half the width of the former, and four gray stripes about one-half the width of narrow red stripes. The centers of all the figures are red, like the filling—a brilliant scarlet. The colors of the large figures, beginning at the center of each, and counting from left to right, are as follows: Nos. 1, 3, and 5, red, green, and light yellow. Nos. 2 and 4, red, white, and black. The small figures, counting the same way, are: Nos. 1, 3, and 5, red, white, and black. Nos. 2 and 4, red, yellow, and green. The four corners are finished with twisted red cord-like tassels. This cord also extends across the warp ends. Dr. Matthews tells in his article on "Navajo Weavers" how two cords are twisted and woven at the sides with the woof.



The two Navajo Indian blankets illustrated in this chapter, and the pattern on the following page, may be easily adapted for the loom. Germantown knitting wool or carpet ravelings can be used, although to obtain softer wool is better. Some of the handsomest Navajo blankets have a long nap.

[Sidenote: Navajo patterns laid with tablets]

The children will take pleasure in laying Navajo patterns with triangular tablets, and then transferring the pattern to paper by drawing and coloring, or by cutting and pasting in colors.



Chapter Fourteen

SONGS, GAMES, AND STORIES

There are many beautiful songs which can be sung during the weaving. Thomas Carlyle has said:

[Sidenote: Songs and games lighten work]

"Give us, O give us the man who sings at his work! He will do more in the same time; he will do it better; he will persevere longer. One is scarcely sensible of fatigue whilst he marches to music, and the very stars are said to make harmony as they revolve in their spheres."

[Sidenote: Songs for the children]

There are songs about the birds' nests, always pleasing to the little folks, and doubly so when they have held in their own hands the wonderful bit of weaving, so strong and yet so soft, woven by the mother-bird for the baby-birds. Mrs. Spider is also very interesting with her lace-like webs which are to be found even in well-regulated schoolrooms, and the songs of the bleating sheep who give us their wool fill every little heart with delight. Miss Poulsson's Finger Play, "The Lambs," gives the restless fingers something to do and the "eight white sheep all fast asleep" afford a chance for a good laugh over the "two old dogs close by" (the thumbs). One has the opportunity, too, of noticing whether the eight white sheep on the tiny hands are really white enough to do the weaving. A smiling allusion to some small black sheep will bring them back clean for the next session.

[Sidenote: A weaving game]

The following weaving game can be played in several ways. This extract is from the "Kindergarten Guide," by Lois Bates: "Six children stand in a row; a tall one at each end for the border of the mat and the other four representing the strips. The child who is to be the weaver holds one end of a long tape, while the other is fastened to the left shoulder of the first child. The weaver weaves the tape in and out among the children, placing the second row lower down. It will be easily seen that the children who had it passed in front of them in the first row, had it behind them in the second, and vice versa."

The following weaving song in the Walker and Jenks book can be sung during the weaving. To be sure it is not really "over and under" when you think of them as children. Remember that they represent a mat, and they are for the time the strips and border.

(Sung to the tune of "Nellie Bly.")

Over one, under one, Over one again. Under one, over one, Then we do the same. Hi, weavers! Ho, weavers! Come and weave with me! You'll rarely find, go where you will, A happier band than we!

Kate Douglas Wiggin (Mrs. Riggs) in her "Republic of Childhood" describes the game in this way:

[Sidenote: Explanation of the game]

"First choose a row of children for threads of the warp, standing at such a distance from each other that a child may pass easily between them. Second, choose a child, or children, for thread of woof. After passing through the warp, each child takes his place at the end and other children are chosen." In this way more children can take part than if a tape were used. Some teachers play it in a different way, using the desks with the seats turned up for the warp and the whole number of children for the woof, winding in and out all over the room. This is very delightful, indeed, if there is enough space for the children to pass easily without tripping on the iron supports of the desks. This is a good game for a rainy day, when there is no outdoor recess.

[Sidenote: Bird games]

The bird games are beautiful and leave a wholesome impression of home life and home love on the children, which will have a lasting influence. Few children, brought up in this tender and beautiful way, will ever feel an inclination to harm the birds, or indeed any animal.

