Early spring morning, cool and solidist. In the sky neither the cloud. Only in the east also crowded, pale and taaya with each minute, SIZE predestinous tucci. The whole boundless steppe space seems to be mounted fine golden dust.

In thick violent grass, tremble, shimmering and flashing with multicolored lights, large dew diamonds. Steppe fun with flowers: modest blue bells, white born chamomile, wild clove, burning punch stains. In the morning coolness spills a bitter healthy smell of wormwood, mixed with gentle, similar to almonds aroma of surges.

Everything shines, and it is not enough, and happily stretches to the affectionate sun.

Someone in deep and narrow beams are still lying, reminding you of the left night, wet bluish shadows. Flashlights are trembling high in the air. The tireless grasshoppers have long raised their hurry, dry crash. The steppe woke up, came to life, and it seems that it breathes deep, even, mighty sighs.

(According to A. Kuprina) (131 word)

The task

1. Perform a syntax palace of dedicated proposals (by options).
2. Draw a proposal scheme allocated in italics.
3. Perform the morpheme and morphological analysis of one communion and one canopy of text.

Alexander Ivanovich Kubrin

In the bowels of the Earth

The text is drilled with the publication: A. I. Kuprin. Collected Works in 9 volumes. Volume 2. M.: Hood. Literature, 197. 1 . FROM. 4 16 - 427 . Early spring morning - cool and rosy. In the sky neither the cloud. Only in the East, where the sun goes from in the fiery glow, still crowded, pale and taaya with every minute, the SIZY predawn tucci. The whole boundless steppe space seems to be mounted fine golden dust. In thick violent grass there and Syam tremble, overflowing and flashing with multi-colored lights, diameters of large dew. The steppe funfully mothers with flowers: brightly yellowing the act, the bells are modestly blue, whites whole thickets smelting chamomile, the wild carnation is lit by punch stains. In the morning coolness, there is a bitter, healthy smell of wormwood, mixed with tender, similar to almonds, aroma of surcials. Everything shines and gets dangerous and happily stretches to the sun. Only in some way in deep and narrow beams, between the steep cliffs, the rare shrub, are still lying, reminding you of the left night, wet bluish shadows. High in the air, not visible to the eye, the larks are trembling and ringing. Restricted grasshoppers have long raised their meal, dry crackle. The steppe woke up and came to life, and it seems as if it breathes deep, smooth and mighty sighs. Abruptly breaking the charm of this steppe morning, buzzing on the Gololobian mine the ordinary six-hour whistle, buzzes infinitely long, hoarsely, with Nastado, exactly complaining and angry. This sound is heard that louder, it is weaker; Sometimes he almost freezes, as if breaking down, causing, going underground, and suddenly again breaks down with a new, unexpected force. On a huge green steppe horizon, only one of this mine with his black fences and sticking over them with a ugly tower reminds of man and human labor. Long red stained pipes sprinkle, without stopping for a second, black, dirty smoke clubs. There was still a frequent ringing of molots driving around the gland, and long-sided rumble of chains, and these alarming metal sounds take some kind of severe, an inexorable nature among the silence of a clear, smiling morning. Now the second change should go under the ground. Hundreds of two people crowded on a shaft yard between stacks isolated from large slices of brilliant coal. Complete black, soaked with coal, not molded for the whole weeks of the face, the rags of all sorts of colors and species, leafing, lapties, boots, old rubber calories and just barefoot legs - all this stirred in motley, fussy, halby mass. In the air, it is hanging exquisite-ugly aimlessly swearing interspersed with hoarse laughter and suffocate, convulsive, wind cough. But gradually the crowd decreases, pouring into a narrow wooden door, over which the white plate with the inscription is nailed: "lamp". The lamp is packed with workers. Ten people sitting at a long table, continuously fill the glass light bulbs, dressed on top of the safety wires. When the light bulbs are completely ready, the tuber is in the ears connecting the top of the case with a bottom, a piece of lead and flatten it with one pressure of massive tongs. Thus, it is reached that the miner to the very exit back from under the ground can not open the light bulbs, and even by chance and breaks the glass, the wire mesh makes fire completely safe. These precautions are needed, because in the depths of coal mines, a special combustible gas climbs, which is instantly exploded from the fire, there were cases that hundreds of people died from careless handling of fire in mines. Having received a light bulb, Shakhtar goes to another room, where the senior subject notes his last name in the daily statement, and two of the girlfriend carefully inspect his pockets, clothes and shoes to find out whether he bears with his cigarette, matches or fire. After making sure that there are no prohibited things, or simply not finding them, the tabler briefly nods his head and throws outwardly: "pass." Then through the next door, Shakhter goes to a wide, long covered gallery located above the "main barrel". In the gallery there is a kipping vanity shift. In a square hole, leading deep into the mines, walk on the chains, percken high above the roof through the block, two iron platforms. At the time when one of them rises, the other descends on a hundred seven. The platform exactly miraculously pops up from under the ground, loaded by trolleys with wet, has just been eliminated from the depths of the earth with coal. In one moment, workers paint trolleys from the platform, put them on the rails and run them to the mining courtyard. An empty platform is immediately filled with people. The engine compartment gives a conditional sign by electric call, the platform shudders and suddenly disappears with a terrible rumble, falls under the ground. Much passes, the other, in the continuation of which nothing heard, except for the puffy of cars and clanging of the running chain, and the other platform - but not with coal, and the bats packed with wet, black and trembling with the cold, crashes from under the earth, accurately Throwing up to the top of a mysterious, invisible and terrible force. And this change of people and coal continues quickly, accurately, monotonously, as the course of a huge car. Vaska Lomakin, or, as the miners nicknamed him, generally loving housing nicknames, Vaska Kirpatoy, stands over the opening of the main trunk, coming down the spelling from their subsoil and coal, and, slightly half-open mouth, looks closely. Vaska is a twelve-year-old boy with a completely black from coal dust by a face that is naive and trustfully look at blue eyes, and with a funny ridden nose. He must also go down to the mine now, but his party people have not yet gathered, and he wait for them. - Snub. (Approx. Author.) Vaska is only half a year from a distant village. Non-shaped rampant and the disadvantage of mining life have not touched his pure soul. He does not smoke, does not drink and does not sprievitiate, like his one-air workers who are all clogged on Sundays before insension, they play money into cards and do not produce cigarettes from mouth. In addition to the "brick", he still has a nickname "Mamkin", given to him for, in the service, to the question of the Steward: "You, the pig, whose pigs will you?" He answered naively: "And Mamkin!" That It caused the brunt of thunder-laughter and mad stream of admiring swearing of the entire shift. Vaska still can not get used to coal work and to miners and customs. The magnitude and complexity of the mining case suppresses its poor impressions of the mind, and, although he does not give him a report, the mine seems to him some kind of supernatural world, the inhabitant of gloomy, monstrous forces. The most mysterious being in this world is undoubtedly a driver. So he sits in his leather shedding jacket, with a cigar in the teeth and with golden glasses on the nose, bearded and purified. Vaska he is perfectly visible through the glass partition separating the machine part. What is this person? Yes, full of: And is he still? So he, without leaving the place and not releaseing the mouth of the cigar, touched some intelligence, and the internship came in a huge car, still still and calm, raised the chains, with a root flew down the platform, shook the entire wooden structure of the mine. Surprisingly! .. And he sits herself as if nothing had happened and smokes. Then he pressed some more sideways, pulled for some kind of steel stick, and in a second he stopped everything, she was satisfied, calmed down ... "Maybe he knows the word?" - Not without fear thinks, looking at him, Vaska. Another is mysterious and moreover, the senior Steiger Pavel Nikiforovich fell down by the extraordinary authority. He is a complete owner in the dark, cheese and terrible underground kingdom, where among the deep darkness I silence flashes the red dots of remote lamps. According to his orders, new galleries are being conducted and fears are made. Pavel Nikiforovich is very beautiful, but closer and dark, as if communication with underground forces imposed on him a special, mysterious print. His physical strength has become a legend among miners, and even such "farts" lines, like scaring and Vanka Greek, giving a tone of the buoy director of the minds, speak of a senior style with a touch of reverence. But immeasurably above Paul Nikiforovich and the driver stands in the opinion of Vaska, the director of the mine - the Frenchman Karl Franventovich. Vaska has no comparisons that he could determine the size of the power of this superman. He can do everything, resolutely everything in the world, which he just wants. From his hand to his hands, the life and death of all these tablers, forens, miners, loads and drivers, who are breastned near the plant depends on his look. Everywhere, where his high straight figure and a pale face with black brilliant mustes are shown, immediately felt the overall tension and confusion. When he speaks with a man, he looks straight into his eyes with his cold big eyes, but looks like something that seems to him alone, visible to him. Previously, Vaska could not imagine that there are people like Karl Frantsevich in the world. It even smells like something especially, with some amazing sweet colors. This smell of Vaska caught one day when the director passed by him in two steps, of course, without even noticeing the tiny boy, who stood without a hat, with a revealed mouth, accompanied by frightened eyes the rushing earthly deity. - Hey you, KirPatoy, Forest, or what! - heard Vaska over his ear coarse bit. Vaska was fixed and rushed to the platform. This party was sitting at which it consisted of a friend. Actually, his nearest chiefs had two: uncle cartilage and Vanka Greek. With them together, he was placed on some hiracles in a common barracks, with them the same worked in the mine and did not have numerous home duties in their free time, in whose circle was mostly a begwie in the nearest Kabak "Date of friends" for vodka and cucumbers. Uncle cartilage belonged to the number of old miners, exhausted and depleted on a long unbearable job. He did not have the difference between the kind and evil business, between a violent face and a cowardly hiding for someone else's back. He walked over a majority slave, unconsciously listened to strong and pressed the weak, and in the mining environment he did not use, despite his old summer, no respect, nor influence. Vanka Greek, on the contrary, to a certain extent, led public opinion and strong passions of the entire barracks, where the heavily arguments were served by a sloppy word and a strong fist, especially if he was armed with heavy and sharp kille. Kylos (Higho) is a tool for knocking out coal from the breed. (Approx. Author) In this world, every mutual collision has taken an exaggerated in nature in this world of dusty, desperate natures. The barracks resembled a huge cage, a bitmaker with a predatory beast, where to be confused, to render a minute indecision - the dying was equal. An ordinary business conversation, a friendly joke switched to a terrible explosion of hatred. Just a peacefully spoken people were drunk from the spot, the faces were palenets, the hands were convulsively squeezed by a knife or hammer handle, out of the trembling sobbing lips, along with the splashes of saliva rugs ... In the first days of their mining life, attending such scenes, Vaska is all over From fright, feeling how he cold in his chest and how his hands become weak and wet. If in such a brutal environment, the Vanka Greek used some, comparative respect, then this is to a certain extent talking about its moral qualities. He was able to work for the whole week, without breaking away from the case, with some embittered persistence, in order to lift all the money earned by this inhuman labor. Sober, he was inconvenient and silent, and being drunk, hired a musician, led him to the restaurant and forced him to play, and he sat against him himself, drank vodka with glasses and cried. Then he suddenly threw the eyes with his eyes and poured her eyes and began to "dismiss." What or who to spread - he was still; She asked for an exodus enslaved by long labor ... Began the ugly, bloody fights in all ends of the plant and continued until the dead sleep was piled up of this unbridled person. But - oddly enough - Vanka Greek rendered a carpatom of something similar to care or, rather, attention. Of course, this attention was expressed in harsh and coarse form and accompanied by bad words, without which the miner does not cost even the best of their moments, however, it was undoubtedly attention existed. So, for example, Vanka Greek arranged the worker at the best place on the horses, legs to the stove, despite the protest of uncle cartilage, which this place was previously belonged. Another time, when the miner's thread wanted to take a full fiction from Vaska, Greek defended Vaskin's interests. "Leave the boy," he said calmly, slightly promoted on the gaze. And these words were accompanied by such an eloquent look that Shakhtar broke out by the flow of selected swearing, but nevertheless moved to the side. On the platform together with Vaska, five more people rose. There was a signal, and at the same time Vaska felt the extraordinary ease in the whole body, the wings grown behind him behind his back. Walking and rod, flew the platform down, and past her, merging into one solid gray stripe, rushed up the brick wall of the well. Then a deep darkness immediately occurred. Light bulbs barely flicker in the hands of the silent bearded miners, shuddering with uneven jolts of the falling platform. Then Vaska suddenly felt himself flying not down, and up. This strange physical deception is always tested by unusual people while the platform reaches the middle of the trunk, but Vaska could not get rid of this false feeling for a long time, which always caused a light dizziness. The platform quickly and gently slowed down and became on the ground. From above, the waterfall fell down to the main trunk of underground sources, and the miners quickly ran from the platform to avoid this torrential rain. People in the adhesive raincoats, with hoods on their heads, rolled full trolleys on the platform. Uncle Chance threw some of them: "Great, Terech," - but he did not honor him with the answer, and the party was dispersed in different directions. Each time, clogged underground, Vaska felt like some silent, oppressive melancholy. These long black galleries seemed to him endless. Occasionally flashed somewhere far miserably a pale-red dot of light lamps and disappeared suddenly, and again appeared. Steps sounded down and strange. The air was unpleasant cheese, dashed and cold. Sometimes behind the sidewalls heard the murmur of running water, and in these weak sounds. Vaska caught some sinister, threatening notes. Vaska walked after uncle cartilage and Greek. Their light bulbs, swinging with their hands, threw on slippery, mold-covered log walls gallery dull yellow stains, in which bizarrely rushed back and forth, then disappearing, then pulling out the ceiling, three ugly obscure shadows. Involuntarily, all bloody and mysterious mines of the mine surfaced in the memory of Vaska. Here I fell asleep with a collapse of four people. Three of them were found dead, and the Corpse of the Fourth did not find himself; It is said that his spirit sometimes walks along the gallery of the N 5th and plaintively crying ... There, in the third year, one miner smashed his head to his friend, who refused to the throat of vodka, swept underground by smuggling. Also also told about one old worker, who was launched many years ago in galleries familiar to him as his five fingers. He was found only three days, wealing from hunger and went crazy. They said that "someone" drove him down the mine. This "someone", terrible, unhaired and implanting, like he breeding his underground darkness, undoubtedly exists in the depths of the mines, but no real miner will never say about him, "neither sober or drunk. And every time the Vaska, walking after his party, thinks "about him", he feels a quiet, cold breath, who throws him into a shiver. - Well, Vanka, walked well? - Uncle Cryingly asked, turning around in the direction of the Greek. Greek did not answer and only contemptuously slipped through his teeth. On the eve, he did not come to work for a whole five days, carnically and ugly spooking his two-month salary. For all this time he did not sleep at all, and now his nerves were excited to extremely extreme. "N-yes, my brother, good, nothing to say," uncle cartilage did not take place. - How did you have a decider? Very beautiful ... - Do not coat, - Sliced \u200b\u200bGreek briefly. "What to wear, I'm not helping," the uncle chance, who was justic than that, was the fact that he could not take part in yesterday's rampant. "And only, the brother you are mine, you now do not avail the offices." Call you, a friend of cute, to the calculation. It's how to drink ... - Leave! - What is back there. This is a dove, not the fact that in the bouquet of billiards turn out. Sergey Trifonch said: let it say, he now is careful with me. Let ... - silent, dog! He suddenly turned sharply to the old man Greek, and his eyes were angry with the dark gallery. - I feel! I'm nothing, I am silent, "uncle cartilage jumped. Before the place of work was almost one and a half versts. Running from the main highway, the party was held for a long time with narrow crankshaft galleys. Somewhere needed to bend in order not to touch the head of the ceiling. Air with each minute was made raw and stupid. Finally they reached their lava. In its narrow and close space it was impossible to work neither standing nor sitting; It was necessary to beat coal, lying on the back, which is the most difficult and heavy race of mining art. Uncle Chance and Greek slowly and silently shake off, remaining naked to the belt, hooked their light bulbs behind the protrusions of the walls and lay down. Greek felt quite bad. Three sleepless nights and prolonged poisoning of bad vodka painfully gave themselves to know. In the whole body, there was a stupid pain, exactly someone felt his stick, his hands were hard with difficulty, the head was so heavy, as if she was whipped with stone coal. However, the Greek would never drop miner's dignity by giving anything of his painful state. Silently, focused, he knocked himself in a fragile, ringing coal with an arted teeth. At times, he seemed to be forgotten. Everything disappeared from his eye: and low lava, and a dim brilliance of coal fades, and a flabby body lying with him next to uncle cartilage. The brain accurately fell asleep moments, in the head monotonous, to nausea twentyly, the motives of yesterday's scarmers sounded, but the hands of strong and dexterous movements continued their usual work. Chopping over his head layer behind the reservoir. The Greek almost unconsciously moved on his back all the above and above, leaving the calm comrade behind him. Small coal splashes flew from under his Kyle, shook his sweaty face. Turning a big piece, the Greek was delayed only for a minute to push his foot, and again with an evil energy went to work. Vaska has already managed to fill the wheelbarrine twice and take her to the main highway, where coal mined in the side galleries messed up in common heaps. When he returned to the second time by the empty, it was still afraid of the struck some strange sounds, driving out of the lava hole. Someone moaned and hoarse, as if he had sought him for the throat. At first, Vaska flashed the idea in his head that the miners were fighting. He stopped in a fright, but he called an agitated voice of uncle cartilage: - What did you become a puppy? Go here rather. Vanka Greek beat on earth in terrible cramps. His face cried, foam spoke on closely concise lips, and the eyelids were widely disclosed, and instead of the eye, only some huge rotating proteins were visible. Uncle Chance was completely confused, he tried the Greek for a cold, fluttering her hand and sentenced his voice: - Yes, Vanka ... Yes, stop ... Well, it will be ... it was a terrible attack of Paduch. An unknown terrible force threw the whole body of Greek, curving him in ugly, convulsive poses. He was bent the arc, leaning only to the heels and a population about the ground, it fell hard down the body, pierced, touching the chin knees, and stretched out like a stick, trembled every muscle. "Oh, Lord, here is the story," uncle cartilage muttered frightened. "Vanka, but stop ... Listen ... oh you, my God, how is it suddenly? .. Wait, ka, KirPatoy," he suddenly united himself, "you will stay walked here, and I run after people." - Uncle, but what am I? - Called with Vaska. - Well, I still talk! Said - Sitie, and the case with the end, - the uncle shook the uncle. He hastily grabbed his trip and, on the go put on her sleeves, ran out of the gallery. Vaska remained one above the beating and the seizure of the Greek. How much time passed while he was sitting, clinging to an angle, embraced by superstitious horror and fearing to move, he could not say. But gradually the convulsions, the treble Greek body, became less and less likely. Then the hoarse proteins stopped, eyelids closed the scary proteins, and suddenly, sighing deeply with all the breasts, the Greek stretched motionless. Now Vaska has become more creepy. "Lord, yes, don't you?" - I thought the boy, and from one of this thoughts a terrible cold of the hair on his head. I barely translating my breath, he climbs to the patient and touched his bare chest. She was cold, but still rose and descended slightly noticeably. "Uncle Greek, and Uncle Greek," Vaska whispered. Greek did not respond. - Uncle, get up! Let me, I will lead you to the hospital. Uncle! .. Somewhere in the near Gallery, hurried steps were heard. "Well, thank God, the uncle cartilage returns," thought with relief Vaska. However, it was not uncle cartilage. Some unfamiliar miner looked into the lava, illuminating her highly raised above the head of the lamp. - Who is there? Vivid come out up! He shouted excitedly and abandonment. "Uncle," Vaska rushed to him, "Uncle, here something happened to the Greek! .. Lies and does not say anything. Shakhtar brought his face close to the face of Greek. But it only smelled of a sharp jet of the wine fume. "Ek lit up," Shakhtar waved his head. - Hey, Vanka Greek, get up! He shouted, sick sick. - Get up, or what, tell you. In the third room, the collapse happened. You hear Vanka! .. Greek washed something incomprehensible, but did not open the eye. - Well, I have no time with him, with drunk, to wear out! - I was impatiently exclaimed Shakhtar. - Buddly His Malets. Yes, as soon as possible. Not even an hour, and you will roll. Move then, like rats ... His head disappeared in the dark hole of the lava. After a few seconds, his frequent steps were sacing. Vaska was strikingly visited by the whole horror of his position. Each moment may collapse over his head millions of poods of the Earth. Collapse and distribute how midges like a dust. You want to shout - and you can't open my mouth ... you want to move - the hands and legs are attached to the earth ... And then death, terrible, merciless, inexorable death ... Vaska in despair rushes to the lying miner and gets shaking him behind his shoulders . - Uncle Greek, Uncle Greek, yes, wake up! - He shouts, straining all his strength. Its sensitive ear catches the walls - and with the right and on the left side - the sounds of heavy, randomly hurried steps. All workers shifts are running to the exit, covered by the same horror, which now mastered the Vaska, for an instant Vaska flashes the thought to quit the fate of the Sleeping Greek and flee the sowing head. But immediately some kind of incomprehensible, extremely complex feeling stops him. He again accepted with a belling cry to telee Grek by his arms, beyond the shoulders and behind the head. But the head obediently swings from side to the side, the raised hand falls with a knock. At this moment, Vaska's view notices the coal car, and a happy thought illuminates his head. He lifts with terrible efforts from the ground, the carnaya, the hole, like a dead man, the body and puts it on a car, then he moves lifeless legs through the walls and hardly rolls out the Greek of Lava. In the galleries are empty. Somewhere far ahead is heard the topot of the last belated workers. Vaska runs, making incredible efforts to keep balance. Its thin baby's hands stretched out and hanomed, there are not enough air in the chest, some iron hammers are knocking in the temples, the fire wheels quickly rotate before their eyes. To stop, take a little bit, ride more comfortably with exhausted hands. "No I can not!" The inevitable death is chasing him on his heels, and he already feels behind the trees of her wings. Glory to God, the last turn! Von in the distance flashed the red fire of torches, illuminating the lifting machine. People crowd on the platform. Mostly soon! Another last, desperate effort ... What is, Lord! The platform is risen ... Here it disappeared at all. "Wait! Stop!" A hoarse cry crashes from Vaskin lips. Fiery wheels flashed in a monstrous flame before their eyes. Everything collapsing and falls with a deafening roar ... Vaska comes up at the top. He lies in whose sheepskin Zipun, surrounded by a whole crowd of the people. Some thick Mr. Trete Vaskin whiskey. The director of Karl Frantseich is also present here. He catches the first meaningful view of Vaska, and his strict lips whispering approvingly: - Oh! MON BRAVE GARCON! Oh, Ti Herbury Malshik! Of course, Vaska, of course, does not understand, but he has already managed to see in the rear rows of the crowd pale and anxious face of Greek. The look, which these two people exchange, binds them for the whole life with strong and gentle bonds. 1899

