Cutting and Draping
A PRACTICAL HANDBOOK FOR
UPHOLSTERERS and DECORATORS
OVER TWO HUNDRED AND FIFTY DIAGRAMS AND ILLUSTRATIONS
By JOHN W. STEPHENSON
CLIFFORD & LAWTON
19 UNION SQUARE, NEW YORK
TABLE OF CONTENTS.
French Festoon Drapery, 3
Irregular Festoon Drapery, 7
Flat Valances or Lambrequins, 11
Pleated Valances or Lambrequins, 15
Piano and Mantel Draperies, 19
Scarf Draperies, 23
Festival Decorations, 26, 31
Lace Curtains, 35
Window Shades and Blinds, 39, 43
Archways and Alcoves, 47, 51
Portieres and Appliques, 53
Bed Draperies, 57
Traverse, Drop and Theatre Curtains, 65
Interior Grouping, Cosey Corners, Wall Hangings, 69
Awnings and Veranda Curtains, 73
The Application of Grille Work, 77
Workroom Auxiliaries, 81
_Copyright, 1905, by Clifford & Lawton._
[Illustration:
_Fig I_
_Fig II_
_Fig III_
_Fig IV_
_Fig IV B_
_FRENCH FESTOON DRAPERY_
(SEE TEXT ON OPPOSITE PAGE)]
[Illustration]
FRENCH FESTOON DRAPERY
The art of draping is nearly as old as is the manufacture of fabrics.
And artists and craftsmen of all ages have taxed their ingenuity to
produce ideas unique, original, out of the ordinary--with varied
success. Of the myriad of designs and treatments thus produced some of
the more pleasing have stood the test of time.
One of the survivors is that generally known as “French festoon
drapery,” which, by reason of its voluminous pleats and scallops,
presents a showy appearance in almost any class of fabrics. To measure,
plan and cut this style of drapery is one of the first problems that
confronts the would-be decorator and drapery artist, and to make plain
the method successfully used by the writer is the purpose of this
article. Of course to the practical decorator such close discussion
of details is irksome; but it is for the novice that I write. (See
diagrams on opposite page.)
Figure I is an example of straight festoon drapery, the right side
in skeleton to more clearly show the figures. To measure a door or
window for this style it is necessary to have the extreme width of the
space to be draped (5-0), the distance from the top of wood trim to
floor (8-0) and the distance from the top of trim to ceiling (2-0).
This is to determine the general proportion of the various parts in
planning the complete treatment. Always measure with rule, getting the
width measurement at the floor line and the height measurements from
a ladder, and put them down as soon as taken. Don’t trust anything
to memory! A three-foot folding pocket rule is a splendid all-round
measure, as it comes in nine-inch sections (quarter yards) and the
length gives it a decided advantage over the old-fashioned two-foot
rule.
When these measurements have been secured take a piece of paper
sufficiently large to lay out the dimensions of the space to a scale of
say one inch to the foot, and on it sketch the style of the drapery you
wish to produce.
Bear in mind that the purpose of draperies is to relieve the austerity
of the straight wood lines, and to dress or furnish an otherwise bare
space, _not_ to make an ostentatious display of fabrics. Moreover,
the display must be practical as well as decorative. If a window is low
and a drapery carried out in proportion would be so low as to exclude
the light or interfere with the vision, the usual rule must be departed
from and the drapery raised to a greater height. The proper elevation
our third measurement will enable us to easily determine.
Again, if we are planning a door, we must allow sufficient distance
from the floor to the lowest point of the festoons for an ordinary
person to pass or stand beneath without stooping. In practice it is
seldom well to leave less than six feet six; but of course different
designs call for different execution.
In planning for styles similar to Figure I the general rule is to allow
the lowest point of the tails to drop one half the distance to the
floor and the lowest festoon one half the length of the tail. Having
determined the style and size of the drapery on the plan, correct
the general outline till it conforms nicely to your idea and the
requirements of the space, and measure it as follows: Take a flexible
rule (a six-inch celluloid pocket rule makes a splendid article for
this purpose, and can be obtained from celluloid novelty manufacturers)
and, making it conform to the shape of the bottom line of the festoon,
note the measurement A to B (Figure I), and record it as also the line
C to D; measure all the curved outlines on the plan in like manner and
record the various distances.