[Sidenote: Interesting stories]

The fund of stories of birds and birds' nests is almost inexhaustible. Miss Poulsson's "In the Child's World" contains many stories of the weaver (pages 407-412), and several about birds and birds' nests (pages 292-301). Her talks to teachers with regard to the presentation of each subject are very helpful, as well as her suggestions for the teachers' reading. Stories of the weaving birds, particularly the African weaver, are interesting. It is said that two birds work together, one on the inside of the nest and the other on the outside, passing the grass and twigs in and out, until the home is completed. The children will enjoy, too, stories of weaving in other lands, material for which can be easily obtained. In fact, no one need to be without stories in these days of books and magazines.

[Sidenote: Conversation]

[Sidenote: Never repress the children]

Last, but not least, is the conversation during the weaving. Anyone who has attended a teachers' meeting, where the industrial work was being given, has not failed to remark the sociability all over the room. "How are you getting on?" "Let me see yours." "Oh, I cannot get it at all," etc., etc., are heard everywhere, and yet those same teachers go into their class rooms the next day and expect the children to work without whispering. If they will read what Mrs. Wiggin says in the "Republic of Childhood," in her talk on "Sewing," they will never be guilty of it again. A good plan is to have the room perfectly quiet while a dictation is being given, and then allow a period of relaxation when the little folks can compare and admire the work to their hearts' content. Beware of too much repression. A child when asked why a tree grew crooked, replied: "Somebody stepped on it, I suppose, when it was a little fellow." The answer is painfully suggestive. Mrs. Wiggin truly says: "If the children are never to speak except when they answer questions, how are we to know aught of their inner life?"

The following list of songs, games, and stories suggests interesting material to correlate with the work in hand-loom weaving.

SONGS AND GAMES

ATKINSON, FRANK H., JR. Singing Songs for Children. See COONLEY.

BEEBE, KATHERINE. Schoolroom Plays. Chicago: Thomas Charles Co. 25 cents.

A Weaving Game.

BROWN, KATE L. Stories in Song. See EMERSON.

COOLIDGE, ELIZABETH. After Supper Songs. Chicago: Herbert S. Stone & Co. $2.00.

COONLEY, LYDIA A.; SMITH, ELEANOR; GAYNOR, JESSIE L.; ROOT, FREDERICK W.; and ATKINSON, FRANK H., JR. Singing Verses for Children. New York: The Macmillan Co. $2.00.

DAVIS, KATHERINE WALLACE. Singing Rhymes and Games. Chicago: Clayton T. Summy Co. 35 cents.

EMERSON, ELIZABETH U., and BROWN, KATE L. Stories in Song. Boston: Oliver Ditson Co. $1.00.

The Oriole's Nest.

FORSYTHE, CLARENCE. Old Songs for Young America. New York: Doubleday, Page & Co. 1901. $2.00.

Needle's Eye.

GAYNOR, JESSIE L. Songs of the Child World. New York: The John Church Co. $1.00.

The Bird's Nest. The Happy Lambkins. Song of the Shearers. Spinning the Yarn. Grandma's Knitting Song. Weaving Song.

GAYNOR, JESSIE L. See also COONLEY.

HILL, PATTY S. Song Stories for the Kindergarten. Chicago: Clayton T. Summy Co. $1.00.

The Children and the Sheep.

HOFER, MARI RUEF. Children's Singing Games Chicago: Published by Mari Ruef Hofer, Kindergarten Magazine Co. 50 cents.

HUBBARD, CLARA BEESON. Merry Songs and Games. St. Louis: Balmer & Weber Music Co. $2.00.

JENKS, HARRIET S. Songs and Games for Little Ones. See WALKER.

NEIDLINGER, W. H. Small Songs for Small Singers. New York: G. Schirmer. $1.00.

The Spider. The Bee. The Rainy Day.

