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HAND-LOOM WEAVING
A Manual
[Illustration: WEAVING ON A HAND LOOM
_Showing the necessary positions. The rug the little girl is weaving is
made of heavy carpet wool. The body of the rug is golden brown, with
stripes of deep blue and green, separated by narrow stripes of white_]
HAND-LOOM WEAVING
A Manual for School and Home
by
MATTIE PHIPPS TODD
Of the Motley School, Minneapolis, Minn.
With an Introduction by Alice W. Cooley
Formerly Supervisor of Primary Schools, Minneapolis, Minn.
With Fifty-seven Illustrations
[Illustration]
Rand, McNally & Company
Educational Publishers
Chicago New York London
Copyright, 1902,
By Mattie Phipps Todd
THE TABLE OF CONTENTS
PAGE
An Introduction. By _Alice W. Cooley_ 7
_Chapter One._ The Primitive Loom 13
_Chapter Two._ A Chat on Weaving 22
_Chapter Three._ First Steps in Weaving 30
_Chapter Four._ Methods of Stringing Warp 42
_Chapter Five._ Materials 51
_Chapter Six._ Directions for Dyeing 58
_Chapter Seven._ Methods of Splicing Materials for Weaving 83
_Chapter Eight._ Wool and Silkoline Rugs or Mats 86
_Chapter Nine._ Hammocks 93
_Chapter Ten._ Face and Dish Cloths and Bath Rugs 99
_Chapter Eleven._ Raffia Mats 101
_Chapter Twelve._ Oriental Rugs 122
_Chapter Thirteen._ Navajo Blankets 135
_Chapter Fourteen._ Songs, Games, and Stories 143
_Chapter Fifteen._ A List of Helpful Books and Magazine Articles 153
The Index 159
The highest
aim of art is
to make some
useful thing
beautiful.
Kenyon Cox.
AN INTRODUCTION
For many years we, the teachers of the United States assembled in
village, city, State, and national conventions, have recited our creed
and chanted it in all keys.
[Sidenote: _Our creed_]
We believe that man is a trinity, three in one--head, heart, and hand,
one soul made manifest; we believe that this union is vital and
indissoluble, since "what God hath joined together" may not be rent
asunder; we believe that this three-fold man, being "put to school" on
earth to grow, may devise and bring to successful issue no scheme of
education that is out of harmony with the plan of the Creator.
Congratulating ourselves upon our ready and distinct utterance of this
lofty thought, we have calmly returned to our man-devised book-schools
for the acquisition of knowledge, in order to forward some plan for the
accumulation of more knowledge.
[Sidenote: _Deeds, not words, are now necessary_]
But "wisdom lingered"! Here and there voices were raised that would not
be silenced: "You sang your beautiful song; what are you going to _do_
about it?" In the words of John Stuart Mill, "It is now time to assert
in deeds, since the power of words is well-nigh exhausted."
Investigators, studying this union of head and hand from the
physiological side, hurled truths at us that startled us from our
lethargy.
[Sidenote: _Physiological truths_]
Every stimulus poured into nerve cells through the avenues of the senses
tends to pass out in motor action, which causes muscular movement. In
every idea are vitally united the impression and the tendency to
expression in action. The nervous system consists of the fibres which
carry currents inward, the organs of central redirection, and the fibres
which carry them outward--sensation, direction, action. Since control
means mental direction of this involuntary discharge of energy (directed
muscular movement), control of the muscles means development of will as
well as of skill. To prevent or cut off the natural outflow of nervous
energy results in fatigue and diseased nerves. Unrestrained and
uncontrolled expenditure of nervous energy results in lawlessness and
weakened will.
Men of science said: "These are facts about man. What account have you
made of them in your elaborate system for educating him?"
Students of sociological and economic problems called out to us as the
teachers of men:
[Sidenote: _Labor must be respected_]
These great problems concerning the relation of labor and capital (the
brotherhood of man) will never be solved until there is greater respect
for labor; greater appreciation of the value of the products of labor;
until there is more joy to the worker in his labor, which should be the
expression through his hand, of the thought of his head, and the feeling
of his heart; until labor is seen in its true light, as service; until
the man with money as well as the man without learns through experience
to respect and appreciate labor and its products. "We _absorb_ only so
much as we can interpret in terms of our own active experience."
What contributions are our schools making to the bettering of social and
industrial conditions?
Philosopher and poet--thinker and seer--send their message:
"That life is wisest spent
Where the strong, working hand
Makes strong the working brain."
To create, to make something, is the instinct of divinity in humanity,
the power that crowns man as divine.
"It is his impulse to create
Should gladden thee."
[Sidenote: _The will to do_]
The practical business man thunders his protest at us against the
inefficiency of the man with only the knowledge-stored brain. He says:
We must have men that can _will to do_, and then _do_ something, not
merely men that can think of things "'twere good to do." Our public
schools must train men and women to go out and take their place with the
workers of the world, to do something well and effectively.