Now measure the space covered by the pleated ends of the festoons and
the distances between, as one to two, two to three, three to four,
Figure I, and the distance from X, the lowest point of the line C----D
to X, the lowest point of the line A----B, record the distance in feet
and inches (two and one-half inches on the plan representing two feet
six inches), for convenience in cutting later on; for the tails measure
only the straight lines represented by the points E to F, G to H, E to
G and I to H.
[Illustration]
You are now ready to cut the festoons, and unless there is a likelihood
of a number of festoons being needed exactly the same size, we can
dispense with a pattern and cut direct from the measurement; but I
would advise the novice to start on inexpensive material, like shaker
or canton flannel, until he is sure of his ground.
Lay the goods on the table, face down, with the end to--and even
with--the side of the table, in front of you. The pattern, if any,
should run from you, and in the case of pile goods the nap should run
toward you. Smooth the goods out sufficiently to transfer the complete
measurements without readjusting. Take a piece of soft white crayon,
and mark off on the end of the goods nearest you the distance between
the points A----B on your scale plan, using the end of the goods as
your line (Figure 2). If the width of the goods is not sufficient, as
in this case, mark the points on the table, at equal distance from each
selvage. (See A----B, Figure 2.) Now at X the centre of the line or
end of goods, strike a perpendicular line X----X at right angles to
the edge of table and end of goods and as long as twice the distance
from A----B to C----D in Figure 1. This allows as much again for
fulness--a safe allowance for nearly all purposes, but governed to
some extent by the nature of the goods. Soft materials like art silks,
silkolines and other light-weight drapery stuffs require a little more.
At the top of this perpendicular line X----X, Figure 2, draw a
horizontal line parallel to the bottom line and nearly as long (or,
if it is the last cut in the goods, right across the goods, leaving a
straight end), and on it, with X as a centre, mark the points C----D
equidistant.
With one point of a pair of dividers at A and one-third of the distance
from A to X as a radius describe a quarter circle from the line,
1----1 Figure 2, and repeat at B, 2----2 Figure 2. Then with point
of dividers at X and A----B as radii strike a semi-circle to bisect
the two smaller circles at points E----E, rule from these two points
to X on the bottom line and also to points C and D on the top line.
This gives us the general shape of the festoon, but the lines must
be rounded a little at the bottom and sides and allowance left for
straightening the pleated ends. (See dotted lines, Figure 2.) And if,
as is the case in Figure 2, the width of the goods is less than the
distance between the points E----E, the corners must be pieced out of
the pieces F----F.
In cutting the sides, as dotted lines Figure 2, allow about three
inches extra at top and bottom and hollow at centre to one and one-half
inches from straight lines E----D and E----C, round the bottom as
curved dotted line, with greatest swell at about one-third of the
distance from X. This gives us our perfect festoon pattern, with three
inches allowance at each side for trimming off after pleating.
[Illustration]
To lay out the plan for the tail it is more economical to use a paper
pattern; take a large piece of paper and lay on the table with the
longest edge parallel with the edge of the table nearest you. From the
end, as point F, which should be at the corner of the table, mark the
point E the same distance as on the scale drawing you have, also the
point I about half way between. With this as a basis locate the points
G and H according to measurement and draw the full sized plan of tail
as defined by these points, Figure 3, solid lines.
Locate the point J where the lines E----F and G----H would intersect
if continued (the distance J is from E governs the amount of flare in
the bottom of the tail, farther meaning less flare and closer meaning
more). With J as a centre, make with cord and chalk circling lines to
intersect with each point of the raking edge, 1----1, 2----2, 3----3,
4----4, 5----5, and 6----6, also one at H and at E, making the line
longer as you go towards the top of the tail.
With point of dividers at F and I as a radius allow a couple of inches
extra for fold and strike to intersect line I at 1X, measure from 1 to
2 and using 1X as centre locate the point 2X on line 2, and locate the
other intersecting points 3X, 4X, 5X, 6X and HX in like manner, always
allowing the two inches extra for folding, rule from F to 1X, 1X to 2X,
to 3X, to 4X, to 5X, to 6X, to HX, as dotted line indicates, and also
from HX to J to locate GX on line E, and from points 1X, 2X, 3X, 4X,
5X and 6X to J, to find the points 1A, 2A, 3A, 4A, 5A and 6A on line
E----E. These last should be notched out in pattern to mark goods for
folding. Cut out along the raking edge F----1X, 2X, and so on, from H
to G and the sweep E to GX, and the pattern is complete. As our pattern
stands, Figure 3, it is a left-handed pattern; mark this side (Left)
and turn face down on the table and mark the other side (Right) and
always remember to turn over the pattern in cutting a pair, so as to
make right and left tails. To cut out lay the pattern on the face side
of goods with the line HX----GX parallel with the selvage and piece out
the point if necessary. When all cut and pieced out complete, spread
the pattern out over it and mark the points 1X, 2X, 3X, etc., and also
the notches on line E----E, 1A, 2A, 3A and so on. With the edge E----F
parallel with the edge of the table in front of you catch points 2X
and 2A, one in each hand, and draw toward you till fold is made at
1X----1A. Take 4A and 4X in like manner and repeat till all are folded.