Russian dictations Grade 3 1 quarter

Russian dictations 3 class 2 quarter

Russian dictations 3 class 3 quarter

Russian dictations 3 class 4 quarter

Annual dictation in Russian language 3 class

Dictation on the topic "Offer"

Autumn in the forest

How beautiful autumn forest! Birches put on golden dresses. Maple leaves diverged. The thick foliage of oak began both copper. Pines and ate remained green. The motley carpet of the leaves rushed under his feet. And how many mushrooms in the forest! Fragrant rims and yellow whale waiting for mushrooms. (43 words)

The task:

1. Give a characteristic 1 sentence. Select the grammatical basis in 2 sentences.
2. Give a characteristic 1 sentence. Allocate the grammatical basis in 3 sentences.

Dictation on the topic "The spelling of unstressed vowels in the root of the word"

Snow figures

From the sky flew wet snowball. The guys ran into the yard and began to sculpt from the snow figurines. Kohl blinded a snowman. Good snowman! Carrot was in the nose. In the hand of the broom, and on the head bucket. Zhenya built a tower with ice windows. Tolya and Ilya lepti Santa Claus and Snow Maiden. Santa Claus was with a beard. Snow Maiden in his hands held a green Christmas tree. (58 words)

The task:

1. Write out of the text 3 words with unstressed vowels in the root, write a check word, allocate an orphogram.
2. Write down a group of related words from the text, highlight the root.

Dictation on the topic "Spelling of suffixes and consoles"

Winter

There was a winter day. Sinzka Zinka jumped over the branches. The eye of the cinema is sharp. Under the crust of the trees she mined insects. Here Zinka broke the hole, pulled out the bug and ate. The mouse jumped out of the snow. The mouse is trembling, the whole climbed. She explained Zinka his fear. The mouse fell into Berlog's Bear. There were a lot of bear and small beables firmly. (54 words)

The task:

1. Write out of the text on one word with the dividing b and kommersant, highlight the orfig.
2. Write out of the text 2 words with the prefix, highlight it.

Dictation on the topic "Adjective"

Early spring

Good early spring in the forest! Brightly shines spring sun. Light clouds decorate the blue sky. Heard wonderful trills of birds. Resin smelled fragrant kidneys. A young herb appeared. Looks out a blue snowdrop. A talkative stream lit with the hillock. The pine sought a happy lush to the pine. Little Bunny Gray Couple Young Osinka. Brown bear bridge brickly brought his bearish. Cheerful and joyful forest in spring! (58 words)

The task:

1. To write down the 3 of any name of the adjectives in the singular, to determine their genus, highlight the end.
2. 1 Option: Highlight the grammatical basis in 8 sentences, sign all parts of speech. Disassemble in the composition of the word blue.
3. 2 Option: Allocate the grammatical basis in the 9 sentence, sign all parts of speech. Disassemble in the composition of the word Snowdrop.

We continue to acquaint you with the lessons of development of speech, the publication of which will begin from August 2003.

Subject. "A.I. Kuprin." In the bowels of the Earth "(passage). Change the verbs of the perfect and imperfect species at times. Generalization of knowledge about the verb as part of speech."

Goals. Continue the formation of students in students with text; develop the ability to change the verb at times, taking into account the issue to which it responds (taking into account the species); improve the knowledge of the verb, the ability to use verbs in the text; develop creative thinking of students; Enrich vocabulary.

Equipment. Portraits A.I. Kuprina, A.M. Gorky; Illustrations with the image of various ways to extract minerals, wildflowers: Daughters, reailed, chamomile, bell, wormwood, wild carnation; Sound recording of the string of grasshoppers.

The article was published with the support of the JCB Service company engaged in the repair of excavators-loaders of various brands, such as New Holland, Case, JCB. This service center employs experienced specialists who can reveal the cause of problems in the work of your technology, as well as quickly and efficiently produce repairs: the chassis of the machine, hydraulics, electricians, engine, gearbox, attachments. In addition, well-equipped automobiles - "Technicals" JCB Service if necessary or inability to deliver equipment to a service center, ready to go to place its breakdown or to the customer's object. In the JCB Service warehouse you will always find a huge selection of spare parts for construction equipment at the lowest prices. In particular, on the page http://www.jcb-service.ru/zapchast_jcb.aspx, the JCB spare parts catalog are presented, among which there are both original spare parts and a high-quality "non-original". With detailed information about the services provided by JCB Service, you can find on JCB-Service.ru.

Structure occupation

I. Organizational moment

II. Message Topics Classes

Teacher. Today, we will continue to get acquainted with the work of Alexander Ivanovich Kurin, read the passage from the story "in the depths of the earth."

III. Staging a learning task

W.In class we will work on changing the verbs of perfect and imperfect species, generalize everything that we know about the verb as part of speech.

IV. Opening conversation

W.Guys, what do you think, what could be the story of Alexander Ivanovich Kupina "in the bowels of the earth"? What is "subsoil"?

Children. Earth's depths are what is under the earth's surface. Most likely, this story about what mineral resources is rich in our land.

W.You are on the right track. Tell me, what does the expression "Development Development" mean?

D.Mining.

W.Guys, how do minerals get minerals?

D.In different ways: with special installations, excavators, people (descend into the mine).

The teacher shows illustrations with the image of different ways of mining.

W.What is the way, in your opinion, the most dangerous person?

D.When a person goes down in the mine.

W.What do you think, why?

D.The collapse may occur in the mine.

W.Quite right. In mine ( teacher shows illustration) Deep underground miner minerals - coal, ore and others.
The work of miners is very heavy and dangerous. They have to go down a few tens of meters. Shakhtar knows that his work is associated with great risk. We must bow before the difficulty of these people. Now the work of miners is a bit facilitated at the expense of modern mechanisms that help minimize minerals. But before, in times, when the Kurin lived, the workers did everything by hand, with the help of hammers and a sledgehammer (big hammer). Their work truly could be called religious.
Alexander Ivanovich's story Kurrina ( the teacher shows a book in which there is a work) - about the religious work of miners. You know that the work of young children who earned themselves to feed in Tsarist Russia. Recall the "Vanka Zhukov" Chekhov, "Spit" Mine-Siberian and others.
The characters of the story of Kuprin "in the bowels of the Earth" - the twelve-year-old boy Vasily Lomakin and the man of the years of forty, Vanka Greek, who worked in the mine.
And once the spring happened at the tragedy mine: overlaps collapsed. Vasya, risking life, saves Vanka Greek, who during the tragedy suddenly began to fight in a fit (he was sick). VaCya could run away and throw it, but he did not do it! The boy understood that at any moment they could collapse over his head millions of pounds of the Earth, collapse - and crush, like a midge, like a dust. And even this fear of death did not stop the boy, he still fought for the life of the Greek. As a result, both remained alive. "These two people were forever relatives," writes Kuprin.
The boy's act can be admired. What do you think, why?

Children speak.

- The story begins with the description of the steppe. Guys, guess why?

D.The mine was most likely located under the huge space of the steppe.

W.Kuprin does not accidentally begins the story with the description of the spring morning in the steppe, in order to show the life on earth with all its bright and delicate paints, peace and peace, then the other side of the earth with mud, danger and the religious labor of people underground. Such opposition emphasizes even more difficulties in the life of miners.
Spring steppe is beautiful. And this charm of the steppe was able to convey the Great Master of the word Alexander Ivanovich Kuprin.

V. Wise work

W.Before reading the description of the steppe we will analyze the words that will meet in the text.

The board opens the writing of words selected for dictionary work.

On the desk:

Vi. Primary perception of text

W.Get ready to carefully listen to the passage from the story "in the bowels of the earth". Try to present the picture that Kubrin describes.

The teacher reads the passage:

"Early spring morning, cool and solidist. In the sky either a cloud. Only in the East, where the sun was swimming in the fiery glow, still crowded, palena and taaya with every minute, the SIZY predain clouds. The whole bustling steppe space seems to be mounted fine gold dust. In thick violent grass there and Syam tremble, overflowing and flashing with multi-colored lights, Large dew diamonds. The steppe fun shakes with flowers: brightly yellowing the gear, modestly blue bells, whites whole thickets smelting chamomile, wild carnation burns punch stains. In the morning coolness spills bitter healthy The smell of wormwood, mixed with gentle, similar to almonds, the aroma of the surcials. Everything shines, and it is not enough, and happily stretches to the sun. Only in some way in deep and narrow beams, between the steep cliffs, the rare shrubs, still lie, recalling the departed Nights, wet bluish shadows.
High in the air, unparalleled iron, the larks are trembling and ringing. Restricted grasshoppers have long raised their meal, dry crackle.
The steppe woke up and came to life, and it seems as if it breathes deep, smooth and mighty sighs. "

- What picture did you imagine?

D.Early spring morning.
- steppe. The sun rises.
- The steppe is moving with flowers. Shoot grasshoppers. Larks ring. Steppe woke up.

W.Did you like the description of the steppe? Why?

Children speak.

VII. Work with text

The teacher distributes the text of the passage from the story "in the bowels of the earth."

W.Read the text on your own and define the topic and type of text.

Children read the text.

- What is the topic?

D.Waking steppe.

W.What type of text is this passage?

D.To the description.

W.What is the object description?

D.Steppe.

W.Consider the description of the description.

D.Early spring morning, cool and solidist.

W.What epithets use Kubrin to say what morning came?

D.Early, spring, cool and rosy.

W.What can you say about the morning on this adjective?

D.It was early in the morning, when the sun was booster. There was spring.

- There was still no warmth, in the mornings cool, after the night everywhere dew.

W.Did you see such morning?

D.Yes.

W.That's the same early morning could personally observe the Kuprin. In general, observe the awakening of nature after night sleep very interesting. How did you see the morning of Kurrin? What was the sky?

D.The sky was clean.

W.What words did you guess about it from the text?

D.In the sky neither the cloud.

W.But what unusual noticed Kubrin in the sky?

D.In the east, the predestrous clouds crowded.

W.Read this offer.

D."Only in the East, where the sun was swimming in the fiery glow, still crowded, palena and taaya with every minute, the SIZY predawn clouds."

W.Do you like this offer?

Children speak.

- The offer is very beautiful. Look at how many epithets and personification used Kubrin in this proposal.

What does the expression "fiery glow" mean?

D.When the sun shines, it looks like a fire.

W.What verb transmits movement in nature, the beginning of the day?

D.Skilled (sun).

W.What does it say about clouds?

D.They crowd (personification), pale and melted with every minute.

W.In this sentence, it is shown how the night is replaced by the day: clouds go, the sun floats.
What do you think, why does the Kuya use the word "Taya"? After all, melting usually snow, icicles, snowflakes?

D.Here is a figurative expression: that is, they disappear before our eyes disappear.

W.The sun comes into account. What did the Sun Beams become similar to the Sun Beams?

D.The steppe seems to be mounted fine gold dust.

W.Kurin again uses a figurative expression. We know that in reality there are masters that cover the products with gilding. But here it seems to be created thanks to the sun, the rays that illuminate everything around.
So, the sky is clean, the sun is like a fire glow. What else attracted the attention of the writer?

D.Flowers.

W.Read the description of the colors and write down the epithets, comparisons, personification in the notebook.

Children read from words "in thick violent grass ..." to the end of paragraph. In the notebook discharge:

Diamonds dew tryozat and flare out multicolored lights, steppe fun Pestreet, modestly blue bells, carnations burning Punchy stains, smell of wormwood split, the smell of wormwood looks like almonds, all nearby.

Students can write other epithets from the text (for example, a thick violent grass, etc.).

W.Look, as the writer managed to say about flowers. What paints immediately get up before your eyes?

D.Yellow(gorse), blue(bells), white(chamomile), red(Carnation), different shades from the color of dew (diamonds).

W.Only flowers showed us in this passage of the Kuprin?

D.No, also smells. The odorous chamomile, the bitter smell of wormwood, the aroma of the surcials.

W.See how adjective names ( pahukhai, Gorky ) and nouns names ( smell, aroma ) Help the writer to transfer the steppe atmosphere. We, reading these proposals, involuntarily, too, imagine her tart smells.
What mood is created with you when you present such a picture?

D.Joyful.

W.In which words in the text are attributed to the beginning of a new day? Read.

D.Everything shines, and it is not enough, and happily stretches to the sun.

W.What or with whom can I compare nature?

D.With a living creature, with a man.

W.Usually, a person, when only wakes up in the morning, it is not enough, squeezes and the willy-unillus raises his hands up, also stretches to the sun, to life.
What else notes Kubrin in the steppe?

D.Sounds.

W.The first spring sounds in the steppe are birds and insects. What did Kurpen hear?

D.Larks who trembled and rangs.
- restless grasshoppers.

W.Guys, have you ever heard the striking of grasshoppers?

D.Yes.

W.Want to listen?

D.Yes.

VIII. Fizkultminutka

W.A little rest. Close the eyes and imagine that steppe that Kubrin writes about.

The teacher includes sound recording with the striking of grasshoppers.

IX. Working with text (continued)

W.Guys who guessed, what other sounds heard Kurpur in the steppe?

D.Sighs steppe.

W.Prove words from text.

D."It seems as if it breathes deep, smooth and mighty sighs."

W.Kubrin compared steppe with man. But why is the expression "Mighty sighs"?

D.The steppe is huge as a man-giant.

W.So, the steppe woke up and came to life. What do you think, what is the main idea of \u200b\u200bthis passage?

D.Spring steppe is beautiful.

W.Well done boys!

H. Working with the verb as part of speech

W.Thanks to which part of the speech Kuprina managed to tell about everything he saw and heard in the steppe?

D.Thanks to the name of the noun - the sky, morning, steppe, flowers.

W.With which part of speech, does he clarify all the finest characteristics of these items?

D.With the help of adjectives.

W.What part of speech helps to revive the picture?

D.Verb.

W.What is verb?

D.Verb is part of speech that answers questions what to do? what to do? Varies at times, persons, numbers. Changing the verbs on persons and numbers is called the Hisiony.

W.There are many verbs in the text. All of them are divided into two groups - perfect and imperfect species.
Write yourself in a notebook in one column verb of an imperfect species, in another - perfect species, determine their time.

Children work in a notebook.

Verbs of imperfect species:

skilled (OST), crowd (Nastown), it seems (Nastown), tryozat (Nastown), pestreet (Nastown), yellow (Nastown), shine (Nastown), beleet (Nastown), burning (Nastown), split (Nastown), bleaches (Nastown), nearby (Nastown), stretch (Nastown), lybed (Nastown), tremble (Nastown), ring (Nastown), breathe (Nast.)

Verbs perfect Vila:

raised (OST), awoke (OST), roils (OST).

W.Look at your records. Think if only three verbs in the text - perfect species?

D.Most of the verbs of the imperfect species, that is, the events occurring at this point (with the exception of the verb "swam"). These verbs allow you to show movement, the action that happens now.
The verbs of the perfect species help to say about already accomplished actions.

W.Pay attention to the time of verbs. What time is missing in the text?

D.Future.

W.What do you think, why?

D.Cooking was important to show the steppe at the moment, that is, what he introduced his eyes now.

On the desk:

W.Fill the table.

One student - at the board, the rest work with signal cards (work testing).
On the board record (the result of the work performed).

- We once again were convinced that the verbs of the imperfect species change at times (the present, past and future), and the verbs of the perfect species can only be used in the past and the future.

Xi. Linguistic experiment

W.But in the text you need to very accurately use the verb of a certain species. What happens if you do not comply with this, we will make sure that you read the text, changing the type of verb or its time.

Children perform work.

- We were convinced that the text became inexpressive. See how the right choice of each verb is important to pass the thought in accordance with your design!

Xi. Wonderful drawing

W.Let's try to verbally draw a verbal picture to this part of the story.

The teacher discusses the imaginary picture on the plan:

1. What will be drawn? (Content)
2. How will objects will be located in the picture? (Composition)
3. What paints use for the picture? (Color solution)

Perform work and verification.

Xiii. Working with a textbook

Exercise Exercise No. 517, p. 221 (according to the textbook T.G. Ramzayeva. Russian language, 4th grade).
On the board - portrait of A.M. Gorky.

W.Read the text and tell me where Morning Alexey Maksimovich Gorky.