[Sidenote: _Systematic hand-training the work of to-day_]
At last we are awake, and throughout the country we are trying to heed
these calls, and to revive our own weakened thought by action, singing
our creed in deeds. Upon the foundations laid by Friedrich Froebel and
his students in the kindergarten, we are trying to build up a course in
systematic hand-training, through the primary, to intermediate and
grammar grades, and thence to manual training in the high schools.
_What_ to do and _how_ to do it has now become the practical problem of
the day. Everywhere the wide-awake primary teacher is sharing her
thought and experience with her co-workers.
For little children, the _what_ must utilize material suitable for
little fingers, and tools must be large. The finished product should
belong to the maker, or be made by him as a service rendered to others;
the result should also be worthy of keeping or giving, from the
view-points of both beauty and utility.
Another important factor is the adaptation to present public-schoolroom
conditions, and to present public-school treasury conditions.
[Sidenote: _Weaving the best hand work for primary schools_]
More thoughtful study has led to the abandonment of the old-time sewing
and fine handwork in kindergarten and primary school. In its place we
find the weaving of useful and beautiful articles, out of various
available materials, and with simple, primitive tools--allowing always
for much and varied use of the great tools, the fingers.
It is interesting to note that teachers in all parts of the country,
working independently of each other, have come to practically the same
conclusions, viz., that under present conditions, _weaving_ seems the
best basis for a systematic course in industrial work that shall train
head and heart as well as hand. It is also of great interest to remember
that the signboards along the pathway of race development, by means of
work, exchange of labor and its products, all point to this idea as the
entering gateway. Weaving is the first industry of all primitive
peoples.
[Sidenote: _This manual the result of study and experience_]
Being practically agreed as to _what_ shall be the first industrial work
in the primary school, the next great question is the _how_. With large
numbers of little children in her own schoolroom, the author of this
manual has long sought a satisfactory answer. Believing that the results
of her study and experience will be helpful to others in suggesting
possibilities, and in stimulating thought, as well as in practical
teaching and time-saving, she sends forth this little book with the
earnest hope that it may in these ways be of real service.
ALICE W. COOLEY,
_Critic Teacher and Instructor,
University of North Dakota._
_August 1st, 1902._
HAND-LOOM WEAVING
Chapter One
THE PRIMITIVE LOOM
[Sidenote: _History of weaving_]
Weaving, the oldest of the industrial arts, dates back so far that no
one can say when or where it had its beginning. We read in Genesis iii,
21, that when Adam was driven from the Garden of Eden he wore a coat of
skin; but, not long after, according to Professor Hurwitz, the
descendants of Adam wore an upper garment called the simla, which
consisted of a piece of cloth about six yards long and two or three
wide, greatly resembling a blanket (_Ashenhurst_). This might have been
woven from vegetable fibres, perhaps from wool, but in what manner we do
not know. The warp and woof of linen and woolen garments is mentioned in
Leviticus xiii, 47, 48.
[Sidenote: _Dyeing_]
Spinning and weaving have been practised by the Chinese, Hindoos, and
Egyptians for thousands of years and carried by them to great
proficiency. The Israelites were probably familiar with the art of
weaving before their sojourn in Egypt, but it was there that they
attained the skill which enabled them to execute the hangings in the
Tabernacle. Joseph's "coat of many colors" is a proof that dyeing
existed at a very early period, and the eloquent writings of Ezekiel
tell us of the beautiful colored cloths of Tyre and Damascus.
[Sidenote: _Migration of weaving_]
From the ancient world the art of weaving passed through Europe and
became known in England after the Roman conquest. No doubt primitive
weaving with vegetable fibres, and perhaps with wool, was known in a
very crude way before that time. How the art developed, and how
improvement followed improvement, makes very interesting reading for the
student of textile fabrics.
[Sidenote: _Weaving as the first industrial art_]
We know that weaving is the first industrial art practised by primitive
peoples, from the fact that it is found among the savages of Central
Africa (_Park_) and the islands of the sea. "Clavigero, in his history
of Mexico, shows that on the conquest of that country, weaving was found
to be practised by the natives." (_Ashenhurst_.)
[Sidenote: _Egyptian loom_]
[Sidenote: _Method of pushing the woof_]
[Sidenote: _Hindoo loom_]
The Egyptians are supposed to have been inventors of the loom. There
were two kinds in use, one horizontal and the other perpendicular.