NURSERY STORIES and Rhymes for the Kindergarten and Home. Springfield, Mass.: Milton Bradley Co. $1.00.

The Song of a Baby's Blanket. The Song of a Baby's Shirt.

PRATT, WALDO S. St. Nicholas Songs. New York: The Century Co. $2.00.

ROOT, FREDERICK W. Singing Songs for Children. See COONLEY.

SMITH, ELEANOR. First Book in Vocal Music. Chicago and New York: Silver, Burdette & Co. 30 cents.

Oriole's Nest Song. Spinning Song.

SMITH, ELEANOR. A Primer of Vocal Music. Chicago and New York: Silver, Burdette & Co. 25 cents.

The Lazy Sheep. The Spider. The Silkworm.

—— See also COONLEY.

SONGS IN SEASON. Plan Book. Chicago: A. Flanagan. 50 cents.

The Lambkin.

WALKER, GERTRUDE, and JENKS, HARRIET S. Songs and Games for Little Ones. Boston: Oliver Ditson Co. $1.50.

Birdies in the Green Wood. Fly, Little Birds. In the Branches of a Tree. Eight White Sheep. Weaving Song.

STORIES

ANDREWS, JANE. Each and All. Boston: Ginn & Co. 50 cents. Boston: Lee & Shepard. $1.00.

New Work for Pense.

CHASE, A., and CLOW, E. Stories of Industry. Boston: Educational Publishing Co. 2 vols. 60 cents each.

Stories of Cotton, Wool, Silk, and Carpets.

CLOW, E. Stories of Industry. See CHASE.

FARMER, LYDIA HOYT. Boy's Book of Famous Rulers. New York: Thomas Y. Crowell & Co. $1.50.

Robert Bruce and the Spider.

MILLER, OLIVE THORNE. Little Folks in Feathers and Fur, and Others in Neither. New York: E. P. Dutton & Co. $2.50.

The Spider Speaks for Herself. Stories of Caterpillars and Butterflies. A Funny Little Log House.

PIERSON, CLARA DILLINGHAM. Among the Farmyard People. New York: E. P. Dutton & Co. $1.25.

The Lamb with the Longest Tail. The Twin Lambs. Why the Sheep Ran Away.

POULSSON, EMILIE. Nursery Finger Plays. Boston: Lothrop Publishing Co. $1.25.

The Lambs.

—— Child Stories and Rhymes. Boston: Lothrop Publishing Co. $1.25.

The Story of Baby's Blanket.

—— In the Child's World. Springfield, Mass.: Milton Bradley Co. $2.00.

Stories of Caterpillars and Butterflies. A Visit to the Weaver. John's Trousers. How a Little Boy got a New Shirt. Molly's Lamb. Sequel to an Old Story. Cotton Field Stories. The Flax. The Flax Flower. The Silk Worm. The Sparrow's Nest. The Life of a Silk Worm. The Goddess of the Silk Worm. The Nest of Many Colors. The Little Worm that was Glad to be Alive.

SMITH, NORA A. The Story Hour. See WIGGIN.

STORIES IN SEASON. Plan Book. Chicago: A. Flanagan. 35 cents.

The Bramble Bush and the Lambs.

WIGGIN, KATE DOUGLAS (Mrs. George C. Riggs), and SMITH, NORA A. The Story Hour. Boston: Houghton, Mifflin & Co. $1.00.

The Child and the World.

WILTSE, SARA A. Kindergarten Stories and Morning Talks. Boston: Ginn & Co. 75 cents.

Stories of Wool, etc.



Chapter Fifteen

A LIST OF HELPFUL BOOKS AND MAGAZINE ARTICLES

BOOKS

ALBEE, MRS. HELEN R. Abnakee Rugs. Boston: The Riverside Press. Issued by the author, Pequaket, Silver Lake P. O., N. H.

—— Mountain Playmates. Boston: Houghton, Mifflin & Co.

(Chapter on Rug-making.)

ASHENHURST, THOMAS R. Designs in Textile Fabrics. London: Cassell & Co.

