PART II.
All other shades except the previously mentioned styles are provided with a slat to which is attached a screw-eye and tassel, as illustrated. Always attach the tassel above the insertion on insertion shades, as Figure 79 and X, Figure 87, as the strain of pulling the shade will stretch the insertion out of shape if fastened below. (See diagram on page 40.)
The cloth is not hemmed at the sides, but left as trimmed, and the top is tacked on to the roller in a straight line, as Figure 93. Most shade rollers have a line drawn the length of the roller as a guide for the shade cloth, and one-ounce tacks are used to tack it to the roller. Several kinds of clips or clasps are also used, but the tacks are most popular.
Standard sizes of shade rollers in both wood and tin are guaranteed by the makers to carry ordinary cloth up to a certain size for each roller, but it is safe to underestimate their assurance by a little rather than work up to the limit.
The roller is cut to be one and a-half inches longer over all than the width of the cloth, and is mounted to allow the same play at each side, though in special cases this rule may be departed from, and a smaller allowance for play will sometimes work quite freely if hung perfectly true. It is customary to allow only one inch difference between cloth and roller for inside brackets, as they are usually made narrower than those for outside brackets, and, the bracket being much smaller, they work freely with the smaller allowance.
Dark-colored shades are most opaque, but light-colored shades give a more cheerful appearance to the exterior of a house. Combination-colored shades are frequently used; light on the outside to the glass and dark on the inside to the room. This gives the necessary density and preserves the cheerful exterior of light-colored shades. In making combination shades the bottom hem is cut off, reversed, and sewn on as illustrated by Figure 89. The chief objection to combination-colored shades is the fact that the dark color is exposed to view in the room whenever the shade is pulled down, and the window cannot be at all obscured without this feature.
Perhaps the best plan for correctly shading and obscuring a window is to use double shades, as illustrated by Figure 90; the outer shade next to the glass made of a light-colored material, which may be ornamented and decorated in any desired manner. This may be fastened to the window stop as at A, Figure 79, with inside brackets, or at C, Figure 90, with outside brackets.
If placed on the stop at A, Figure 79, a plain shade of dark green or other opaque color is placed on the frame at C-C, Figure 90, and is made wide enough to effectually shut out all sunlight at the sides.
If the light shade is placed on the frame at C-C, as Figure 90, the dark shade is placed just beneath it at D-D, and is made about two inches wider than the light shade, so that the cloth of the light shade passes freely between the brackets at D-D and does not interfere with the dark shade.
The advantage of this plan is that the light shade may be used all the time and is decorative from both sides, while the dark shade is only used when needed, and when not in use is only a small dark roll at the top of the window, where it is not objectionable.
The dark shade must be provided with a small cord or chain reaching down a convenient distance when the shade is completely rolled up at the top. Roller shades are hung perfectly level and square, noFig. 95 matter how much the window may be out of true, as they will only work satisfactorily when so hung.
The two different kinds of brackets used are illustrated by Figures 93, outside brackets, and 93 A, inside brackets--outside meaning on the face or room side of the window frame and projecting toward the room; inside meaning some portion of the woodwork facing to the centre of the window (see diagram 94).
Wood rollers are made with two slots or notches in the spring-post, in which the pawls drop when slowly revolving, and as they are on opposite sides of the roller, it is immaterial which side is uppermost as it lies in the bracket.
Most tin rollers, however, have only one slot, and if dropped into the bracket with the slot down, the pawl, which depends on its weight for its action, will not come in contact with the slot, and the shade will not remain down when unrolled. Should you accidentally place a shade in the brackets thus wrong side up, unroll it altogether and push a small wire or stout pin through the hole you will find punched through the roller directly behind one of the pawls and force the pawl up into the slot, when the tension of the spring will hold it in place so that it can be taken out and put in properly.
It is sometimes necessary to run shades from the bottom of the window instead of the top, as in the case of a 10 ind-top window (Figure 95), or when the object is obscurity without excluding necessary light, as in some office windows. This is accomplished by placing the brackets at the bottom of the window, as illustrated by Figure 95, the slot bracket to the right, placed upright on the sill, and a small nail inserted in the little holes found near the edge of the opening, to prevent the roller from leaving the bracket. Stop the action of the pawls after the shade is adjusted by a clip made for the purpose (squeezing soap in behind them answers very well), so that all the tension of the spring is exerted on the cloth and on the cord, which passes over a pulley at the top of the window.
This pulley may be an ordinary pulley and the cord attached to a small cleat at the side of the frame to hold the shade the required distance, or an eccentric stop-pulley may be used, which binds the cord at the will of the operator, the latter being the more convenient method.
Round-top shades are provided with extra slats at various distances, as illustrated by Figure 95, which prevent the edges of the shade from flapping as they might unless so supported. These slats are perfectly flat, made of clear wood about one-eighth of an inch thick and one inch wide, or larger, according to the strength required, and, being flat, they readily roll up with the shade.
The slat used in the bottom of shades is usually made wedge shape, as Figure 92, and possesses more strength than the perfectly flat slat.
As we have already stated, roller shades are usually made of painted cloth or glazed holland, and while for years they have been, with few exceptions, plain and undecorated as to the fabric itself, we are pleased to note recent efforts on the part of manufacturers to produce something more distinctive and artistic, shade holland now being produced in delightful damask effects in a variety of weaves and colors, while the painted goods are also being made to order in beautiful hand-decorated patterns of artistic merit.
The Austrian shade illustrated by Figures 96 and 96 A is a very pretty and effective method of diffusing and softening the glare of the sun without excluding the light.
They may be made of a great variety of fabrics, including challie, casement cloth, plain and brocaded silk, silk or wool damask, madras, net, or other soft material of sufficient strength and fast color to withstand the sun, and are a very effective combination of shade and sash curtain. They are simple of construction, but must be accurately and neatly made to insure satisfaction.
Having secured the size of the window and determined the space the shade is to cover, the goods are joined up to the required size, allowing a third of the space (four inches to the foot) each way extra for fullness, with about three inches allowed in addition for double hem at the top and also for a single hem on each side. Calculate so that the seams will come on one of the shirrings each time when joining for the width, as they will not show there and are very unsightly anywhere else.
The material, when ready, is spread flat on the table, as Figure 97, and the width divided into the requisite number of panels and marked in straight lines for shirring. Turn the double hem at the top for the rod, and a single hem on each side of one or one and a-half inches. Baste these hems and sew them. Then spread the material on the table again, as illustrated, and with a stout thread gather each shirring line into the required length, fasten each end of the thread to the table with tacks as you gather them, and when all gathered go over each one and adjust the fullness until it is nicely distributed the length of the curtain. Leave the lower one-third of the curtain slightly less full than the upper two-thirds, for when in place it is generally left fastened about half way up the window, and if this is done, the lower end, which is all pleated on the strings, does not look so much more full than the upper portion, which is hanging as shirred.
Cut strips of paper one inch wide and as long as the shirring-thread and pin them along each shirring, the pins sufficiently close to hold the fullness in place. When all pinned in place, the tacks are drawn and the curtain turned paper side down and run through the machine (the paper is used to prevent the machine feed from disturbing the fullness), using the thread as the line for stitching. The paper is then torn away and the shirrings run through the machine a second time for safety if very stretchy material is used.
Spread it out on the table once more, face side down, and on the back of the shirrings baste a quarter-inch baby ribbon or tape to match the goods, and stitch this also. Sew small brass rings to these tapes, as illustrated in Figure 96, about six inches apart, along the full length of each tape or ribbon. Shirr the double hem at the top to the required length and stitch a tape to it also, to keep the panels equally divided, and trim the bottom with a fringe.
The bottom of the shade need not be scalloped unless the material is heavy, as the act of shirring it lengthwise and across forces the fullness to take that shape.
The bottoms of the shirrings are weighted to keep the lines perpendicular. This is accomplished either by a small rod covered with the material, as left of Figure 96 A, or by small bags of shot covered with the material and attached to the bottom of each shirring.
The rod, while not so unobtrusive as the bags, has the advantage of keeping the bottom spread full width, separate weights having a tendency to swing toward the centre.
The shade is drawn up and lowered by means of cords passed through screw-eyes at the top of the window, down through the brass rings and attached to the bottom weights. After passing through the screw-eyes at the top they are led to a pulley at the side, as indicated by Figure 96, and all adjusted to draw evenly, fastened together and attached to a cleat. They may also be manipulated by attaching the cords to a shade roller after they pass through the screw-eyes.
The roller is provided with spools either turned up in wood or made by tacking a ridge of leather around the roller, allowing a spool-like space between, and the cords are wound several times around these, while the shade hangs full length; the free bottom ends are then attached to the weights, as before explained, and the whole manipulated by the free cord at the end (X, Figure 96 B), as explained for raising and lowering the shade illustrated in Figure 90.
If the roller is swelled toward the centre by wrapping with leather or by using graduated spools, as Figures 98 and 96 B, the shade will draw up in an arching shape, as indicated by dotted lines in Figure 96 A, the larger spools in the centre consuming more cord each revolution than the smaller ones at the ends, and hence drawing the curtain up faster in the centre, producing the arched effect.
If the cords are mounted on a plain roller without spring-winding attachment, as Figure 99, the manipulating cord is wound on it the reverse way, and is all wound on when the shade is down, so that pulling on it causes the roller to revolve, winding up the other cords, and, releasing it, allows the weight of the shade to unwind the roller and causes the shade to descend.
In measuring for shades, some decorators measure for the cloth only and have the rollers cut and mounted accordingly, either at the house or in the shop. We have found it best to measure for the rollers by selecting the most convenient place for the bracket and making the cloth to fit the rollers. Figure 94 illustrates a modern window trim, showing by crosses the most convenient places for placing shade brackets, those enclosed in circles representing inside brackets and the plain crosses outside brackets.
The illustration of a window’s elevation, Figure 78 in the chapter on sash curtains, also shows the positions of double shades on the face of the window frame--C, the roller of the light shade, and H the bottom of the shade, and D the roller of the dark shade, with F the bottom of the shade.
Always measure for shades with a rule, as tape-lines are unreliable, and put down the measurement accurately in feet and inches, being careful to make a decided stroke or dot between the feet and inches, as 2 = 2--6 × 9--0 means two shades two feet six inches wide by nine feet long, and the obliteration of the strokes between vastly alters the sizes.
If there is anything peculiar about the windows that should be noted in their manufacture, jot it down also, leaving nothing to memory. In measuring the length, allow about one foot extra for a couple of laps around the roller when the shade is all pulled down. Austrian shades need no extra length, but should just clear the sill when down full length.
Shades running horizontally, as across the bottom of a skylight, are treated exactly the same as explained for Figure 95, and if very large, stretch a number of wires lengthways beneath the shade to help support it.
Put up shade brackets with the slot or open bracket to the left side of the window and the hole or closed bracket to the right, leaving a little play between the brackets and the roller. Place the shade in the brackets and pull it down full length. If the spring is too weak to carry it up smartly, take it out of the brackets and roll it partly up, replace it in the brackets and try it again. If still too weak, take it out and roll up a little higher.
If the spring is too strong or will not allow the shade to come down full length, take it out of the brackets when rolled up and unroll it a little.
Do this until the roller will carry the shade smartly without too much tension, and if you find the roller is not strong enough it is always better to replace it with a heavier one before the customer makes a complaint.
ARCHWAYS AND ALCOVES
Given a straight opening, the average decorator will have no hesitancy in suggesting numerous stock schemes of treatment, from the simple and inexpensive to the most elaborate. But if the top of the opening is curved, his difficulties are increased. In the chapters on scarf and festoon draperies, we illustrated how draperies may be applied to the face of a round top opening when the object is to decorate or relieve the severity of the opening by partially concealing the outline. We desire now to more particularly deal with a few cases which demand that the opening be not concealed, but harmoniously decorated within its prescribed limits.