A glance at Figure 3 B will explain the method. Trim the top square,
and the tail is complete. To pleat up the festoon requires a little
more care, but facility is easily acquired with a little practice.
Mark off on a horizontal board (see Figure 4) the dimensions of the
completed festoon, as indicated on the scale drawing, Figure 1, points
one, two, three, four, and put a large tack in each of these points as
a guide, also about six inches above each point place another, which
can be seen when the others are covered up with the goods. Temporarily
attach corner D of the festoon to point three and corner C at point
two, allowing in each case about three inches to project above the
line. The centre of the goods between these two points lay back toward
the board to form the top pleat, Figure 4, and the lowest point of this
pleat should correspond with the top line C----D on the scale drawing,
Figure 1. If it is lower or higher than the drawing calls for it should
be properly adjusted until it is correct. In this case, Figure 1, there
is a distance of three inches from bottom of pole to X on line C----D.
In adjusting be careful to keep the goods perfectly centred, or you
will not get nice pleats. Now divide the remaining space from three to
four and two to one into as many spaces as you intend to make pleats.
In this case (the general rule) there are six. So you need six spaces,
the last pleat (which is being put up, Figure 4) covering two spaces.
Having divided the distance, now with the left hand pinch up the goods
about one-fifth of the distance from fold already made and with the
right hand grasp the biased edge D----B, Figure 4, and form a pleat
toward the point D, adjust till the fold follows naturally around from
one hand to the other without drawing, and temporarily tack it in
place on the line in its space. Take the left bias edge, A----C, and
make this fold follow around to the point where it should attach in
the first space to the left on the line one----two. These folds should
follow around from one end to the other without pulling or buckling,
and will need to be helped at first by the disengaged hand until the
fold is complete.
Pleat up all the remaining goods in this manner and tack each fold to
the line, being sure that each fold goes around clearly without in any
wise interfering with the hang of the previous one and using the same
quantity of goods each time.
This will not come easily at first, but follow the method illustrated
in Figure 4, and practice will do the rest.
The last fold covers two spaces and completes the festoon. If you have
too much fullness for the last fold go over the rest and take up a
little more for pleating them. If the distance from the centre of top
line to the centre of bottom line does not correspond with the distance
on the plan, you will have to raise or lower the pleating until it
is the same. Leave the points C----D attached and adjust each pleat
separately till the desired result is obtained.
Now, if the ends are to be joined over a pole, as in Figure 1, allow
three-quarters of the diameter of the pole above the line and trim
square. (See dotted line, Figure 4.) Pin or baste pleats in place and
take down and bind with a bias piece of the same goods about one and
one-half inches wide, turning in the raw edges. Bind tail in same way
and sew together with baseball stitch that is illustrated in Figure 4
B. This stitch allows the greatest flexibility, and the tail can be on
top or be turned back and the festoon on top without re-sewing, as it
acts as a perfect hinge.
To estimate for this style a safe allowance roughly is one yard of
goods to a foot of the width of space, and three yards more fringe
than goods; thus, this drapery on that basis would take five yards of
goods and eight of fringe; but for a close estimate make your scale
drawing first and measure from that, thus, add together the depths of
the various festoons with as much again for fullness and add to this
the length of the tails on their longest side. This drapery measured
in this manner would require two and one-third yards for the festoons
and three and five-sixths yards for the tails, or five and one-sixth
yards, six inches more than the other way. This last method, of course,
is absolutely safe, while the other will vary according to the depth of
the festoons. The practical man will, with the rough-estimate system,
usually be correct, but the novice had better measure his plan before
giving a positive quantity. Another thing, too, will be noticed between
the two systems, for spaces under five feet wide the yard to the foot
will be scant, while for spaces over five feet, unless you try to make
too many festoons, the calculation on this basis will invariably be
over the mark.