Children read the text:

The best in the world is to watch how the day is born!
The first ray of the Sun flared in the sky. Night Darkness quietly hides in the gorges of the mountains and the cracks of the stones. And the tops of the mountains are smiling a tender smile. Sea waves highly raise white heads, bow the sun.
Good sun laughs.
Playfully swaying flowers. They are proudly smiling, siping to the sun. His rays burn in drops of dew. And the gold bees and the wasps are already circling over them.
The day came. "

- Where did you meet the bitter morning?

D.By the sea, in the mountains.

W.What did you notice in common in the descriptions of Kurrov and Gorky?

D.The sun rose, the night darkness is quietly hiding, the flowers are swayed and squeezed to the sun, the rays burn in drops of dew.

W.Did you like the description of Gorky?

Children speak.

"Each writer, the poet sees the world around him in his own way, gives the feeling in his own words. But all these descriptions are wonderful. We need to learn a lot from great classics.

Guys, try to ever watch the arrival of a new day in this world. I am sure you will discover a lot of new, interesting and mysterious.

XIV. Total lesson

W.Guys, did you like the lesson? What new have you recognized?

Children's statements.

Xv. Homework

W.Draw an illustration for an excerpt from the piece of Cupper.

Note. The story (passage) is taken from the book: Kubrin A.I. Emerald: Stories, Tale. - L.: Children. Lit., 1981. - 169.

DEAR FRIEND!
This book will tell about an amazing specialty - art to create fabrics, or weava. Weaving, like construction, is the most ancient profession of man. Fabrics surround us everywhere: at work and at home, at the watch and work hours. Fabrics are used in chemistry and energy, mechanical engineering and metallurgy, medicine and cosmonautics. Yes, imagine, and in astronautics. The inner covering of space stations, cosmonaut clothing and many other spacecraft details are made of tissues. Without an autocrad, it is impossible to produce tires for cars, without exercise can not do in the production of bicycles, wiring needs insulating tapes and tissues. In the coal industry, non-ferrous metallurgy and a number of other industries, filter materials and conveyor belts are widely used. Tare fabrics are needed in a wide variety of national economy, technical cloths are used in the pulp and paper industry.
The complexity of technological processes, the kinematics of weaving equipment, the degree of automation and mechanization of labor, the weaving production of textile enterprises are located at a fairly high modern level. And by complexity, weaving machines are inferior only to printing machines!
At the same time, weaving is the humane specialty, which serves to satisfy the needs of people in clothing. A modern man needs a variety of clothing depending on the kind of activity, time of year, fashion, etc. Every day, tens of thousands of weavers rose to the weaving machines of textile enterprises. Fabrics are created by their hands. These people can be proud and deservedly proud of their specialty - an ancient profession of weaves.

Preface

Everyone needs to cause the benefit used in its place.
K. Prtukhkov

How to find your place in life? All the difficulty, according to sociologists, is that the more the choice provided to man by society, the harder to decide how much way to go. Francis Bacon also said that "the pushing on a straight road will be ahead of the running, which came down from the way."
"There are no inflated people, there are people engaged in their own business" - this folk wisdom expresses the basic law of professional orientation.
Professional orientation argues that each person has its own vocation, its own main "string" of life. If he can give the opportunity to live and work, playing on this string, the return of his society will be the maximum.
We rarely think about what is the most necessary for a person. In the age of television and radio, space and missiles just once think about it. If in one of the houses of the modern city, suddenly a few hours will turn off the electric current, people immediately change the usual rhythm of life. At the same time, some 100, 150 years ago, people loose freely without electricity and related amenities. But always a person was needed clothing, accommodation and food.
A lot is written about lasers, rockets, structure of substances, but about such simple, everyday things, like fabrics, books are still very small.
We are talking and arguing about beauty: this is beautiful, fine, and this is, on the contrary, ugly, inesticative. What is beauty?
Why do we get squeezing from the Miracle of the Color of Baby Summer or from the species sparkling on the sun of the snow, and in the art gallery of a long time for the pictures of great masters?
Nature! It is beautiful in all its manifestations. But no less beautiful and what is created by the hands of a person. These are cars and devices, houses and turbines and, of course, fabrics.
So what is beauty? Often we call beautiful what matches the standards and ideals of our time. Each era has their own ideals and fashion. But there is a beauty that is incredible, to which humanity be sure to return. People will never stop pleaseing the proportions of Parfenon, harmony and unity with the nature of the church of the cover on the nerve, the canvas of Rafael and Rembrandt.
Beauty Do not estimate the size ratio. For the purely external beauty of the face on the picture of the famous master we are looking for the beauty of spiritual. Valery Bryusov wrote:
There are thin lubricants between the contour and the smell of the flower.
The beauty of Mozart and Chopin's music, Pushkin's poetry and Shakespeare, Welkezes and Rembrandt, Stone Creations of Rastrelli and Kazakov, Beauty of fabrics ...
When you study the basics of music or a foreign language, suddenly comes the moment when unfamiliar marks - notes turn into a wonderful Mozart melody or Latin letters - in Shakespeare's sonnets. The same amazing miracle expects those who will decide to study the ancient and eternally young specialty - weaving.
From this book, the reader learns about how and when a person learned to make fabrics, as improved and what technical level has reached weaving. He learns about people who glorified this profession in centuries, about their great affairs and tragic destinies and, finally, about those who create tissues with their work.

1. Fabrics - what is it?

How is the fabric produced?
Have you ever seen a weaving machine? Not? And you look. Father Russian aviation N.E. Zhukovsky, first seen a weaving machine (taking into account the machine of the beginning of the 20th century), exclaimed: "Such a car can not work!". And when the machine was included in the work, Zhukovsky came delighted with the complexity and clarity of the various nodes. Modern weaving equipment, managed by computers, probably would surprise it even more.
But back to the machine. Thousands of threads, which have been trained in various moving details along it. These threads are intertwined with transverse threads that are paired by some devices so quickly that they will not notice them. Attracts the attention moving back-progressively along the threads of the ridge. And finally, the fabric formed by some incomprehensible way appears from this grain and wounds on some shaft.
This is the first impression of a weaving machine leaves a full vessel in the head: many details moving at high speed in various directions and with some kind of purpose ... But the target is one: form a fabric from the threads. Let's look at the machine attentive.
Thousands of threads passing along the machine are wound on a large coil. This coil is called Mail. As fabric is being developed, the Navoi slowly turns to a certain angle, wolping the definite length of the threads. All threads wound on Navoi are called the foundation. They are so named because they are actually the basis of the fabric produced.
Now it is advisable to pay attention to the framework of the framework of the frames with a strengthened gadgets, with thin metal plates with holes. Frames are climbing, they descend. And since the threads are the foundations of the extends to the holes of Galeps, they rise and sink along with the framework.
These frames are called Remness. If you read the story of Leskov "Zarey Remiz" (i.e., a hare jump, jump), then remember this name will be easy. So, part of the threads together with some framework rose, and the part fell. There was a clearance between them, or as they call in weaving, Zev. In Zev and the transverse thread, intertwined with the longitudinal threads of the foundation. This thread, walking across the filaments of the base, is called dodge.
Ducks in various ways, but the most common shuttle, i.e. With the help of shuttle.
This word happened from the Chelna, the boat making the way from the shore to the shore. In this case, the "shores" are the edges of the fabric formed on the machine.
The padded refined thread (ducks) is intertwined with the main threads and is communicated to a certain place (nailed) by a special mechanism of a weaving machine - a batan that makes a reciprocating movement. The surf is carried out directly with a metal comb - a camp, between the teeth of which the bases pass. The resulting cloth is wound on a special shaft, called commodity.
Now take a look in fig. 1. It shows the scheme of the simplest shuttle weaving machine. The formation of tissue on the weaving machine is as follows. Summarked with Naughn 1 Thread 2 Basics enveloped rock 3, pass through the la-fur device 4, the eyes of 5 gallops with remaps and between Berdy's teeth 7. Remisks serve to separate the filaments of the base on the part, which allows you to intertwine them with duck threads. The movement of the base in the vertical plane is used to form a throat on a weaving machine. One part of the bases of the base from the middle level rises, the other is descended. The space between the bases raised and lowered the bases, as you already know, is called Zev 6. In it, a 8-duck plug in it (shuttle, microchildren, rapies, pneumatic springs, air,
Doye) Pins the refinement. Zev is formed by a zev-forming mechanism that moves the remaps up and down according to a specific design of the weave. Zevo-formational mechanisms of weaving machine are three types: eccentric, cathipers and jacquard.
Eccentric zevo-formational mechanisms are used to produce tissues with a small amount (no more than 8) of different-wheeled threads (i.e. Rapport of weave). Carette zevo-forming mechanisms allow you to produce fabrics, in the rapport of which so much differently intertwined filaments of the base, as there are forms on a weaving machine. The design of the weaving machine allows you to install on it 24, sometimes 30 - 32 remaps, which does not allow to produce patterned fabrics with large drawing rapports. Fabrics, the ripport of the interlacing of which on the basis contains more than 24 - 32 of the divergent threads and sometimes reaches several thousand threads, called large-sided, or jacquard. They are produced using a special zev-forming mechanism - jacquard machine. On these tissues, you can reproduce geometric, vegetable and plot-thematic patterns.
After laying the threads of the duck, ZEV closes and the reinforced thread of the Berd 7 (thus the metal ridge, in the teeth of which undergo the filament of the base) is nailed to the edge of 9 tissue. Then a new zev is formed, in which, according to the drawing of the reminder of the reminding and the bases, the bases are changed in them change the position, as a result of which the refined thread nicknamed tissue is fixed by the edge. The resulting tissue is wound on the trade shaft 10. As you can see, some new terms appeared. The rock is a knot of a weaving machine, the general purpose of which to give the basis the necessary direction, in other words, to send the threads of the base, winding with Navoy to Remiz. What is the edge of the fabric? Before answering this question, remember what the forest edge is. Remembered? Out, i.e. Edge. It seems that now and unnecessary to explain the term "edge of the fabric".
Fabric formation is the process of intertwining two systems of threads (basics and duck) with the joint action of the mechanisms of weaving machine, performing technological operations: tension and vacation of a certain part of the base length, zevo-education, launching a duck in a zev, a testing of the tissue to the edge of the tissue Fabrics for trade shaft. Fiber B.
This is described in more detail in section 6.
The threads and yarn have a twist and, having elasticity, seek to get rid of it. Here, his Majesty friction begins to act. A lot of benefits and harm to friction are known. In weaving, friction also plays an important role: does not give threads to straighten, and the tissues - crumble on separate threads. As a result of each other, the filament of the bases and duck bend, taking a wave-shaped fabric. In places of bending one thread near the other, friction forces are created. The magnitude of the friction forces depends on the type, thickness and tension of the threads.

What is the structure of the fabric?
Here we briefly and met how you can develop fabric. But after all, the fabric is all different: thin and thick, with a pattern and without drawing, protecting from the cold and from the Sun. Yes, you never know different fabrics! What do they differ? And the fabrics are distinguished by the structure and properties.
So what is the structure of the fabric? Is it too high? This sounds - the structure of the fabric? After all, it is not a house, but just a fabric. No, not loud! A person who wants to create a cloth should know how it will be built. The structure of the fabric is the mutual arrangement of the filament of the base and duck and the connection between them. The structure of the tissue depends on a number of factors: the type and thickness of the main and revealing threads, the number of threads on the basis and the duck falling per unit of the length of the tissue, the type of weave the threads in the tissue.
If the thickness of the filaments of the base or duck change, then their bending in the tissue will change. For example, if the filaments of the base in the tissue will be thinner than the fifth of the duck, then the bending of the main threads will increase, and the clarification will decrease. This will lead to a change in the structure of the tissue, and hence the change in its physico-mechanical properties.
In addition, the fabric structure affects the type of thread (fiber gene, the method of manufacturing and processing the thread and yarn). In wealers, various types of yarn, twisted threads, chemical threads of different methods of manufacture are used in weaving production for the latter and duck. The threads of all these species have a different structure and with the same thickness have different physicomechanical properties, which in turn affect the structure and properties of the tissue.
The number of threads per unit of tissue length are called tissue density. It is determined by two directions - based on and duck. The tissue density characterizes the frequency of the filament in the tissue. The farther arranged
Futs from each other, the density is smaller and the fabric is less likely. In accordance with the size of the gaps between the bases of the base and between the threads of the tissue of tissue in density can be divided into rare when the gaps larger the diameter of the threads; dense when the intervals between the threads are less than their diameter; Average density when the gaps between the threads are almost equal to the diameter of the threads. Distinguished tissues balanced by density, i.e. Having the same density based on both ducks, and unbalanced, in which the density is based on the duck of non-etinakov.
One of the main parameters of the structure of the fabric is the type of weave the threads in the tissue, i.e. The form of a mutual arrangement of them relative to each other. A plot where the thread of one system overlaps the thread of another system is called overlapping. If, when weave on the front of the fabric, the filament of the base overlaps the filament of the duck, the overlap is called the main one if the duck thread overlaps the base thread - wept. The sequence of overlapping through a certain number of threads, after which this sequence of overlapping is repeated (i.e., the number of different-breeding threads) is called the Rapport of Weave. There are a rapport of interlacing based on - the number of filaments of the base, after which the order of the location of the ceiling in the direction of the duck is repeated, and the ripport of the weave by duck is the number of refined threads, after which the order of overlap is repeated in the direction of the base. Weave is also characterized by a shift - a number showing how many threads are removed overlapping one thread from the previous one. The vertical shift is distinguished between nearby the main threads and the horizontal shift between the next to the tall threads. Thus, with the help of different arrangements of the threads in the tissue, you can create a large number of diverse weaves. Their combination and determines the structure of the tissue.

The main properties of the fabric
Properties in tissues, like other creatures of human hands, a lot. And if a combination of any one properties is needed for dresses, then completely other properties are required for tarpaulin. And what properties?
Let's get acquainted with the main of them.
The most important property, especially for technical tissues, is strength. It is determined by this. The fabric sample, usually with a size of 200 x 50 mm, is strengthened in the clips of a special discontinuous machine. One of the clips is stationary, the other is mobile. Then includes the engine, and the movable clamp with a constant low speed begins to move, pulling the sample and ultimately breaking it. At the same time, the load is fixed, in which the sample broke. It is called discontinuous load. In addition, the length of which the fabric sample pulled out to the cliff, i.e. The so-called discontinuous elongation is determined. These two indicators can tell about much. For example, the possibility of using the tissue with multiple loads. On the elastic properties of the tissue testifies the magnitude of its extension during the break: the more this value, the more elastic fabric, the less it will be frozen when sock.
Household fabrics - dresses, costume, linen, etc. - all the time being abrasion about various objects, about human body, etc. Therefore, there is such an indicator - abrasion resistance, i.e. The ability of the tissue to resist abrupt effects. This indicator is determined on a special device on which the fabric sample is friction about various rough surfaces. With a certain number of abraging strokes of the carriage of the device (cycles), signs of its destruction are observed on the surface of the tissue. By the number of abrasive cycles, one can judge the stability of the tissue to abrasion.
The folds and wrinkles formed on the fabrics at crumpled and wrinkles are not only spoiled the appearance of clothing from it, but also accelerate wear, since the bends and folds are stronger abrasion and, therefore, the destruction of the fabric. Therefore, there is such an indicator as the stability of the tissue to crumpled.
Depending on its purpose, the tissue has different chaininess. What it is less, the more smooth surface in the fabric. For example, lining fabrics must have a small chain.
As a result of washing and iron, the fabric is reduced in size. This property of the tissue is called shrinkage. It should be borne in mind that a large shrinkage in the socks process may worsen the appearance of the fabric. Therefore, fabrics intended for clothes should have a small shrinkage.
Fabrics, as you know, can pass air, water, steam. Depending on the appointment, the amount of air, water and steam transmitted through fabrics should be different. One of these fabric properties is air permeability - characterizes the ability of the tissue to pass the air. It is clear that light summer fabrics must have greater breathability, and the tissue for the upper winter clothes is less.
The valuable property of household tissues is parrength-eposta, i.e. Fabric ability to skip water vapors. By vapor permeability, you can judge the possibility of removing evaporation from the surface of the human body (linen fabrics).
But for filter tissues, an important property is water permeability, i.e. Ability to skip water. For casing, shoe, tent tissues (tarpaulin), one of the main properties is waterproof, i.e. Resistance to fabric penetration of water on one side to another.
Interesting properties of tissue as thermal conductivity and heat resistance. Thermal conductivity - the ability of the tissue to pass heat. If the tissue is designed to protect from the cold, its thermal conductivity must be minimal. Heat resistance shows the maximum temperature at which the fabric can perform its purpose without changing other properties. This property is necessary for technical tissues, "working" at high temperatures, for example, for fittings.
Thus, various properties are needed different to the appointment. For technical tissues, highly strength properties are mainly necessary, for exhaust tissues - hygienic properties, resistance to crumpled, etc.

Types of fabrics
A variety of fabrics, their colors and quality affect the formation of the direction of fashion, on the range of clothes. Every year, more than 600 new cotton, woolen, linen and silk fabrics, chemical fiber tissues and mixtures, as well as mixtures with natural fibers are created in our country, as well as mixtures with natural fibers: wool, cotton, flax and silk. Is there a difference between the fabrics from different fibers? Of course have! The difference in the properties of the fiber predetermines the appointment of tissues. Let's look at the range of tissues from various fibers.
Cotton fabrics have the greatest proportion in the overall assortment of the tissues produced. It is 70%. The cotton industry is the largest of the branches of the textile industry. At 275 combines and factories of this industry, approximately 40% of all countries working in the textile industry are employed. The range of cotton fabrics is very diverse. It contains more than 1000 articles, which are combined into a group of intended purpose.
Lower fabrics are designed for the manufacture of native and bed linen. It is Boszy, Muslin, canvas, batists. The largest part of the shirt and dresses make up dresses (summer, demi-season and winter), sits, satina and eraser. Clothing fabrics are used for the manufacture of suits, trousers, special and sportswear, coat, etc. Furniture and decorative fabrics are used for furniture upholstery and other decorative purposes.
The range of linen fabrics contains about 500 articles. Among them are linen (linen and semi-mounted), costume (linen, semi-mounted and flaxivansani), bortovka.
In the assortment of wool fabrics with more than 1000 articles, in addition to real-woolen, half-wing fabrics are widely represented. Woolen fabrics are robes (camebris), thin-circuit and coarse and coherent depending on the thickness and method of manufacturing yarn. By appointment, they are divided into dresses, costume and palp.
The range of silk fabrics contains over 1000 articles of dresses, shirt, costume, ornamental and other tissues. Fabrics made of natural silk yarns are represented by fasteners, semi-finished and linen fabrics.
Fabrics from chemical threads are divided into strong and semi-rock fabrics (crest-satin, crepe-macken, Panama), smooth fabrics (label, canvas, peak, sarza lining), shaped jacquard fabrics, cloak, blouses and dresses. In addition, we produce fabrics using yarn from mixtures of chemical fibers and their mixtures with natural fibers.
Pile fabrics are produced in woolen (carpets) and silk (velvet, plush, artificial fur) industries.
For technical purposes, special purpose fabrics are used: cotton-frame - frame, for conveyor belts and drive belts, filter, gauze, packaging; linen - canvas, tare and sleeves; woolen - for layers of filters drive belts; From chemical threads - - for Sit, Cord, filter and upholstery.
Chemical threads are widely applied in Shemkotak production: viscose, acetate, triacetate, polyamide, polyester, etc.
What is this thread?
In 1655, Robert Guk, the one, the name of which the law named the beginning of the science on the resistance of materials, came to the conclusion that "... may seem to find ways
It is artificially obtaining a sticky mass, similar to how it is formed by a silky worm, or even better. If such a mass is found, then, apparently, the easiest task will find the path of pulling this mass into thin threads. I will not indicate the benefit of this invention - it is perfectly obvious ... "
More than 200 years passed before this brilliant guess confirmed. Only in 1884, the French chemist Shaz-Donne, who was a student of the famous Louis Pasteur, managed to obtain artificial chemical fibers, patent the process of their manufacture and proceed to industrial production. We are talking about the most common in the world, the least time consuming and a well-known chemical fiber - viscose. Then acetate and triacetate and other filaments on a pulp basis were obtained.
In the 20th century, new fibers and threads were obtained: polyamide (kapron), polyester (laveva), polyacrylo-nitrile polyacrylo (nitrone) and many others. In recent years, lavasan threads with varying degrees of extensibility, kapron threads with different cross-section profile of elementary threads, combined threads consisting of threads of various types, such as acetate-caprochy, obtained.

