ue, and
after drying, is wound as I have described, and thrown again into the
dye pot, until the unwound portions become the darker blue which we call
medium."

[Sidenote: _Mrs. Albee's manual_]

Through the courtesy of Mrs. Helen R. Albee, who has done much to revive
an interest in rug-weaving, I am allowed to quote the following detailed
suggestions on the subject of dyeing from her helpful manual, _Abnakee
Rugs_. This little manual treats fully of the "Abnakee Rug Industry,"
the "Materials," "Methods of Work," and "Dye Formulas." It was issued
through the Riverside Press in 1901.

Speaking of combinations of color, Mrs. Albee says:

[Sidenote: _Combinations of color_]

[Sidenote: _Safe tones_]

[Sidenote: _Colors in rugs_]

[Sidenote: _Use of white_]

"A careful study of the effects of colors upon each other will show that
colors which are in themselves beautiful are often inharmonious when
combined. Also, a little of a color may be good, when a larger
proportion seems to destroy the balance or harmony. Success in this
matter is largely a matter of close observation and experience, although
some persons have a natural feeling or instinct regarding color which is
seldom in error. Strong colors should never be used, especially greens.
Though they may be modest in the piece, when worked in with other
colors, they have an unfortunate way of becoming intensified tenfold.
The safest tones for an amateur to deal with are dull gray green, yellow
green, and a soft, full, but dark olive. In striking a certain key in
color it should be maintained throughout. Thus, if a full rich color
predominates, rich dark colors should be used through the whole scheme.
If a light tone is the body color, soft light tones of other colors will
be found most harmonious. Thus, for example, a rug for a library, or a
hall, in which a good deal of rich terra cotta appears, should have a
border or design worked in dark blues, full shades of olive green, and
dull yellow. There is an apparent exception to this in the use of dull
reds, old ivory, and black as seen in Bokhara rugs. But if studied, the
cream color is very dull, and is used in such small quantities as to be
quite subdued by the black that is used freely in the pattern. Old rose,
warm golden browns, and olive may be used effectively. A light Gobelin
blue may be worked with ivory, old pink, light dull olive, and the
outlines can be either a dark yellow brown or very dark bronze gre