—— Weaving and Designing of Textile Fabrics. London: Simpkin, Marshall & Co.

(Chapters on History of Weaving, Color, and Combination and Arrangement of Designs.)

BATES, LOIS. Kindergarten Guide. New York: Longmans, Green & Co.

BENJAMIN, S. G. W. Persia and the Persians. Boston: Houghton, Mifflin & Co.

BIRDWOOD, SIR GEORGE. Industrial Arts of India. London: Chapman & Hall.

BISHOP, MRS. I. B. Journeys in Persia and Kurdistan. New York: G. P. Putnam's Sons.

CAINE, WILLIAM S. Picturesque India. New York: George Routledge & Sons.

COLLINS, TREACHOR E. In the Kingdom of the Shah. London: T. Fisher Unwin.

DAVIE, OLIVER. Nests and Eggs of North American Birds. Columbus, Ohio: The Landon Press.

DELLENBAUGH, FREDERICK S. North Americans of Yesterday. New York: G. P. Putnam's Sons.

DIXON, CHARLES. Curiosities in Bird Life. London: George Redway & Son.

—— Curious Nests. London: George Redway & Son.

DUGMORE, A. RADCLYFFE. Bird Homes. New York: Doubleday, Page & Co.

EARLE, ALICE MORSE. Home Life in Colonial Days. New York: The Macmillan Co.

FIRTH, ANNIE. Cane Basket Work. London: L. Upcott Gill. 1899. New York: Charles Scribner's Sons.

GRINNELL, GEORGE BIRD. Indians of To-day. New York: D. Appleton & Co.

—— Story of the Indian. New York: D. Appleton & Co.

GURDJI, V. Oriental Rug Weaving. New York: F. Tennyson Neely Co.

HERRICK, FRANCIS HOBART. The Home Life of the Wild Birds. New York: G. P. Putnam's Sons.

HOLT, ROSA BELLE. Rugs: Oriental and Occidental. Chicago: A. C. McClurg & Co.

HOW TO MAKE and How to Mend. (Directions for dyeing.) New York: The Macmillan Co.

HUMMEL, PROF. The Dyeing of Textile Fabrics. New York: Cassell & Co.

JAMES, GEORGE WHARTON. Indian Basketry. New York: Henry Malkan. 1902.

KNAPP, ELIZABETH S. Raphia and Reed Weaving. Springfield, Mass.: Milton Bradley Co.

KRAUS-BOELTE, MME. Kindergarten Guide. (Occupations.) New York: Steiger & Co.

MASON, O. T. Woman's Share in Primitive Culture. New York: D. Appleton & Co.

MORRIS, WILLIAM. Some Hints on Pattern Designing. New York: Longmans, Green & Co.

MUMFORD, J. K. Oriental Rugs. New York: Charles Scribner's Sons.

SHELDON, WILLIAM E., and others. Illustrated Lessons with Paper Folding. Springfield, Mass.: Milton Bradley Co.

WALKER, LOUISA. Varied Occupations in String Work; comprising Knotting, Netting, Looping, Plating, and Macreme. New York: The Macmillan Co.

—— Varied Occupations in Weaving. New York: The Macmillan Co.

WHEELER, MRS. CANDACE. Home Industries and Domestic Weavings. New York: Associated Artists, 115 East 23d Street.

WHITE, MARY. How to Make Baskets. New York: Doubleday, Page & Co. 1902.

WIEBE, EDWARD. Paradise of Childhood. Springfield, Mass.: Milton Bradley Co.

WIGGIN, KATE DOUGLAS (Mrs. George C. Riggs). Republic of Childhood (Occupations). Boston: Houghton, Mifflin & Co.

WORST, EDWARD F. Construction Work. Chicago: A. W. Mumford. 1901.

FINE ART BOOKS

The following books can be found in the Fine Art Collections in some public libraries. They are very valuable and contain many very beautiful illustrations of oriental rugs and carpets, which are helpful in the study of design and of harmony in color:

BURTY, P. Masterpieces of Industrial Art.