What precedes the production of fabric?
In recent decades, buildings for which they do not need brick, cement, reinforced concrete, metal, wood, are built around the world. These are the so-called pneumoconstruction. Walls and roofs in such buildings are made of airproof tissues. With compressed air, inflatable columns or arches are manufactured, and they support buildings from rubberized fabric, providing them with the necessary strength and stability. And you can build such buildings and without columns. It is enough just to inflate the shell and ensure the tightness of the structure. In such an hangar, a warehouse, a sports hall or a temporary cinema is supported by a small overpressure - for several thousandths of the atmosphere above the outdoor. You only need to seal the input and output. For this, tambura are arranged. Inflatable pavilions are erected in a few hours and can be operated for many years. They exhibit exhibitions, play tennis, badminton, store equipment and materials and even place some temporary production.
But returning to the previously said, repeat: the main purpose of the tissues is for the manufacture of clothes.
Clothes upper and lower, male and female, for the smallest and for those who are more working and festive, for tourists and cosmonauts, for wintering in the Arctic and shepherds in semi-desert, modern and retro style - a huge variety of shapes and styles, species Fabrics and colors ... Clothing at all times performed several functions: protected from cold and heat, on the possible environmental impact, if we are talking about working clothes, and finally decorated its owner.
What precedes the production of fabric?
Now, when you met, however, in the most general form, with how the fabrics produce and from which their structure depends, you can also tell about how the fabrics design. Yes, yes, it is designed! In weaving there is such a science - the design of the tissue.
Before talking about the design of the tissue, we will get acquainted with the technological processes that precede weak and are held after it. You already know that for the manufacture of fabric you need raw materials: cotton, flax, wool, silk, chemical fibers. This raw material in the form of yarn and threads enters a weaving factory from spinning industries or from chemical factory. To prepare from these threads the base, you must first wind on Navoi parallel to each other a certain number of specified Denza, this process is called again and is carried out on special reservoirs. But this is still not enough for the principles of the base to be recycled in a weaving machine into the fabric. It is necessary to increase their endurance and resistance to abrasion in repeated loads on the weaving machine. For this purpose, the bases are impregnated by a specially prepared adhesive composition - a shlicht. At the same time, they are covered with a film that protects fibers from destroying when friction. The process of sizing the threads of the Shlicht is called shlincing and is carried out on the shlichtoval machines. The bases prepared in this way are sent to a prompt department, where the bases are made through the holes of Galeps and the teeth of Bird. This is done on special agile machines.
All listed operations serve as the only goal - to prepare the weaving process. Therefore, they are called preparations, and the equipment is preparation.
After working out the fabric on the weaving machine, it is separated. The purpose of the decoration is to improve the appearance and quality of the fabric. When finishing, many tissues are attached new
Properties: failure, heat resistance, waterproofing, etc. The finishing of the tissues is made on special finishing equipment, where the fabrics are subjected to mainly chemical processing.
Tissue designers are called Assenators. This word happened from the French Dessinateur - draftsman. The modern subsidator should know a lot: the types and properties of raw materials (i.e. threads), weaving and preparation equipment, weaving technology, methods of finishing the fabric and, of course, the direction of fashion. In order to produce a fabric in the weaving workshop, the subsidator is a filling pattern and the technical calculation of the tissue, i.e. The full program according to which the fabric should be developed. All these calculations must take into account, what properties will have fabric, what an appearance will be, how much it will cost and how productively weaving equipment will be used when working out the fabric. As you can see, this task is not easy.

Fabrics and their names
Fabys have their own names, as well as people and surnames. By the surname, a person sometimes you can determine its origin, and sometimes the specialty of his ancestors. For example, the ancestors of the Russian Kuznetsov and Ukrainian Kovaly were engaged in one useful business - were blacksmiths. Often the surname of a person points to that terrain where he comes from. Similarly, you can learn the pedigree fabrics. And sometimes, it would seem, a consonant foreign word hides in an invalid Russian title. Let's not go far for examples. Cite! Our Moscow was still quite recently called Sitseva. Cite is a widespread lightweight cotton fabric. So, our native sitherium has an Indian origin. The name comes from the Sanskrit word meaning "motley". This fabric got into Russia only at the beginning of the 18th century under Peter 1 passed no more than half a century and Russian sits won fame not only in Russia, but also abroad.
Here is another name of the well-known cotton fabric - Molekin. In the people, it is also called damn skin. The title says for itself. Moleskina sew rains, bathrobes, costumes, sports and special clothes, i.e. Using wear resistance, strength and appearance of fabric having a smooth glossy surface. The name of this fabric, as well as its origin, English. Molekin first began to produce in England. From English, the name of the fabric is translated as "skin skins". Despite the wonderful
The transformation of the skin skins in damn skin, the need for tissues of this type does not decrease.
All probably known bike. She has a thick pile on both sides, providing high heat shielding properties. Therefore, the fabric is used when sewing winter women's and children's clothing, sports costumes, warm linen. In addition, the bikes make blankets and a coat lining. Bike translated from Dutch means "woolen fabric".
Satin fabrics are also widespread. In Central Asia, they sew beautiful national clothes. In central Russia, they are used as a lining for outerwear, for the manufacture of blankets, women's toilets. Satin fabrics are mainly produced from natural silk, sometimes from viscose and acetate threads. The word "Atlas" in Arabic means "smooth". In Russia, the Atlas is known for a long time - from the XV century. For centuries, it was used for clothes of very rich people.
Batist is named after his author Batista Cambre from Flanders, who made this fabric in the XIII century. At first, the battered was made only from linen yarn of high quality, later began to use cotton yarn for it.
The word "velvet", like the tissue of this name, came to us from Arabs. True, first the velvet made a "stop" in the south of Europe, in Italy and France. Velvet is a cleaner or semi-curtain cloth with a solid or stray-sided pattern on the front side. In Russia, the production of velvet was started at the end of the XVI century under the Tsar Fyodor Joano-Vice Italian masters. In Peter I, the first in Russia factory for the production of velvet, satin and other silk fabrics was organized. From the velvet sew the elegant women's dresses, it is also used to finish clothes and hats.
Poplin - famous silk, semi-hide or cotton fabric with a small transverse swing. It sew dresses, blouses, men's shirts. Motherland Poplin is the French city of Avignon, which has long been the ownership of Roman dads.
For almost five centuries, special handmade carpets have been called tapestries in honor of the dyesman Jules Gobel, who founded a workshop for the production of carpets in Paris at the beginning of the XVI century. On these carpets, multicolored weathered tape threads reproduced by manually compositions on historical, mythological and household topics, landscapes, architectural ensembles, portraits. The work was very painstaking and low-performance. An experienced master produced about 1 square meters of tapestries per year. It is clear how expensive was worth these carpets! They can be found in museums, for example, in the State Hermitage. In the museum of fabrics of the Moscow Textile Institute, A.N. Kosygin there is a collection of French tapestry XVII - XIX centuries. Thematic carpets framed by a wide border have long played a large role in interior decoration. For the manufacture of only the curb, experienced weaves spent several years. To produce tapestries, natural wool was used, which was painted with various natural dyes. Cardboard for tapestries were performed by famous artists.
At the beginning of the 20th century, the production of hand tapestries ceased due to the great complexity of manufacturing and high cost. Modern decorative fabrics are produced on polynomial weaving machines equipped with jacquard machines. However, they cannot completely replace the real hand tapestries.
The reader may have the impression that all the fabrics are "invented" a long time ago and their names go deep into centuries. However, it is not. No, probably, a person who did not have abandoned the fabric, bearing the name of the ancient Italian city of Bologna. Light piping fabric with waterproof coating has liked many. But she is relatively young - she is about 30 years old. Even now, when the raincoats from Bologna are already unmodest, youth with pleasure wearing jackets and windbreakers, stitched from this light fabric.
We give the names of other tissues and explain their origin.

The roofing agent is a heavy pary fabric using gold and silver threads, the woven pattern of which mimics the embroidery (from the French word BroCher - to catch out gold).
Velvet - from the English word velvet - velvet.
Damaste fabrics, or lady, - dense silk fabrics brought from Syria. The name happened from the name of the city of Damascus
Kamka - Silk Fabric of Chinese Origin. From China is brought to India. Described by Afanasius Nikitin in the famous "walking for three seas".
Castor - cloth cloth with low and dense, combed with. One side of a pile (from the Greek "Beaver").
Cashmere is a smooth wool fabric, which was originally manufactured in Kashmir (India).
Madapolam is a cotton lightening fabric of Indian origin (by the name of the city of Madapolam).
Makintosh is a rubberized fabric, named after his author of the Englishman Makintosh.
Mitkal - Thin Cotton Fabric of Arabic Origin.
Muslin is a thin cotton fabric (by the name of the city of Mosul in Iraq).
Parch - dense silk patterned cloth using gold and silver filaments of Persian (Iranian) origin.
The peak is silk and cotton fabrics with a relief and convex pattern in the form of transverse or longitudinal logs or diamonds. The name of the fabric comes from the French Pigue - quilted, line, firmware.
Ravenutuch is a delighted linen canvas. The name is Dutch, before the so-called tight fabric of hemp.
Rec is a dense cotton or silk fabric of Dutch origin with longitudinal or transverse swirls.
Satin is a thin dense cotton fabric of Chinese origin.
Taffeta is a thin smooth silk fabric, comes from Persia (Iran).
Tweed is a dense woolen tissue of Scottish origin.
Tick \u200b\u200b- Dutch name dense striped linen fabric.
Trickly - woolen fabric, comes from France.
Faydishin is a dense silk fabric (from French Faille de Chine - Chinese Fi).
Ibucha - light silk fabric of Chinese origin.
Shawl - Persian name of female woolen handkerchiefs.
This list of tissue names can be continued infinitely. However, it should be noted that the names of the tissues give it now. This is done by the authors - assensnants who design new fabrics. Among the jacquard dressing fabrics, for example, widespread tissue space, spring, pearls, Rimma. Maybe a few years will call their first fabrics and today's readers of this book?

2. Learn from Nature (first fabrics)

Throwing pebbles into the water, look at the circles, they are formed; Otherwise, such a throw will be empty fun.
K. Prtukhkov

For a long time, many millennia ago, as well as to now, the clothes were needed by a person. After all, the person does not have such a warm skin, like the beasts. At first, for protection from the cold, he used the skins of the killed animals. But the skins were good in cold and uncomfortable in warm weather. In addition, the skin on which the wool grew, spoiled from time to time, was sworn in Studu and rot in the heat.
In short, the clothes were needed by a person, even primitive! And again, Nature came to help people. Well, if it is accurate, not the nature of "came," and the person learned from her a lot, in particular weaving. Close to the web: it is flexible and durable, does not break away from the gusts of the wind, nor from convulsive efforts to escape flies in it. Why such strength? Yes, because the longitudinal threads of the web are intertwined by transverse. So, using pieces of bark, fish, leaves, leaves, bird feathers and binding such longitudinally located materials with transversely located, the person learned to get wicker materials. They were used for clothes, as mats, covered, etc. It is weaving that should be considered a prototype of weaving.

What to do the fabric?
One of the first plants, which began to wear people, was nettle. Yes, do not be surprised, the same nettle, which is considered weed and whose young leaves in the spring go in soup. It was used for the manufacture of coarse fabric, burlap, durable fishing gear, rope, ropes ...
In addition to the main types of natural fibers (chloquer, flax, wool and silk), a person learned to get fibers and from such plants like hemp (from her skes get a rude fiber hemp), Rami (shrub, similar to nettle), Abaca (textile banana, from Which is obtained by Manila's hemp), agawa (from the leaves of which the fiber sisal is obtained), etc.
While primitively communal, along with nettle, it began to use for the manufacture of flax fabrics. It is not necessary to grow the nettle and care for it, it is not necessary to take up in an excess of wild, but Len needs to sow, and the soil before it is specially prepared. But but the tissue of flax with the nettle is not compared. That's why the nettle was ousted by flax.
In the third millennium, linen plantations in Malaya Asia, Egypt, in the southern regions of Europe appear before the new era. Already at that distant time, the ancient Egyptians bred Flax four varieties. Despite the primitiveness of the technique, they made the finest threads from flax. Interestingly, the owners of the most large linen workshops were Pharaoh and his priests. Trade in expensive linen fabrics with other states was only through them. Several later, the Egyptians began to grow flax and produce the Greek fabrics from it. Their tibes are slave in special premises at rich houses and palaces. In ancient Greece, weaving was considered art of the highest. In the famous epic of Homer, they are engaged in the wife of Odyssey Penelope. Issues "dealt" and gods.
In "Metamorphosis", Ovida tells the legend of Arachna, a simple teaching girl who dared to argue with his art to weave with the most goddess Athena, the custodian of cities, patroness crafts and sciences.
... "Arachna was famous for all Lydia. Nymphs were often gathered from the slopes of TMOL and from the shores of a maltented pactole to admire her work. Arazhna fabrics from threads like fog, fabrics, transparent, like air. She was proud that she was not equal in the world to weave. Once Arahan exclaimed:
- Let the Athena Pallada itself comes to compete with me! Do not beat her for her, I'm not afraid of this.
And so, under the guise of a gray-born old woman, who was fed to the staff, appeared before the Arachian goddess Athena and told her:
- Not one evil brings with me, Arachna, old age: years carry experience with him. Listen to my advice: strive to surpass only mortals with your art. Do not cause the goddess to the contest. Humbly moths to forgive you for the arrogant words. Praying forgives the goddess.
Arachna released a thin yarn from hands, anger sparkled her eyes, and she boldly replied:
- You are unreasonable, old woman. Old age deprived you of mind. Read such instructions to your daughters and daughters, leave me alone. I will be able to give myself advice. What I said, then let it be. What is not athens, why doesn't she want to compete with me?
"I'm here, Arahan! - exclaimed the goddess, accepting his real image.
Nymphs and Lidia women lowered in front of the beloved daughter Zeus and piled her. Almost Arachna was silent. Just as the scarlet light lights up in the early morning of the sky, when it takes off on the sky on the sparkling wings of the Rose-Pern Zarya-EOS, so the paint of anger of the face of Athens was greeted. It stands on his Arachna, she still wants to compete with Athena. She does not feel that the ambulance threatens her.
Competition began. Athena Lesteala on its covered Majestic Athenian Acropolis and depicted his dispute with Poseidon for power over the attic. Twelve gods and among them the father of her, Zeus, solved this dispute. Raised Poseidon his trident, hit them into the rock, and sick out the salty source from the fruitless cliff. And Athena, in the helmet, with a shield and in Egid, shook his spear and deeply stuck him into the ground. Sacred Olive has grown out of the ground. The gods awarded the victory of Athena, recognizing her gift at the attic more valuable. In the corners of the beds, depicted a goddess, as the gods of people are punished, and around the dilated wreath of Oliva leaves. Arachne also portrayed the scenes from the life of the gods in which the gods are weak, obsessed with human passions. Around the collar of Arachna wreath of flowers, sent by ivy. The riding perfection was the work of Arahans, she did not inferior on the beauty of the work of Athens, but in the images it was visible disrespect for the gods, even contempt. Athena was terribly angry, she ruined the work of Arahans and hit her shine. Unhappy Arahan did not transfer shame; She Sweet Rope, made a loop and hanged himself. Athena freed Arazo from the loop and told her:
- Hall, recalcitable. But you will always hang and weave forever, and it will last this punishment and in your offspring.
Athena sprinkled Arachu with the juice of magic herb, and immediately the body was squeezed, thick hair fell off his head, and she turned into a spider. Since then, the spider-Arachna is hanging in her web and forever her challenge. "
It makes no sense to comment on this legend, it is quite eloquent. I would like to add that weakness in the ancient world attached great importance. This work was very difficult. Ancient Greek poetess Sappo (VII century BC) wrote: "Mother is sweet! The machine was pushed and weave no strength ... "
And here is another common fiber - cotton. This is a fluff covering cotton seeds. By appearance, it resembles wool, but according to properties is very different from it. Cotton is used by a man for a long time. At least, judging by the excavation
Kam, in India it was processed in the fabric for another 1000 years BC Cotton from time immemorial is called white gold. This figurative expression reflects the value of cotton fiber, its wonderful properties, a crucial role not only in textile, but also in other industries. Herodotus's father told that one Egyptian pharaoh presented a knowledgeable guest. Canya, "cropped with gold and cotton"
You already know that animal skins served as the first clothing. It took the time for a person to notice that the skin of animals would deteriorate, and the wool remains soft, fluffy and warm. She became the main source of raw materials. When excavations of the tombs of the bronze age (1500 years BC), objects of clothing from wool were found.
The technology of obtaining yarn from wool is more complex than the technology of producing cotton yarn. Initially, the wool will be coated, then washed to clean from the seatic and dust, comb and twist into yarn. So, for twisting of individual short fibers, a man used manual spindle for centuries. In archaeological excavations in different places found manual spindlers of various shapes and sizes, but one destination is yarn. For many centuries, they served people until Leonardo da Vinci invented the self-dye in the XV century, in which the spindle rotated not from hand, but with the help of the wheel drive from the wheel. Creating a self-dye is a major step towards the mechanization of spinning. Now the spinner serves 600 - 800 and more spinning with the frequency of rotation 12000 min-1, however, the principle of twist remains the same as 500 years ago, as described in the invention of Leonardo da Vinci!
But back to the processing of wool.
Wool with sheep with a haircut is removed with a solid "fur coat", which is called a rune. The ancient Greek myth about the golden rune, from which the salvation and the prosperity of the kind, which became its owner depended, tells about the extraordinary adventures of Jason ~ one of the descendants of the winds of the winds, about the monstrous battles that I had to lead Jason and his friends-Argo-Natvat, until they searched The golden rune - a rune of the ram, who had once saved his life to one of the relatives of Jason and then sacrificed Zeus.
Fiber wool a little thinner of the human hair. Its thickness - 20 - 25 micrometers, and it consists of layers. The top layer scales, similar to the roof tile, perform the role of armor from the rain, sun, wind, various blows. The glitter of fibers depends on the form and location of the scales. Under the layer of scales is a fibrous layer, and in the center -
air filled with air. Fiber wool apologue. The thinner it is and the more apologue, the softer and fluffy fabric. The strength of the woolen fiber exceeds the strength of steel wire of the same section. Wool absorbs moisture, like the pump first absorbs sweat, and then pumps moisture into the air. Woolen fiber is a bad heat conductor and therefore the protection of the human body from the cold is guaranteed.
Skinstorm, i.e. The breeding of silk worms and the production of thin silk yarns for further tissue production, arose in deep antiquity in China (in the III Millennium to the new era), later in India and the Middle East.
Silk cocoon is a doll of a silkworm caterpillar. The art of creating tissues from the threads of this cocoon turned China into the richest country of the ancient world. The Chinese for centuries in the strictest mystery kept the method of obtaining silk and were the only manufacturers of silk fabrics in the world. To Europe, silk began to import still in the century - during the Roman Empire. In the 4th century, the methods of silk production mastered in Greece. They then spread in the countries of Southern Europe. Silk production in Italian cities of Bologna, Genoa, Venice flourished. Strength, elasticity, the ability to color well in different colors - all these properties attracted consumers of silk fabrics. Silk made very expensive luxury fabrics available only to rich people.
In the ancient century, the fabric was appreciated fabulously expensive. Secrets of their production were kept in the strictest mystery. In Assyria and Babylonia produced wool fabrics. Here was mastered the dyeing of fabrics in bright colors: red, brown, blue and yellow. In ancient Greece, woolen and linen fabrics with elasticity and resourceability were produced. The width of manually produced tissues reached two meters. There was known in blue, yellow, brown and purple.
In ancient Rome, woolen and linen fabrics were also made. This is how the Roman philosopher Lucreti Kar writes in his book "On the nature of things" about the hype, reigning around fashion on the fabric: "Before the fabric invented, people are ruttered<...> Now Purpur and Zlato life fill with concerns and aggravate the struggle. In this, as I suppose, we ourselves are fully guilty. "
Designation of the color of the clothing of social status is one of the oldest characters. The clothes of the highest secular and church ranks, as a rule, was made of red and blue fabrics
flowers. People standing on the lower stairs of the social staircase, usually worn unpainted clothes, or clothes of yellow, brown and black colors. Special laws of ancient Rome were allowed to wear clothes painted by purple, only persons of the imperial title. Senators could be worn only with a narrow purple border in the lower part.
In Confucian Chinese, officials of various ranks were very clearly differed in color of clothing and its separate details.
Thin Assyrian fabrics from Bobmiscin (threads of a wild silk worm) in the first century began to be crowned with silk, bringing from China and India. Fashion on silk fabrics was so great that in the III century a pound of silk fabric (by weight) cost a pound of gold. It should be emphasized that while in the south of Europe, the north of Africa, in Central Asia and the Middle East, weaving has reached its heyday, in the north of Europe, it has just started to develop. This is what the Roman historian Tacitus writes about the Germans in the first century .: "... Their clothes are raincoat. Staying naked, Germans spend most of the day near the fire. Rarestly differ in clothing as follows: they are on the shoulders of gems of precious animals, more fluffy - on the banks of the Rhine and more subtle - throughout the rest country. Women dressed as well as men, except for the fact that they often cover themselves upper linen clothes, decorated with purple, and that the upper part of their clothes, the one, where the sleeves begins, shows their shoulders and hands, their breasts are also open ... "
Yes, the development of weaving occurred in different countries inherent. Social and economic formations have significantly influenced this development.