Instead of a shuttle they used a stick with a hook at one end, which was
used also as a batten. Herodotus says that it was the practice of the
Egyptians to push the woof downwards, and this method is pictured in
many paintings; but one representation found at Thebes shows a man
pushing it upwards. The former method is, I believe, the one generally
used by all nations, and it certainly seems the easier way. Martin's
description of a Hindoo loom in his "Circle of the Mechanical Arts" is
interesting: "The loom consists merely of two bamboo rollers, one for
the warp and the other for the web, and a pair of gears. The shuttle
performs the double office of shuttle and batten, and for this purpose
is made like a huge netting needle, and of a length somewhat exceeding
the breadth of the cloth. This apparatus the weaver carries to a tree,
under which he digs a hole large enough to contain his legs and the
lower part of the gear. He then stretches his warp by fastening his
bamboo rollers, at a due distance from each other on the turf, by wooden
pins. The balance of the gear he fastens to some convenient branch of
the tree over his head. Two loops underneath the gear, in which he
inserts his great toes, serve instead of treadles, and his long
shuttle, which also performs the office of batten, draws the weft
through the warp, and afterwards strikes it up close to the web."
[Sidenote: _Crude implements used by primitive peoples_]
[Sidenote: _Patience and dexterity necessary_]
Ashenhurst says: "It is very evident that the implements used, not only
by the early Egyptians, but by other contemporaneous nations, and even
by the Hindoos at the present time, were of the rudest possible
character, and nothing but the most exemplary patience, dexterity, and
great delicacy of hand, acquired by long traditionary habit, can account
for the extraordinary beauty and fineness of their textile productions."
This exemplary patience, dexterity, and great delicacy of hand is
exactly what we claim that weaving develops in our children to-day.
[Sidenote: _Primitive loom in the public schools_]
[Sidenote: _Its disadvantages_]
The primitive loom, as it is made for use in the public schools, is
familiar to almost every teacher. It consists of a wooden frame, in the
two ends of which are fastened brads at intervals of half an inch. The
warp is strung around these brads. There is no variation either in the
size of the rug or in the width of the warp to afford opportunity for
different materials. This is a decided objection, as a new frame has to
be made every time a change is desired. The first difficulty encountered
is the drawing in of the sides of the rug, which is almost impossible
to avoid, even with the utmost care. Photographs of work in the leading
educational magazines, as well as samples of teachers' work, all show
the same defect. The Indians obviate this difficulty by twisting two
stout cords in the edge of the woof during the process of weaving. (See
illustration on page 135.) In one school, where the work in this respect
was fairly well done, the teacher was asked how she accomplished the
result. Her reply was, "Oh, I make them pull it out every time it
draws." Poor, patient little fingers! One can imagine the thoughts which
were woven into that imperfect rug by the discouraged little worker.
Another disadvantage of the primitive loom is that the child must bend
over it while weaving, and if, by chance, he turns it over to examine
the other side of the work, the brads are apt to leave an unsightly
impression on the desk.
[Sidenote: _Success in doing_]
One of Froebel's fundamental principles is that a child should never be
_allowed_ to fail--that his work should be so adapted that he will
succeed _every time_, and that he should be led step by step as his
power grows, to something more difficult.
"One thing is forever good,
That one thing is success."
We have all experienced the joy of success in one way and another. Let
us help the children to have the same experience.
[Sidenote: _Idea of the "new education"_]
[Sidenote: _Small classes_]
[Sidenote: _Public school conditions_]
The idea of the "new education" is that the child should work out his
own salvation--that having wrestled with the difficulties involved in
weaving on the primitive loom, he should proceed not only to invent, but
to construct a newer and more improved loom. In model schools, where the
classes are limited to ten, or sometimes fewer children, with one
teacher and several assistants, this idea, if carried out, is ideal, and
perhaps practical. But what shall be said of the public-school teacher
who has fifty children and no assistants; or, which is even more
objectionable, and which is the case in many of our crowded schools,
what of the teacher with two sessions of fifty children each? It was the
effort to solve a problem of this kind that led to the invention of the
Todd adjustable hand loom.
[Sidenote: _Description of the Todd loom_]
[Illustration: _The Todd adjustable hand loom, Style b_]
[Sidenote: _The needle_]
[Sidenote: _Finishing the work_]
[Sidenote: _Removing the work_]
The full size of the loom is 10 x 13 inches, upon which a rug 9 x 12
inches can be woven. It is made adjustable to innumerable smaller square
and oblong sizes, by two devices. To regulate the length, the head
piece, which is movable, can be let down on brass buttons, which are
disposed along the sides at intervals of an inch. Perforations are
placed half an inch apart in the head and foot pieces so that the side
rods can be moved inward to regulate the width. They also insure
straight edges, since the woof threads are passed around them as the
work progresses. The rods also serve another important function as
fulcrums upon which the needle may be pressed up and down, so that it
passes more easily over and under the successive warp strings. The
notches are one-sixteenth inch and the teeth one-eighth inch apart,
giving opportunity for warp one-half, three-eighths, and
three-sixteenths inches wide. The loom has an easel support, so that the
pupil need not bend over it--an important consideration in school
classes, and in home work as well. This support makes it possible to use
the loom for an easel in the painting lessons, by resting a piece of
pasteboard against it. The needle, which is longer than the warp is
wide, serves also as a heddle in pressing the woof threads together
evenly. It is furnished with an eye for worsted, chenille, carpet
ravelings, or rope silk, and three slits for rags. To thread the needle
with rags, pass the strip up and down through the slits and _back_ again
_under_ the strip through the first slit. This binds the strip securely.
