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I am very happy to report that the work is, at last, progressing nicely. For a number of reasons I decided to abandon that first warp, and, having learned several lessons, set up anew. This time I'm using the organzine (21 denier, 10x2 reeled silk) from Habu Silk. I dyed the skeins before combining them into double-strand skeins. Thanks so much, Jessica, for your help with combining the skeins.
The first rows on this warp were far easier, much more smooth to work. Great relief!
I've now worked several inches, and the cloth is settling down. The threads are getting to be of more even length and sitting parallel. The tension in the cloth is evening out.
I do need to be vigilant, detect mistakes BEFORE pushing them around to the mirror image side. I also need to take care that I'm not causing tangles as I nudge the row around to the mirror image position. All this I've done before ... just need to remember ... on every row. I'm no longer feeling that horrible anxiety. The project is now definitely do-able. It's "just" a matter of putting in the time, 20-30 minutes per row. Then check for accuracy, correct any errors. Then push around to the mirror image side and check again for errors. Repeat. Sometimes an hour per row. About 8 rows per inch. If I can manage an inch every day, then I will definitely be done by the end of March.
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Setting up a circular warp for sprang requires care. Setting up a long warp using fine threads demands extra care. Knowing this, I recruited the assistance of helpers. Local weaving enthusiast Paul Sparling volunteered. So did Sarah J Hull, who flew in from DC. She's interested in my work and wanted to participate, get an inside view ... well ... I expect she got an eyeful.  The experience of the first time through the creation of such a sash told me I'd be wise to have someone watching the cross and counting the threads. The cross absolutely must be 100% correct for the centre of the cloth to be error-free. Paul did this job admirably. Experience has also shown me that tending the umbrella swift, seeing that the threads came off the hank smoothly is another critical job. I've since decided that the stirring of the pot in the dying process tangles the threads slightly. Better to dye the threads first, and then combine into hanks, so that they are less tangled, come off the swift more smoothly. This makes for more consistent tension in the warp.  The next step is to work the initial row. It's important that each stitch is correct. Any error will show up at the very centre of the work. The challenge is compounded by the fine size of the threads, and even more so that I am working with pairs of threads. Each stitch needs to use the correct two pairs of threads.  Slight differences in tension mean slight differences in lengths of threads. This causes horrible tangles when pushing to the mirror-image side. I am stuck in a nightmare. It's like Red Riding Hood facing the wolf. Now, I know how the story goes. I know that the kindly woodsman enters the scene in time. He deals with the wolf, and there is a happy ending. I know from experience that the un-even-ness does work out ... it's just that I'm not there yet. I'm still staring at the open mouth of the wolf. But the interlinking stitch does have amazing forgiveness. And the silk strands are very strong ... will not break (just trusting that knots in between the various skeins hold tight). The un-even-ness will work out  The color of the sash that is in the keeping of George Washington's Mount Vernon is red. But what shade of red? I discussed the situation with curator Amanda Isaac. Dying is not something I consider to be my strong suit. Yes, in the past I've dabbled with plants and flowers, picking the petals, fiddling with mordants. There's just too much to explore there, too many things that affect the color, and I've found it necessary to narrow my focus. I focus on the technique, and short-cut the dye process ... all this to say, I've been using commercial dyes. I've been using Landscapes dyes. They are an eco-friendly dyestuff, using plants rather than chemicals.
She chose "chili" .... so that's the color I'll use.
She also authored a series of four books on the subject of loop manipulated braids. Noémi Speiser created many of the samples in Peter Collingwood's book Techniques of Sprang. I felt I just had to meet her, wanted to sit in the presence of the person with such an amazing mind. To my surprise, she agreed. I met her in the Fall of 2013. We talked about sprang, and she gave me her handwritten notation for a motif she invented. It's a clever structure. I hope I do it justice. I was saddened to read of her death. To honor her, I'd like to share the instructions she gave to me. To this end, I made a short video.
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