Ancient ways of making fabric.
The emergence of industries
How was the first fabrics manufactured? Excavations of the ancient standards of primitive man, as well as the first cities in various parts of the world show that the frame was mainly used to which longitudinal threads were stretched - the basis. These threads intertwined with transverse threads - dodge. For example, living on the shores of the Nile in the IV millennium BC. The ancient tribe of Bakairi learned to produce fabrics using a vertical weaving frame. These were two posts, lined in the ground. From one to the other stretched the threads - the basis.
The ducks were wound on the wand and with her help, it was made through the basis. It turned out a fabric like a mat.
Weaving frame of this type existed in ancient Mexico (Fig. 2). The technique of this primitive manufacture of tissues was distributed in various parts of the globe: in Asia, Africa, America and, of course, in Europe. Australian aborigines, it still exists to this day. With a large number of basic filaments, work on the lading Duck occupied a lot of time. The main inconvenience of the vertical frame was the need to pull the thread of the duck from the bottom up, which led to the need to produce very narrow tissues. To obtain wide tissue, we had to sew together several narrow bands.
In the future, judging by archaeological excavations, primitive weaving techniques progressed. On the territory of modern Switzerland, the remains of a weaving machine belonging to the period of pile buildings were found (Fig. 3). The crossbar was placed between two vertical columns in the upper part, to which the base was attached, stretched with the help of clay loaded. Here the ducks were skipped from left to right and back. The width of the fabric was determined only by the length of the hands of the weaver and the possibility of its movement along the frame. This device has already allowed to increase the width of the tissues produced. With a width of the fabric 50 - 80 centimeters, it was impossible to get the desired for clothing (for example, 4-5 meters) on this machine.
And the person again began to the problem of improving the weaving machine. He came to the conclusion about the need to create a certain reserve of the bases of the base on the upper crossbar, so that these threads could be easily rewound as the tissue is produced and lowering down, pulling through the goods. So the device arose, from which century later, already in the Middle Ages, in Europe, which was created before us Neva of the Weaving Machine, i.e. A large coil with flanges, which was wound by several thousand threads of large length (3-8 thousand meters). The presence of such a fixture made in turn necessary for the removal of the tissue during the work, i.e. Creating a device for winding the resulting fabric. For this, the lower crossbar began to be applied, which later (at about the same time, when the Navoi appeared) turned into a weaving machine.
Already mentioned the emergency difficulty of laying a duck between the main threads (especially with their large quantity). The difficulty was needed to interrupt half of all the bases of the founders. One of the most
More simple methods facilitating the separation of even filaments of the base from odd (for the formation of the so-called zea when paving the filaments of the duck), it was the stretching of the bases of the base on the frame in two rows - rear and front. This method was used for more than 5 thousand years ago at the ancient tribe of Bakairi. It is also used by the NPJI handicraft production of Ukrainian carpets - Kilimov and Rogozh. A special combed of the formation for the formation of ZEVA also served in the teeth of which the holes were drilled. Through the holes in the ridge teeth, all even threads of the base were made, and between the teeth are all odd. The comb was suspended to the top bruster machine like a swing. To approach even threads, Tkach pulled ("dried") a comb to himself, to approach the odd threads of the base, the ridge was moved back from the middle position. At the same time, a clear alternation of zev was achieved, in which wept the threads. This device is preserved in the corporal production to the present.
Much later, already during the rural community, moved to the production of more dense tissues from thin threads. These threads did not stand the sharp blows of the ridge and rushed. In addition, difficulties arose in the manufacture of a comb for a large number of tightly arranged threads. The time required solutions to the technical problem of the production of dense tissues, and this problem was solved. The remision apparatus was invented, or rather its prototype in the form of native planks. In the future, this device was improved.
Another important device of a weaving machine was born from the swinging ridge, which is necessary for the surrounding of the padded thread to the edge of the tissue. Initially, the surf was carried out with a flat plate, which weaver kept behind the handle. Then the surf began to make a crest attached to the swinging batt. Batan in turn was attached (for better swing) to the upper bruus of a weaving machine.
After the introduction of all these innovations to the weaving machine, it reached the process of laying a duck. The filament of the duck was wound on a wand (sometimes on the spindle), which during the laying hurt for the filament of the base, which led to a slowdown of the weaving process. To make it easier to make ducks, the wand began to do thinner, then it turned into a needle, one end of which was sharp for better slip between the base threads, the other - thicker to wind the yard thread (Fig. 4). In the future, they began to make a needle with two sharp ends having special holes for the alternate lattice of the duck threads. This design in which the future shuttle is guessed, significantly accelerated the pace of work of weak. Such primitive checklocks are also found, for example, the Battakov tribe on the island of Sumatra (Indonesia).
So, the main elements of manual weaving - frame, trade shaft, a remision apparatus, a batan with a cereal and a primitive shuttle - were created by a person in a professional society.
With the emergence and development of the slave-owned system, weaving techniques continued to be improved. The most ancient country of developed textile production was Egypt. In the XIV-XII centuries BC. Egyptian linen fabrics have already been known and widely exported to Syria and Mesopotamia. In the ancient kingdom, linen fabrics were one of the types of lifesta, which the peasant paid his owner, the temple, King.
About 2000 years BC, i.e. During the period of the Middle Kingdom, weaving separated from agricultural work and became craft performed in special weaving workshops by factor professionals. The largest workshops were concentrated in the temples. In the new kingdom on the basis of these workshops, manufactory appeared, where slaves worked each on their plot, i.e. Specialization emerged on the most important types of work. Interesting and the fact that 4000 years ago in ancient Egypt was introduced a monopoly on external tissue trade. Only the king and priests are the owners of the largest manufactories - could sell fabrics abroad. The owners of private workshops and merchants had the right to sell linen fabrics only within the state.
In addition to Egypt, linen production was famous in the antiquity of Kolkhida - a country located on the territory of modern Georgia and Azerbaijan. It exported fabrics to various countries of the East, as well as to the Roman Empire.
Motherland silk production is China. Later, silk fabrics began to produce in India, and then in Babylon; From there, in turn, this art was borrowed by the Romans. In China, the production of wool tissues also has been highly developed (from the III century BC).
The center of the production of cotton fabrics since ancient times was India, where the finest cotton fabrics were made - sitses.
In the ancient times, Greece and Rome were centers. In Greece, worked wool, and from the IV century BC. Linen fabrics. Until the VII-VI centuries BC It was the character of the home craft. In rich houses and the palaces of Greek, there were special premises, where, under the supervision of the owner of the house, slaves were engaged in the manufacture of fabrics. At the same time, weaving was considered higher from the crafts and its invention of the Greeks attributed the goddess Athena Pallad. Homer dassed wrote that ... Fabrics were so tight that the thin oil was not dug.
In ancient Rome, it was also made in large quantities for domestic needs and for exports of linen and woolen fabrics in large workshops, where slaves worked.
That is far from us the time of weaving techniques continued to evolve. In ancient Egypt, the weaving machine was significantly improved (Fig. 5). The front trade shaft appeared on the frame, on which the fabric was wound as it was made; Spare threads of the basics shifted to the rear bar, loads that created the tension of the threads were suspended. Lifting Lamizok manually was replaced by a pedal mechanism, freed weaver hand to perform other operations. Week now could stay in one place, and not moving along the machine frame. The refinement was nailed by the ridge, the teeth of which were made from the split reed.
In ancient Greece, multi-emission weaving machines appeared to generate patterned tissues (Fig. 6).
In ancient Rome, the most perfect fixture for laying the refined thread was invented (Fig. 7). The filament of the duck was wounded on the set, which to protect the duck from premature unwinding and tangling the basis began to invest in a special box having a pointed form at the ends (for the convenience of laying in the yawa base). Tsevka was very light and was performed from the canthage. One end wound on. Tsevka duck passed through the side opening of the box. When the duck plugs, the Tsevka rotated in the box, wounds a part of the thread of a certain length. Thus, the Roman tips of that time created a shuttle, which, without significant changes, remained in manual weaving to the present day.
Finishing a brief overview of the development of weaving techniques in the first stage, you must say the following. The ancient weaving of simple fabrics (cloths) was inferior in technical terms ancient. Only in the field of patterned weaving the Greeks created a more perfect type of weaving machine with several
Kimi pedals. The Roman Weaving Machine was much primitive than Ancient Egyptian. The only contribution of Rome to the weaving technique was the creation of a rational design of the shuttle. Complex, skillful weaving operations demanded personal craftsman's skills and were incompatible with the unqualified work of slave, so the slave-owned system contributed little to the development of weaving technology.

3. From manual weaving to mechanical

Craft period
The history of the development of technology is inseparable from the history of human development. And this is understandable. The technique creates people. The breaking of a public system is always reflected on the development of equipment and, above all, on the development of its main industries: military, construction and, of course, textile.
In IV-V centuries, AD. A feudal society arose on the ruins of the ancient world. Sometime, the kiphen cultural and economic life of the Roman Empire replaced by the widespread decline of public activity. The technique of early Middle Ages had a significantly lower level compared to the level of antiquity achieved.
Almost all the clothes that residents in the early Middle Ages were worn, was manufactured directly in these states. Work on sales existed mainly in large monastery facilities. For example, in the 9th century, Sukna, made in the monastery of the city of Constanta (Romania), were known far beyond the city. Another monastery is Rytenbakhsky (Germany) - famous for his linen fabrics. These fabrics were exported to Rome from the second half of the XI century. At this time, a slow, but the steady rise in the development of the technology of weft began, after a long decline began to be revived, and then almost forgotten ways of making tissues.
The production of woolen fabrics, in particular, various Sukon, in the XV century were the Netherlands. Linen fabrics produced in Germany (Westphalia, Augsburg, Swabia, Thuringia, etc.). Cotton fabrics, previously brought from Malaya Asia, began to produce in Germany and Italy in the XV century.
Even in the Middle Ages, many conquering hikes in China were crying out of the desire to have precious silk fabrics. They were the main trophies of the Horde of Genghis Khan and Batya. Silk production for a long time was not known to feudal Europe, which did not have its own raw materials base. The culture of silky worms was listed in Byzantium in the VI century, from where she got into Sicily and South Italy. In the XIII-XIV centuries, Bologna, Lucca, Genoa, Venice become the centers of production of silk fabrics in Italy. At the end of the XIII century, silk production occurs in France.
The appearance from the east of the new material is cotton (XII century), and then the breeding of a silk worm in southern Europe made it possible to make a variety of tissues. Their quality as production develops becoming more and more high. In the production of tissues, Italy and the Netherlands were leading, and in the XIV-XV centuries - France. A variety of natural conditions and less compared to other European states, fragmentation favored the development in France of the weaving craft. At this time, the production of climbs of various varieties with great elasticity and elasticity increase in Europe. The discovery of a number of new coloring substances has expanded the possibility of obtaining tissues of new colors and shades. In addition to Sukon, other wool and half-walled fabrics were made, smooth and finely designed cloth were also produced. The production of cloths, especially thin and transparent, was famous for the Netherlands. In Italy, velvets were distinguished, dense silk and brocade fabrics, among whom fabrics were especially valued with a pattern reproducing peacock feathers.
In the XI-XII centuries, artisans groups appear in the cities of Western Europe, which are combined into the cereals - guilds. There were guilds of gunsmiths and bondary, potters and carpenters. Weaver were also combined in the guild. There were, for example, the Guild of Sukchikov, Towels, etc. Comeses were a closed privileged organization, which was engaged not only by production, but also the sale of goods. The division of labor was practically absent. All operations to work out products from the beginning and to the end depended only on the craftsman's skill.
Very high demands were presented to the quality and quality of fabrics. When Sindics turned to the great Dutch artist Rembrandt - the elders of the Sukchikov Guild - with a request to write a group portrait, their condition was as follows: "You must show our honesty. Our honesty that has never matched, -
Here is the only good that there are five in us. We check, we are sorting and stamping each piece of fabric coming from machines in our city, and we never - for you it is a trifle, and for us - everything! - They did not miss the sale or yard cloth with flaw. We do not expect that you will write us beautiful, smart or aristocratic. Honest and conscientious things like we were, fulfilling our duties, we will remain so far to death and we want to look at the same when the picture will hang in the Sukchikov guild. "
We walked a century, and manual weaving practically did not change its technology. For several millennia, people made fabrics on vertical weaving frame.
And here is the revival, or Renaissance (from the French Renaissance, from the Italian Rinascimento), - the epoch that has become transitional in the history of the countries of Western and Central Europe from medieval culture to the culture of the new time. In the era of the revival, there was a flourishing of not only literature and art, but also science and technology.
Leonardo da Vinci is the great master of the Renaissance. It is difficult to even list all those areas of human activity in which he would not make outstanding discoveries. They were offered tank designs, helicopter, metal cutting machine. He did not go around his attention and textile production. You already know that they have developed a self-deficel in which the spindle gets moving from the drive, which significantly increased the spinning speed. Leonardo Da Vinci offered the horizontal location of the weaving frame, which was much more convenient, and the productivity of weakly increased dramatically.
With the development of craft production in medieval Europe, weaving frame was somewhat modernized. So the simultaneous rise and lowering of several threads began to be applied, i.e. there was a multi-emission system, a tattan mechanism of weaving machine was improved.
In fig. 8 shows the German weaving machine XIV century. The use of fourmaps proves the possibility of making patterned tissues on this machine. In the English weaving machine (Fig. 9), very broad fabrics were produced without a doubt. The machine could only serve two weaver, since the shuttle cousing in both sides through Zev could not be carried out by one person. The fact is that the width of the fabric was determined by the length of the hand of weaver. There are two pairs of Lamisok on the machine: it means that patterned fabrics were produced on it.
It should be said that mainly the expensive silk fabrics produced in Italy were patterned. In the presence of
Simple drawings could be adapted to produce patterned tissue ordinary weaving machines, increasing the number of remaps and pedals in them. However, more than 30 remaps in the weaving machine cannot be installed, so so-called bowls appeared in Italy in the XIV century. On these machines, each group of the bases of the base, which in the figure was to be raised at one duck when the duck cite was passed through special eyes - the faces connected with frame rope. The latter passed through the holes of the frame board and tied in groups to one cord, percked through the block in the top bar of the machine and the end of the lead shelter. The formation of a throat on such a machine was achieved by pulling out each time the female workers were appropriate. The famous Venetian and Genoese silk and velvet fabrics with drawings made by gold and silver threads were manufactured on such bowling weaving machines.
A feature of the production of velvet fabrics was the use of two bases: ground and pile (which was about 6 times longer than the soil). In the process of weaving, first raised the pile base into the upper part of the oz; They laid a special rod; Then formed the second ZEV, in which the shuttle was paved with the refinement, etc. In the future, the rod from the fabric was removed, and the loop from the pile base was cut into a knife - so on the surface of the fabric, a pile was obtained.
Of course, some improvements in weaving techniques were introduced, however ... for 1500 years, the new era of weaving techniques went very close to the level of ancient Rome and ancient Greece. What is the reason? And the reason in the artificial containment of progress! Attempts by any mechanization met stubborn resistance and hostility from shop organizations. So, for example, Walter Kesenger, which appeared at the beginning of the 15th century to the Cologne workshop with a proposal to introduce some "wheels" for handmade mechanization, was denied the fact that if the new invention was applied in practice, ". . . Many who fed this craft will die. " Therefore, it was decided that it was not necessary to build and put the wheels now nor ever subsequently. " Fear of artisans lose their earnings due to the competition of any mechanism - here is the basis of technical conservatism in the Middle Ages.