In finishing the work weave the last few woof threads with a large tape
needle, putting it up and down, over one thread at a time, as you would
sew on canvas. It has been found desirable with children to push about
an inch of woof threads close to the head piece and then fill in the
space. Care should be taken not to pull the woof too tight. If these
directions are followed and the warp is strung correctly the strings
will not slip out of the notches. In adjusting the loom it will be found
that the width from rod to rod is a little more than is required. For
instance, for a rug nine inches wide, the width from rod to rod will be
about nine and one-half inches. This is to allow for the springing
together when the work is finished. To remove it from the loom, pull the
rods gently upward and out. Then lift the warp strings out of the
notches.
[Illustration: _The Todd adjustable hand loom, Style a_]
[Sidenote: _Use of the primitive loom_]
The primitive loom can be used by following these same directions, but
the work will, of course, be limited.
[Sidenote: _For school and home work_]
While a great deal of the work is intended for the schoolroom, many
suggestions are given for home weaving, in making various articles for
birthday and holiday gifts.
Chapter Two
A CHAT ON WEAVING
[Sidenote: _Weaving defined_]
[Sidenote: _Weaving trains both hands_]
[Sidenote: _The three-fold development_]
Weaving is the art of interlacing threads, yarns, filaments, or strips
of different material, so as to form a cloth or fabric. It is an ideal
occupation, not only for little children, but for older ones as well,
affording admirable opportunities for the development of head, hand, and
heart. It trains both hands in deftness and proves a delight to the
left-handed child, who for the joy of using his left hand again, will
plod patiently across with the right. The fat little hands soon learn to
grasp the large needle, and the nerves and muscles of both hand and arm
are strengthened by daily use. Both hand and eye are trained in
accuracy, and the training in patience, perseverance, industry, economy
in the use of materials, perception, concentration, dexterity, and
self-reliance cannot be overestimated. The heart, too, has its part in
the joy of giving to others, for the children are encouraged to make
little gifts for the home. A consciousness of power comes, also, with
experience; and a sense of self-respect arises when the child realizes
that he is of some use in the world.
[Sidenote: _Knowledge of principles necessary_]
Lois Bates, in her "Kindergarten Guide," says that "in the manufacturing
districts of England great numbers of the children who pass through the
elementary schools are employed in mills where weaving is carried on, or
enter textile schools to learn designing in cloth. If this occupation of
mat-weaving could be continued until the children had a thorough
knowledge of its principles, how much intelligence might be brought to
bear on the actual weaving and how much more pleasure might the worker
draw from labor that is often looked upon as so much mechanical
drudgery!" The keynote for this is the _thorough knowledge_ which is
necessary, whether or not our children are to enter textile schools.
Whatever they do, let them do it thoroughly. It should always be a
question of quality, not quantity.
[Sidenote: _Simple weaving the first essential_]
[Sidenote: _Mats as a preparation for loom weaving_]
[Sidenote: _Slat interlacing and splint work lead to basketry_]
For this reason I have taken up, quite at length, the subject of first
steps in weaving, believing that children should be kept at simple
weaving until they understand the principles thoroughly. The felt and
paper mats prepare the way for loom-weaving; the free paper weaving, and
the slats and splints for basketry. A few suggestions on the use of the
slats and splints have been given for two reasons: First, for the
training which they afford in dexterity and great delicacy of touch, to
say nothing of _exemplary patience_; and second, because the preliminary
training for basketry should be given in the lower primary grades. The
time necessary to train clumsy fingers can hardly be taken from the
regular work in grades where basketry is a prescribed course.
"Skill in the fundamental methods of weaving is essential even as the
fingers must be trained in music before the soul of the musician can
find its expression. Make good baskets first, simple in shape, strong in
texture, suited to the purpose for which they are intended;
unconsciously they will grow beautiful. The most intricate basket will
fail in its purpose if the joinings are careless or flaws in workmanship
permitted. If originality is within the weaver, it will find its
expression, once the principles of weaving are second nature." (_C. S.
Coles._) This is also true of rug and mat weaving, for the aim of all
training should be to bring out the best there is in a child.
[Sidenote: _"Devotedness to duty"_]
"The longer on this earth we live
And weigh the various qualities of men,
The more we feel the high, stern-featured beauty
Of plain devotedness to duty;
Steadfast and still, nor paid with mortal praise,
But finding amplest recompense
For life's ungarlanded expense
In work done squarely and unwasted days."
--_James Russell Lowell._
[Sidenote: _Weaving the foundation for designing_]
[Sidenote: _Honest work begets sympathy with labor_]
[Sidenote: _Interdependence in life_]
The "Kraus-Boelte Guide" has some good suggestions with regard to the
value of paper mat weaving, in number training, and for following
certain formulae which will lead ultimately to invention. Mme.
