The art of weaving was not more advanced. It is true that the middle of the eighteenth century found the hand loom developed from the original Indian structure to contain many of the essentials of the modern power loom. It embodied the heddles, the lay, the take-up and let-off beams, the shuttle for passing the weft, and in 1740, John Kay added the fly shuttle motion, whereby the shuttle was thrown through the shed by a sudden pull on the picking stick; then in 1760, Robert Kay, son of John Kay, invented the drop box, whereby several colors of filling might be employed. Brilliant as these achievements were, the hand loom remained the crude embodiment of the simple principles of weaving until near the dawn of the nineteenth century, when, by the invention of Cartwright, a period of development was introduced in all lines of textile manufacture unsurpassed in the annals of industrial progress. The first great stride, and that which opened the door for further advance, was the creation of the spinning-jenny, in England, by Hargreaves, about 1767, whereby eight or ten yarns could be spun at one time. Drawing rollers were subsequently added by Arkwright, and then traverse motion was given the bobbins in order to automatically build the yarn into a cop. It has developed since that the drawing-rollers constituted one of the most important fundamental improvements in the spinning art. Their function was to draw out the fibres into a proper size of roving, and to feed this to be spun. Without them the modern spinning-frame would not have been possible. Arkwright’s drawing-rollers and Hargreaves’s spinning-jenny combined under the invention of Crompton to produce, in principle at least, the modern spinning-mule. [Illustration: DISTAFF AND SPINDLE.] Fairly good machines were thus provided on the advent of the nineteenth century for spinning unlimited quantities of yarn, but this, in turn, required proper loom structures to use the same and a corresponding supply of raw material. Inventive genius was abroad, and the necessity met by Eli Whitney, who, while at the home of General Greene, of Georgia, built the first practical machine for separating cotton fibre from its seed. Whitney’s gin was constructed on the broad and simple principle that cotton fibre could be drawn through a smaller space than the attached seed, and this same principle is the soul and spirit of every saw-gin of the present day. Prior to Whitney’s gin, cotton fibre was separated from the seed by hand, a day’s work being represented by two or three pounds of cleaned fibre. The daily product of the gin now reaches between three and four thousand pounds. [Illustration: SPINNING WHEEL.]