Manufacture period
This period, which lasted a little more than two centuries (from the middle of the XVI century to the last third of the 18th century), is characterized by the emergence and development of a new capitalist production method.
The era of the great geographical discoveries of the XV - XVI centuries and the cruel struggle following her for the colonial domination between France, England, Spain, Portugal and
Derlands ended in the XVII - XVIII centuries of the victory of England. By the 60s of the 18th century, England concentrated in his hands not only all international trade, but also significant territories of colonial markets (India, Canada, extensive areas of North America, as well as Central American colonies captured from France).
The transition from the handicraft production period to the manufactory, in contrast to the manufactory, the major capitalist industry was not accompanied by a technical coup.
Yes, progress in the technique developed at the time extremely slowly, but still evolved! This was a considerable extent to successes in the field of mechanics and mathematicians, which began the beginning of the use of scientifically based technological processes.
The ancestor of modern mechanics is Galilee (1564 - 1642), which has established and formulated the basic laws of the statics and dynamics of solid bodies (the laws of free falling of bodies, uniform movement, the principle of inertia, etc.). From the followers of Galilee, the highest contribution to the mechanics of the XVII century was made by Guigens (1629 - 1695) and Newton (1643 - 1727).
One of the first mechanics of the manufactory period is the mathematician and philosopher Descartes (1596 - 1650), and the teachings on fluids, i.e. hydraulics, without which no high-speed car is practically nothing, humanity is obliged to Pascal (1623 - 1662) and Toricelli (1608 - 1647). The contribution of Boyly Physicists (1627 - 1691) and Mariotta (1620 - 1684) to the development of the foundations of gaseous physics, it is difficult to overestimate. Papen (1647 - 1714) developed the first elements of the theory of the steam machine.
In the XVI - XVII centuries, a wider wheel was widespread (flywheel), aligning the unevenness of the machine through the accumulation of the energy obtained from the transmission engines to its actuator. Belt and cable transfer of movement appeared. Thus, the manufacture of the future technical revolution was laid in the manufactory period.
However, mainly in the technique of weaving XVI - XVII centuries cannot be noted any significant changes. The exception is perhaps the technology of manufacturing silk patterned tissues. Here, improvements aimed at reducing labor costs and ultimately on improving the productivity of a weaving machine are made to the design of the linen weaving machine. French inventors Dongon, Bushon, Falcon and Fobanon consistently improved
They also sink a primitive selection system and lifting part of the main threads according to the drawing of the weave of the tissue. However, all improvements required radical changes in the technique and the organization of silkobotsk production, and the workshops and traditions prevented the spread of these improvements. Nevertheless, the development of weaving continued.
The English woolen industry, having the same technical base, significantly increased production volumes by performing government orders for the army and fleet, as well as extension of foreign trade. It is enough to say that by the end of the XVIII century, the export of woolen fabrics from England was estimated at 4 million pounds sterling. At the same time, the woolen industry of Italy and the Netherlands experienced a sharp lack of raw materials, and the volume of wool tissues in these countries has been reduced.
Linen production continued to develop in Germany, Ireland and Scotland. Italy and France remained centers of silk production. Cotton production until the XVIII century played only an auxiliary role in the textile industry. Medieval Europe was familiar with cotton fabrics that are brought from Asia Minor. At the end of the XVII century began and began to grow rapidly entering Indian cotton fabrics to Europe - cheap and colorful. They immediately began to seriously compete with woolen and linen fabrics. The shop organizations of European weaves opposed the "unborn guest". There were laws prohibiting the importation and wearing of Indian cotton fabrics. In 1680, in London, working and worstian-nicknames destroyed the house of the East India company who traded cotton fabrics. In England, due to the rapid spread of cheap cotton fabrics, the struggle began to preserve the positions of national woolen production: a campaign was carried out in print, prohibiting laws were published, boycotted those who wore Indian cotton fabrics. However, the young English cotton industry not only overcame these artificially created barriers, but also the first moved to machine production.
Partially imported smuggling partially made in England itself.

4. Technical revolution of the XVIII century

The last third of the XVIII century is a turning point in the history of the development of equipment. Humanity has not yet known such a rapid development of technology. For centuries, a person enjoyed manual tools, the production of finished products was entirely dependent on the craftsman's skill, from his strength and dexterity. Machines practically did not exist. But since the 70s of the XVIII century, on the site of the old manuff production, using manual labor, the factory industry based on the machine technique began to occur. A number of great inventions caused by the urgent needs of society followed. Rhythm of public life accelerated in an incredible degree. The invention of the steam locomotive in a large extent contributed to the development of internal and foreign trade, and this in turn caused the need to a sharp increase in the production of goods.
But is it possible to increase the production of goods on old manuffs with manual labor? Of course not! What to do? Machine! What is the car? The first, very accurate characteristic of the car was given to K. Marx: "Any developed machine device consists of three substantially different parts: engine machines, a gear radiation mechanism, finally machine-gun, or a working machine." The work machine is "such a mechanism that, having received a corresponding movement, makes it the most operations that previously performed the work of the same tools. Does the driving force come from a person or, in turn, from the car "it does not change anything in the essence of the case." In the essence of the case - no! But in performance? The answer is unequivocal. Consequently, the working machine needs the engine drive.
To bring the machines, more powerful and perfect engines were needed than those that existed in the manufactory period and which were calculated mainly on hand tools and devices. From old engines there was a water wheel. On its basis, milling mechanisms arose on large manufactories - the predecessors of future machine units. Of course, this engine could not become the energy basis of the new factory industry. Why? Well, first, because there are not everywhere rivers, waterfalls, and secondly, in winter, as you know,
We would be called "the executive mechanism".
Water freezes, and one more, extremely important, the circumstance is a small engine power. In other words, the power of the water wheel could not, for example, carry out several machines, and build such a bulky engine unprofitable for each machine. That is why, as soon as the first factory factories have arisen in England, the problem of creating a new engine that meets new requirements has occurred. Such an engine caused to life in the 70s-1980s of the XVIII century by the needs of industry, has become a steam engine, which moves several workers at once.
The idea of \u200b\u200busing the mechanical properties of steam to obtain useful work occupied people for many centuries. Another ancient Greek mechanic of Geron (and eyelids BC) designed the device in which the hollow ball rotated from the steam jets leaving the tubes. The Great Leonardo da Vinci in the XV century developed a project of the gun, which shifted by the kernels departing under the pressure of steam. In a word, there was a lot of attempts to use steam, but in the invention of the steam engine we are obliged to the great English mechanic James Watt, who not only invented the steam car in 1765, but in 1784 the mechanism without which it would be impossible to use it in industry. This mechanism now knows every schoolboy. And then, just 200 years ago, it was a truly revolutionary invention.
We are talking about a crank-connecting mechanism that converts translational movement into the rotational. From the mid-1980s, steam machines began to introduce steam machines from the mid-1980s. Thanks to the introduction of the steam machine, an energy base for the occurrence of weaving factories was finally created. But this was still not enough! For making in a large number of weaving machines (and steam engines, of course, too) was necessary in huge amounts of metal. This stimulated the rise and further development of metallurgy.
The initial moment of the revolution in the metallurgical technique of the XVIII century is the transition first in the domain, and then in the ironing production to a new type of fuel - stone coal. This could be realized only after the invention in the 1930s of the XVIII century a method of coal coal. The method of coal coking (not immediately, and after a few decades) caused a real revolution in metallurgical production: the complete replacement of expensive and deficient wood fuels is new, cheaper and more common - mineral.
The reader may freeze and think: "Is there much revolutions in the XVIII century? Something the author becomes similar to the Wishlovsky Prince, which "... And to the providence of unprecedented unbelievable ..." No, friends, the XVIII century was a truly century of technical revolutions in the history of civilization. War years, decades will be held. In the 20th century, in which we live with you, it will be a lot of the fact that in the XVIII century it seemed a miracle, but still the jump in the technique that occurred at the end of the XVIII century, not compare with anything? So, back to metallurgy.
The use of coke caused the need to upgrade domain furnaces: it was necessary to sharply increase the strength of the blast. From physics, you know that when burning coke consumes a lot of oxygen. If you leave the design of blast furnaces for the same, then their performance when using coke was 2 - 3 times lower than when using wood fuel. In the 50s, the Mechanic Smonon invented a new type of cylindrical furs of the pumping and piston principle of operation with productivity, an order of magnitude greater than the previous level. To actuate the fur, a steam engine was applied. With the use of coke, the domain plants of England began to produce a lot of cast iron by that time.
What to say, an impressive growth. The ironing industry also did not stand in place. In 1784, the court and ONONS invented (independently of each other) a method for producing carpentry iron melting cast iron on coke fire with subsequent metal rolling on special rollers. This method in metallurgy is called pudling. To characterize the value of the method, it suffices to say that the labor productivity has increased 15 times! (Previously, this operation was carried out by hand with hammers.) And finally, in the 50s, the gene-Sman invented the method of obtaining crucible steel.
The transition to machine technique, the appearance of a new powerful engine, as well as the coup in the metallurgy of cast iron and iron caused the occurrence of a new factory industry - mechanical engineering.
Mechanical engineering, as it is neither paradoxical, could not freely develop and braked hard until the machine itself was still manually done. If the first weaving machines in the 70s of the XVIII century were mainly made of wood, they were relatively difficult to be made in a manufactory and even in the handicraft workshop. And rolling rolling rollers, lathes for metal, hydraulic hammers, drilling machines consisting of axes, gears, shafts, etc., must be made of metal. Yes, and the wooden weaving machines themselves could not work well for a long time. It was necessary to make them also made of metal. Now the accuracy of the manufacture of parts of strict geometric shape and the need to satisfy the rapidly increasing and becoming massive demand for cars was incompatible with the craft technique of production of various parts and machine components, it was necessary, therefore, the parts and nodes were also made by the machines!
This problem was solved in England in the late XVIII - early XIX century with the invention of the most important wood and metalworking machines. The conversion of a manual lathe in mechanical engineering is decisive for a coup in mechanical engineering by introducing a so-called caliper carrying cutter and guide it to the processed object. This invention was done in 1797 by fashion leem. The new technical principle introduced by the millennium was then postponed, the truth in the modified form, and on other metalworking machines: a slump, planing, drilling, milling. The names of the English mechanics of the inventors of Roberts and Avengers and American Witness, who are known to the whole world, and the American Witness. But they were the founders of mechanical engineering!
Along with the main types of metalworking machines, the English machine-building plants of the beginning of the XIX century began to be equipped with a whole system of accurate measuring instruments. What for? To solve one of the main problems of mechanical engineering - the accuracy of the processing of parts! Finally, a new, unprecedented principle appeared - the manufacture of standard interchangeable details. This wonderful innovation of American machine builders first applied at military factories, where the mass production of standard parts was established.
Prior to this, this operation was performed manually.
Before the new, the rapidly developing textile industry, another problem was stood - as quickly and in large quantities to deliver raw materials at the factory, and factory products - to markets. Horse vehicles on land and sailing fleet at sea could not solve the problem. Created a revolution in transport. The driving force of this "transport revolution" was, of course, the Watt Steam Machine, which created ample opportunities for the occurrence of powerful machinery of land and marine intercourse.
The history of the invention and the first "steps" of the steam locomotive and steamer begins at the beginning of the XIX century, and with attempts to create a steamer. The first attempts were made back in the 17th century, but only at the end of the XVIII century after the mass introduction of Watt steam machines to industrial production, they received a practical basis. A lot of designs were proposed, but only american Robert Fulton managed to create a steamer in 1807. His "Claremont" was the first steamer in the world, which began regular swimming. Interestingly, Fulton's inventive activity began in France.
Being a Yarym's fan of Napoleon and supporting his struggle against England, Fulton offered Napoleon the idea of \u200b\u200bcreating the French military fleet (steam) for a victorious war against the "Lady of the Seas" of England with its powerful, but sailing fleet. However, the idea of \u200b\u200bFulton did not meet with Napoleon support. The great strategist and politician was unable to appreciate the great idea of \u200b\u200bthe inventor and the political success that she was Sulil. It prompted Fulton to leave to America, where he finished brilliantly his work.
In Europe, the first steamer was built by the English mechanic Bellem in 1811. The beginning of the ocean navigation was noted in 1818 by the first flight of the English steamer "Savannah" from Liverpool to New York.
The won by the steam engine of water transport made it possible to solve the two main problems facing English, and after it and other countries in the textile industry: the fast transportation of huge freights of industrial raw materials over long distances and distribution in all parts of the light of products of the factory industry.
Equally important was the creation of machinery land transport. The first steam locomotive Anglicin Trevik designed in 1804, but only in 1825 the first railway between Stockton and Darlington was built. This was preceded by the large inventive and scientific work of many and many people. Practically suitable type of steam locomotive managed to create thanks to the work of George and Robert
Stepson in 1814 - 1825. In 1829, the most important factory center of England Manchester and the main port, which provided Manchester cotton factories with cotton, was connected by the railway, Liverpool. The construction of the railways was fully in the service of industry needs. Following England, the railways began to lay and in other countries. The first steam locomotives in France appeared in 1828, in America - in 1830, in Russia - in 1833. Construction of railways continues at present.
Most recently, the Baikal Amur Highway was built in our country. Branch from it will be held in the most distant points of Eastern and Western Siberia. They will connect industrial centers with raw material stores of these regions. Now the railways are already racing modern multiscount locomotives, but we will never forget the pioneers of machinery land transport - the locomotives of the early XIX century.

5. Mechanization of manual weaving

Improving manual weaving machine
So, we considered the brief history of the technical revolution of the second half of the XVIII century. How did the weaving developing at this time?
The beginning of technical transformations in weavion was the invention in 1733 by the British John Kei so-called shuttle aircraft. The goal of Kay was to create the possibility of servicing wide weaving machines by one person. After all, before that the invention, the refinement thread was dragged between the bases of the foundations manually, and in the development of broad tissues, the process was unable to one person, i.e. Two weaver worked on one wide weaving machine. In addition, the handbrake of the shuttle quickly tired weaver's hands, slowed down the weaving process and, therefore, determined the low productivity. The essence of the invention was as follows. Four rollers were attached to an ordinary shuttle, with which he had to roll along a narrow board attached to the batter mechanism. On the sides of the machine, two shuttle boxes were located (Fig. 10), each of which were the shared cords connected by cords with a common handle. Starting work, weaver was drowning for the left cord and put into effect the left chalk hit, hit by his hammer (race) on the man of shuttle, forcing it to fly through the zev of the base in the right shuttle box. After impact, the left chalk under the action of the spring was back to its original position. Then, having killed a duck thread to the edge of the fabric, pressed on the pedal, while a new zev was formed, after which the weaves referred to the right challennel reported the shuttle movement in the opposite direction.
Fly Shuttle Keeus (Fly Shuttle) has increased labor productivity almost twice. By the beginning of the 1960s of the XVIII century, he took the dominant position in all types of weaving.
In 1786, a mechanical weaving machine was invented. His author is Dr. Theology of the Oxford University Edmund Cartwright. This was preceded by a number of attempts to mechanize weaving process by various mechanics. The mechanical weaving machine, designed by the cart, is shown in Fig. 11. It can be seen that the cartraid introduced the direct refueling of the base from the coils. This machine provides for the treatment of the filaments of the base of the shame (with a special adhesive composition, giving the threads smoothness and durability). The produced tissue took place between the cylinders and accumulated in a special box. On the main distribution shaft of the machine there were cams that put in the movement of the duck to lay the duck in Zea and Lamizki for the formation of the language. The shuttle flew through ZEV under the action of the chalk, which received movement from the corresponding cam. In order to transform the rotational movement of the main shaft into the progressive movement of the shuttle along this shaft, the cartwriter introduced two additional shafts perpendicular to the first and having a cam. With each turn of the main shaft, its cam (alternately right, then the left) was affected by the fist of the transverse shaft, which, in turn, activated the pitch, returned after the shuttle strike at the starting position under the action of the spring. In addition, there were special cams that raised remaps. The main shaft is attached to the connecting rod, who informed the oscillatory movement of the battoo, due to which, with each blow, the rebel automatically moved the refinement to the edge of the tissue.
Thus, the cartrait managed to mechanize all the basic operations of manual weaving: a punctuation of the shuttle through Zev; Lifting Lamizok and Growing; surf clarification thread to the edge of the tissue of the Berm; Basic threads; Remainted tissue.
The invention of the car of the mechanical weaving machine was the last necessary link of the technical revolution of the XVIII century in weaving. It caused a radical restructuring of technology and the organization of production, the appearance of a series of machines and machines, allowing to dramatically increase productivity in the textile industry. Despite the fact that Cartrethet did not create a fundamentally new weaving system and its mechanical machine retained all the main features of the manual model, obtaining only a mechanical drive from the engine, the value of this invention was exceptionally large. It created all the conditions for the displacement of a manufacturing (manual) method of producing a large factory industry.
The victory of mechanical weaving over manual led to the death of millions of hand tapes on the European and Asian continents. K. Marx wrote: "When the car gradually seizes the well-known product of production, it produces chronic poverty in competing with her layers of workers. When the transition is performed quickly, its action is massive and acute. The world history does not know the more terrifying spectacle than gradually, tightened for decades and ended, finally, in 1838, the death of English cotton weaves. Many of them died hungry death, many welfare existence with their families for 2/2 pence per day. " K. Marx also led the words of the Governor of Ost-India, who stated in 1834-1835: "Disaster it is hardly an analogy in the history of trade. India's plains whiten cotton kits ". This tragedy was preceded years and decades of struggle of manual weavers against the machines and their inventors.
The rage of manual weaves and the inventor of the shuttle aircraft of Kay, and the author of the mechanical weaving machine Cartwright were avoided.
In 1747, in Bary, the hometown of Kay, there was a riot of weaves, accompanied by the defeat of the house of the inventor. Keu hardly managed to flee into Manchester, from where he left to France, leaving his homeland forever. 100 years after the Great Invention in 1833, Bari residents have erected a monument to full growth and with a shoon in his hand. A similar story happened to the cart. In 1791, he built a factory with a capacity of 400 mechanical weaving machines, driven by several powerful steam machines. A month after starting the factory, the surrounding hand tips, concerned about unexpected competition, threatened to undermine their well-being, set fire to the factory. Separate outbreaks of discontent workers in the XVIII century were random, and sometimes meaningless character.
The creation of factories not only made unnecessary manual labor, but also meant for a young working class the beginning of all the horrors of the factory system with its mad intensity of labor in order to increase productivity by any means. The manufactory period did not know such refined methods of operation, which was carried with capitalism. Already in 1779, for a number of areas of England, a wave of performances of workers against cars rolled. If before performing against some inventors or the destruction of the enterprise
Tiy were isolated, then with the advent of the factory, they first took a massive character. It was the first reaction of the English proletariat to a new means of operation, born together with the factory system, - machine technique. Workers believed that the cause of a sharp deterioration of their financial situation, unemployment, poverty, etc. are cars. In Lancashire, which used especially many cars, the movement of the workers' destructors took acute character in 1779. On a number of factories, workers were organized into armed detachments and, despite the law on the introduction of the death penalty for the destruction of factory buildings adopted by the English government in 1769, began to destroy machines. This movement is known as Luddite movement. His name comes on behalf of their leadership, the legendary work of Ludda, who was supposedly the first destroyed his machine. Luddite destroyed not only their factories and workshops, but all the others who occurred on their way. They were joined by other workers. The dimensions of the movement are catastrophically increased, so the British government mobilized all means to suppress it. The movement was suppressed. Despite the naiveness of the goals and their explicit error, it was the first organized performance of a young proletariat.
The mechanical fabric machine of the cardtreight with all the advantages in its original form was not yet so perfect to represent a serious threat to hand weaving. Given the Eternal Principle "The best - the enemy of good" work began on the improvement of the Cartrette Machine. Among others, it should be noted the mechanical weaving machine of William Horrox, which differ from the Cartrate Machine mainly by lifting remaps from eccentrics (1803). In 1813, about 2,400 mechanical weaving machines were already working in England, mainly the horrors system. The defeat of the Luddite movement strengthened the desire for further mechanization of the weaving machine.
The turning point in the history of mechanical weaving is the appearance of the Roberts engineer of Roberts in 1822, a famous inventor in different fields of mechanics. He created that rational form of a weaving machine, which fully complies with the laws of mechanics. This machine almost completed the technical coup in weaving and created the conditions for the complete victory of machine weft over the manual.
What did Roberts add to the design of the Cartwright Machine? This is primarily a set of fabrics for a trade shaft with
The help of a gear wheel, reinforced on the axis of the shaft and acting from the gear of the ratchet wheel driven by a dog connected to the batan. The exact correspondence was established between the Navoy movement with the base and the commodity shaft using the worm gear. In addition, a fabric of more complex weaves could be produced on the Roberts Machine with a new zev-forming mechanism. The main elements of the mechanical weaving machine Roberts are now used in the structures of weaving machines. One of the most important improvements in the mechanical weaving machine of the first half of the XIX century was the introduction of automatic stop in the case of a clarification or main thread.
The desire to automate the work of the weaving machine forced the inventors to search and find ways of continuous power supply to the machine with a duck, automatic change of duck without a breakdown of a weaving machine. In the 30s of the XIX century, the performance of mechanical weaving machines, driven by a steam engine, reached 120-130 duck feeding per minute. Now the main task of the development of the technique of weaving was the implementation of the continuity of the work of weaving machines. The main obstacle here were frequent (every 5-8 minutes) change of shuttle spools and mandatory to stop the weaving machine.