Kraus-Boelte says: "Weaving leads to independent effort and offers the
greatest scope for future technical work, for it lays the foundation for
designing. Even though it may not fan into flame a latent spark of
genius, this means of occupation at least tends to show the value of
honest labor." The child not only recognizes the value in honest labor,
but his sympathy with all labor is aroused through his own efforts and
through the stories told of weavers in all lands. He realizes, also,
although in a limited way, the interdependence of the whole world. If
the sun did not shine, and the rain fall, there would be no grass. If
there were no grass, what would the sheep do? If the sheep did not give
any wool, what would the weaver do? If the weaver could not weave, what
would we do for clothes? Little children are always delighted to go back
to the beginning of things. Oh, the joy of looking back on one's school
days! As Friedrich Richter has truly said, "Recollection is the only
paradise from which no man can be driven."
[Sidenote: _Some difficulties_]
[Sidenote: _A bit of experience_]
[Sidenote: _One solution_]
[Sidenote: _Community feeling continued_]
One important thought in this whole subject is that the work should be
so arranged as not to add any additional burden to the already crowded
life of the teacher. It is a lamentable fact that we have overcrowded
rooms, and only one pair of hands to do all that has to be done. Perhaps
a bit of the author's own experience will be of some assistance. After
looking the subject squarely in the face and considering it on all
sides, the writer came to the conclusion that it would be an
impossibility to do all the work alone. So some helpers were called from
the pupils of the higher grades, and the request met such a hearty
response that it was wondered why it had not been tried before. As it is
now arranged the older girls come in before school and at recess. They
wind worsted, correct any knitting that may be wrong, start new spools,
string looms, cut material for rugs, water plants, keep the closets
where the materials are stored in order, and do many other things which
relieve in a great measure the burden of detail. When it is possible,
the teacher should choose girls who have a sister or brother in the
room, because their interest is stronger and more lasting. Of course,
some training is necessary, but the result compensates for the trouble.
Sometimes the work in other grades can be so planned that the children
can make paper mats, etc., for use in the first grade. The beautiful
community feeling begun in the kindergarten can thus be continued in the
public school. The time will come when boys and girls in the higher
grades will design patterns for the younger children to weave.
[Sidenote: _Nature knows no hurry_]
Take plenty of time in the first part of the year to teach the children
to work well. "Time is nothing when _power_ is growing." There are some
children who learn faster than others and they are always delighted to
go about the room and help the slower ones. It will sometimes be found
that they know just how to explain a difficult point--perhaps because
they have just conquered it themselves.
[Sidenote: _A child's work should be suited to his capacity, without
regard to grade_]
[Sidenote: _Train the individual_]
No work has been specified as suited to any particular grade. It should
depend entirely upon the children. While, for convenience, courses in
industrial training are planned, advising certain lines of work which
experience has proved the best for first, second, or third grade, there
are in every school, certain children who have more manual than mental
ability. These are left behind as the more favored ones are promoted,
and because a certain course has been recommended for that particular
grade, they must, perforce, do it all over again. Instead of bringing
out the best in these less fortunate ones, and developing and
strengthening their minds through the hand by offering something not
only new and interesting, but which presents new difficulties to
conquer, we stunt their growth by giving them the same baby work term
after term. It is time that earnest teachers considered this important
question. Let us give up training the _mass_ and begin to train the
_individual_. Through our interest in them they may find their life
work. If a child in the first grade is prepared to do any industrial
work of a higher grade, no matter how dull he may otherwise be, by all
means let him do it. It is his way of expressing what lies within him.
Not only will his hand and mind be trained thereby, but his heart will
be filled with the joy that always comes through achievement.
[Sidenote: _Value of hand training_]
[Sidenote: _If you would develop morality in a child, train him to
work_]
[Sidenote: _Making citizens_]
Hand training has been found to be of great value in all other work. The
children are brighter, and seem better able to grasp an idea. The slow
children are also stimulated, and in doing the simple work well are
preparing for that which is more difficult. Impression and expression
should go hand in hand. We know nothing of "the bad boy," now that we
have found something for his restless fingers to do. "The habit of
methodical work is the basis of all ethics." In teaching children to do
their best, we are training citizens. Some one has facetiously remarked
that, "In the making of a good citizen it is necessary to catch your
citizen early." We cannot get hold of the anarchists, but we can get
hold of their children, and in the training of them to work lies their
salvation. Formation is better than reformation.
[Sidenote: _Formation, not reformation_]
[Sidenote: _New applications for old teachings_]
Verily, there is nothing new under the sun. We hie ourselves to the
summer schools, and return laden with new ideas--when lo! it dawns upon
us that all we have done during the hot days has been to make a new
application of what Froebel taught the world before we were born. So in
this introduction, an old story has been retold, but I hope that it will
come with a new meaning to my fellow teachers.