COXON, HERBERT. Oriental Carpets.

LESSING, JULIUS. Ancient Oriental Carpet Patterns.

ROBINSON, VINCENT J. Eastern Carpets.

VIENNA IMPERIAL AND ROYAL AUSTRIAN MUSEUM. Oriental Carpets.

MAGAZINE ARTICLES

A PROFITABLE PHILANTHROPY, by Mrs. Helen R. Albee. Review of Reviews, July, 1900.

ART OF THE AMERICAN INDIAN. Chautauquan, March, 1899.

A STUDY OF THE TEXTILE ART, by Wm. H. Holmes. Sixth Annual Report, Bureau of Ethnology, Washington, D. C. (pp. 84, 85.)

DOMESTIC ART NUMBER. Pratt Institute Monthly, February, 1901.

HOME INDUSTRIES AND DOMESTIC MANUFACTURES, by Mrs. Candace Wheeler. The Outlook, Oct. 14, 1899.

INDUSTRIAL CLASSES IN SETTLEMENT WORK, by George W. R. Twose. Pratt Institute Monthly, November, 1898.

[Sidenote: Magazine articles]

INDUSTRIAL EDUCATION AS A SOCIAL FORCE, by H. W. Stebbins. Educational Review, May, 1902.

JUVENILE PORTIERE MAKERS. New York Tribune, New York City, March 10, 1901. Reprinted in Minneapolis Journal Junior, April 20, 1901, Minneapolis, Minn.

LEAF CUTTING (for rug designs). Pratt Institute Monthly, April, 1900.

MRS. VOLK AND HER WORK. Good Housekeeping, September, 1901.

NAVAJO WEAVERS, by Dr. Washington Matthews. Third Annual Report of Bureau of Ethnology, Washington, D. C.

(This volume also contains a number of fine illustrations of blankets, etc.)

NEW ENGLAND RUGS. Minneapolis Journal, Minneapolis, Minn., March 28, 1900.

ON THE DESIGNING AND MAKING OF CARPETS, by F. J. Mayer. The Artist, July and August, 1899.

PREHISTORIC TEXTILE ART OF EASTERN UNITED STATES, by Wm. H. Holmes. Thirteenth Annual Report of Bureau of Ethnology, Washington, D. C. (pp. 91, 92.)

SOME SOCIAL ASPECTS OF EDUCATION, by G. Stanley Hall. Educational Review, May, 1902.

STRAW WEAVING. American Homes, Knoxville, Tenn., September, 1900.

Teachers' College Record. Teachers' College, Columbia University, New York.

(Containing a number of articles on weaving.)

TEXTILE INDUSTRIES OF THE UNITED STATES. Chautauquan, March, 1899.

TEXTILE INDUSTRY SINCE 1890. Forum, May, 1899.

TEXTILES, OLD AND NEW. The Craftsman, The United Crafts, Eastwood, N. Y., January, 1902.

(Contains "Notes from the History of Textiles," "A Revival of English Handicrafts," and "Brain and Hand.")

The Elementary School Record, by Dr. John Dewey. Numbers 1 to 9. The University of Chicago Press, 1900.

(Containing a number of articles on weaving and a record of industrial work done in the University Elementary School of the University of Chicago.)

THE LABOR MUSEUM AT HULL HOUSE, by Jessie Luther. The Commons, Hull House, Chicago, Vol. VII., No. 70, May, 1902.

(Containing valuable illustrations of old looms, and the methods of spinning and weaving.)

WEAVERS OF THE PHILIPPINES, by G. E. Walsh. The Catholic World, March, 1902.

WHAT IS BEING DONE IN TEXTILE EDUCATION. Chautauquan, August, 1900.

Many topics interesting to teachers of industrial work are dealt with in the instruction papers of the International Correspondence Schools, Textile department. Communications should be addressed to Christopher P. Brooks, New Bedford, Mass.



The Index

"Abnakee Rug Industry," 63 ff.

Accuracy, weaving develops, 22.

Acids, used in dyeing, 69, 74 ff.