6. Forward to automation!

In all I want to get
Until the very essence.
B. Pasternak

Performance and once again performance!
The inconvenience of the mechanical weaving machine was that it was often necessary to stop the spool in the shuttle when finalizing. This, naturally, took a lot of time to maintain a weaving machine and significantly reduced its performance.
That is why the attention of the inventors was attracted to the development of such a device, which would ensure the uninterrupted nutrition of the machine with a duck for a long time. This device should also create a tissue background for multi-service maintenance. A lot of attempts have been done to achieve continuous operation of a weaving machine with the help of a mechanism that automatically changing the tackling without a weaving machine break.
The first step to solving the problem was the appearance of multi-term mechanical weaving machines in the 30-40s of the XIX century. These were machines of two types. The first type - with lifting shuttle boxes, when shuttle boxes were placed on two sides of the machine (or only on the one hand, and on the other there was only one shuttle box). Shuttle boxes with shuttleships could move from top to bottom and bottom up, and at the time of the formation of the formation of the corresponding shuttle
No more than four.
The box was installed at the level of the battery. The second type of polynomials - revolving, where shuttle boxes were located in the drum sectors and moved during its rotation. Such revolving machines, rather, their multi-mechanisms were very similar to the Rolling Revolver drum - beloved and faithful weapons of American cowboys. The inconvenience of revolving weaving machines consisted in large drum sizes.
When and where an attempt was made to equip the mechanical weaving machine with a mechanism for automatic change of the replacement package, it was not accurately not established, but it is known that in 1834, John Reed and Thomas Johnson offered a mechanism for changing the shuttle with a cliff or vicious thread without a weaving intervention without a weaving machine . The mechanism was activated from a special probe fortified on the shuttle. A few years later, in 1840, Charles Parker invented a fixture by which the shuttle with a worked (empty) spool was automatically replaced with a new spool. Later, in 1850, Williams Newton also pointed a similar mechanism. In 1857, Patrick Mc Forlein received a patent for a fixture consisting of a box with a spool. This box was inserted into the shuttle and emitted automatically from it when the spool was refined. In 1888, Jacob Zucker patented a device in England to automatically change the shuttles operating from the clarochka. However, when using the device, with each shuttle change, the fabric structure was broken - the tissue density was decreased. This marriage is called short.
Thus, the torturing thought of the inventors did not stand in place. Mechanical weaving machine "lived" last years. However, the widespread introduction in the industry of automatic weaving machines began only after 1894, when D.Kh. Northrop invented and patented in the USA automatic shift shift mechanism. The United States has become home to automatic weaving machines. In the pursuit of the highest productivity on the company "Dreper" for the first time, the task of automating mechanical weaving machines was quickly solved and quickly solved. At the same time, they proceeded from a simple and correct position that in any textile production does not require such a large number of workers for servicing machines, as in weaving. As a result of the group's work
Designers under the guidance of D.Kh. Northrop was created an automatic weaving machine, which was distinguished from mechanical not only automatic shift, but also a number of other mechanisms, sharply increase the speed of machines and productivity in weaving production. These mechanisms were: the mechanism of feeding the base, the founder, stopping the machine under the breakdown of the main threads, the clarification, the set mechanism, etc. Already in 1895, the automatic weaving machines of the DREPER "firmly worked with the frequency of rotation of the main shaft of 150 min-1. This means that in one minute 150 clarin was laid. One weaver served 12 machines, and productivity in weaving increased 50 times.
The main goal of automatic weaving is to reduce to a minimum or complete elimination of suspended modes for various reasons (breakability of the filaments of the base and duck, folding mechanisms and nodes of the machine, etc.) and, therefore, the maximum reduction in weaving loading. Installation on a mechanical weaving machine with a well-working mechanism of automatic shift hole (or shuttle) for uninterrupted power supply of the machine with a duck, although it eliminates the main reason for the stopping of the machine when finalizing the hole in the shuttle, but it cannot fully ensure the operation of the machine without a lot of time weaver on its service. The cost of service time is caused by many reasons. And the main one is observing the breakdown of the main threads. If weaving will not eliminate the bottom of the main thread on time, then the emptiness will be in the tissue in the fabric, and therefore marriage called the closest. So, the appearance of this marriage has significantly restrained the transition of tapes to multi-service maintenance, restrained until it was invented and installed on the weaving machine the base, stopping the machine when the main threads (one or several) breaks. Later to the founder began to connect light alarm, warning weaving about the cliff of the main threads. Conveniently? Sure! Enough? Not! The fact is that in order to maintain the uniform tension of the main threads on the mechanical weaving machines, the weaving from time to time had to manually adjust it (change) with the help of a manual brake. On the one hand, it distracted weakly, on the other hand, it took a lot of time and demanded efforts. Therefore, the mechanism of the main regulator was created that automatically releases a certain value of the base for each operation cycle of the machine. So weaver was released from this load.
We told only about the main reasons that brave the transition from mechanical weaving to the multi-service automatic. But there are a lot of them. Here and the centralized grease of machines instead is manual, and the use of a mechanism for pumping the fabric (the so-called trade regulator) and a number of other, allowing weaving to save precious seconds. Seconds?! Yes, imagine that saving a few seconds when performing one commonly repeated operation, it can significantly increase the utility time of the machine, which in turn increases productivity in weaving.
What is the ratio of the useful time of the machine or, how to say, CPV? This is the ratio of the operation of the machine by the time he would work if it were not stopped. For example, the time of working shift is 8 hours. During this time, the weaving machine worked for 5.2 hours (and 2.8 hours the machine was idle for various reasons: elimination of clips of the filaments of the base and duck, adjusting the machine, etc.). It means that the machine CPV is 5.2: 8 \u003d 0.65 in this case. Is there a lot or a little? For modern conditions - very little. And at the dawn of automatic shuttle weaving it was an inaccessible figure. Therefore, all the forces of inventors were directed to one - to increase the CPV of the machine due to its automation and creating conditions for weaving as a larger amount of weaving machines.
However, back to 1895. Thanks to the installation of an automatic power supply mechanism in a weaving machine, the main regulator, the founder and other mechanisms is significantly reduced. The main operation was the elimination of cliffs of basic and refined threads. Therefore, the number of modes of the weaving machine for these reasons per unit of time mainly determines the number of automatic weaving machines, which can be entrusted to serving one weave. Reducing to a minimum of shuttons of weaving machines due to failures of threads allows for large limits to increase the number of machines serviced by one weaving.
Here you should immediately make a reservation. There are still many additional factors affecting the maximum number of machine tools serviced by one weathered or service rate. First of all, this is the form of the processed raw materials and the complexity of the fabrics produced on the machine. It is clear that the thinner the filaments of the base and duck and what
The fabric structure is more complicated, the more attention from the side of the weaving will be required to maintain the machine and, therefore, less weaving machines can serve weaving. For example, if, when developing a bosje from cotton yarn of medium thickness, the service rate reaches 100-120 weaving machines, then when the complex jacquard tissue is generated from thin silk yarns, the service rate does not exceed 4- 6 machines.
The wide introduction of automatic weaving machines caused a huge increase in productivity in weaving. At the beginning of the 20th century, at one machine-machine for 8 hours it was possible to develop as many fabrics as 10 hand tapes were developed for 12-14-hour working days. If we consider that a weaving service rate at that time was 20-50 machines, it becomes obvious that the productivity of weaving on automatic shuttle weaving machines compared with the performance of manual weaving increased 200-500 times!

Why the weaving machine shuttle?
For those decades that have passed since the development of the first automatic weaving machines, the trends towards an increase in service standards remained the same. Of course, now these issues are solved at a higher technical level. But if you trace how the main stages of the improvement of automatic shuttle weaving were passed, the first, with which it is necessary to face the creators of high-speed weaving machines, is the need to use high-quality materials for the manufacture of automatic weaving machine (the best steel brands, various high-strength alloys, high-sighted cast iron). The growth of the weaving machine speeds (and by the 30s of our century of the speed reached 200-210 feeding of the yard threads per minute) demanded a more wear-resistant design of the parts and nodes of the machine, the high-quality fulfillment and possibility of interchangeability of parts. More and more machine mechanisms began to act with the help of electricity, friction clutches appeared in the drive, ball and roller bearings began to be used, the machine frame was strengthened. The drive of the weaving machine began to be carried out from an individual electric motor.
So, the purpose of improvement, modernization is an increase in the speed, productivity of the weaving machine. And to what limit can you increase the speed of the shuttle weaving machine?
You probably remember that transverse threads, i.e. Ducks, lays a special device in the zoo base - a shuttle, which makes his way from the "coast" to the "coast", or from one edge of the fabric to another. This shuttle is a big workman. One minute per minute performs from 200 to 250 or more "flights" (i.e., one flight is 0.2-0.3 seconds). In order for the shuttle to have time to run (no, rather fly) distance from 1 to 2 meters, it needs a lot of speed - up to 10 meters per second. For the message of the shuttle of such a speed requires the corresponding kinetic energy. How to calculate its value, you know from physics. But the trouble is most of this energy spent on braking shuttle. What for? And then to inform him again, but in the opposite direction. And for this it is necessary that the initial speed of the shuttle is equal to zero. Because of this, many troubles arise. For example, the wear of the shuttles themselves, an increase in the vibration of the machine, the noise in the weaving shop and, finally, the impossibility of a sharp increase in the speed of the weaving machine, and therefore its performance.
What is a shuttle? In general, it is a detail of a weaving machine that serves to lay the refinement from one edge of the tissue to another. In the clan on a special rod, a special hollow cylinder (spool) was strengthened with a thread of a certain length. At one time, the invention of the shuttle has sharply increased the productivity of the weaving machine. But why the shuttle weighs a few times the larger of the thread that carries? Is it correct? Or maybe, to do on the contrary - so that the stock of the thread is more than a shuttle? And not just more, but several times, an order of magnitude or 2 - 3 orders! And the machine with such a shine was created. Weaving machine, where the mass of the microenk is 25 grams, and the mass of the bobbin, from which the refined thread squeezed by sponges is reduced - up to 7 kilograms and more. This invention has made it sharply increase the flight rate of the microchklock (up to 40 meters per second) and the filling width of the machine, and as a result, to produce at the same time on the machine for five cloths with a width of 1 meter.
The refinement can be laid now in various ways: water and air, special seizures - rapies and pneumatic springs. There are also round-tucked machines, where in the formation of the fabric, several micro-shocks are involved. Inhabitable weaving continues to develop. The main goal is productivity plus the quality of the fabric produced. In pneumatic and hydraulic weaving machines, the refinement is placed, respectively, a jet of air or water coming out of a nozzle or nozzles through the guide channel - confusion. On the pneumatic weaving machines, two hollow tubes are introduced from both sides from both sides; In the right rapier, excessive pressure is created, in the left - permission. As a result, the air flow is formed, launching the refinement inside the rapier. After launching the refinement, the rapiers come out of the mouth, and the clarifier is nailed to the edge of the tissue of the Berd. On the lapier weaving machines, the refinement is laid by special seizures - rapiers, fortified on rigid rods or flexible ribbons from two sides of the weaving machine. Multi-zone weaving machines appeared, where the basic threads form several moving across the basics of wave-like zev, in each of which are moving at a constant speed of microenks that lay the refined threads. The performance of multi-zone weaving machines reaches 140 square meters of tissue per hour. Fiction? Nevertheless, this is already reality.
What is modern weaving production? This is not only high-speed inhabitant weaving machines. A certain microclimate is automatically supported here, i.e. Temperature and humidity. Why do you need it? The fact is that if the air humidity is insufficient, the threads dry quickly and lose stability to repeated loads. But the threads of each species react to the microclimate in different ways: for example, cotton yarn becomes weaker with a decrease in humidity, and the viscose, on the contrary, is stronger. Consequently, for the threads of each species, its optimal microclimate is required.
Weaving machines of modern production are connected to the automatic control system (ACS), which allows monitoring their condition. Now in our country the preparation for the complete automation of weaving production. Each machine will be equipped with a complex of automatic control instruments of technological parameters and a microprocessor, sets of machine tools will be connected to a computer that controls and regulate the technological process of weaving.
The XX century ends. Now there is not a single industry, where it would be used to achieve fundamental sciences: physics, mathematics, chemistry, etc. And weaving is no exception. It uses radioactive isotopes: when controlling processes, removing static electricity charges and radiation treatment of tissues (in order to increase their wear resistance). All modern weaving machines are equipped with a light alarm reasons for stopping the machine. But there are several of them! The refined thread will break - the yellow light lights up, the main thread is blue, the mechanism will be divided - the red lights up. There is a rapid introduction of electronics in quality. It is almost all control sensors that are equipped with weaving machines and, finally, computer reigning in modern weaving production.
Forecast is a dangerous business. Mark Twain somehow noticed that humanity plays all his history in a fun game called "Stretch Nag Prophet". And nevertheless risk ... and the risk will be not particularly large, since the trends in the development of weaving equipment as a whole are clear. And all-so-ki ... Let us remember how quite recently the textile world was surprised by the appearance of gentle weaving machines - laying the duck of water, air, rapiir, microenk. And multi-zea cars? But they are not the limit in weaving technology. The first models of new weaving machines with a pneumatic method of formation of the oz are already appearing. Application in these machines of growing parts instead of moving progressively allows you to achieve 3000 performance clarin per minute, which is almost 5 times higher than the performance of multi-vectors.
Technical progress At the end of the second millennium of a new era ... Man and progress ... They have a complex relationship. Doubts, ups and downs, falls and ups and again doubts. The path of development of technology (and technology) has never been smooth. But the person persistently continues to comprehend, study unknown. His power is only in knowledge, as Francis Bacon said.
Let us wait for new great inventions in the technique and new theories in the technology of such an ancient specialty as weaving! Or maybe not only wait, but also to participate in their implementation?

7. Development of weaving crafts in Russia

Further, what a checkpover will put a grinding burden, chopping such, so that it was no strong!
From Peter I

The muscular hand of millions of working people, and the yarm of despotism, fenced by soldier bayonets, will split in the dust.
Peter Alekseev