Chapter Three
FIRST STEPS IN WEAVING
[Sidenote: _Felt mats and slats_]
[Sidenote: _Demonstration cards and diagrams_]
The principles of weaving are very easily learned with felt mats and
slats. One-half a yard of felt two yards wide will make thirty-six mats
six inches square. These are very durable, and can be used year after
year, if protected from moth during the summer. Some prefer leather or
oil-cloth mats, backed with heavy unbleached muslin, but they are more
expensive, and not so pleasant to work with as the soft wool. The slats,
which should be at least one-half an inch wide, can be obtained at any
kindergarten supply store. Buy the uncolored slats and dye them
yourself. Dark green mats, woven with deep red slats, are pretty. The
slats are easier to handle if they are soaked and cut the required
length before dyeing. When the six-inch mats are cut, allow a
three-quarter-inch margin on all sides. Measure the mat for
one-half-inch strips, of which there will be nine, and mark by snapping
a chalked string upon the mat. Double it with chalked lines outside and
commence to cut from the center; then open and finish cutting to the
margin. It would be better for very little children if the strips and
slats could be one inch wide. In this case the mats would, of course, be
larger, and it might be necessary to have the slats made to order. The
slats should be kept in little bundles containing the required number,
and secured by rubber bands. If one could have plenty of time and
material it would be a good plan to have several sets of mats of
different sizes, so that the children would not always be confined to
one number and its combinations in a certain set of patterns--in this
case, nine--but have the pleasure which comes from variety.
Demonstration cards and diagrams for weaving can be obtained at the
kindergarten and school-supply stores. An illustration of an excellent
demonstration frame can be seen in the "Kindergarten Guide," by Lois
Bates. Sample mats can be woven by the older children from the designs
in any of the "Guides," and given to the smaller children to copy.
[Sidenote: _Purpose of practice mats_]
[Sidenote: _Do not deceive the child_]
When the purpose of these practice mats is understood there can be no
objection to them on the ground that the work is destroyed by pulling
out the slats each time. It is not an unusual thing to see in schools,
and even in kindergartens, faithful and conscientious teachers remaining
after hours to pull out the slats, on the principle, perhaps, that what
the children do not see will not affect their development, and the
innocent little bundles are given out again on the morrow, only to
undergo the same experience at night. One wonders sometimes if this is
possibly within the definition of deception. "We mount to the summit,
round by round," and when the children understand that in doing the work
with the slats well, they are only learning _how_, and that each
successful attempt brings the delightful day nearer when they may have a
loom to work upon, they are perfectly satisfied.
[Sidenote: _Long slat weaving_]
When the children have learned to weave the small mats, further practice
can be had by weaving long slats into a warp of cord on the loom. It is
better to conquer the mystery of "over and under" in this way than to
undo the work and wear out the material after making a mistake.
[Sidenote: _Paper mats_]
Many teachers prefer to make the practice mats of paper because they are
cheaper. Heavy paper, in desirable colors, can be obtained at the
wholesale paper houses, and for a small sum can be cut in squares of any
required size. Mats can be made more durable by pasting them on heavy
muslin before cutting. In many schools children in grades above the
entering room prepare their own mats by measuring with tablets or rulers
and then drawing and cutting on the lines. When they have learned to do
them well, let each child make one for the entering room. Nothing
strengthens the community feeling so much in a school as to encourage
the older pupils to help the younger.
[Sidenote: _Mat weaving in the kindergarten_]
The mat-weaving, as it is done in the kindergarten, is very beautiful
and fascinating work. The mats can be obtained in any size and any width
of strips at the supply stores. The weaving is done with a long steel
needle which has a spring at one end to hold the strip. After
preliminary work with the felt mats and slats the children find
themselves able to weave quite independently, particularly if
demonstration cards or sample mats are placed before the class. An
infinite variety of patterns, which later will be useful in
wool-weaving, can be found in the "Kindergarten Guides." In weaving
patterns having a center, it is better to weave two strips at once,
pushing one to the top and one to the bottom of the mat. The old numbers
of the Godey and Peterson magazines have patterns for Berlin wool and
bead work which can be used for the paper mats with good effect. Mrs.
Kate Douglas Wiggin (Mrs. Riggs) has some good suggestions for invention
in weaving, in her "Republic of Childhood" (Occupations). The value of
weaving in number work is also admirably set forth in this book.
[Sidenote: _Gifts_]
At Christmas time many charming little gifts can be made of these mats.
Sachet cases made of a six or eight inch square, with four corners
folded to the center, are attractive. Inclose a square of wadding, in
which a pinch of heliotrope or white rose perfume powder has been
hidden, and fasten the corners together with a scrap picture of old
Santa Claus.
Slat work is useful in learning the fundamental principles of weaving,
although this work is more closely related to basket than to rug
weaving. It is an excellent preparation for the free-paper weaving, and
is also a step toward basket work.