Figure 100 illustrates an opening between two rooms, presumably a drawing-room and dining-room, where a treatment is desired that will admit of the opening being either completely or partially closed at will. This is accomplished in this case by a pair of portières that traverse freely on a pole placed at X, the spring of the arch; or if this is considered too high the pole may be placed lower and the upper treatment brought down to meet it. It is not wise, however, to leave an opening less than six feet six inches in height beneath the pole. The upper part of this arch is filled with a frame made as illustrated in Figure 100 A and covered with the same material of which the curtains are made. This is fastened beneath the arch by mirror plates (see Figure 100 B), which are barely visible, and hold the frame securely in place. If the curve of the arch is an unbroken line and the portière curtains are desired to completely divide the rooms, the bottom of the frame will look well straight, as illustrated, and the curtains are suspended directly beneath it, as Figure 100 C, showing side detail of frame and curtain.
If the pattern of the fabric, the motif appliqués, or the irregular curves of the opening suggest an irregular curved bottom line, as Figure 101, and perfect division is desired, two frames are used, as Figure 100 D, with the curtains traversing between them, and the pole placed high enough to be invisible, or if one room is less particular than the other, the pole may be placed high enough on the back or least particular side so as not to show from the other room, and a single frame be used to fill the opening from the front room. For arches which have large projections, as Figure 101, the frame is not usually made to fit into all the _little_ irregularities of the plaster, but these little irregularities are usually included in graceful sweeping curves, which follow the general outlines of the projections, giving almost as good effect as if it were made to fit closely. Of course we do not mean that it is permissible to leave conspicuous openings between the plaster and the frame, but as it will be found extremely difficult to fit all the little projections in plaster ornamentation, we suggest the advisability of including the lesser ornamentation in this way rather than nicking out the edges so that it is neither square nor curving.
If, as frequently occurs, there is more light on one side of the arch than on the other, and little points of light sift through, showing up any irregularities from the dark side, a little chinking with a strip of the same material will overcome this difficulty; but it must be neatly done, and unless the frame is a very bad misfit it should not require enough to be at all visible from either side.
In measuring curved openings for any purpose there is no method so satisfactory as an accurate full-sized pattern, which may be marked, cut, and tried into the opening before leaving the house. Figure 102 illustrates a splendid way of taking the shape of a plaster detail where an exact fit is required. The pattern paper is held behind the object, and with one point of a pair of dividers following the outline the other point will tick off the corresponding points on the paper by pressing it through the paper or marking with a lead pencil, and when cut and fitted the detail may be attached to the rest of the pattern in the proper position.
It will be readily seen that the circle of the top must be increased in proportion to the amount of fullness desired in the shirred curtain. For example, say that the distance from A to line B--X is twenty inches and the width of the curtain before shirring is fifty inches. Spread out the goods on your cutting-table, and, taking the line E--C of Figure 105 to be the top of the goods, measure down on the E or left-hand selvage the distance from E, the top of the arch, to A, the spring of the arch, and mark point A; now, with a cord fastened at A, and the goods spread smoothly out, face side up, strike a quarter circle, with C as a radius (line C--D, Figure 105); shift the cord to C, and with A as a radius strike another line to intersect the first one, thus locating point D, the point of intersection; shift the cord again to point D, and with A as a radius strike another sweep toward the upper right-hand corner until you cross point C.
The line thus drawn from A to C will be the top line of the curtain that will shirr properly into the space A--B. Add sufficient for heading and hem, before cutting, and trim to shape. If the curtain is to hang as Figure 103, measure down the C selvage edge of the goods the distance from top of arch to the floor, and trim squarely across for the bottom of the curtain, the gathering and raking edge (Figure 103) being formed by the looping up, as illustrated in Figures 34, B, C and D, chapter on Scarf Draperies.
If the curtain is to hang as a double festoon curtain, as Figure 104, sketch the curtain on your blackboard with the arch as Figure 105, and after defining the top of the curtain on your goods as above explained, measure the distance from B to G on your blackboard, and mark the same distance on the edge of your goods from C downward.
This locates point F. Measure the distance from A to H (the top of the seam) on your board and mark it on your goods exactly same size; add trimming allowance as dotted line three inches extra at each end and one and one-half inches in centre, and the piece of material defined by points A, C, F and H will shirr and pleat correctly into the space sketched on board, and defined by A, B, G and H. Pleat this up on the board and trim the line H--G square. Measure the distance from H to floor and cut a length of material, allowing a little for trimming. Pleat this on the board also, allowing the bottom to clear the floor nicely by a half inch, and not spreading beyond the points H and I. Trim this corner dotted line H--I--G to fit the line H--G, and join to the upper part, making as small a seam as possible, which is covered by a cord, in Figure 104.
The back of the seam is bound by a piece of the material or lining, as the case demands.
The Gothic arch illustrated in Figure 106 shows a case not often met with, but serves to illustrate a principle of soft valance cutting equally applicable to any shaped opening and any desired scallop.
The opening in question had an arching exposure into one room and a square exposure into the other room. The square opening is simply treated with a pair of portières, as Figure 106 A, the same showing behind the valance in Figure 106. To plan the valance itself it is necessary to have a full-size pattern of the arch, and on this as a plan (106 B) sketch out the drapery actual size. Be sure to allow more paper than is defined by the outline of the arch, as the details of the pattern will probably go beyond the outline as in this case. Half of the sketch only need be used, but it should be fairly correct in outline and proportion. When satisfactorily sketched (as Figure 106 B) detail the individual pipes and tails as follows:
If the pipes have been properly sketched it will be readily seen that the side outlines converge toward the centre at the top, and diverge from the centre at the bottom. Continue these lines upward until they intersect as at U and V, Figure 106 B. This point will be nearer or more distant according to the flare of the pipe at the base. With one point of a pair of dividers at point U, and with the top of the pipe as a radius, strike a line across and on each side of the pipe, as line 1--2; repeat at the bottom of the pipe, cutting through the front sides and back of the mouth of the pipe, as dotted lines 13 and 14; place one point of dividers at Y and with Z as a radius add a half inch for fold, and strike to cross line 13 on each side; shift point of dividers to this intersection on line 13, and with I as a radius strike to intersect line 14, thus locating point 8 (Figure 106 B). Locate point 7 in the same way, and rule from 7 to Y and from 8 to Y, swinging the line a little to include the intersection on line 13 a half inch from point Z; rule also from all these points, 7--8--Z and Z to U, locating points 1 and 2 where the outside lines cross the sweep at the top of the pipe. Find all the points on the next pipe and mark and rule in the same way. Continue the outlines of the first fold of the tail until they meet at W; attach a cord there, and with chalk or pencil strike circling lines at the top of the tail and at M, N, O, P, Q, R, S and T, the bottom of the tail.
Place point of dividers at M, and with N as a radius add an inch and strike to cross line NI, locating NX on line NI; measure from N to O and lay out this distance, with an inch added, by placing dividers at NX and crossing line OI, locating point OX; locate PX, QX, RX, and so on, in the same way, and rule from NX to TX, striking each intersection on the way, and also from each intersection to W, as dotted lines. When all located the lines between 5--6--11 and 12 will be the outline of the tail, those between 3--4--9 and 10 one of the pipes, and 1--2--7 and 8 the other pipe.
Now, lay the patterns over a soft board, and with a nail perforate the outline of the arch from A to T, the outline of the drapery from G to H, I to J and K to L, and also the outlining points of the pipes and tail, namely, 1--2--7 and 8, 3--4--9 and 10, 5--6--11 and 12, and the points NX, OX, PX, QX, RX and SX.
(_Continued on page 51._)
ARCHWAYS AND ALCOVES
(_Continued from page 49._)
Now take a piece of paper about twice the size of your pattern paper and lay your perforated pattern over it. A glance at 107 B, showing the detailed drapery pattern, will show you how best to lay your pattern to use the paper you have to advantage.
Commence by marking A--B--G and H through your perforations as well as any perforations which may be included between these; shift No. 1 on the pattern over point B, as marked through your perforation, and point 7 over point H, and mark out the perforations from 1 to 2 and 7 to 8; shift C over mark 2 and I over mark 8, and mark from C to D and I to J; shift 9 over mark J and 3 over D; mark the perforations included between 3--4--9 and 10; shift E over mark 4 and K over 10, and mark E to F and K to L; shift 5 over F and 11 over L, and mark all the points of the tail pattern. When all complete the under paper should appear as the outline of 107 B. Fold the pattern by following the lines of this illustration, the plain parts all face the front and the shaded parts all face the back of the drapery. As this is rather an intricate piece of work we have given each move in detail, and would suggest that you make a full-size plan of the pattern here illustrated to familiarize the details.
Figure 108 illustrates a round-top window treatment made like the foregoing, or either of these effects may be obtained by making scalloped flat valances as explained in the chapter on that subject.
The round-top flat valances may also be used in conjunction with a festoon drapery by providing apertures in the valance through which the drapery is passed, as left side of Figure 109.
To plan aperture pelmets for any purpose we prefer to sketch out the full size of the pelmet on a blackboard and plan the points where the apertures will be. Then lightly sketch the outlines of the drapery on your board, as right side of Figure 109, and measure from your chalk lines direct as follows: Take a small plumb line and allow it to fall over the deepest part of the festoon, as illustrated; attach a tape at D, festoon A, and allow it to drop down to X and around up to C; note the measurement at X and record it, and also the distance from X to C, which, in the case of a regular or equal-sided festoon, is the same; measure from B to A in the same way, recording the distance on each side of the line and also the distance from the top of the festoon to the bottom of it, in line with the plumb line. Measure festoon B in the same way, recording the distance on each side of the plumb line, and also the depth.
These festoons are cut as explained in the chapters on French festoon drapery and irregular festoon drapery, but we give the diagrams here as an additional guide. (Note Figure 109 A and 109 B.)
The drapery illustrated in Figure 110 illustrates an irregular festoon drapery, made to exactly fit the arch or opening. To plan this drapery use the blackboard and full-size sketch as for last figure. After the outline is sketched in and corrected to your satisfaction, flatten the tops of the festoon by ruling lines from each end of the bottom outline, as B to C dotted line, or from the outside extremity of one bottom outline to the outside extremity of the next festoon, as A to B and C to D dotted lines.
Drop a plumb line over the deepest part of each festoon and measure the outlines as explained for Figure 109, recording the measurements on the board; measure the distances of the straight dotted lines, tops of festoons on each side of the cord, and also on each side of the centre of the dotted line, recording the distances each way, and also the distances from the centre of the dotted lines to the outline of the arch.
When all measured, take a large sheet of pattern paper and proceed to mark out your pattern. Spread your paper on the table, the longest edge of the paper even with the side of the table next to you, and on this edge mark the measurement of the bottom line of festoon F, as recorded on your board. (See Figure 110 A.) In this festoon the plumb line crossed its centre and both sides measured equal, so, measuring each way from the centre of your line, mark the ends B and C, distant 1--4 from X, the centre of your line; erect a perpendicular line twice the length of the depth of the festoon, from dotted line to bottom line, and in line with the plum line (twice 1--1½ = 2--3). At the top of this line, or 2--3 from its base, draw another horizontal line parallel with the bottom line, and on it, each side of the perpendicular line, mark the distances recorded on your board each side of the plumb line; now, with one end of a pair of dividers or cord at X (110 A), and with B--C as radii, strike a quarter circle upward from these two points; with one end of the dividers at C and one-third of the distance from C to X as a radius strike an arc to intersect the first circle, locating C 1. Repeat this arc at B and rule from B 1 to X, C 1 to X, B 1 to B X and C 1 to C X. Add trimming allowance at the sides, as dotted lines, three inches extra at extremities and one and one-half inches in centre, and round out the bottom from C 1 to B 1, as dotted line. This gives you the shape of the pleated part of festoon F, and to this you must add the plain piece above the dotted line.
