Part 14

The eighteenth century found woman an appendage; the nineteenth transformed her into an individual. The wonderful altruistic twentieth century, whose dawn even now is breaking, will so develop this individuality that women will contend for all the rights of the individual, coöperating with the nation in the fulfillment of its mission, and with the world in the development of the eternal law of progress.

“Through the harsh voices of our day A low, sweet prelude finds its way; Through clouds of doubt and storms of fear A light is breaking calm and clear.”

THE CENTURY’S TEXTILE PROGRESS

BY ROBERT P. HAINS,

_Examiner of Textiles, U. S. Patent Office_.

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

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

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

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

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

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

[Illustration: DISTAFF AND SPINDLE.]

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

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

[Illustration: SPINNING WHEEL.]

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

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

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

[Illustration: PRIMITIVE HAND LOOM.]

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

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

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

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

[Illustration: EARLY SPINNING JENNY.]

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

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

[Illustration: GINNING COTTON. THE OLD WAY, PRIOR TO 1800.]

[Illustration: GINNING COTTON. THE NEW WAY.]

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

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

[Illustration: THE MODERN MULE.]

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

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

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

[Illustration: HAND COMB OF THE EIGHTEENTH CENTURY.]

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

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

[Illustration: NOBLE COMB OF 1890.]

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

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

[Illustration: PLAIN POWER LOOM, 1840.]

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

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

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

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

[Illustration: WEAVING. THE OLD WAY.]

[Illustration: WEAVING. THE NEW WAY.]

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

[Illustration: LOOM OF 1890.]

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

[Illustration: JACQUARD MACHINE.]