[Sidenote: _Interlacing slats_]
In interlacing slats the mystery of "over and under" is solved and the
dependence of one slat upon another in making a perfect whole is shown
in a forcible way, particularly when the form falls to pieces in the
attempt to lift it from the table. Edward Wiebe says in his "Paradise
of Childhood": "It was the _one_ slat which, owing to its dereliction in
performing its duty, destroyed the figure and prevented all the other
slats from performing theirs." One experience of this kind will teach
more than a thousand precepts. The geometrical forms learned in the
sense-training lessons can be reproduced with the slats and will thus be
impressed upon the mind during the period of busy work at the desk. A
series of beautiful designs is published by E. Steiger, New York. Many
designs may be grouped for decoration, and single symmetrical figures
can be mounted upon heavy paper.
[Sidenote: _Free-paper weaving_]
[Sidenote: _Sequence_]
Free-paper weaving requires quite a little skill of hand and a great
deal of patience before the child can achieve a successful result.
Perhaps a few words regarding it, and information about a simple
sequence of paper patterns, will not be out of place, since so many are
to-day taking it up. Strips of manilla paper forty inches long and one
inch wide are used. These are cut into strips eight inches, sixteen
inches, twenty inches, and twenty-four inches in length. For the first
pattern of the sequence take four strips eight inches long and double
each one. Hold two of them side by side in the left hand, so that the
open ends of the outer strip are at the top while those of the other are
at the bottom. With the right hand inclose the first strip in the left
hand with one of the remaining double strips and pass the ends of the
latter between the two ends of the second strip. Then hold the work in
the right hand and proceed in the same way with the left hand. When both
strips are in, draw them tight and they will be firmly woven. The ends
can be cut in any way desired. These little forms can be used for
bookmarks. They are very attractive when made in two tones of one color.
[Illustration: _Sequence in paper weaving_]
[Sidenote: _Sequence weaving_]
The second pattern of the sequence is made with sixteen-inch strips.
The first part is woven like the bookmark. Four double strips now
project from the square. Begin at the bottom and fold back the _upper_
one of each of these double strips. As you do this you will find that
you are weaving another square on top of the first one. To secure the
last strip pass it under the square next to it and pull it through. You
will now have eight single strips, two on each side. To form these into
points for a star proceed as follows: Begin with the right-hand strip at
the top and number all the strips from one to eight. Fold number one
back toward the right, making at the fold a right-angled triangle. Fold
the strip down again towards you, making another triangle which is
folded back to the left on the first one. Slip the end of the strip
under the square next to it and cut it off. Proceed in the same way with
three, five, and seven. Then turn the form over and fold the strips two,
four, six, and eight in the same way, cutting off the strips when
finished. Many of these stars can be joined to make mats, baskets,
picture frames, etc. They are pretty when made of gilt or colored paper
for Christmas decorations.
[Sidenote: _Sequence weaving_]
Pattern number three, a bookmark, is made like the first, except that
eight strips of sixteen-inch length are used and the strips woven at
right and left are finished as directed for the mat. Number four is
another form like this, with the long ends back and front slipped
through squares to form a napkin ring. Number five is a six-inch mat
made of twelve twenty-inch strips. Weave six double strips left and
right into two strips and then add four to make the square. To finish
the edge cut off the _under_ one of each double strip, fold the upper
one over it and then slip it under the square which comes next, cutting
it off even. Strips of felt can be woven in this way for table mats or
holders.
The sixth pattern is a pencil holder or a basket, as you may wish. It
may be round or square on the bottom--in the latter case the sides are
creased to form a square prism. Double twelve twenty-four-inch strips,
weave eight right and left into four; finish one long edge for the top
of the basket as you did the edge for the mat. Bend in the form of a
ring and slip the ends as you did for the napkin ring, cutting them off.
To make the bottom, crease all the projecting ends in and weave together
as you did the second part of number two only double, and fasten the
strips on the _outside_ of the basket. This makes a good waste basket
for the doll house. With a cover it would make a fine hamper for Miss
Dolly's clothes.
[Illustration: _Examples of splint work_]
[Sidenote: _Weaving with splints_]
This free weaving leads directly to weaving with splints. These are much
thinner than slats and can be obtained at the kindergarten supply
stores. Many beautiful things can be made with splints. They are easily
dyed at home and many pleasing combinations of color can be obtained in
this way. Celluloid strips make beautiful boxes and baskets.
[Sidenote: "_Jacob's ladder_"]
A delightful exercise with the small children is the making of a
"Jacob's ladder," or "Pussy-cat stairs," as they are often called. Fold
a forty-inch strip of paper, one inch wide, so as to form a right-angle
in the middle. Or, if a longer ladder be desired, place one end of a
forty-inch strip over the end of another one, at right angles, and
fasten with a drop of paste. Fold from left to right, one strip upon the
other, until you come to the end; then pull out, and behold the stairs!
The fat and clumsy little fingers will work patiently a long time to
achieve this charming result, and much skill of hand will be gained in
the doing. Use colored paper for this whenever possible.