From the centre of the top line of the festoon erect a perpendicular line to correspond in length with the upright three-inch dotted line at the top of festoon F (Figure 110); place one end of dividers at this point D (Figure 110 A), and with a little more than half the distance to C X as a radius strike an arc equal to a quarter circle. Shift the dividers to C X with the same radius and strike an arc that will intersect the first one at both extremities; repeat these with the same radius from D toward B X and from B X (as illustrated), and rule lines that will pass through both intersections of both arcs until they themselves intersect at E; now, with one point at E and B X as a radius you can sweep the same circle from B X to C X as is outlined on your board of Figure 110. Festoon E and G of Figure 110, and B of Figure 109, are measured and laid out in the same manner; the measurements on each side of the perpendicular line corresponding with those recorded each side of the plumb line, the points locating the end of bottom lines raised one-third the distance from the end in question to the perpendicular line, and the depth of the festoon doubled on the perpendicular line to allow for pleating.
The draperies illustrated in Figures 109 and 110 are attached by rings to bent poles inside the arch, to a light frame similar to Figure 100 A, or may be tacked to the arch itself.
A plan employed largely by French decorators is illustrated by Figure 111, combining the principles of the drapery and long curtain. The arch here illustrated and detailed in Figure 111 A represents an arch 5--0 wide by 8--0 high. Add to these dimensions half as much again to the width (2--6) and a like quantity (2--6) to the length; join the fabric up to these increased dimensions (111 B), 7--6 x 10--6, and lay it out flat on the table; from the centre of the top edge draw a line at right angles to the top and as long as the quantity added to the length (2--6), and on each side of this line mark on the top edge points equal to half the quantity added (1--3), thus locating points C--D and E; rule from C to E and E to D; add the trimming allowance, as dotted lines, and cut this piece out.
Shirr these curved lines from C to D tightly (as illustrated 111 C) and tack it in place at C--D (111 A); raise each outside edge until it just clears the floor and tack it at E, the spring of the arch; edges C to A and D to B are tacked around the curve from the centre as far as they will reach, and the surplus between B and E is distributed into pleats and the same repeated on the other side.
It is sometimes necessary to square the bottom edge if the goods are very heavy, but the bottom can usually be kept square with the pleating. To straighten the bottom tack the curtain in place temporarily and allowing it to hang naturally, insert pins all along the goods as it hangs at the floor line; trim off the surplus thus marked, and finish the bottom with a hem, cord or fringe, and trim the top with a gimp or large cord. This method is only suitable where the fabric will not be disturbed, but is very effective as a background.
Figure 112, a combination of an embroidered flat valance and pair of double festooned curtains, is very effective for large spaces. The valance, made on a light frame or on buckram and tacked to the arch, the tacks covered with a gimp in harmony with the embroidery, and the curtains attached as explained for Figure 104.
The method of employing a blackboard and full-sized drawings mentioned in the foregoing, with the explanation of festoon F (Figures 110 and 110 A) gives the fundamental principle of the blackboard system of drapery cutting, and the principles therein suggested may be applied to any explanation of drapery cutting which we have given by changing the scale drawings to full-sized drawings and measuring the sketch with a tape. It is not at all necessary that the outline of the festoons be made up of accurate and true lines. If the general size and shape is fairly correct you will find that the tape will hang true enough to correct any deficiency in sketching.
PORTIÈRES · AND · APPLIQUÉS
As early as the year 1012 B.C., straight hanging portières for connecting doorways were employed in the temple built by King Solomon. In a modern house, portières are almost as important as doors. Aside from the ready-made portières, which are manufactured in a variety of patterns and materials, the demand for portière curtains specially adapted to various rooms has resulted in a profusion of made-to-order styles, a few of which we illustrate.
Among the fabrics most used are tapestries, brocatelles, damasks, velvet, plush, plain and figured velours, armures, fancy reps and serges, and for Summer furnishings, the lighter-weight fabrics, such as taffetas, art tickings, cretonnes, denim and sateen, in almost endless variety of shade and pattern.
In many cases the carpets and wall coverings are chosen and in place before the portières are considered. This is unfortunate for the drapery man, as it not infrequently happens that the unadvised or overadvised purchaser has chosen colorings that bear no relation to one another, so that to select a material for portières that will harmonize with the carpet at its base and also with the side-wall which it divides is a difficult proposition. Frequently the best that can be done is to employ an unassuming neutral color that will not offer a very decided contrast to either floor or side-wall, and then introduce the colors of these other furnishings in a modified form in the trimmings.
Where walls and floor are in harmony, or where the furnishings are chosen together, it is a safe plan to build from the ground up, allowing the portières to be slightly lighter in tone than the carpet, and the over-draperies and side-wall in lighter tones still. This applies equally whether the scheme be one of contrast, or analogy.
Considerable care must also be exercised as to the general effect of plain or patterned fabrics in relation to floor and side-wall. As a general rule avoid upright stripes for long, narrow doors, since the stripes accentuate the slimness of the portières. Likewise avoid cross stripes on short openings, as they decrease the height and increase the width. Plain self-colored materials look larger than figured materials unless the expanse of color is reduced by appliqué trimmings. Study the effect you wish to produce and plan accordingly.
Some of the fabrics mentioned above are reversible, having a finished surface on each side. These, as a rule, do not require lining unless too light in weight or out of harmony with the colors of the adjoining room. Other goods should be lined and--unless the goods are heavy enough without it--interlined as well.
Figure 113, on the next page, illustrates the most common type of portières made of a figured material and trimmed with a cord on one side and bottom of each curtain.
Assuming that these are made of a reversible or double-faced material, the goods are first spread on the table and the measurement of the portière marked out. If the curtain length as marked spoils the pattern at both top and bottom it is better to shift it up so that the bottom pattern may be perfect (or both bottom and top if possible), add about three inches to the net length of the curtain measurement and cut it; match the next length to this one before making the second cut. If it creates too great a waste and there should be more than one pair required of the same material (the pairs not required to match each other) cut a length for one of the other pairs and try the first pair again. If this is no better and there are no other sizes to cut, try the other end of the goods. Never cut to waste without trying every plan you know for avoiding it, as a little planning will often pay for itself in the amount of material saved.
Assuming still that this is reversible material and the matched lengths are ready for making, spread each length on the table and cut off the selvage or part of it, according to the width of it, and turn or fold the edge over as Figure 113 A to make a felled edge about three-eighths of an inch wide, which is slip-stitched as illustrated. Be careful that the stitches are taken between the threads of the goods and do not show on the reverse side.
Fell the curtains on both sides and bottom, taking care not to stretch the edge of the material in doing so, and leave the top as cut. When all felled around, lay the fabric on the table with the bottom of the curtain even with the end of it and the sides parallel with the table top, mark the length of the finished curtain on the table as A Figure 113 B and fold the top of the curtain over as illustrated, making a fold about two inches deep, which is stitched at X the bottom edge of the fold and at O one-half inch above it.
The cord is sewn on as illustrated by Figure 113 C, holding both cord and curtain loosely, so as not to stretch either, and pulling the stitches barely taut.
A great deal of the difficulty in the hang of portières is caused by the way in which the cord has been put on, and too much care cannot be taken until one is expert enough to produce perfect results.
The right side of the curtain is considered to be that side from which the hems were turned, and the cord is sewn from the right side, the ends being securely fastened and sufficient fullness allowed at the corners to turn them squarely.
In portières, as in draperies, cut the goods to be made with the pattern running up, and the nap of pile goods running down. When not shirred to the width of the space the portières are pleated to the width, the pins being inserted between the two stitchings X and O, Figure 113 B, and the pleats turning to the back edge of the curtain, as Figure 113.
Figure 114 is an illustration of how a pair of portières can be applied to a narrow door to give it the effect of greater width. Hung in this way and for this purpose all woodwork must be hidden and the pole projected forward far enough for the curtains to clear the face of the door frame.
An appliqué lace is illustrated as a trimming on the left-hand curtain (Figure 114), and the curtains are lined on the reverse side with a fabric to harmonize with the surroundings in the next room.
To apply the trimming, the curtain is first tacked out flat on the table face upward, true and even with the square table edge, and a guide line ruled where the lace is desired to be.
Open-work appliqué trimmings are usually started from the corner, and the trimming so planned that where the mitre is made a perfect pattern is made and the surplus cut away. When all laid on in place the trimming may be either basted, pinned or cemented, after which it is taken up and sewn permanently. For pile goods a splendid method of holding the trimming in place is to spread some paste on a piece of paper and then press the wrong side of the trimming on to the paper until it absorbs a quantity of the paste, then lay it on the fabric in position and weight it until dry, after which it can be stitched.
After the trimming is stitched in place, lay the curtain on the table face downward and turn a half inch (or more if desired) over on sides and bottom, as illustrated in Figure 114 A and 114 B, and tack it temporarily, taking care not to stretch the material, but keeping it smooth and straight with the table; turn the surplus down at the top to make it the length of the finished curtain, less whatever allowance is necessary for cord or fringe, which projects beyond the bottom edge, and so must be included in the length of the curtain.
Lay the lining over it, as Figure 114 B, turning under sufficient at sides and bottom to make it equal to the width of the tapestry or chief fabric of the curtain. Tack only half of this, as illustrated, and then fold the free half back over the tacked half and knot--stitch the lining and fabric together, as shown in 114 C. Pass the needle between the threads of each material in such a manner that the stitch will not show through on the right side of the curtain, and knot it to one fabric only.
When all knot-stitched, using one, two or more rows, according to the weight, texture and value of the fabric, finish tacking the lining, turning under the edges as before and baste the fabrics together all around, using a stitch similar to that illustrated in Figure 114 A, which holds the folded edge well in place.
Stitch the top across twice, as X--O, Figure 114 E, and then pin the curtains temporarily to a try-pole to see if either side sags down and looks baggy. If it does so the bottom basting must be taken out and the excessive fullness allowed to hang free until both fabrics hang square and flat together; then pin the two fabrics about four inches from the bottom, so that neither can shift, lay it on the table, and, turning in the bottom evenly as at first, baste it once more and test it on the pole.
If flat and even this time without sagging, it may be removed and slip-stitched all around, holding the edges as basted and using the stitch illustrated in Figure 114 D.
The curtain is then corded as explained in connection with illustration Figure 113 C, and if the lining is a different color and sufficiently important to require it, the cord should either be a mixture of the two colors or two separate cords should be put on, each sewn from and matching the color of its own side.
If the tops are to be pleated and pinned, as Figure 113, the pins are inserted between the stitches X and O, Figure 114 E; but if they are to be shirred, as Figure 114 A, a tape is run between the stitches X and O, and hooks placed in between the tops, as A, Figure 114 E, and sewn to the tape, after which the spaces between the hooks are stitched at intervals to keep the two fabrics up in position.
Where price limitations do not exist a more satisfactory portière can be made by using an interlining of sateen, canton, or shaker flannel the bottom of which contains small vertical pockets, as Figure 114 F, which are filled with shot and sewn up. These are made by turning up the bottom of the lining about three inches and running it through the machine, as indicated by the arrow. It will be noticed that the pockets are heavier or a little closer together at the corners to increase the weight there and correct the tendency to flare common to a pleated or shirred curtain. This weighted interlining is placed in position before putting on the lining in Figure 114 B, and is included in the knot stitching and basting; the edge of it, however, is trimmed even and lies between the turned-in edges of the two fabrics without itself being turned in. When weighted interlinings are used with extra-heavy corners the fabrics should be knot-stitched together, say four inches from each outside edge and down the middle for ordinary fifty-inch material (three rows in all). There is a tendency on the part of a great many fabrics to sag or stretch down with their own weight after hanging for some time. The best way we have found to correct this is to stretch the material between clamps, as Figure 115, allowing the tension to remain on the material for about twelve hours, after which it is made up in the usual way.
Figure 116 illustrates a pair of portières with a leather or embroidery appliqué corner which is applied as already explained for lace appliqué, making a very rich and effective portière. When made to order it is possible to have the embroidering done on the fabric itself, making thereby a better finished and more durable article.