When using a striped goods that would admit of any number of
seams, a seventeen-foot bay window has been effectively dressed
with twelve yards of goods, including in the treatment two double
tails, and presented such an elaborate appearance that a disgruntled
representative of a rival house offered to alter it and save enough
from it to drape an eight-foot window at the back of a room.
This is mentioned only to show to what extent economy can be practiced
without skimping the appearance. The eight-foot window in question,
with all possible economy, required six and three-quarters yards when
the order was completed.
It is a good plan for the beginner to take the rules here set forth and
sketch out a number of draperies with festoons of various depths and
measure. Cut and make up in some inexpensive material, such as cotton
or cheap flannel, until you get the method thoroughly memorized.
A little practice will make the veriest novice master of this method,
which has been evolved from practical experience, and is thus
independent of the various sketches and patterns offered for sale.
If any material advantage would be gained, several other methods that
are used could be given, but the foregoing will be found thoroughly
practical and economical, a great item in present workroom problems.
[Illustration]
To estimate the fringe add together the measures of the bottom line
of each festoon and the length of each tail and add ten per cent. for
taking up in sewing.
[Illustration:
Fig 5
Fig 5. B.
Fig 6
Fig 7
Fig 8
Fig 9 B
Fig 9
_IRREGULAR FESTOON DRAPERY_
(SEE TEXT ON OPPOSITE PAGE.)]
[Illustration]
IRREGULAR FESTOON DRAPERY
If the top of the opening or space to be draped is not a straight line,
but is curved, arching or angular, necessitating that the ends of the
festoons be fastened at different heights to follow the shape of the
space, irregular festoons must be used. Or, when the space to be draped
exceeds five feet in width irregular festoons will present a better
appearance, and add character to the decoration.
By irregular festoons we mean those in which the two halves of a
festoon differ in size and shape, as when the lowest point of the
bottom line falls to one side of the centre; when one pleated end
covers a wider space than the other; or when the ends are fastened at
different levels.
Figure 5 (see diagrams on opposite page) is an example of irregular
festoon drapery, covering a straight space six feet wide, with the
middle festoon elevated to give the whole an irregular appearance.
Having secured the measurements from floor to top of trim, from top of
trim to ceiling, and the extreme width, make a scale drawing of the
space in the proportion of one inch to the foot, and on it sketch the
drapery, as explained for straight festoons in last chapter.
Unless the wood is unsightly it is not necessary to cover it
altogether, as this style is of a lighter, more airy character than the
last one, and the appearance is sometimes improved by showing enough of
the trim to define the opening.
If the color of the wood interferes with the harmony of the wall and
fabric, then, of course, it must be hidden as far as possible; but
dispose the festoons to accomplish this without making the purpose
apparent.
Correct the sketch of the drapery to conform with the necessities of
light or passage, as explained before, observing the proportion the
tail about one-half the height of the space, and the deepest festoon
one-half the depth of the tail, and it is ready to measure.
In Figure 5, on the opposite page, we have three different sizes and
shapes of festoons, so that all must be measured and cut separately.
From the lowest point X on the line A----B draw a perpendicular line at
right angles to the floor line to connect with X on the line C----D,
top of festoon. (Festoon A, Figure 5.)
Measure the distance from A to X and X to B on bottom line, following
the curve, also from C to X and X to D on top line, and from X to X;
record the distances on the plan in feet and inches, also the spaces
covered by the pleated ends 1 to 2 and 3 to 4, and the distance between
2 and 3 horizontally (see dotted line), and the elevation from line
1----2 to line 3----4. (See dotted perpendicular line from top of
trim.) Record all these distances and measure festoon B in like manner.
Festoon C is joined to tail on right side to form a pipe, but is
measured in the same way, treating the bottom line as if it were
continued around to the rosette (dotted line through pipe, Figure 5),
mark point X and measure the same as festoon A, measure the length of
pipe from rosette to bottom and record the distances.
To measure the double tails draw a line through centre (dotted line,
left tail, Figure 5) and measure the pleated half in the same manner as
the single tail in last chapter.
Lay out and cut pattern as for a single tail, and repeat from the back
edge (dotted line) to give the double tail.
If necessary to piece the tail in planning the goods, make the seams
where the folds will conceal them when pleated up.
