2.  From the Twills

One variety is obtained by interlacing the warp-threads alternately one or more picks behind, and then a number of picks ahead of their respective neighbors; so the complete arrangement of the points of binding in a repeat will generally form two parallel diagonal lines.  This will cause the twill lines to appear less pronounced than is the case in the regular twill, and the character of the fabric approaches more that of the satin.

[Page 44] [Illustration:  Fig. 58]

Satin Serge.

On 8 shafts, straight draw.

* * * *

[Illustration:  Fig. 59]

Cote Satinee.

On 16 harness, skip draw.

* * * *

Rhadzimir-Surah 2-2. After a certain number of picks of the regular surah all the warp-threads are crossed in two’s thereby causing a sort of a rib or cut line across the fabric.

[Page 45] Rhadzimir of 4 picks.

On 8 shafts, straight draw.

[Illustration:  Fig. 60]

* * * *

Rhadzimir of 6 picks.

On 8 shafts, straight draw.

[Illustration:  Fig. 61]

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[Page 46] 3.  From the Satin Weave

Satin Soleil shows a satin-like surface with a cross line appearance.  Fig. 62 illustrates it as made on 8 shafts, straight draw.

[Illustration:  Fig. 62]

* * * *

Satin Grec is a 12-harness satin, in which a taffeta point is added to each place of interlacing, thus giving the cloth a much firmer hand.  Fig. 63 represents this weave on 12 shafts, skip draw.

[Page 47] [Illustration:  Fig. 63]

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Peau de Soie. An 8-shaft satin with one point added on the right or left to the original spots, giving the fabric a somewhat grainy appearence.  Fig. 64 represents a peau de soie on 8 shafts, straight through.

[Illustration:  Fig. 64]

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[Page 48]

Fleur de Soie. The face is a satin de Lyon (2-1 twill), with a backing interlaced on the 12-shaft satin principle, Fig. 65, on 12 shafts, skip draw.

[Illustration:  Fig. 65]

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[Page 49]
CANNELE and REPP WEAVES

are in their construction related to the taffeta, and are used mostly in the form of stripes as an additional ornament to a fabric.  The threads going into the composition of these effects exchange continually from taffeta interlacing to floating over a certain number of threads, and must be introduced either in warp or filling close enough to make the floats cover up the taffeta work entirely, and thus enable the material used to show up with the full brilliancy it possesses.