fabric its character, influenced, of course, by the material used, the size and tension of the threads and the combination of the colors.

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

The Taffeta Weave,

The Serge Weave,

The Satin Weave.

In the foundation weaves each thread effects only one crossing in one repeat of the weave, and the points of interlacing occur in a given rotation. A repeat in the foundation weaves comprises the same number of warp-threads as of

picks or filling threads, and if this number is 8, for instance, the weave is called an 8-shaft or an 8-harness weave. In marking out a weave, the warp-threads are represented by vertical lines, the filling by horizontal ones, or in each case by the space between these lines. The places where a warp-thread lies over the filling are marked with paint or simply with a cross. In a similar manner we mark out the chain draft, which indicates the rotation in which the shafts are raised.

THE TAFFETA WEAVE

Fig. 16

Fig. 17

This is the simplest and oldest method of interlacing. The odd numbers of warp-threads cross the even numbers after every pick; hence of two warp-threads one will always go over the first pick and under the second, and the other end under the first and over the second pick. Taffeta cloth, therefore, has the same appearance on both sides, and in cotton and wool weaving this weave is technically—and properly indeed—called the Plain Weave. It has the smallest repeat, 2 warp-threads and 2 picks, and the exchanging of warp and filling is the most frequent possible. The cloth thus produced is firmer and stronger than that obtained with any other weave.

Fig. 16 is a taffeta on 4 shafts straight draw, the draft executed in the manner which we have already mentioned in explaining the drawing-in drafts.

Fig. 17 on common designing paper, illustrates a taffeta made on 8-harness, skip draw.

Be it mentioned that the drawing-in draft and the chain draft will be added throughout this work, the former over the weave to correspond with the respective warp-threads, the latter to the right of the drawing-in draft.

GROS DE TOURS WEAVES

Fig. 18

Fig. 19

In this weave the working of the warp is the same as in taffeta, except that instead of one pick, two or more are inserted in the same shed. It is mostly used in selvedges, where it serves to give more