[Illustration]
If you find any difficulty in sketching the full size pleated tail
from which to lay out the pattern for cutting, as explained in last
chapter, Figure 3, the following method, while not needed by many, will
give you correctness and certainty:
The pleated top should equal one-sixth the distance from top of tail to
bottom point, and the widest part, which occurs half way down, should
be one and one-third times the width of the top.
Thus a tail 6--0 long would be 3--0 on the front edge and pleat into
1--0 at the top, spreading to 16 inches at the widest part.
Lay out your paper with the longest edge even with the side of the
table in front of you, and from the right hand end point F, Figure 5B,
mark point E the length of the tail and I half way between. Draw a
perpendicular line at E and on it mark G the proportionate distance,
and on another perpendicular line at I locate H, Figure 5B. Halve the
line I----H and from its centre 1X rule to F; divide the line 1X----F
into seven equal spaces, and mark every alternate point, commencing
with the first one, 2X, 4X and 6X, and the points between 3, 5 and 7.
At right angles from the line at point 3 mark J, the distance from 3 to
2X, or one space, and repeat at 5 and 7, locating points K and L.
Rule from points J, K and L to 2X, 4X and 6X (dotted lines, Figure 5B),
and from 2X, 4X and 6X draw straight lines to the top parallel with the
line E----F.
Rule also from J, K and L to the dotted raking lines and from G to H,
and you have a complete outline of the pleated tail from which to plan
your pattern, as explained in last chapter.
The right tail joined to festoon C is cut in exactly the same manner as
if it were not joined, but was complete in itself.
Lay the pattern on the goods with the side to be joined to the festoon
even with the selvage. (See Figure 7. Dotted lines which show festoon C
cut out and the right hand tail marked out for cutting lying together
for matching at the selvages.)
To cut irregular festoons it is well at first to make a paper pattern;
spread out a paper sufficiently large to contain the full measurements,
with the longest side even with the table in front of you (Figure 6),
using the edge of the paper as the line A----B, from which to project
the shape of the festoon according to the measurements.
From the right-hand end point B mark X the distance recorded on
Festoon A, Figure 5, on your plan, and from X mark point A. Erect a
perpendicular line at X as long as twice the distance from X to X,
Figure 5, and at right angles to the bottom line.
Draw a horizontal line parallel with the bottom line or edge of paper,
passing through X, the top of your perpendicular line, and on it mark
the points C and D the same distances as they appear on your plan.
From X on the bottom line, with B as a radius, strike a quarter circle
from the line, and repeat on the other side with X as centre and A as a
radius.
With A as a centre, and one-third the distance from A to X as radius,
strike an arc to intersect with quarter circle A at point A1; and from
point B, with one-third the distance from B to X as radius, locate
point B1 in the same way.
Rule from B1 to X and from A1 to X on the bottom line, and from C to A1
and D to B1, which gives us the general outline.
The bottom lines must be rounded as dotted lines indicate, with
greatest swell one-third of the distance from point X on each side; and
the raking lines at the side must have the allowance added for trimming
off three inches at top and bottom, hollowed to one and a half inches
at centre, dotted lines, Figure 6.
Cut out along curved lines on sides and bottom, and straight line at
top, and the pattern is complete.
Spread out the goods on the table _face up_, the pattern, if any,
running from you, and the nap, if pile goods, running toward you, with
the end of the goods, which must be square, even with the side of the
table, in front of you.
Lay the pattern on it with the perpendicular line X----X positively at
right angles to the straight end of the goods and parallel with the
selvage.
If the width of the goods is not sufficient to cut the festoon without
piecing, lay the pattern so as to leave an equal projection beyond the
selvage at each side.
If the amount to be pieced out does not exceed six inches, make the
join at one side only, and piece out with the pieces left from the
raking sides, F----F, Figure 6.
Pleat festoons A and B in the same manner as straight festoons in last
chapter, the lines on the board corresponding with the lines on the
plan, the elevation at 3----4 exactly as the plan calls for, and adjust
the goods until it conforms to the size and shape on the plan. When
one end of a festoon is attached at a higher level than the other,
attach the elevated end of the pleat first, and then the lower end, for
greater ease in forming the pleats nice and round.
Irregular festoons are not interchangeable any more than clothes, and
will only fit the size and shape for which they are made; for this
reason be careful in laying out the measurements on the board, as once
pleated they will hang that way only, and a change in elevation or
distance, unless very slight, will destroy the neatness of the pleats.