The French heading illustrated in Figure 117 is made as explained by drawings 117 A and 117 B, showing the front and back views of the double box pleat which is opened out into the heading after having been sewn to the hook. This heading requires a special hook having upright arms which support the top of the heading and are something after the style of Figure 117 C.
Figure 118 is an illustration of a tapestry panel made up as a portière by bordering it with a plain material, such as velours or plush; they are made with very little fulness in width, and are effective for den, library or smoking-room curtains.
A great variety of gimps, cords, edgings, galoons and appliqués are procurable for trimmings, each applicable to specific requirements, while a combination of two fabrics in the way of bands or borders, as Figure 118, and the right-hand curtain of Figure 114, is also most effective, and allows an assembling of colors and shadings not easily produced in any other way.
Figures 119 and 120 illustrate two kinds of portière poles for use on a doorway where it is necessary to have the portière swing open as a door, or with a door which it covers. The principle of each can be readily seen without explanation, and they serve a useful purpose where such fixture is desired.
Figure 119 is self-supporting, and is independent of the door unless provided with bracket X. Figure 120 is dependent on the door for support at one end, and is hinged just in line with the hinge of the door. The small bracket at the left of the hinge is equipped with a set screw, which holds the pole rigid, while the right-hand bracket is provided with a large opening through which the pole slides with the opening of door. Portières are usually made to just clear the floor, and should be suspended from rings which traverse freely on the poles. Appliqués look best on plain materials. Materials with prominent patterns are better without them.
BED · DRAPERIES
Bed draperies should be planned and constructed to carry out the style and design of the bed itself, and should never appear obtrusive. Care should be particularly exercised in sleeping apartments that the draperies, furniture, floor and wall coverings merge into one complete harmonious whole without a discordant note.
The conformation of the draperies has much to do in determining the artistic atmosphere of a room, and may suggest vivacity, dignity, restfulness, solemnity or depression, according to the design and the style of material. The application of style and design to particular purposes is not governed by rules as fixed as the harmony of color, and doubtless every decorator of experience has seen scores of treatments which have impressed him as being in bad taste and unrelated to their surroundings, yet these treatments must have pleased somebody.
The salesman who told a lady customer that _good taste_ was what _she_ liked best was not far astray in his definition, and it would be folly for any of us to say what is and is not absolutely good taste. We would, however, suggest that the purpose for which a room is used should govern to a very large extent the nature and character of the furnishings, and that the more exclusive the purpose so it should be with the furnishings.
This was hardly the thought prevalent in ancient times, judging from the examples extant, but is more in touch with latter-day thought and tendency.
Students of period draperies soon reach the conclusion that there is very little really new, and we think this is particularly true of bed draperies. In bed draperies the French decorators of the Sixteenth and Seventeenth Centuries are still pre-eminent, and we reproduce for purposes of explanation a few of the best examples of these periods.
Figure 113 is a type of the elaborately upholstered bed of the Pompadour period and contains much that is graceful and applicable to present-day decoration, the entire canopy arrangement being worthy of reproduction in toto.
While it is not customary at present to upholster beds (head-board, foot and side-rails), except for purposes of exact reproduction, it would not be amiss to explain in passing the steps taken in producing the different styles of tufting shown in our illustrations.
The biscuit tufting of Figure 113 is usually made small and shallow as compared with other styles, the squares composing the tuft seldom running larger than two inches. To mark off the surface of the article for tufting find the centre each way and draw lines as dotted lines 1----1, 2----2, Figure 113 A, being careful to make them perfectly perpendicular and horizontal, as governed by the outline of the space to be tufted. Measuring from the centre lines draw other lines every three inches until you reach to within three inches of the outline of the space, thus dividing the surface into three-inch squares, as dotted lines, Figure 113 A. Rule diagonal lines, as A, B, C, to cut through the intersections of the dotted lines, and make these diagonal lines sufficiently heavy to be legible when tufting, as the smaller squares enclosed by the diagonal lines outline the size of the tufts and the intersection of the diagonals mark the points for the buttons. (See Figure 113 B.) When all the lines have been drawn the article is ready for tufting, but the cover must also be marked for buttoning before it can be applied with any degree of success.
To ascertain the size of the covering needed, count the number of squares diagonally from one extremity to the other, thus from C to C, Figure 113 A, numbers ten squares, and ten also from A to A; now take the size of the dotted line squares first marked on Figure 113 A (three inches), and multiply the number of diagonal squares by the size of the dotted squares, which gives us the size of the covering as 30 x 30 inches; add an inch all around for tacking, and a piece of covering 32 x 32 will be the size required.
For spaces such as 113 A, where the surface is longer than wide, it is possible to economize in covering by joining two pieces together on the centre line of tufting, B----B; take width from the lower right hand C to the upper B, nine squares, and the number from B----B to A, upper right hand corner, five squares, and multiply each by three inches, as before, and we find that two pieces, 27 x 15 inches, with tack allowance added, will be sufficient to cover the spaces thus divided by line B----B.
The covering is turned face downward upon the table and divided into the requisite number of three-inch squares, leaving the tacking allowance beyond the outside lines and keeping the lines parallel with the edges of the material, similar to Figure 114 B.
Attach the centre mark of the lowest line on your material to X, the lowest button mark on your tufting surface on line A, Figure 113 A, and temporarily tack the next marks on the bottom line at X----X, Figure 113 B. Stuff the fullness thus allowed between your button and X----X, and then put in button B, as Figure 113 B; the space between A----B and X forms a triangular pocket of fabric, which is stuffed up plumply and button pulled into place by following the marks on cover and tufting surface; the rest of the tufting now is a repetition of this procedure, stuffing up the three-cornered pocket, pulling in the fourth button to complete the square, and forming the surplus from button to button into a straight pleat. When all filled the edges are stuffed up plumply and tacked all around, the surplus fullness around the edge being formed into pleats running outward from the outside row of buttons, as Figure 113 B.
This is by no means an easy task for a novice, but patience and perseverance will accomplish the result, and the method of square marking for the covering and diagonals intersecting similar sized squares on the article will give the proper allowance for fullness for all sizes and nearly all coverings.
Square or bun tufting, as shown in Figure 114, is marked as Figure 114 A, dividing the space into three-inch squares (or larger, if desired) and the covering marked also into squares (as Figure 114 B) from one to one a-half inches larger than those on the surface of the article. Thus, for three-inch squares, rule your cover into four and one-half inch squares and add tacking allowance. The size of the covering can easily be ascertained, as you need the same number of four and one-half inch squares of covering as there are three-inch squares marked out for tufting.
Put in the entire bottom row of buttons and the first one of the next row (Figure 114 A), forming the triangular pockets, which are stuffed as explained above for biscuit tufting.
The diamond tufting of Figure 115 is made in a slightly different way, but the principle is the same. Rule the cross lines 1----2----3----4 as Figure 115 A, line 3, say three inches from the bottom, line 2, six inches above line 3, and line 1 three inches higher again.
Divide lines 1, 2, 3 and 4 into three-inch spaces, as shown on line 1, A----B----C, etc.; rule from B on line 2 to A on line 3, and also to C on line 3; rule from C on line 2 to B and D on line 3, and also from A on line 2 to B on line 3, continuing this until the surface is all marked, as Figure 115 A. This will give you a row of intersecting diagonal lines between lines 2 and 3 and marks the diamonds for buttons by following the intersections.
To measure the space for covering, measure from A to B, to C to D, and so on to G, adding one and a-half inches to the distance between each letter for fullness. Measure from 4 to 3 to 2 to 1 in the same way, adding one and a-half inches to each space, so that a panel the size of 115 A, which measures 12 x 18 inches, requires a piece of covering 18 x 27 inches, with an allowance of another inch all around for tacking (20 x 29). Mark the covering, as Figure 115 B, which shows the one and a-half inches added to the spaces between the upright lines and also to the spaces between the cross lines.
Put in the first row of buttons and draw the bottom edge of the goods, which lies directly in line with each button, straight down, and tack it temporarily there. This will form a series of pipes all across the bottom; stuff evenly and plumply, and commencing in the centre stuff up all the space between the first row of buttons and the second line; pull the cover down over this by pulling the button mark on the cover down to the button mark on the line, and put in the button, forming the surplus material diagonally from button to button into a pleat, as illustrated (Figure 115 A). Continue this row and the rest in like manner, folding the pleats downward and facing each other in pairs, as indicated by arrows. Finish the top with a row of pipes similar to the bottom, stuff up all the edges and tack them, drawing all the surplus fullness into pleats from each button of the outside rows, and rounding the edges down to the place where finished off by tacking.
Beneath the rail of Figure 113 a short piped valance fills the space to the floor. It is slightly pleated between the pipes, so that the pleats fall into festoon shape, and is also an effective valance for cosey corners and chairs. Mark out on a paper, Figure 116, the exact appearance of a portion of the valance, including two pipes and the space between; erect perpendicular lines A and B through the centre of each pipe, measure the width of the pipes at bottom and top, the length from top to bottom, the distance between D----C at the top and the distance around the curved bottom line between A----B at the bottom, recording the measurements as here shown.
Take a large piece of paper, and using the longest edge of it as the bottom line A----B, Figure 116 A, mark off the distance of the bottom edge of the festoon (1----9); from the centre of this space erect a perpendicular line E----E at right angles to the bottom line, and as long as twice the length of the pipe (2----0); at the top of the perpendicular line rule another horizontal line parallel with the bottom line or the edge of your paper, and with the perpendicular line as your centre, locate points C and D, exactly as on your drawing 116.
With E as your centre and A----B as radii (116 A), strike a half circle to connect A and B; with B as a centre and one-quarter the distance to E as a radius, strike an arc to intersect the half circle and locate point A----1, and repeat at B to locate B----1; rule from B----1 and A----1 to E, from A----1 to C and from B----1 to D, defining the general outline of the festoon-like section between the pipes.
Reverting again to Figure 116 the bottom of the pipe measures four and one-half inches across the face when pressed flat; double this to get the circumference, which would be nine inches; rule a horizontal line from point A----1 (116 A) parallel with the bottom line and nine inches in length; erect a perpendicular line, X----X, from the centre of it, and on the perpendicular mark the length of the pipe as shown on your drawing (1----0); at the top of this line lay out the size of the top circumference of the pipe, which is double the face measurement, and locate points G and G four and one-half inches apart; rule from G to A----1, round out the bottom line from A----1 to B----1 as dotted line, add the trimming allowance between C and G, dropping about two inches to F, midway between lines C and G as dotted line; fold the paper on line X----X and cut out the festoon and half the pipe, as outlined by X----A1----E----B1----D----C----F----G and X, together with the paper folded underneath, which will give you when opened the pattern of two festoons and one pipe, as Figure 116 A, which may be repeated indefinitely by joining the pieces at F so that the seams are hidden behind the pipe.
To pleat the festoons shirr from C to F and D to F tightly on a stout thread, fasten F----F together, drawing the pipe together at the back, and fold the top of the pipe down behind to finish even with the top of the festoons. Tack the whole to a slat or to the bottom of the bed itself and straighten out the pipes and pleats to hang nicely and uniformly.
By increasing the depth of the festoon to (2----8) twice the depth of the festoon drawn in Figure 116 (1----4) and adding rosettes, made as explained in chapter on pleated valances and lambrequins, a more elaborate effect is obtained, as Figure 116 B, suitable for other purposes where a simple valance is required. The canopy is made on a frame shaped like Figure 117, suspended by brass chains or wire from the ceiling or wall, and supports the curtains at sides and back, in addition to the drapery which completes the canopy. The side curtains are made about a foot longer than the distance from floor to canopy, and caught up with rosettes or loops, as explained in chapter on scarf draperies.