[Illustration: _A skirt for winter_]
[Illustration: _A mitten and a cap_]
The illustrations on this and on the following page show some
fascinating work for little hands. The looms are made of heavy
pasteboard cut in notches, in which the warp of the same material as
the woof is strung. Care should be taken to keep the warp straight, and
to finish all the edges well. The articles in the illustrations were
made by first-grade children in the Ericcson School, St. Paul, Minn.
[Illustration: _A sweater for the doll_]
Chapter Four
METHODS OF STRINGING WARP
[Sidenote: _Warp of three widths_]
The adjustable loom can be strung with warp of three widths, one-half
inch, three-eighths inch, and three-sixteenths inch, thus giving
opportunity for a variety of materials.
For heavy rags, candle wicking, etc., wind the warp strings around three
teeth in the head and foot pieces. This will give a warp of one-half
inch--that is, one-half inch from one string to the other.
For silk, silkoline, finer rags, carpet ravelings, double wool, etc.,
wind the warp strings around two teeth, thus making a warp of
three-eighths inches.
[Sidenote: _Kindergarten patterns_]
For double wool, worsted, rope silk, chenille, or raffia, where one
wishes to reproduce kindergarten designs, as in paper-weaving, place the
warp strings around one tooth only. This makes a close warp of
three-sixteenths inch, which helps to form the design with the woof
threads. In this case the warp should be of the same material as the
woof. In kindergarten patterns the woof threads determine the color
effect. It is better to have the children weave the pattern first with
practice mats and slats, particularly if they have never had experience
in the kindergarten. Suggestions for weaving kindergarten designs are
given under the head of _Raffia_.
[Sidenote: _Plaids_]
For a plaid effect, string the warp at regular intervals, with different
colors. Then weave the same colors at equal intervals to form the plaid.
(See illustrations, pages 92, 98, and 101.) Shawls, carriage blankets,
etc., woven in this way are very attractive.
[Sidenote: _Stripes_]
A striped warp is strung in the same way. (See illustrations, pages 101
and 117.) The stripes could be continued through the mat, if desired, by
weaving only _one_ color in the woof. By weaving _two_ colors squares
are obtained such as those seen in the corners.
[Sidenote: _Materials for warp_]
For weaving with carpet ravelings or rags, and sometimes double wool,
where a plain effect is desired, the warp should be of common twine, as
near the color of the work as possible. Carpet thread is good,
especially for the double warp in Turkish rugs. Balls of warp string can
be obtained at department stores. Oriental cord comes in several colors,
and can be had at a few cents a ball at the notion and stationery
counters in department stores.
[Sidenote: _How to string a warp_]
The warp should always be one continuous string, and several inches
should be left at each end in order to fasten securely when the work is
finished. If preferred, the warp ends can be fastened before the weaving
is commenced. Care should be taken to place the first and last strings
of the warp directly _over_ the rods, and, in weaving, to pass the woof
threads entirely around the _rods and strings_ to insure straight edges.
The ends of wool warp threads should be wound in and out of the notches
to the right and left of rods, to fasten them until the weaving is
finished. It sometimes happens that little children, and more especially
those who are blind, pull up the warp strings when near the end of the
work. In such cases it is a good plan to pass a rubber band _over_ the
warp strings at the top of the loom and _behind_ the bars, back of the
head piece, making it set up close by putting it around one tooth at
each end. In this way the warp strings cannot possibly slip out of the
notches.
[Sidenote: _Splicing with a weaver's knot_]
[Sidenote: _A raffia warp_]
Some teachers splice the warp with a weaver's knot, an illustration of
which can be seen in any large dictionary. The continuous string is to
be preferred, however, as experience has proved that even a weaver's
knot will sometimes fail to stand the stress of weaving. It is very
difficult to splice a warp of raffia. It is better to knot the warp
threads in pairs (see directions, page 46), leaving two or three inches
beyond the head and foot. These ends may be used for a fringe by tearing
very fine, or they may be run down in the woven part with a darning
needle, as rattan is run down in basket work.
[Sidenote: _To fasten wool or silk warp strings_]
[Sidenote: _When the warp is correct_]
When the weaving is done and the mat lifted from the loom, the ends of
the wool warp strings can be run in along the sides with a tape needle.
If the warp be of twine, it is better to tie the end to the next warp
string and allow the fringe to cover the knot; or, as in the case of
silkoline, the woof strips can be caught over the warp strings with silk
of the same color in order to hide them. Only experience can teach the
tightness with which a warp should be strung. Worsted, carpet thread and
twine will stretch as the work progresses, and raffia will not. If the
warp be too loose the work will be uneven and the strings will slip out
of the notches. If it be too tight it will be difficult to finish the
last two or three inches and the woof threads will look crowded. The
best test is to place the hand upon the warp before commencing to weave.
If it feels firm and does not push down too easily, but springs
slightly beneath the hand, it is probably correct.
[Sidenote: _To string a warp for fringe_]
[Sidenote: _To string the warp threads in pairs_]