From ancient times in Russia's hands, canvas and linen cannons and hemp yarn. Until the 15th century, the peasants produced homeskoy linen fabrics for their needs: Yarig, Ryadina, Towstone, Part, Tonchin, Fine and others. With the formation of a Russian centralized state, trade and crafts began to develop, establish communication with the East and West. In 1466, the Tver merchant Athanasius Nikitin went with Russian goods to India. Among other goods, it is veins and linen fabrics. In 1553, the British in search of new paths to India made an attempt to get there through the Arctic Ocean. Of the three ships, two were killed, and one fell into the White Sea and fell to Arkhangelsk. So began Russian-English trade. Among Russian exports, linen fabrics were served first place, which called "Russian silk", second place - woolen fabrics. In Russia, the production of woolen fabrics (mostly Sukon) was one of the main home sessions.
From the chronicle of 1425, it is known that the clothes from the Seryazhny Sukna was in the population of everyday. Thin cloth mostly imported from abroad and often heard in the form of award. Fabrics brought from abroad went to meet the needs of the army, as well as the royal yard. These fabrics were very expensive, so attempted to make
Woolen fabrics in Russia. The first attempts relate to the time of the reign of Ivan IV Grozny. At this time, Russia indifferently led war, which required big money. To save gold, raw materials and bread, annually exported abroad, they decided to try to organize the production of tissues. During the war with Lionia, Ivan Grozny ordered all prisoners of German masters to send to Moscow. The first shelkobytsky factory was built, on which the Persian silk began to produce a pass, tower, slices, ribbons, etc.
At the beginning of the XVI century in Moscow, with the participation of immigrants from Constantinople, the production of brocades - fabrics made of natural silk with gold and silver threads were established. Parcel went for church clothes. At the same time, unsuccessful attempts to breed silkworms and raw silk in the southern regions of Russia was made.
In 1630, the Russian government sent Master Fambrand abroad to recruit workers and masters who know "velvet". In G652, the first Russian velvet was developed in Moscow. Since that time, weaving development began in Russia. It was further developed at Queen Alexei Mikhailovic. His Minister of Foreign Affairs (one of the talented and educated people of Russia of that time) Prince Ordin-Nashokin paid serious attention to the development of the domestic industry and trade, urged a decrease in the export of money from the country to the purchase of expensive Sukon, silk and patterned tissues. His innovations strengthened Russia's economy, expanded its foreign trade. Crafts of fabrics in Russia began to turn into commodity production.
In those days, when there was no regular trade, manuff and household goods were also trading, manufactura and household goods traded mainly in those places where foreign goods were delivered. One of these places was the Arkhangelsk port. They were brought to exchange products from all over Russia: honey and fur, bread and fabric. From here they were transported further by rivers. In winter, frozen rivers served.
Delivery of goods was timed to a certain time of the year and the place where fairs were arranged. For the delivery of goods to the place of fairs, the merchants combined into large caravans, which accompanied armed guards. The fairs in Russia were important and existed until the end of the XIX century. They were dealt with the sale of land, bread, sugar, fabrics and other different products, contracts for contracts were concluded. Only at the end of the XIX century, with the development of manpieces and railways, the fairs in Russia lost their meaning.
At the turn of the XVI and XVII centuries, whole areas appeared in Russia, where the fabrics for the treasury were produced. At this time, according to the historian N.N. Kostomarova, near Moscow Palace Sloboda Cadashevka was inhabited by Khamovniki, producing a canvas. In the Yaroslavl county, in the villages of Breit and Cherkasov, khamovniki and tiled towels and tablecloths lived. By the way, the word "Khamovnik", i.e. Weaver, comes from the Indian word "Haman", which means "table cloth". Well, the Cadashev Sloboda received its name from the word "kadash", i.e. Thin lounges. Until now, Moscow has retained these names (Church of Nikola "in Khamovniki", Kadashevskaya Embankment, the Church of the Resurrection "in Kadashakh").
The executed Hamovny yard became the first linen enterprise built by the decree of Peter I in 1696. In 1700, the yard has already produced the canas for the Russian military fleet. Peter I took active measures to create Russian manuff. In 1706, he issued a decree on the construction of a linen plant, which began to produce fabrics already in 1709. The production of flaxseeds in the vicinity of the village of Ivanova was expanded.
In Russia, Len was sowed to obtain not only fibers, but also high-quality flaxseed oil. Production of yarn and flax fabrics has spread pretty quickly in Russia: in the south and in Novgorod, in Ivanovo and Suzdal, in Pskov and Belarus. A lot for the development of linen production was done by Peter!
Russian manufactices worked not only on the treasury, but also to export abroad. Thin linen canvas developed on a large Yaroslavl manufactory (Fig. 14), held competition with the best varieties of Dutch linen fabrics. Under Peter I, in 1714, Shelkotak Fobrika was founded under the leadership of Mimotina's master, who had studied her silkobotki affair. In this factory, the training of Russian weaving production of silk fabrics was organized. The associates of Peter I Shafirov, Apraksin and Tolstoy received the right to develop the silk industry in Russia. In 1721, they handed over the silk case eight major merchants. The first Russian manufacturers were the merchants of the first article - guests of the living room of the cloudy hundred. At the same time, they were major wholesalers.
Fig. 14. Russian Weaving Machine on Big Yaroslavl Manufactory
The first Sukonnaya Manufactory of Fedor Ferikov was founded in Moscow in 1698, and in 1705 Peter I first sewed a caftan from Russian Sukna. A year before that, he founded a government clouded plant near Voronezh, and in 1705 - a closed plant in Moscow.
In 1722, the well-known Ural industrialist Nikita Demidov sent a piece of canvas as a gift to Peter I a piece of linen, woven from the fibers of a mountain flax (asbestos), which was a little thicker of linen, but did not burn on fire.
In the era of Peter I, when establishing factories, including weaving, the owner was given certain privileges, as well as the right to hire for a high fee of Russian and foreign masters. To the factories and factories at the time (about 250 years ago) attributed peasants with whole villages and villages. Ascribed to the plants and factories, the peasants of the filters did not pay, but they received the soldier's packs of 6.2 rubles a year (at the prices of 1725). Fortress peasants did not always receive a cash remuneration, they were given only food and clothing. Wolnonamed workers received wages with money: on government factories monthly, and on private partly. In addition to money, workers received products. The work of the workers was paid higher at silk factories, below - on cotton, even lower - on woolen and cloth and the lowest fee received workers on linen (linen) factories. On state-owned (state) factories, the work workers paid better than private ones. The difference between the earnings of the foreigner master and the Russian worker was monstrous: 5400 and 120 - 160 rubles per year.
After the death of Peter I, the development of the textile industry was first suspended, and then it was completely to dying. Many in the government did not sympathize with Peter I reforms. Further, as it is known, in the Board of Catherine I, Anna Joanovna, Elizabeth Petrovna and, of course, Catherine II, Kazennye Peasants, together with factories and factories were transferred to favorites that did not show the slightest interest in the development of the domestic industry . The transfer of a large number of state peasants to large landlords was very complicated by hiring workers for private weaving factories, as there were very few free people, and the landowners were not very willing to release their peasants to earn money. The transfer of peasants with factories and factories has further complicated and slowed down the development of the domestic industry also because the landowners were not able to lead the factory business. Their managers were incompetent people in the jurisdiction of the factory business and were mainly agriculture. Such a provision led the state industry to decay, some former government factories were eliminated, and others threw a pitiful existence, becoming unprofitable.
As for small private factories, due to the lack of labor and not enough high quality of the fabrics produced and their high cost (due to the high cost of raw materials imported from abroad), they ruined, not withstanding the competition of the best in quality and variety of framework for overseas fabrics. Naturally, foreigners were more profitable to sell Russia ready-made fabrics than raw materials, especially since the customs fee for raw materials and finished fabrics was the same. Competition of foreign tissues was especially felt in the silk and woolen industry.
So it continued until the cancellation of serfdom in Russia, i.e. until 1861. Canceling the serfdom appeared for
The heyday of capitalism in Russia. The "liberated" peasants who did not have any means of existence turned into cheap substainers. Child labor was widely applied, the system of fines was brought to the limit.
Shortly before that, in 1842, England canceled the ban on the sale and export abroad textile machines, including the loom machines. The flow of cars and foreign specialists hurried to Russia. The period of foreign dominance began in the Russian textile industry. In 1861 - 1880, the government conducted a number of activities aimed at reviving and expanding the domestic textile industry.
The wealthy peasants and the merchants began to open disassembled offices, i.e. Distribute work at home, where on hand-held weathered machines were produced according to the obtained task of tissue for various purposes. The reassembly owners of the transfer office could already build a weaving factories and buy modern equipment for them. Such browns like I.A. Ba-Ranov, the Sokolikov and Brother's brothers, Krasnov, Filimonov, etc., produced on their small factories mainly piece goods: scarves, scarves, dressings.
In Russia, the second half of the XIX century there was a narrow specialization of textile enterprises. Thus, in Pavlovsky Posad, the production of headscarves prevailed, in Bogorodsky - Atlas, ribbons, velvet, plush, in Schelkovsky - expensive silk dresses.
Now industrial production has been concentrated in the hands of capitalists (in the past rich merchants), familiar with the device of industrial enterprises, with demand and proposal in the market, and having funds for the construction of large factories and invitations of highly qualified specialists. At the same time, the activation of wealthy peasants, which previously worked on state or private weaving factories. They organize handicraft weaving workshops. As a result, the production of tissues in Russia begins to grow steadily. Textile areas are formed: cotton production, in Moscow and the Moscow region, Kirzhach district, concentrates in Ivanovo, Ramensky and Egoryevsky districts.
You already know that Russian silk fabrics have not kept competition with overseas. In addition, it is necessary to take into account the worship of the tops of the tops of the Russian society, as well as the weak purchasing power of the population. And, of course, there were no raw materials in Russia for the production of silk fabrics, it was imported from abroad. After the end of the war with Turkey, the demand for silk fabrics unexpectedly increased. Simultaneously on silk fabrics imported from abroad, a duty was increased. This led to a sharp rise in the domestic silk industry. New factories have entered into operation, which produced velvet Lyon method, as well as a shaped velvet and plush, moires and taffeta, satina and satin, lining and dresses, diagonal and, finally, linen fabrics. There were factories on which piece products produced: scarves, scarves, shawls (repition, satin, smooth and with an angle filled with drawing, Turkish and gas).
The Silk Manufactory Partnership in Moscow united three factories belonging to Simono foreigners, Guzonu and Zhiro. At the exhibition of 1882, the fabric produced at these factories were awarded the highest award "Golden Eagle". The range of silk fabrics produced was very diverse: velvet and plush, lady and moires, satin and surium, armrooms and lining fabrics. The introduction of a breakdown of a canvas with appreciation has given the opportunity to large factories slightly reduce prices for massive types of satin tissues. This was also facilitated by the introduction of twisted machines and use in duck in satin tissues of twisted yarn. Consequently, factory fabrics have become more beautiful and cheaper than fabrics of handicraft production. This led to the massive rupture of the handles and the centralization of the silk industry.
The invasion of the village of Factory Citz significantly influenced peasant clothing. Comfortable sortshots began to quickly push out traditional hats, and bright Alizarine sits are embroidery. Studently developed capitalist relations loosened the established rules and traditions of rustic life. Lost multilayer clothing, crowned with complex massive headdresses. The costume made of light bright sits with a magnificent skirt and a fitted jacket, supplemented on the shoulders or tied under the chin, became one of the most common forms of a folk costume. Factory, i.e. Made in the factory, the handkerchief began to play in the costume of the Russian woman almost the same role as the non-vintage headdress. Pavlovsk handkers (Fig. 15) used in particular demand, which were a kind of response to the precious Kashmir shawls brought from India. High quality performance, careful drawing of the smallest details, bright saturated flavor made Pavlovsky handkerchiefs and shawls with genuine works of decorative art. By tradition, the material for the handkerchief served wool. For good quality, the wool wool fabric was made of very thin yarn, it was specially processed, was lightweight and elastic. Such shawls and shawl were quite expensive.
Much cheaper and more affordable were the factory production rawls. The most popular of them were the so-called Alizarine Karabanov handkerchiefs. The history of Karabanovsky sites began in 1846, when the merchant of the Baranov bought Karabanov's landowner from the landlord and built a beautiful factory on it. At the end of the XIX century, she began to compete with Moscow and St. Petersburg factories.
The lifting cotton production in Russia contributed to the fact that in the middle of the XIX century, organic dyes from the familiar family, called Alizarine, were found in the middle of the XIX century by Russian chemists led by A.M. Butler. Alizarine print allowed the use of a type of audit - an outline. Alizarine sits called Kumachov because of a bright red background (Fig. 16) 4
The relative cheapness of cotton fabrics produced from imported raw materials, compared with linen fabrics, secured by the national raw material base, occupied by the middle of the XIX century, led to some lag behind the linen industry. This was due to the following reasons: on the one hand, a higher level of development of spinning and weaving techniques in the cotton industry and the decline of manual production of linen canvases, on the other, liner and flax processing industry were artificially delivered to full submission of foreign demand for Len. In Russia, only 20-25% of the domestic crop of flax was processed. The rest of Lena was bored abroad for a snottle, but expensive import linen fabric were imported into Russia. It was necessary to urgently put the development of flax and flax industry for the modern level. However, this happened only in Soviet times.
By the end of the XIX century, the textile industry of Russia reached the international arena. Fabrics of Russian factories have successfully competed with French and repeatedly celebrated at international exhibitions.
Sitzenabivny enterprises were concentrated in those places where manual weaving existed existed, as well as peasant naval crafts. Therefore, it is quite natural that Russian citrate develops in the traditions of the Russian auditor. Animal and vegetable world, the ornaments of imported ingenic fabrics, the lubki - everything was a source of creativity for the Russian wizard.
The most ancient motives in the Russian auditor are the simplest "race" ornaments, as well as various circles, stars, outlets, birds. Many plant motifs came from the East. "Cucumbers", "Almonds" or "Beans", borrowed from the design of oriental brocade and silk fabrics, became popular patterns of Russian tissues. Characteristic Western motives were distributed - lace patterns, various flowers (Fig. 17)
The first textile mills appeared, in which spinning, weaving and finishing production were operated. In the 70s of the XIX century, Russian factories began to widely use dyeing, appreting and packing with tissues by the machine method.
By the end of the XIX century, the weaving factories of Russia produced batters and muslin, peak and label. A widespread fashion for blouses contributed to a significant expansion of the range of blouse fabrics. Fabrics that combined pattle weaving pattern with printed were produced. Such fabrics produced the Factories of the Partnership of the Sitze Manufactory of Albert Gyubner, Ivanovo Factories, etc. Beautiful ornamental fabrics produced factors of the Emil Cyndel Manufactory of Manufactory. Their drawings were distinguished by a flawless composition rich in black and lightweight developing, a light, refined color. A variety of b\u003e w and assortment of fabrics of the factory of the Brothers A. and V. Sapozhnikov. Parce, intended for export to the East, exactly reproduced oriental patterns (Fig. 18, 19). For the needs of the royal court
Fig. 17. Fragment of Russian Zhany XIX century
And the churches were made fabrics with patterns in ancient Russian, Byzantine style. Cheap cotton products were produced by Prokhorov's three-necked manufactory, a Baranovsky factory and other Russian factories.
Russian inventors made improvements in the design of weaving machines. However, in comparison with Western inventors, they had much more difficult. In Tsarist Russia, foreigners were easier to patent the invention. Despite this, some Russian inventors still managed to legalize their inventions. For example, Nesterov designed a wide mechanical weaving machine for the development of Sukon in 1834 (4 years earlier than Lyenger in Germany), Lepichkin proposed the design of the device to stop the machine when the clarification of the refinement in 1844, Petrov invented the mechanism for the introduction of a shuttle to Zev (combat mechanism) In 1853, however, most Russian inventors remained unrecognized.
But back to the development of the textile industry in Russia. Her rapid growth continued. In almost three decades, Russia has become a major textile power. Now she no longer imported the fabrics from abroad, but took them out.
Years passed, the Russian industry developed and strengthened. The growth of the textile industry in Russia in the XIX century can be traced on the example of Prokhorovskaya three-necked manufactory in Moscow, now the Cotton Combine "Three-necked Manufactory". F.E. Dzerzhinsky. If in 1816, 546 thousand meters of tissue were developed at the factory, then by the beginning of the 20th century, the production of tissues reached 60 million meters, i.e. More than 100 times! If you take into account the damage caused in 1877 by a large fire in Moscow, then the growth of production could be higher. BK & MTGK
In the development of the revolutionary movement in Russia, textile enterprises occupy a special place. With the growth of the industry, the working class has grown and man. By the middle of the XIX century, the young working class of Russia began to realize his strength. Separate inorganized ribs of single and small groups of workers began to replace non-natural, but prepared by performances. At that time, weathered requirements were largely naive, but it was only the beginning. In 1851, twelve weavers of Prokhorov's three-necked manufactory were referred to on behalf of all workers to the authorities with a complaint with an accounting, humiliation and oppression. They reached the governor-general ... As a result, they were arrested and referred to Siberia. Perturbed by violence over their comrades 70 weaves filed a similar complaint. The owner of the manufactory manufacturer of Prokhorov went on minor concessions, not satisfied with weaves. Started strike. For the first time, the manufacturer was forced to agree with the requirements of the workers and sign the document, on which all the fines appointed earlier were canceled, ceased to be deleted for food, settled tape recorders were introduced. It was the first victory of weaving fabrics.
In 1905, weales together with metal stakes and railway workers joined the universal strike. At the Joint Assembly of Workers Textile Factory Zamoskvorechye, the following resolution was adopted: "From now on we recognize the defender and expressiveness of our interests, the Russian Social Democratic Workers Party and only under its leadership will lead further struggle both with capitalists and the government."
The armed uprising of the Red Presns workers was the general rehearsal of the coming revolution of 1917.
For more than a century, five generations of Prokhorovy owned their manufactory. Millions of rubles arrived at the labor work of the workers. It seemed that there would be no end. But 1917 forever destroyed the dreams of capitalists. In 1918, the company was nationalized, as well as hundreds of other enterprises in various cities of Russia.
It was a difficult time. Engineering and technical staff factories have been sabotage. There was no technically competent, dedicated personnel revolution.
Almost complete absence of fuel and raw materials led to the impossibility of the normal work of most enterprises of the textile industry and, therefore, to stop them. In 1921, Ivanov's textile factories released only 117 million Arshin Manufactory. For such a country, as Russia, it was negligible. It was necessary to restore the textile industry. The years of imperialist and civil war exhausted the economy of the country. It was almost nothing to eat for people, nothing to dress, one after another plants and factories stopped, and transport did not work.
In 1919-1921, the chiefstile was formed to manage large nationalized factories and large handicraft workshops. The small handicraft industry focused on the management of the provincial (regional) departments of the national economy, for example, in the Moscow region - a bridge with sections by industry: silk, woolen, linen and cotton. Since 1922, the recovery of conserved factories be restored. In 1924-1928, the range of fabrics and the exit of Soviet fabrics, in particular silk, on the international market occurs.
The Soviet government and the Bolsheviks party attached great importance to the revival of textile production. The All-Russian Textile Syndicate was formed, which was headed by a prominentist of the party and state Viktor Pavlovich Nogin. Destroyed enterprises were restored throughout the country, new ones were put into operation. In 1927, the production of cotton and linen fabrics exceeded the level of 1913. No less ambitious tasks have come to solve. The recovery period ended, a course was taken to the industrialization of the country, the first five-year plan approved. Weaving shops of textile factories have been equipped with more modern equipment, the old machines were upgraded, labor productivity increased. The textile industry of the country gave a considerable profit for the first five-year period - 2.5 billion rubles. Of these, 1.5 billion were aimed at the construction of heavy industry enterprises for the production of various machines, tractors and cars, airplanes and tanks. Our revolution had to defend himself!
The years of the first five-year plan - years of strengthening the economic and defense relics of our Motherland, the years of the unprecedented enthusiasm of the working class, who realized their freedom and their responsibility for the destiny of the country. In August 1935, the unprecedented record of labor productivity was established by Donetsk Shakhtar Alexey Stakhanov. Stakhanov's Pokhanov immediately turned into a nationwide movement. Evdokia and Maria Vichugi Tkachchi and Maria Vichugovy increased machine maintenance zone several times. These were the first stains in weaving, and how many of them were later!
In the thirties, new weaving factories were built in our country equipped with modern equipment of domestic production, educational institutions were expanded, which prepared frames for weaving production. On the shelves of shops, domestic hard fabrics appeared: silk, linen, woolen and cotton.
However, the peaceful work of Soviet people was interrupted by war. After June 1941, weaving enterprises, and not only weaving, became women. Men weapons took a weapon to protect the conquest of October. Rear began to help the front. Fabrics for gymnasters, sinels, linen, cloak tents were made by the hands of Soviet women-weaves it was part of a nationwide feat.
After graduating from the Great Patriotic War, it was necessary to restore the industry again. During the war years, 400 largest textile enterprises were destroyed, including 27 thousand weaving machines were destroyed. I had to start again from scratch.
The constant increase in the life level of Soviet people after the war was the main task. In solving this task, weavers played an active role. These are their hands are created by fabrics for linen, clothes, furniture, they produce carpets and curtains. Yes, and not list. Soviet designers offer new designs of productive weaving machines, Soviet scientists are developing new technologies for obtaining tissues.
I would like to say a few more words about the industry producing consumer goods. In our country, it was for a very long time that working in the aviation or metalworking industry is much more honorable, prestigious than in textile production. Unfortunately, it is necessary to recognize that such an idea of \u200b\u200btextile production is quite widespread among our youth. This is an incorrect representation. When the guys see complex textile machines and aggregates, streamlines, automata controlling technological processes, their opinion changes dramatically.
Not every industries can boast so diverse and interesting kinematic devices and mechanisms for moving movement, like textile industry. At the same time, weaving machines are the most complex equipment. Complicated and interesting technique of textile production. But they decide the fate of any production primarily people, those who serve weaving machines, those who master and improves the technique and technology of tissue production. Studies have shown that the productivity of young workers with an average formation is 10-13% higher, and the number of rationalizers among them is 2-4 times more than among those who graduated from 7-8 classes. And it does not need comments.
XXVII Congress of the CPSU, defining the prospects for the development of our country, set the tasks unprecedented and scope before the textile industry. These tasks will have to be solved to you - today's schoolchildren, those who will come to weaving factories in a few years, in research or design institutes, on machine-building factories, so that they bring joy to their work.

Afterword
Here you met with one of the most ancient and surprisingly interesting specialties - weaving. Of course, the acquaintance is pretty short. But if you want to learn something about it, see the weaving workshops of textile factories, if you are interested in the principles of the formation of tissue, the mechanisms of a weaving machine, the author will assume that its goal is achieved.
There are many specialties of interesting, and sometimes amazing. Yes, I believe that weaving is an amazing specialty! But the point is not in this. The main thing is to be a master of your business, working inspired, selflessly. "Loud words", "You will say. No, when you love your specialty, I give it entirely, without a rest. Personnel working and weaves are so well aware of the equipment on which they work that by hardly a catch change in the overall hum of the weaving shop hear "Call for help" of its machine.
Labor and creativity are inseparable. It is believed that the concept of "creativity" refers only to the professions of mental labor. This is mistake! If you work, it became, you are doing! Labor without creativity, without inspiration, without feeling the necessity of results turns into a burden.
The author will consider its work useful if someone (choosing a specialty) from read this book, give preference to the profession of weaver. The weaving production of the textile industry is waiting for young replenishment with hot hearts, inquisitive mind, strong, skillful and good hands.

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