The festoon-like pleats in the top of the curtain are obtained by cutting out sections of the top of the curtain, similar to the piece defined by points E----1, E----1, and F, in Figure 118, the total amounts cut out consuming the fullness allowance, as, for instance, a piece of forty-eight inch material pleated to twenty-four inches would have two triangles of eight inches removed, as Figure 119, and a half triangle of the same size taken off each corner; by shirring the raking edges the pleats are obtained and the fullness consumed.
The drapery of Figure 113 is made up of triple-pleated festoons, made as follows: Sketch out the festoon as you desire to pleat it, either full size on your blackboard or to a reduced scale on paper, the large lower pleats occupying two-thirds of the depth, and the small upper pleats the remaining one-third, as Figure 120; measure the distance around the bottom of the festoon from A to B, the depth from E to X, and also from C to E and D to E, recording the distance on your drawing.
The bottom line and the depth of the festoon pattern, Figure 118, are planned as a regular festoon, so draw the bottom line, A to B, locate the points A1----B1 one-sixth of and above the bottom line, as explained for straight festoons; rule the perpendicular centre line E----X as long as twice the depth recorded on Figure 120, and rule the top line parallel to and almost as long as the bottom line.
Now take one-quarter of the measurement between C----D, Figure 120, and mark it on your top line, so that half of it lies on each side of your centre line E, thus the distance between C----D is eighteen inches, one-quarter of it is four and one-half inches, and two and one-quarter inches on each side of the centre line locates E1 and E1 four and one-half inches apart.
Now take the distances recorded between C and E and E and D on your sketch, and mark these distances outward on the top line from E1 and E1, which will give you the size of the top of the festoon and locate points C and D on your pattern. Mark F about one-quarter of the distance from E to X on your pattern (Figure 118); rule from F to E1 on each side, A1 to C and B1 to D, add pleating allowance, as dotted lines on raking sides of festoon, hollow out the U-shaped marked at E, as dotted line, round out the bottom of festoon, and cut out the pattern, shirr the edges from E----1 around to E----1 on a stout thread, and pleat the raking outside edges up as an ordinary straight festoon. (See explanation in chapter on French festoons.)
The ruffle which surmounts the drapery and forms a trimming at the edge of the canopy (Figure 113) consists of a piece of material pleated in such a manner that the pleats are smaller at the bottom than at the top. It is made separately, and either joined to the drapery or put on over it. The size and number of the little cone-like pleats are matters of personal taste, and the principle of making is the same for all sizes and shapes.
On a fair-sized piece of paper draw out exactly two pipes and the space between as you desire it to look when finished (see Figure 121). Continue the side outlines of the pipes downward until they meet, as A----A. This, of course, will be nearer or more distant according to the flare of the top of the pipe. Place point of dividers at A, and using the length of the pipe as a radius, strike a quarter circle through and on each side of the top of the pipe, as line B----B; now draw perpendicular lines passing up through the centre of each pipe and at right angles to the straight bottom line of the ruffle.
Place one point of dividers at C, where upright line intercepts the circling line, B----B, and with a little more than D----D as radii, sweep to cross the line B----B on each side; place dividers at the point where your sweep crossed B----B, with the same radius, and strike another line to cross B----B and locate E, and rule from E and D to A on each side of the pipe; with dividers at A, and with the bottom of the pipe as a radius strike another quarter circle as H----H, the points where dotted lines D and D cross H----H locate G----G, and where dotted lines E and E cross H----H, F----F are located; mark the place where the perpendicular line crosses H----H as X, which is shown on the middle pipe, and the pattern is ready for punching.
Note instructions for punching pattern of Figure 107 A in chapter on archways, and follow the same procedure with this pattern, punching points E----D----C----D----E at the top, and F----G----X----G----F at the bottom. You will notice that letters E----D----D----E----F, G----G and F outline the pipe and show the lines for folding, while the space enclosed between C----C----X----X is the pattern of the plain piece between the pipes; now by shifting the pattern as explained for Figure 107 B, in above mentioned chapter, and marking through the perforations you will have a pattern outlined by the same letters as Figure 122; rule from point to point and you have the complete pattern of one pipe and the space between it and the next one, by repeating this, as shown in Figure 122 A, you may make the ruffle any required length, stiffen with wiggin holland or buckram and pleat as indicated by lines in pipes, the shaded portions of Figure 122 A going to the back of the pipe, and the points C E----C E and X F----X F meeting and fastened together. The completed ruffle is now sewn to the top of the festoons and the seam finished with a cord, as Figure 113.
Figure 114 illustrates the application of straight top festoons to a molded canopy frame, the roof of which is shirred to a centre in sunburst effect.
Figure 115 shows a ruffle or piped heading similar to Figure 113 with larger spaces between the pipes, and the method of detailing the pattern is the same as already explained.
Figure 123 illustrates a dome shaped canopy supported by a molded cornice, and is more simple of construction than at first appears; the molded cornice needs no further explanation than the front view, Figure 123, and the side view, Figure 123 A.
The construction of the dome can easily be followed by Figures 123 B and 123 C; a light hardwood circular frame is first marked at intervals around the outer edge where the ribs are desired to be, and a number of straight iron wires about one-eighth of an inch in diameter are inserted by boring holes in the edge of the frame, driving in the wires as C, in 123 D, after which tacks are driven in beside the holes to swell the fibres of the wood against the wire, and the wires bent upright as A and B of this illustration. Each separate wire is bent to take the shape of the rib, and all are fastened at the centre temporarily; when all are thus fastened, commence winding the three wires composing each rib, binding them solidly together with soft twine continuing to the centre, then turn the wires sharply aside, in line with the next rib, to which the ends are then bound, and the winding repeated on each rib.
It is desirable that no wires be permitted to continue across the centre, but that all should turn back, leaving the centre free from the thickness that would be occasioned by the crossing and recrossing of the wires.
By crossing twines on the frame and dropping a plumb line over the intersections, the centre of the dome may be kept in line with the centre of the open frame (see Figure 123 C).
When the ribs are all in position wire loops are run around the ribbed circle inside, at different heights, to strengthen them and preserve the globular shape. The framework is then covered with canvas, and each panel (the space between two ribs) is padded with some soft material evenly distributed and covered with cotton, after which the covering material is put on, a row of stitching holding all firmly to each rib and a cord covering the stitching.
The drapery beneath the cornice of Figure 123 combines the festoon and straight valance principles which have been already explained in former chapters, and the small drapery above the embroidery is put on separately.
The four-poster of Figure 124 shows the application of a straight box pleat in keeping with the architectural lines of the bed, and any of the draperies shown herewith may be applied to four-post beds if the general outline and style of the draperies conforms to the general construction of the bed itself.
In Figure 125 we illustrate a French canopy which adapts itself very readily to the decoration of brass beds. The dome is formed of panels of buckram or cardboard, cut to shape, and covered with the fabric, plain or pleated; the panels are then sewn together with the baseball stitch, previously illustrated, and a hoop fastened inside the bottom to preserve the shape. If heavy fabrics are desired for curtains, drapery and covering, the dome should be more substantially constructed, as described for Figure 123, dispensing with the molded cornice if desired.
Bed canopies, no matter how light, must be carefully put up and securely fastened to avoid accident.
The back curtains, which appear in almost all of the illustrations presented herewith, are in some cases attached to the side curtains, so that the fabric is continuous from fringe to fringe, those of Figures 123 and 125 being so planned.
The back curtain of Figure 124 is shirred on a rod top and bottom, and stretched into pleats, while those shown in Figures 113, 114 and 115 may be treated similarly, or, as illustrated, pleated into long, sweeping pleats. The material is joined up, allowing nearly half as much again to the width, say a piece 6--- 9 for a 4--- 6 bed, and allow a like quantity (2--- 3) in addition to the required length.
Spread the material out on the table, find the centre of the top, and measure each way on the top edge a distance of eighteen inches; measure down each side from the top corner the distance you have allowed (2----3), and rule from these marks to the extremities of your eighteen-inch marks; add outside of this the allowance for tacking and trimming and trim off the corner, which means that you remove from each corner a piece of material measuring about 20 x 24 inches, and triangular in shape. Tack the straight top to the back of the canopy, centering the goods (3----0) in the space (4----6) and pleat up the biased corners into the remaining spaces at each side.
TRAVERSE, · DROP · AND · THEATRE · CURTAINS
Where curtains, while possessing decorative properties, are also to form a complete or partial screen at will, it is essential that their manipulation be simple and easy. For curtains which travel to and fro on a straight pole while hanging at full length traverse cords are effective. This is accomplished by means of two pulleys, as Figure 126, the pulley marked A being a double pulley and B a single pulley. The curtains are pleated up to the required width so that they just nicely fill the space, and are hooked, pinned or sewn to the rings. Place the pulleys in position even with the outer edges of the curtains and thread a small braided sash cord (well stretched) through the single pulley B; carry the doubled cord over to A and measure the distance, the ends will have to fall below A to bring them within easy reach; allow a couple of feet extra on one of the cords, and cut. Without allowing the cords to shift in the single pulley fasten the short cord to D, the right hand corner of the left curtain, and thread the end through the double pulley.
Fasten the longer cord to the corresponding ring at C on the right-hand curtain and thread it through the other groove of the double pulley. By pulling E (Figure 126), the shorter cord, the curtains will separate each way from the centre, and as this cord descends the F cord ascends, the cords traveling in the direction of the arrows, and by pulling F the curtains draw together again.
Adjust the cords so that when F, the closing cord, is taut the curtains will meet exactly in the centre of the pole, and also so that E, the opening cord, is a foot higher than F when the curtains are closed.
Finish the cord ends with a weighted tassel, and, as will readily be seen, it is only necessary to pull the higher tassel at any time to alter the position of the curtains.
To insure easy manipulation, it is necessary to have the rings large enough to travel freely upon the pole, and if the curtains are heavy the rings should be provided with small wheels or rollers which run upon the pole. The rings should also be free from any projections that would catch the cord, and the hooks or pins should have the points bent back into the fabric so that the cord cannot get caught thereon.
This method is employed for sun or draught curtains, and sometimes for small concert curtains. Another method of curtain manipulation in which the curtains draw up in drapery form is illustrated by Figure 127. To accomplish this effect the pair of curtains are pleated to size, as back view Figure 127 A. Spread flat on the floor, and with a cord attached at A, the inside corner of the curtain, a quarter circle is struck from the outside corner to a corresponding position on the front edge of the curtain.
Rings are sewn to this line, and a cord which is attached to B is threaded through the rings, passed over a pulley at C, and across and over a large pulley at D, and brought down to the floor, as E.
A pull on the cord at E now causes the cord to draw up through the rings on the curtain, the material gathering into folds because of its weight, and the release of the cord allows the curtain to swing back again into place. By arranging both curtains in this manner and drawing them simultaneously a pretty draped opening is produced, as Figure 127.
For a heavy pair of curtains, attach the cords, after passing over pulley D, to a counter weight, and either attach a separate cord to the B cord immediately above A, the centre of the curtains, and bring it over D and down to F, so that a pull at F sets the pulley and weight in motion; or arrange as explained later for Figure 129 A.
If it is desired that the front edges may draw completely up to the pulley, forming two festoons, as Figure 128, more sweep must be allowed on the front edge than on the top, and can be easily calculated by moving the stationary end of the marking cord out beyond A the distance desired to give the required sag to the bottom edge when drawn up (see X, Figure 127 A, and the dotted sweep).
Figure 129 illustrates a drop curtain made after the style of Austrian shades, as explained in the chapter on blinds and shades. The back view (Figure 129 A) shows the method of running the lines to a counter weight, which balances the weight of the curtain and is controlled by two lines--J, leading from the weight to the small pulley F, and down to the floor pulley I; H, the other line, leading from the weight down.
As will be readily seen, this line is continuous from the top of the weight around to the bottom of it, and the curtain is raised by pulling line H, which lowers the weight and is lowered by pulling line J.
