dry steam to pass through the piece. This fixes a
permanent luster and finish on the piece and sets it so as to prevent
shrinkage. The cloth is now packed and sent to the jobbers or tailors to
be cut up into suits.

=Theories of Coloring in Textile Design.= The three primary elements
of textile design are weave, combination of form, and blend of colors.
They enter either separately or in connection with each other into
every species of loom effect. Weave relates specifically to the build
or structure of the cloth and is an indispensable factor in any type
of cloth. Schemes of weaves will produce in one operation an even and
firm cloth, decorated with a type of pattern that usually consists of
minute parts but which is pronounced and decided in combination.
Combination of forms is a surface decoration obtained by uniting
straight and curved lines. Color brightens and improves the qualities
of the design. In fact, the discarding of color shades would diminish
the elegance of the design and impoverish its appearance and would
practically destroy the woolen industry. Whether the pattern be
stripe, check, figure, or intermingled effect, it obtains its outline
and detail from methods of coloring adopted. In worsted there is a
larger diversity of weave design than in woolen; but still colors are
very extensively employed to develop effects due to weave and form,
and also to impart a cheerful and lustrous appearance to cloth.

Patterns in dress fabrics, shirtings, and other articles made entirely
of cotton are frequently mere combinations of fancy shades, while
fabrics composed of silk and jute materials, including silk ties,
handkerchiefs, etc.--in fact the cloths in which fancy shades are
used--show that coloring and its combinations in all woven product
embellished with design, are elements which give tone and character to
the styles. Though the cloth may be soft to the touch, substantially
made, of uniform structure, and skilfully finished, yet a lack of
brightness and elegance in coloring so powerfully detracts from the
appearance of the pattern that these qualities alone are not
sufficient.

On subjecting cotton, silk, wool, and worsted goods to inspection,
color is found to have a different tone or cast in each fabric. Fancy
colors in cotton, while decidedly firm and clear in effect, are
non-lustrous, raw, and dull in toning. Silk colorings, on the
contrary, possess both compactness and brilliancy; woolen colorings
h