Action, relation to ideas, 8.

Afghans, weaving of, 49, 54, 120, 121.

Albee, Mrs. Helen R., 63, 64 ff.

Angora wool, 57.

Aniline dyes, 73.

Ashenhurst, quotations from, 13, 14, 16.

Axminster rugs, 120-121, 131, 132, 134.

Baby shoes, 115.

Balls, worsted, 115.

Basketry, preparation for, 23, 24.

Bates, Lois, 23, 31, 144.

Bath rugs, 100.

Batten, The, Hindoo and Egyptian, 15.

Bed shoes, 113, 114.

Bed spreads, 109.

Blankets, 56-57; carriage, 109.

Blue dye, 59-60; wool carded, 62.

Bokhara rugs, 123, 124-125, 128, 131, 134.

Bookmark, 35-36, 37.

Borders, 89, 109, 118, 121, 122, 123, 124.

Candle-wicking, 52, 83-84, 108.

Cap, 40.

Carding, 62 ff.

Carpet ravelings, see Ravelings.

Carpet wool, rugs of, 105.

Carriage blankets, 109.

Celluloid strips, 55-56, 85.

Chatelaine bags, 117-118.

Cheese cloth, 51, 58 ff., 99, 108.

Chenille, 42, 53; splicing of, 83-84.

Chinese, weaving practiced by, 13.

Clavigero, on weaving in Mexico, 14.

Clouding, 63.

Coles, C. S., 24.

Colors, 62, 64-65, 136-138; color scheme, 66; shading, 67-68; see also Dyes, Formulas, and names of colors.

Concentration, weaving develops, 22.

Conversation in class room, 147.

Copperas, 60.

Cotton, darning, 55; knitting, 55.

Couch covers, weaving of, 49.

Creed, The, 7; disregarded, 7-8.

Cushions, 120.

Demonstration cards, 31.

Designing, weaving prepares for, 23, 25.

Designs, 27, 31, 33, 35, 47-48, 57, 105 ff., 120, 122.

Dexterity, weaving develops, 22, 24.

Discouragement, Froebel's theory, 17.

Dish cloths, 99-100.

Doll's shawl and skirt, 109-110.

Doll's towel, 55, 108-109.

Dusters, 107-108.

Dyeing, 14, 58-82; formulas, 73 ff.

Dyes, kinds of, 58, 60, 61, 72, 73; see also names of colors.

Easel support for loom, 19.

Egyptians, inventors of the loom, 14.

Face cloths, 99-100.

Felt mats, 23, 30-32.

Finger Play, 143.

Floor rugs, weaving of, 49-50.

Formulas for colors, 73 ff.

Frames, photograph and picture, 116.

Free-paper weaving, 35.

Fringe, 111-113.

Froebel, Friedrich, 10, 17.

Games, 143-152; list of, 148 ff.

Germantown wool, 54, 55, 84, 109, 114.

Gifts, made by children, 21, 34, 37, 55, 113.

Glauber salts, 68, 69, 71, 74 ff.

Glove boxes, 104.

Gray, wool carded, 62-63.

Green dye, 66; dull shade, 69.

Hair receivers, 121.

Hammocks, 93-98.

Hand-training in kindergarten, 10, 22.

Hindoo loom, 15-16.

Holders, 91, 92.

Hurwitz, Professor, 13.

Indian dyes, 58.

Indian loom, 135, 137.

Individual, The, training of, 28.

Industrial training, 11, 28-29.

Ink stains, 61.

Iron rust, 61.

"Jacob's ladder," 39.

Kerman rugs, 123.

Khiva rugs, 123, 125, 128, 131, 134.

Kindergarten, hand-training in, 10.

"Kindergarten Guides," 23, 31, 33, 144.

Kiz-Kilim rugs, 47, 123, 125, 126-129.

Knotting fringe, 113.

Kraus-Boelte, Mme., 25.

"Kraus-Boelte Guide," 25.

Kurdji, V., 124.

Leaf forms, 107.

Leaf stains, 61.