If, in a drapery design, a festoon with the heavy fall point X to the
left of the centre is repeated in another place with the heavy fall to
the right of the centre, and the sizes are exact, the pattern cut for
one will do for the other by turning the other side of the paper up;
but be careful to mark each side and the festoons to correspond, so as
not to duplicate.
It is a good plan to number or letter each festoon and tail on the
plan, and the patterns to correspond; then, if the goods is cut with
the face side up, the completed drapery must be the same as the plan.
If for any reason it is advisable to cut the goods with the face side
down, you must be careful to turn your patterns all face down, or your
drapery will be transposed, with the right tail at the left side, and
_vice versa_, and errors of this kind are, to say the least,
vexatious.
To lay out festoon C for cutting is a little more difficult, but can be
easily mastered with care. Lay out the paper for pattern on the table,
as explained for festoons A and B, and draw the bottom line A----B
parallel with the edge of table, and about half the length of the pipe
above it (Figure 8). Erect the perpendicular line X----X, and find all
the points on the pattern in exactly the same manner as for festoon A;
round out the line from A1 to X (dotted line, Figure 8) and the raking
line A1 to C.
From point B1 as a centre, with the length of the pipe as a radius,
strike a quarter circle from the line A----B down to a point below B1
(line 1----B1), round the line right side from X to a little above the
line, and gracefully sweep to break the sharp corner where the circle
intersects, as dotted line, Figure 8, and rule from B1 to D, adding
afterwards the allowance for trimming off after pleating.
If you have a small festoon to cut, and one of this kind, mark out the
small one first, letting the pattern lie to the opposite side from the
side on which you want the piece for the pipe, and the allowance for
the pipe can usually be cut out of the corner, F. (See broken line,
Figure 8, which outlines the top of a festoon beneath the line A----B.)
In irregular festoons the line X----X _must be_ at right angles
to the end of the goods, or chalk line representing bottom of festoon
where no pattern is used.
Cut festoon C out complete and match the pattern of the goods to the
piece before cutting out the tail. (See Figure 7.)
Join the straight side 1----B1 on festoon C to the left side of tail
and press the seam out so that it lies flat as one piece.
Spread out on the table, and with the paper pattern mark the top and
bottom points of the folds in the tail, and commencing at the middle
(dotted line E----F, Figure 7) pleat the outside in the way explained
in last chapter. Pleat the other side toward the centre also, forming
all but the last fold or pipe, and pin or baste the folds in place.
Tack the top of tail on the board, which you have already chalked out
to the sizes of the pleated festoon and tail on the plan, and pleat up
the festoon by the method explained in last chapter, forming the last
pleat of the festoon and the last fold of the tail into a pipe (Figure
9), concealing the seam in the fold under the pipe. The rosette is made
of a circular piece of goods, usually joined up from the waste, as the
pleats will conceal the seams.
If the completed rosette is to be six inches in diameter, take a
circular piece of goods seventeen inches in diameter, and in the centre
cut out a three-inch circle; shirr the outside edge from the wrong
side, using long stitches on the right side and short stitches on the
wrong side (Figure 9A), dotted and unbroken lines (dotted lines on
face side of goods), use a strong linen thread or twine and draw the
shirring up close, wrong side out, and fasten securely. (Figure 9B.)
Turn back the small circle over this to bring the right side out, and
shirr it into the other shirring, fastening both together securely.
This method gives very little fulness on the back of rosette, and
plenty in front; pick out the pleats to distribute the fulness evenly
around the rosette, keeping the outer edge square and thicker than the
centre.
The fulness is governed by the size of the hole in the centre, and the
distance from it to the outer circle must equal the desired diameter of
the finished rosette, with one inch allowance for shirring.
Sew the rosette to the finished festoon tail, and if it is to be
suspended from a loop, as Figure 5, sew a couple of lambrequin hooks
beneath the rosette to take the weight. (XX, Figure 9.)
Figure 5 illustrates a straight top opening, but this style is
particularly adapted to spaces where the top is curving or angular, or
in the case of a low door or window, where it is desired to give an
effect of greater height without elevating the entire drapery scheme.
Sketch out and plan a number of irregular festoon draperies to your
scale, complying with different requirements in the way of curves and
angles, and cut out of some soft and inexpensive material, as advised
in last chapter, until you have thoroughly mastered the rules and
acquired the knack of forming nice round pleats from end to end. Be
careful in sketching an irregular drapery not to get the festoons too
thin from X to X, which you will be apt to do.
