Page:Encyclopædia Britannica, Ninth Edition, v. 5.djvu/143

Preparation of Chemille for Templeton's Carpets.

Patent Axmlnster Carpets owe their origin to Mr James Templetou of Glasgow, who obtained a patent for his invention in 1S39. With a loom as simple as that re quired for Mr Whytock s patent tapestry, Mr Templeton succeeded iu weaving patterns which embrace an unlimited variety of colours, and that with wool not printed, but dyed in the yarn. Further, these carpets are pile fabrics, and can be woven of a depth equal to any Oriental pro duction; while for density, smoothness, and firmness of texture they cannot be surpassed. The manufacture in volves two distinct weaving operations, 1st, the prepara tion of the chenille the strips of which form the weft, and 2d, the carpet-weaving proper. A design for the carpet to be woven is first prepared and accurately laid down in its proper colours on paper ruled into small squares. This design is then cut into small longitudinal strips and given to the chenille weaver to guide him as to the colours he is to use, and attaching these to the side of his web, he proceeds in regular order with length after length till the whole pattern is woven up (a, in wood-cut). The depth or thickness of the pile to be made is regulated by the spaces missed in passing warp threads through the reed. In the breadth of this web there may be ten, a dozen, or more separate chenilles, and consequently there is that number of separate repeats of the pattern available for the weaving which follows. This first web is cut into shreds cr strips (I) along its whole length according to the number of separate chenilles it contains, and the loose edges fold together by a peculiarity in the weaving (c), so that a double pile projects upwards from a firmly woven centre or back. The chenille strips now form the weft thread for the second weaving, and being woven into a strong linen or hempen backing in the same order that the strips were cut off from the original pattern, the colours combine as in the pattern, and the elements of the complete design come out as the weaving proceeds. Each length of the chenille strips thus makes up a complete section of the design, and if twelve strips were woven in the breadth of the chenille web, they give the material necessary for twelve repeats. The diffi culties which opposed the successful issue of his invention Mr Templeton set himself to combat and overcome with unusual perseverance and determination, and his exertions have been rewarded by his products attaining the highest place in public estimation, and by the establishment of a most extensive trade in his carpets. At a much earlier period than most other manufacturers he perceived the high importance of obtaining the co-operation of the best artists and designers to supply him with appropriate and artistic patterns. In 1851 Mr Templeton obtained designs from Mr E. T. Parris, and later he was fortunate enough to secure the aid of such eminent decorative artists as Mr Digby "Wyatt and Mr Owen Jones.

Carpeting of felted-wool upon which coloured patterns are printed are in large demand for crumb-cloths, and as a cheap covering for the floors of bed-rooms, &c. A very large trade, chiefly export, is now carried on in carpets made from jute fibre. The chief centre of this trade is Dundee, and there the goods are chiefly woven in plain strips or chequered patterns, imitations of Kiddermiuster or Scotch carpeting being rarely attempted in this inferior fibre. The printing of jute carpets has been accomplished in a manner very pleasing to the eye, but it is feared that such goods would not satisfactorily meet the rougher test of human feet. Matting of coir (from the husk of the cocoa- nut), Manilla hemp (Musa textilis), and Indian mat-grass (Cyperus textilis), are also in extensive use. Floor-cluths of various kinds come under a separate designation.

From the privately printed lectures of Mr Owen Jones on The True and the false in the Decorative Arts we ex tract the following on carpet-design:—

" Carpets should be darker in tone and more broken in hue than an j portion of a room, both because they present the largest mass of colour, and because they serve as a background to the furniture placed upon them.

"As a general rule, lighter carpets may be used in rooms thinly furnished than the contrary, as we should otherwise have too over powering a mass of shade. Turkey carpets are by universal consent adopted for dining-rooms, but not all Turkey carpets (and indeed very few) are fatted for such a purpose. The generality of Turkey carpets consist of a border with the whole middle of the carpet forming one large pattern converging to the centre. All-over pat terns are much more rare. In the East, Turkey caq>ets are placed on a raised platform or dais at one end of a saloon, and all round the edge of it are cushions on which the Easterns recline, so that the whole middle of the carpet is perfectly free, and the complete pat tern is seen at a glance. This is not the case when they are trans ferred to our dining-rooms, where the dining table alone cuts off the best half of it. ... The principle of design in a Turkey carpet .is perfect, and our manufacturers would do well, instead of copying them in Axminster, as is their wont, to apply the principles to be learnt from them, in producing carpets more in harmony with their requirements.

" 1 will say no more on the floral style, but to express a regret that the more perfect the manufacturing process in carpets becomes the more do they (the carpets) appear to lend themselves to eviL The modest Kidderminster carpet rarely goes wrong, because it can not ; it has to deal with but two colours, and consequently much mischief is beyond its reach. The Brussels carpet, which deals with, five colours, is more mischievous. The tapestry carpets, where the colours are still more numerous, are vicious in the extreme ; whilst the recent invention of printed carpets, with no bounds to its ambi tion, has become positively criminal."

(a. wh.—j. pa.)

CARPI, a town of Italy in the province of Modena, 10 miles north of that city, on a canal supplied by the Secchia. It is the seat of a bishop, and has a cathedral, a theological seminary, a modern palace, an old castle, and considerable remains of its ancient fortifications. Silk- growing, and silk-weaving, the manufacture of straw hats, and the cultivation of grain, hemp, and flax are the principal occupations of the inhabitants, who number about 17,500. In the 14th and 15th and part of the 16th century, it belonged to the Pico family ; but it was taken possession of by Charles V. and bestowed on Alfonso d Este.

CARPI, Girolamo da (1501-1556), an historical and portrait painter, born at Ferrara, was one of Benvenuto Garofalo s best pupils. Becoming infatuated with the work of Antonio Leti, called Correggio, he quitted Ferrara, and spent several years in copying that master s paintings at Parma, Modena, and elsewhere, succeeding in aping his mannerisms so well as to be able to dispose of his own works as originals by Correggio. It is probable that not a few pictures yet attributed to the great painter are in reality the work of his parasite. Da Carpi s best paintings are a Descent of the Holy Spirit, in the church of St Francis at Rovigi ; a Madonna, an Adoration of the Magi, and a St Catharine, at Bologna ; and the St George and the St Jerome, at Ferrara.

CARPI, Ugo da (died 1536), a painter, was long held

the inventor of the art of painting in chiaroscuro, after

wards brought to such perfection by Parmegiano and by