We have used the plans outlined by Figures 127 and 129 for temporary drop curtains forty feet high by eighty feet wide with complete success. The back view of Figure 129 A illustrates the method employed for swinging a temporary drop curtain of these dimensions across a hall that had no curtain facilities, bare walls and rounded ceiling, it being accomplished by three groups of stay lines (B) drawn up through the ceiling, each line adjusted to the proper tension while slightly hoisted, and the curtain itself attached to batten D, which is built up of 1 x 4-inch stuff to aggregate 2 x 4 inches. The top of the curtain remains stationary, the bottom shirring to the desired height, the deep flounce forming a decoration to the bottom edge when in either position.
The drawn lines K are attached to the bottom batten C, and are adjusted evenly over the individual pulleys L, and all carried over E and attached to G, the counter weight. To prevent the draught from blowing the curtain out small loops of stiff wire, as M, Figure 129 A, are attached to the sides of the curtain, and traverse freely up and down the guide wires A--A.
Should a curtain of this sort be desired as a permanent theatre curtain, it may be prettily made as Figure 130, which is drawn up by means of strips of webbing or leather, which pass through covered metal keepers on the face of the curtain and are attached to the bottom batten.
These pass over pulley wheels at the top, as Figure 130 A, and are fastened to a bar counter weight which balances the weight of the movable portion of the curtain, and is put in motion by causing the shaft to revolve in the desired direction. The theatre curtain which rolls from the bottom, as Figure 131, is fastened to a batten at the top and a roller attached to the bottom. The method of constructing the roller is shown in Figure 132. A sufficient number of six-inch circles of clear pine are procured to allow of one being placed every twelve inches, and these are sheeted round with ¾ × 2-inch strips of clear, straight pine, kiln dried, each piece securely fastened with screws to every circle it touches, and the joins all made where supported by a circle. The whole roll is then wrapped with a strip of coarse canvas plentifully supplied with a solution of hot glue, care being exercised to keep the wrapping uniform and tight.
The roller is made long enough to contain a large spool at each end, and works equally well at the bottom of the curtain, where it rolls up with it, or at the top, where it revolves in brackets and winds the curtain up. The rope which causes the roller to revolve is first wound around the spool a couple of times when the curtain is altogether rolled up, and as the curtain is unrolled, the spools take up a sufficient quantity of rope, so that pulling the rope causes the spool to revolve and the curtain to roll up.
Some of the more recent theatre curtains are stretched on a frame like a picture and rise flat, like the lower sash of a window. They are not difficult of manufacture, but require that the proscenium and fly loft be as high again as the stage opening, and the curtain is arranged with counter weights and side guides, as Figure 129 A.
If you consider the batten D of Figure 129 A as the top of the fly loft, and batten C as the top of the curtain, the lines K are correctly placed to raise the curtain until C comes in contact with the pulleys L. The whole frame will have then been drawn up this distance, and it is only necessary to have batten D high enough to permit of the curtain being drawn out of sight.
We show the hand line E on Figures 131 and 127 A to illustrate its position if the curtains should be manipulated by hand without a counter weight, but for permanent curtains the plan of 129 A, with the continuous operating line, will be found much better.
INTERIOR · GROUPING. COSEY · CORNERS. WALL-HANGINGS
That there is a knack in the selection and disposition of furniture beyond the haphazard placing of odd pieces inside four walls is a fact admitted by housekeepers generally. That this knack is possessed in a very limited degree by the average housekeeper is impressed again and again on the mind of the observant decorator.
We have heard the statement that houses decorated and furnished by the professional decorator lack that something--that indefinable charm--which can only be imparted by the touch of the homemaker woman. In other words, that man can make houses but woman makes homes. This is beautiful as a theory, but as a matter of fact the average drawing-room--woman’s particular care--contains enough incongruities to shock the artistic sense of the most liberal-minded of decorators.
The writer does not lay claim to any special dispensation of taste nor any extraordinary degree of artistic training, but he has seen scores of rooms which by their furniture selection and arrangement were a jumble of inarticulate profanity and defeated the purpose for which they were intended.
I have in mind the drawing-room of a wealthy dry goods merchant (who is something of a curio hunter), that is, considering the individual pieces, rich and sumptuous, but the assembled whole is such a conglomeration of style, design and color that it gives one the impression of a bazaar.
Another expensively furnished drawing-room which occurs to my mind imparts to the observer a feeling of strangeness. The various pieces are not only unrelated, but are so conspicuously separate in style and purpose that they are not even acquainted.
Then there are drawing-rooms that are so repellent because of their military austerity that the back of the visitor unconsciously stiffens and he feels that his entrance is presumptuous.
We have purposely drawn these descriptions in an exaggerated sense that we might in some measure give point to our statement that every room of a house should have as the fundamental purpose of its creation the comfort of mankind. And as man is many sided in his nature, having many moods and needs, these different moods create the necessity for a varying environment suited to the complexity of the hour.
Thus we have a sleeping-room, a dining-room, a reception-room, an entertaining-room, a cooking-room, and so on, each designed and furnished to create the atmosphere and stimulate the spirits of the occupant to the mood which the environment best serves.
The man who told his friend _in confidence_ that the architect wanted to put a drawing-room in his new house, and he supposed he wpurposeould have to have it, though it was no earthly use to him, for he couldn’t draw a straight line, was in his way thinking pretty close to the line of _purpose_ in home making, which should be the dominant factor in the furnishing of every room.
A sleeping-room should be not only provided with a bed and its complement of clothing, but in its location, furnishings and color theory should suggest restfulness, simplicity and repose. That this might be more easily produced, we would suggest the use of modified color and slight gradations of tone throughout, using a monotone or duotone carpet of a modified shade (a normal color is modified by the addition of white and intensified by the addition of black), a lighter shade of the same color introduced in the movable furnishings, as furniture and hangings, lighter shades still in the side-wall and frieze, and modified to the barest suggestion of a tint in the ceiling.
Avoid stimulating contrasts and keep to the same balance or modification of color where the slight contrasts are introduced.
For the living-room heavier colors and sharper contrasts may be introduced. But the same strength of color should be present in all contrasts, that the sense of balance be maintained. In the living-room will be assembled those with varied interests and purposes. So there will be present more or less of a jumble of different things which for the moment interest the various members of the circle. Consequently more license is permitted in the furnishings. But those things which by their design or construction suggest austerity or dignity should be forever banished from this room. In fact, we know of no room in the modern house where there is space to waste on furnishings which suggest or actually impart discomfort.
The dining-room should be cozily, even joyously, furnished with those colors and designs which suggest strength and satisfaction. No half-way colors or designs will answer here. The tones used must be full, rich, satisfying, and the furniture should complete the suggestion. The prevailing styles of dining-room furniture--particularly of the chairs--seem to have been purposely planned utterly devoid of comfort, that the occupant might not even for a moment be lulled into forgetfulness of the business at hand, but be urged to prosecute it with dispatch and seek comfort elsewhere.
Much the same thought seems to have established the prevailing styles of hall chairs and seats. Truly, if the chance guest who must needs occupy one of them until his identity is established should judge of the hospitality of the host by the comfort of these furnishings, he would make haste to depart while his wearied limbs could still perform their office.
The reception-hall and drawing-room are, perhaps, the two places most anxiously considered in the planning of the house. There seems to be a mistaken idea that these places, which are most seen by strangers, should be furnished as an advertisement of the financial standing of the owner. No matter how much the rest of the house may suffer, these places must be lavishly, even extravagantly, replete with everything that custom ordains as necessary to a stylish house. Against extravagance as to value we have no quarrel, provided all things are in keeping, but we do oppose the garish assembling of costly goods which do not make for comfort or beauty or utility. Have extravagance if you will, but not riot; luxury, but not profusion; comfort, but not stock display.
As to the arrangement of the various pieces of furniture we would strongly advise a study of nature’s scheme. Note the variety of shapes and sizes of the trees of the forest; the broken, sympathetic, undulating surfaces of undisturbed mother earth. Note how well acquainted and even familiar the various parts of the landscape seem to be; how the tall tree nods and reaches down to the short one and the low one reaches up to the high one; how the knoll sweeps gracefully down to the level glade and how the glade runs up to the knoll.
Everywhere is the charm of related variety and harmonious grouping of equalized differences.
Everything in nature is formed and placed for _purpose_, and here is the keynote of harmonious interior arrangement. For instance, here is a drawing-room with appropriate and well-chosen pieces of furniture. How then shall we arrange them?
Imagine the room peopled with a chattering gathering of average people. This stout all-over-upholstered armchair would be occupied by one of the portly members of the group, and as these persons would by contrast appear larger and more portly in contact with those of lighter build (a chance of comparison which they studiously avoid), we will dispose the heavier pieces of furniture, if not altogether removed from the lighter and more frail, at least with intermediaries between in the shape of pieces which possess, in a measure, the characteristics of both.
Preserve the balance of the room by distributing the weight much as you would if it were a disk revolving on a central point. If there is a mantel here on the left, over there somewhere on the right would be a good place for the upright piano. If the cosey corner is in the southeast corner, then the eye instinctively seeks a corresponding piece of capacious seat room in the vicinity of the northwest corner. Continue this thought. Seat your imaginary guests in négligé conversational groups, drawing some of the pieces confidentially near to each other, and you will in a great measure have solved the knack of pleasing furniture arrangement.
To reach this consummation we said that the articles were in the first place appropriate and well chosen, and this, of course, must be the basis of the furnishing scheme.
If we might, we would plead for greater simplicity in furniture selection, less of the garishness and more of the subpurposestantiality of goods built to satisfy and to last; not necessarily the cumbersomeness of Mission, but the pleasing styles of Sheraton’s work, where strength was clothed with grace of outline and disguised with unobtrusive ornamentation. We look for a style somewhat similar in character and purpose to grow out of the present Arts and Crafts and Mission, which have appealed so strongly to ornament-satiated appetites; that grace will be added to strength, and chaste ornament to simplicity of construction.
COSEY CORNERS.
All that has been said in regard to appropriateness in general furnishings is true in a concentrated sense of the cosey corner. Applicable and suitable in almost every room of the house, it should be all that the name implies. The simple desire for its possession should be no excuse for its introduction in a location where coziness or even comfort would be an impossibility. A cosey seat should never be placed in a position where its presence would constitute a nuisance, as before a window or in a doorway. It usually appears lonesome away from the wall, and as its atmosphere is retiring it should occupy the least conspicuous position. It is not intended as a single seat, and should therefore be fairly commodious but not oppressively large. And, above all, it should be comfortable.
As to color, the cosey seat and all other large upholstered pieces should follow the dominant color tone of the room, the contrasts being introduced in the smaller pieces.
We illustrate a few of the treatments which serve this useful purpose and conform to the prevailing thought in regard to style, shape and general utility.
Figure 133, one of the common types, is constructed of a bench seat, loose cushion, box pleated valance, and curtain back. In suitable covering this style could be introduced in almost any room of the house, but is most used for den, sitting and bedroom corners.
Figure 135 illustrates apurposen all-over-upholstered seat and back with bric-à-brac shelf. This style is capable of a great deal of elaboration and is much used for reception and drawing-rooms. Made with a polished wood frame instead of the stuff-over, it is much more dainty in rooms where the other furniture is delicate and of the show wood variety.
Figure 134 is a heavier type and more after the style of Arts and Crafts. Built to conform with the other furnishings, this style is very appropriate for dining-room, library, hall, club or den corners and lends an air of solidity to the room it occupies.
Figure 136 illustrates a den seat with over canopy--the seat is provided with a loose couch throw or cover and the canopy is made up of two scarf draperies and a pair of curtains with a shirred roof of a plain color to match the draperies.
There is opportunity for a great deal of ingenuity in the construction of these fitments, and by following the motif or theme of the general furnishing scheme of a room you will have little difficulty in evolving fitments that will not only suit their environment, but will be an artistic addition to the furniture of the room.
WALL-HANGINGS.
If the walls of a room are covered with a fabric there is usually less difficulty in working out a complete scheme of color harmony, and for that reason the use of fabric wall coverings is usually recommended by the decorator who undertakes the complete furnishing of a room or suite.