Leather strips, 55, 85.

Linings, 51.

Loom, The, 13-21.

Loom, The Todd Adjustable Hand, see Todd.

Lunch cloths, 109.

Macreme cord, 55; splicing of, 83-84.

Making, instinct for, 9.

Manual training, 10.

Materials, 10, 51-57.

Mats, see Felt, Paper, and Table.

Matthews, Dr. W., 58, 136, 138, 140.

Measuring glass, 68-69.

Mill, John Stuart, 8.

Mitten, 40.

Mordants, 68.

Mottled rugs and borders, 87 ff.

Mumford, John Kimberley, 128.

Navajo blankets, 48, 135-142.

Needle, used with loom, 19, 20.

Nut stains, 60-61.

Opera-glass bags, 118.

Oriental cord, for warp, 43.

Oriental rugs, weaving of, 122-134.

"Oriental Rugs," 128.

"Oriental Rug Weaving," 124.

Panels, of silk canvas, 119.

Paper mats, 23, 25, 33 ff.

"Paradise of Childhood," 35, 105, 107.

Patterns, see Designs.

Pencil holder, 38.

Persian rugs, designs for, 124.

Photograph and picture frames, 116.

Pile weaving, 132-134.

Pink, wool carded, 62.

Porch curtains, 104.

Portieres, 121.

Poulsson, Miss, 143, 146.

Practical training, need of, 10.

Principles, value of learning, 23.

Public schools, practical training in, 10, 18, 26-27.

Purses, 117-118.

"Pussy-cat stairs," 39-40.

Quilts, 109.

Raffia, 42, 45, 56, 58 ff., 71, 84-85.

Raffia mats, method of weaving, 101-121.

Ravelings, 43, 53, 83.

Red dye, 60.

Reins, 110.

"Republic of Childhood," The, 34, 145.

Rope silk, 42, 52-53; splicing of, 84.

Sachet cases, 120.

Scarf, 116.

School bags, 118.

Scientific facts as applied in schools, 8.

Sequence weaving, 35 ff.

Serebend rugs, 123.

Shawls, 109-110.

Shetland wool, 56.

Shoes, bed, 113-114; baby, 115.

Shopping bags, 118.

Shuttle, Egyptian, 13; Hindoo, 15.

Silk, 52; knitting, 57.

Silk canvas, 119-120.

Silkoline, 51, 83; for rugs or mats, 86-92.

Skirt, doll's, 110.

Slats, weaving with, 23-24, 31-32.

Sleeve protectors, 117.

Slumber robes, 49, 54, 120, 121.

Socks, 113-114.

Sofa pillows, 120.

Songs, games, and stories, 143-152, 148 ff.

Splicing, methods of, 83-85.

Splints, weaving with, 23-24, 39.

Star, 37.

Steiger, E., publisher, 35.

Stories, 143, 152; list of, 148 ff.

"Straw Weaving," 104.

Success, Froebel's theory, 17.

Sweater, doll's, 41.

Table cover, 49.

Table mats, 38, 116, 117.

Tam O'Shanter, 110.

Tassels, 112.

Tippet, 116.

Todd Adjustable Hand-loom, 18-21.

Towels, doll's, 55, 108-109.

Turkish rugs, designs for, 47-48, 123-124.

Vegetable dyes, 58, 61, 72.

Vegetable fibres, for weaving, 13, 14.

Veil cases, 120.

Walker and Jenks, song by, 144, 145.

Warp, 20, 42-50.

Weaving, its advantages, 11, 22; oldest of the industrial arts, 12, 13, 14; defined, 22; first steps in, 23, 30-41; free paper, 35.

Wheeler, Mrs. Candace, 58.

Wiebe, Edward, 34, 35.

Wiggin, Mrs. Kate Douglas, 34, 145.

Wilton rugs, 120-121, 131, 132, 134.

Woof, stringing of, 20.

Wool, for weaving, 13, 14, 54, 62 ff.

Worsted, splicing of, 83.

Wristlets, 116-117.

THE END