Although there are little tricks and wrinkles for the application of special fabrics to special places which are acquired by practice, in the main wall covering is quite simple.
In Figure 137 we show the plan of a room measured for covering. The walls are drawn as if they had been pushed out flat like the sides of a cardboard box. Each wall is measured separately, and the positions of doors, windows, recesses and projections accurately indicated on the plan by the proper measurements.
To cut the sections for a wall such as we illustrate commence with section 1 and each separate section is cut and matched to the preceding one, so that the pattern will be continuous around the room; this requires nice calculation to allow for the quantities of pattern that are consumed by the tacking and back tacking in the angles, but an allowance of two or three inches extra each way will usually be found sufficient to allow of the pattern being matched, provided the lengths have been cut at the same pattern.
Upright seams only are permissible in wall fabrics, and these should be as few as possible and perfectly plumb.
After having cut the first length with about three inches extra for handling, if the next length when matched would cut to waste, try one of the shorter lengths or two of the short ones together--if this still causes waste try the other end of the goods--never cut goods to waste until you have exhausted every expedient you know to avoid it.
Beveled wall strips, as Figure 138 A, are placed at top, bottom and both sides of every separate space as well as around all projecting frames, as windows and doors; these are securely fastened to the studding by nails or screws, and all holes in the plaster covered with pasted paper to prevent dust sifting out.
The double lines of Figure 137 illustrate where beveled strips are necessary and provide for two in every angle corner and two also on the face of each projecting corner.
One of those, however, used in each angle, as number 2 of Figure 138 B, is only temporarily fastened at first. Commencing with section 1 cover the walls first with shaker or canton flannel lining tacked smoothly and evenly on the strips, as Figure 138; next spread the covering out, attaching it temporarily to the top strip until you get it in place, then commencing in the centre at X tack each way, keeping the edge straight and tight, but not stretched. Drop a plumb line from the top over the centre seam and stretch the seam down as the line indicates, tack it temporarily, and do this with all the seams; now pull down half way between the seams and tack permanently, halve the two spaces thus made and tack again and continue halving and tacking until the bottom is all tacked in place, taking care to stretch the goods so that the pattern is perfectly straight at the bottom.
Now stretch each side and tack it closely into the angles, as the tacks on strip number 1 must be covered by the thick edge of strip number 2, Figure 138 B; now take the loose strip number 2 which was removed to allow the tacks to drive close up into the corner.
After matching the exact part of the pattern which is to turn in of the next section, tack the marked edge of goods to the back edge of strip 2, nail the strip in place so that there is no gap between the two angle strips. Cover the wall with lining and stretch the cover across from the tacked side, fasten it temporarily and then commencing at the side which is fastened permanently tack across the top, keeping the top tight, but not stretched, stretch down and plumb the seams and finish as before.
The detail of procedure for Figure 137 would be as follows: Section 1 tacked all around. Section 2 back tacked at B stretched around C and to tack at E. Section 3 back tacked at E and stretched to F. Section 4 backed tacked at F and stretched around G to H. Back tack Section 5 at H, stretch to I. Back tack 6 at I, stretch to J. Back tack 7 at J, stretch around K and L to M. Back tack 8 at M, stretch to N. Back tack 9 at N, stretch around O to angle P. Back tack 10 at A, stretch around S to R. Back tack half of 11 at R and half at P, and stretch each to join at L, which has been chosen as the smallest place for a join to be made by hand.
Finish at top and bottom and around windows and doors with a gimp or molding, and the room is complete with continuous pattern and every tack concealed.
AWNINGS · AND · VERANDA · CURTAINS
Awnings are naturally divided into two classes--house awnings and store awnings. Of the first, Figures 139, 140 and 141 illustrate the kinds of windows most frequently met with. Figure 139 is an ordinary square top window, of which Figure 142 A is a side view in skeleton, showing the method of attaching the frame to the window, and also the relative size of the awning to the window.
To measure this window for an awning, measure the width of frame from centre to centre (A--A), and half the distance from the top of the frame to the sill, with three inches added (A--B). These measures are simple, but should be carefully taken to ensure a good fit. Take note also of any projections of stone or brick which would prevent the awning fitting closely to the frame all around, and be sure to allow for these when making the awning.
Figure 141 is measured in like manner, and a record also made of the depth from the top of the centre to the top of the straight side of the frame (C--B). The round top (Figure 140) is measured for width and height as the foregoing, but the height of the circular sweep must also be taken. Stretch a tape or cord across at B--B, the spring of the arch, and then measure the distance from this to the top of the frame (B--C). If the windows are so constructed or are in such a position that a projection of three inches more than half the height would not be permissible, a measurement must be taken for projection also; but if there is nothing to interfere with this amount of projection the height measurement will be sufficient to determine the amount of projection.
When ready to cut the goods, mark out on your awning table (which should have a top measurement of at least 5.0 × 8.0, and larger if possible) the measurements as follows: On one end of your table (Figure 143) draw a line across it parallel with the end and eleven inches from it. Now, attaching a tape at A, one end of your line, measure across to B, the projection of your awning (A--B, Figure 139), which is half the height of the window and three inches extra. Place a tack at B, the point thus determined, and then measure up the table the height of the awning (in this case the same as the projection). Place a tack at this measurement (D) also, and chalk a line across the table; fasten the tape at tack D, draw it across to tack B and down to C, the end of the table, as indicated by the heavy line; add a couple of inches for hems, and this measurement represents the length of the top of the awning.
Plate 155 is a ready-reckoner for quantities required for the sizes therein contained when the projection and height are the same. To find the height required for the top of a given size, take, for instance, 3.0 projection by 3.0 high (3.O × 3.0), the top measurement is 4.3; add 1.0 for curtain and the total 5.3 is reached.
To determine the number of widths required to make the width of the awning, refer to the width table, which gives the finished measurement of different numbers of widths when joined together. Cut a sufficient number of lengths the size needed as measured from D to C and join them up to aggregate the width of the top of the awning. To cut the ends draw another chalk line eleven inches beyond point D on your table and mark the projection on it (F, Figure 143) and rule from F to C, the end of the table, cutting through B; snap a chalk line from B to D (as heavy line, Figure 143). Take a flexible slat, and placing it against the tacks at D and B, bend it an inch beyond the chalk line at G; mark the curve thus described as dotted line and repeat on the other side of the line. Cut out along the two curved lines and across at F, which will give you two complete ends, and if the goods are reversible (_i. e._, the same on both surfaces), by turning one end over these two form a pair.
Should the goods not be reversible, and there are two awnings to make which are the same size, mark one set (as Figure 143), and the next set biased from A to H, and this will give you two pairs of ends. Or, if only one awning is to be made, and the goods are not reversible, each end is planned out separately by ruling the pattern (as Figure 143) and piecing the goods out to fill the space outlined by D--B--C and I.
To assemble the pieces the ends are joined to the top, as indicated by figure 144, the edge of the top forming a binding over the biased edge of the end (see Figure 144 A, a cross section of the seam). Scallop the bottom edge as indicated by dotted lines, so that each stripe centres in the scallop (as Figure 144) and sew a two-inch strip or band of the duck on the inside of the awning to receive the iron, as indicated by dotted lines, Figures 144 and 145. Figure 145 also indicates where patches of the same material, about four inches square, are sewn to the top (inside) to reinforce the rings through which the ropes pass, and the method of attaching the rope to the iron, small openings being left in the band for this purpose.
Awning rings are sewn along the top edge at intervals of six inches, and also one at each end of the band, as X, Figures 144 and 145. Mount the awning by sliding the iron through the pocket between the band and the awning proper; thread the ropes through the rings so as to lead to the right side of the awning from inside the room, as Figure 145, and as Figures 142 A and B, which show an awning iron in position, but uncovered to show the roping.
To put up the awning, fasten the cleat B (Figure 142 A) in position, then, by measuring the positions of the ropes on the front of the iron, determine where pulleys or screw-eyes will have to be placed to be in line with the ropes; put these in and pass the ropes through them, pull up the awning and fasten the ropes to the cleat. The weight of the awning is now held in position, and it is a simple matter to put in the hooks at the top, one for each ring. Lower the awning until it hangs in position (as Figure 142), the iron supported by the cover. Adjust the feet at A (Figure 142 A), so that the iron hangs square and true, and fasten them in place. Test the ropes to see that the awning raises properly and easily, and the job is complete.
For round elliptic or shaped tops, as Figures 140 and 141, we prefer to cut the awning from the iron itself. Fasten the iron to the floor (as Figure 146) and then let it lie flat, as dotted line, while you mark out its shape and dimensions on the floor. Raise it again to the perpendicular and fasten it with a cord, as indicated, so that it will stay in an upright position. Measure the distance from A on the dotted line to B on the iron; allow a couple of inches at each end for hems, and cut a length this size.
Try this on the iron and dotted line, and measure the length for the next piece to join to this one. Repeat this until enough are joined to reach around the iron, and commencing in the centre of the iron and dotted line pin and tack the goods smoothly to the shape thus outlined, working all the fullness out to the corners (as Figure 146 A). Mark the line described by your tacks, which have followed the dotted line on your floor, and mark the goods on the edge of the iron all around; allow for seams beyond these marks and cut the surplus away. Turn a half-inch hem around the edge marked on the floor and sew rings to it for the top edge. Cut and scallop a piece long enough to go around the length of the iron and sew this to the edge of the cover where marked on the iron. Lay the scallop and cover face to face and take an ordinary seam, so that when the seam is opened out the raw edges will be on the under side; sew a two-inch band beneath this seam for the iron and patch and rope it as before.
This is the simplest and most certain plan of getting any shape other than square to fit the iron properly.
The foregoing methods apply to all iron-frame awnings where the height equals the projection. It is sometimes required, however, that the projection. be greater than the height, that the necessary shade be obtained and not have the frame so low that it would interfere with ordinary traffic beneath it.
To overcome this difference slides may be used, like Figure 147, which permit the iron to drop to their lower ends, as X--X, dotted bar, when drawing up the awning, and the irons are pushed up and pinned, as illustrated, when the awning is fully extended. Awning covers for irons with slides have a band on the front edge only, as side-bands would prevent the iron from descending the slides. The bottom corner of the awning is held in place by a ring and hook at the top of the slide.
Figure 148 illustrates another method of obtaining a greater projection than the height by using an extended bracket, the iron throwing up as dotted bar X--X; while dotted bar, Figure 148 A, would give greater projection, still on the same bracket, by increasing the length of the bar and lowering the bracket till the straight part of the bar is on a level with the front of the awning.
For awnings wider than 6.0, with a projection of 4.0 or over, the iron is usually made in three sections (as Figure 149), and if more than 9.0 wide a centre support is put in like Figure 149 A. Small store awnings may be made as above, but for large sizes roller awnings (as Figure 150) will be found much more substantial and easy of manipulation.
The roller is either made of iron tubing wrapped with canvas and the duck sewn to it, or it can be built up of wood (as Figure 150 C), the laps or joints wound with band iron and the whole securely nailed together.
Put an iron hoop on each end to keep the pin from spreading it, and provide one end with a spool (as X, Figure 150 B). The rope is attached to and wound upon the spool and the roller put in the brackets. If the roller is long enough to require a centre support, Figure 149 B provides an excellent bracket. The side arms are placed in position as indicated in Figure 150, so that they will throw up straight with the edge of the bar in line with the roller (Figure 150 B). The bar is made of clear straight pine 2 × 4 inches, and the duck is first tacked to the roller and then to the bar, as Figure 150.
The ends are made and attached, as illustrated by Figure 150 A, and need not be further explained. The awning is manipulated by pulling the rope which unwinds, causing the roller to revolve and releasing the rope allows the weight of the awning to make the roller revolve the reverse way, winding up the rope.
Veranda awnings are constructed as are other awnings, and increase the comfort and shade of a veranda, the same rule of proportion as given above being used in the measuring and the feet of the iron attached to the posts of the veranda. In many cases veranda awnings are impracticable, and veranda curtains are used as a substitute. These are constructed to work horizontally (as Figure 151), or mounted on rollers (as Figures 152 and 153). Of the two styles those of Figures 152 and 153 are more preferable, because when not in use they may be drawn up completely, while the other is more or less exposed to the elements at all times.
The rollers may be a spring shade roller mounted in the ordinary way, or a roller with a spool and cord, identical in principle with the roller shown in Figure 150, and the bottom of the curtain is provided with snaps to hold it in place when down.
In Plate 154 we give a table of the ordinary sized awnings, giving the quantities of iron and duck required in their making. We have figured on thirty-one-inch reversible duck, cutting the ends as marked out in Figure 143.
The awning trade is essentially a Summer trade and the season necessarily short, and as customers usually postpone the purchase of these things until they are really needed, this work must be handled quickly to be successful. We have found it a good plan where possible to arrange for recovering and renewing this work for regular customers during the late Winter months, when the workroom is apt to be a little slack.
THE · APPLICATION · OF · GRILLE · WORK
Grille work, fret work or lattice work, as it is variously termed, may, when properly applied, serve a very useful and decorative purpose. Like many other decorative articles, however, its uses are not always governed by its limitations, and it is frequently misapplied.
As an aid to decorative fabrics in the artistic reduction of large openings, or as a partial screen or division that will not altogether obstruct either the vision or the light, it is unequalled by any other upholstery adjunct. Setting aside its uses for office railings, partitions, etc., in which we are not particularly interested, we consider it solely as a household fitment.
Unlike other furnishings, such as draperies, chairs, tables, etc., the grille is essentially a part of the room itself, and should conform to the style, color and composition of the wood trimmings of the room, which practically means that the fitment must be made to order.
There are scores of ready-made stock grilles and patterns on the market, some of which can be applied with comparatively little trouble to different purposes, but their greatest drawback as a general decorative stock is their set style and finish, and consequent lack of sympathy or relation to other furnishings.
We have been continuously advocating uniformity or conformity as the foundation of decorative thought, and in no branch of the trade is this more necessary than in the application of grille work. Few people would have the courage to advocate the use of quartered-oak polished doors in a room with white enameled wood trims, and yet grille work made and finished in natural oak is confidently shown by some salesmen as equally suitable for weathered oak dining-rooms, Oriental dens or Louis XVI drawing-rooms.
This, of course, is the salesman or check-book holder’s end of the business, and with incentives in the way of tally sheets and selling percentage, small wonder if he considers the amount of the sale rather than the suitability of the article. It would be better for the trade generally if every salesman could have expert training in the application of the goods he sells, and we believe this is possible to the man who studies and profits by experience. “There is always information for the man who is willing to dig,” but until this is considered possible the decision as to fitness rests with the decorator.
We illustrate suggestively a few designs in which the practical element is as much considered as the decorative.
In Figure 156 grille work is used to break the length of a room and form a partial division. The weight of the whole treatment should be carried out in keeping with the woodwork of the room, and also with due consideration of the size of the room itself, a large room requiring the use of heavier woodwork than a small one, and the columns properly proportioned to the amount of woodwork in the upper portion of the grille which they support.
This treatment can be effectually employed to divide a large bay window from the room proper, to divide a hallway, or to reduce the size of a large opening between two rooms.
Figure 157 illustrates another application of the same idea, with one side only supported from the floor. While it is not absolutely necessary that the pattern in grill work should be exactly duplicated on each side of the centre, the balance or symmetry must be retained by having the same body or expanse of woodwork on each side of the centre, or when a drapery is used, as in this case, it should be so disposed as to equalize the appearance of the grille by having the heaviest part of the drapery opposite to the heaviest side of the grille work.
Figure 158 illustrates an archway treated with a grille and drapery forming an entrance to a bow window. Both sides of this treatment balance, and the depth of the whole is determined by the height of the room, sufficient room being provided for a comfortable passage beneath.
High doorways may be reduced in height by using a straight panel of grille work, as Figure 159, and when used in conjunction with a pair of portières the slim appearance imparted to an opening by long, straight portières may be avoided.
Rope portières, as shown in Figure 159, serve much the same purpose of transparent decoration as grille work, and may be effectively employed for doorways, archways, alcoves, etc., and as they can be so easily procured in special colors to match their surroundings, they have become quite popular.
In Figure 160 we illustrate a combination of scarf drapery and grille corners. This idea can be employed in a great many ways, and with different designs of corners (which can be finished to match the desired woodwork), some very effective trims can be produced.
The metal grille shown in Figure 161 is made of strap iron or brass, bent to shape and riveted together in a frame. It is provided with two incandescent lights, serving for illumination as well as decoration, and squaring the arch for straight portières.
This idea of doorway illumination has recently been elaborately introduced by the Parisian decorators in the form of festoons of electric jewels, which scintillate and glow with beautiful prismatic colors.
A door treatment after the style of Figure 162 would form an attractive treatment for club, hotel or ballrooms, and the idea admits of almost endless variation.
Grilles are also made of rattan, the patterns made up in the scrolls and spindles common to rattan furniture, and ordinary manila rope, stiffened with glue, while bent into circles and scrolls, can be assembled into very attractive grilles, which are shellacked and varnished in natural or tinted colors.
Some of the mistakes most frequently made in the application of grille work are characterized as follows:
“Using a design foreign to the style of the room.”
“Using too much grille for the size of the space.”
“Using diminutive designs for large spaces, and vice versa.”
“Poorly-balanced, top-heavy or lop-sided designs.”
“Inharmonious coloring.”
Always use a rule or rod when measuring for grille work; never a tape. Take a pattern of all irregular spaces and fit the pattern into the space to insure its correctness before making the grille.
The prettiest design may be hopelessly spoiled by a poor fit, and measurements should be absolutely accurate.
WORKROOM · AUXILIARIES
The workroom should be cheerful and well lighted; roomy and well-equipped. Some upholstery managers, evidently considering the workroom a disagreeable though necessary part of the department, do not give sufficient attention to its location and furnishing. Perhaps one of the reasons why the average upholstery buyer does not think more highly of the workroom is because of the unsatisfactory comparison it presents to the strictly merchandise end of the business. He has comparatively little difficulty in figuring the percentage of gain on twenty-five or fifty yards of material cut off the piece and delivered, and can easily determine whether the transaction was profitable or otherwise. But send that twenty-five or fifty yards of material through the workroom, and unless he is a practical man, thoroughly understanding the nature and value of the work performed, he is apt to feel that the ratio of profit is uncertain.
We know of but one way to offset this feeling, and that is by a carefully thought-out system of tallying, so that each item that passes through the workroom will be accompanied by a voucher that shows correctly all details of the work performed.
Briefly enumerated, the points to be covered in a system are about as follows:
1. A careful check on every item of material directly or indirectly supplied to the workroom.
2. A careful charging-up in the workroom of every item consumed in the completion of the work.
3. A serial numbered sheet for each workroom order, which is filed and indexed on the completion of the work.
4. All goods taken from the department for use in the workroom should be duly accepted, measured, checked and receipted for by the head of the workroom and the receipt immediately deposited in the office.
5. All goods received from the workroom should be examined by the salesman whose order they are, and all surplus goods checked and receipted for by him.
6. All goods taken to the workroom should be accompanied by fullest written instructions, and work should not be commenced until the instructions are accepted by the head of the workroom.
7. All disputes relative to the amount of goods used should be referred to the manager, and on no account should a salesman be permitted to alter the workroom report on any order.
8. On receipt of the finished work the salesman should fill out on workroom voucher his sales number, the amount charged the customer for the completed work as covered by the workroom report, the date and the number of his sales check.
The head of the workroom shall, after having receipted for an order, be held responsible for its execution within the time stated, and should return with the completed order all surplus goods, requiring a receipt for same and depositing the receipt in the office. By having all receipts from department and workroom numbered with the serial numbers of the work-sheet to which the order belongs, it will be possible at any time to verify the quantities reported as having been consumed in the workroom, and a check can be kept on every order.
There is, however, no plan which human ingenuity can devise which will not depend on the honesty and carefulness of those who operate it for its effectiveness, and there is every necessity for carefulness and certainty in connection with workroom management.
The work performed by outside men should be just as carefully recorded--a proper sheet should be made out for each order showing the nature of the work and the amount paid for it. The workman should record his time and the materials used, and the sheet should be returned to the office for filing.
With a system such as we suggest the manager has but to compare these reports with his salary and expense list to ascertain the amount earned by the workroom staff.
The equipment of the workroom should at all times be fully adequate to the demands upon it, and the very smallest of workrooms should have at least: A good sewing machine, capable of performing fine or coarse work; a cutting table approximately 5--0 by 12--0; a work table 5--0 by 9--0; a pressing table 3--0 by 6--0; a draping board, a test pole, a steamer and a cupboard for finished work.
As to the sewing machine, almost any reliable make of machine will do the necessary sewing for ordinary drapery work. There are, however, special machines for special kinds of work, such as window shades, awnings, bobbinet curtains, etc., which greatly facilitate their manufacture. Poor machines of any kind (human or mechanical) are false economy.
The cutting table should have a level, smooth top, and should be so situated that the operator can walk all around it. If covered with white table oil-cloth the measuring lines placed upon it from time to time can be washed off, and the top is always smooth and free from slivers.
The work table should have a good, clear, soft wood top, and should be permanently marked in feet, the first foot at one end being again divided and marked in inches. This is the table to which portières are tacked in making, as illustrated in the chapter on portières.
The pressing table should be of a convenient height for pressing, and should be padded to about the thickness that two layers of an ordinary blanket would give it, and then covered with clean white unsized cotton.
The drapery blackboard should be about 5--0 by 15--0, or larger, if convenient, so placed that the top of it can be easily reached. The use of this board has been referred to in the preceding chapters, and the illustration, Figure 163, gives further explanation of its purpose.
The test pole, which is also shown in Figure 164, is used to test the hang of portières before and after cording.
The opening can be set at any desired height, and the portières can be thoroughly examined before leaving the workroom.
The steamer shown in Figure 165 is used for steaming the nap of pile goods which have become crushed, the cross partitions A--A are tightly stretched pieces of heavy cotton which absorb the moisture, and the open top of the box is covered with several thicknesses of the same fabric. The steam enters the intake at X, and follows the direction of the arrows until it finally emerges through the top. The goods are drawn across the top of the box beneath the roller nap side up, and the brush roller is made to revolve so as to lay the nap in the proper direction while it is softened by the steam. The motion of both roller and goods should be steady and continuous from beginning to end, and should be slow or quick according to the amount of steam passing through the fabric.
The quantity of steam should be regulated so that it will just soften the fabric without making it wet. The hair of the brush should be short, even, and fairly stiff. The brushes used in carpet sweepers when joined end to end make good steamer brushes, or the roller can be covered with mohair plush, so that the nap forms a brush.
While it may not be always convenient to construct a steamer large enough to take the width of the goods with one operation, and as complete as the one herein described, the quality of the work performed by one of this kind will repay the effort of building it.
Drapery work that is not worth doing well is not worth doing at all, and it is far better to turn out a perfect job at cost, or even at an occasional loss, than to turn out poor work that pays a big profit. The customer who receives firstclass work will usually return and will be willing to pay you a fair price for your work, so that in the end you may be recouped; but the customer who pays a big price for a poor and unsatisfactory article seldom returns to give you another chance.
It would be a magnificent achievement to make a workroom pay thirty-three and one-third per cent. profit, but the chief _value_ of a workroom lies not in its earning power from a per cent. standpoint, but rather in its power to hold and satisfy critical custom and in the educational suggestiveness finished work produces, and which accounts for a large amount of the yard goods which are sold without passing through the workroom.
Transcriber’s Notes:
Obvious printers’, punctuation and spelling errors have been corrected silently.