Except in some special case where a shallow festoon is required, a
pleated festoon that is less than eighteen inches from X to X will
not look well on this size space, and should be as much deeper in
proportion as the size of the space requires.
Double tails are used in Figure 5 to explain the method of cutting
them, and where the quantity of goods will not permit the use of double
tails, single tails may be used with very good effect.
Double tails are frequently joined in the centre (dotted line E----F,
Figure 7), and except in goods of a striped or pronounced design may be
joined even more by calculating for the seams to be in the under folds.
[Illustration: _FLAT VALANCES OR LAMBREQUINS._
(SEE TEXT ON OPPOSITE PAGE)]
[Illustration: SIX WAYS TO HEAD AND HANG DRAPERIES.]
FLAT VALANCES OR LAMBREQUINS
The flat valance or lambrequin was originally designed as a body or
background on which were embroidered the most elaborate patterns. It
has passed through various forms and modifications, and at present is
used for almost every purpose in the way of drapery treatments. We
illustrate a few styles which will explain its versatility.
Figure 10 is one of the simpler forms, surmounted by a moulding
cornice, and is frequently used where it is desired to give the windows
the appearance of greater height by raising the cornice the desired
distance above the top of the frame, the valance concealing the real
height of the window.
This style is provided with a piece at each end that returns to the
frame (at right angles to the face) and confines the curtains as well
as concealing the pole or rod to which the curtains are attached. It
can be made very simple and inexpensive, and is suitable for bedrooms,
dining-rooms or libraries when the nature of the window and the general
architecture of the room requires simple treatment.
Figure 11 is a combination of the flat valance and festoon drapery. Its
use is not confined to any particular room, and it can be made simple
and inexpensive, or elaborated with appliqués, as Figures 12 and 14,
until it is rich enough for any purpose. Its main characteristics are
the small quantity of goods required and the ease with which it can be
made. Nearly all flat valances are made on buckram to give them the
required stiffness to hang flat and smooth.
[Illustration: LOUIS XIII.]
Make a scale drawing of the space and sketch the style of the valance
upon it. Then lay out the full size on a piece of paper and cut out
the pattern of the flat body or background. Spread out the buckram and
transfer the outline to it, joining it, if necessary, to get the size
by lapping the edges one upon the other and sewing them together flat.
If the buckram is sufficiently large without joining you can draw the
design upon it without making a pattern.
Do not try to make too many scallops; allow the outside scallops to be
a little wider than the others, so that they will appear about the same
size when the tails are put over them. The outline of the end scallops
can be made a little more straight where the tail covers it, as dotted
line, Figure 11.
The illustrations show these two styles trimmed with a galloon or gimp,
which, on a plain material, is an effective trimming.
Figure 11A illustrates the method of finding the radius of three given
points--as the two ends and the centre of a scallop. Having determined
the width of the scallop, draw perpendicular lines at its extremities,
A----A and B----B, Figure 11A, and on these lines mark X the distance
you wish to raise the ends of the scallop from the line. With point of
dividers at C on the bottom line strike an arc at a little more than
half the distance to X on line A; then with point of dividers at X on
line A strike an arc with the same radius as before to cross the other
arc at the two ends. Repeat this on the other side of the centre point
C toward line B, and by ruling straight lines through the intersecting
extremities of each arc to where they meet in the centre you find the
radius from which all three points would be touched by a sweep of the
dividers.
The pipes which are attached at the top of each scallop are cut in the
following manner: Measure the length of space the pipe is to cover and
draw a line on your pattern paper its equivalent in length; from one
end, with half its length as a radius, draw a quarter circle on each
side of the line marking point D where it crosses the line. With point
at D and the end of the line as a radius sweep to intersect the curved
line at each side, which will give you points C----C; rule straight
lines from points C----C to B and to A. The bottom line following the
circle is too round for a nice pipe, and should be modified to midway
between the curved and straight lines, as dotted lines, Figure 11B.
This pattern can be used to good advantage by utilizing half of it
only, repeating from the line A----B for the buckram pattern and the
lining, as Figure 11B, and repeating from the line A----C for the
pattern for the outer covering, Figure 11C. After being covered with
the lining, as Figure 11B, it is bent round and the two edges joined
together with fine thread and baseball stitch, as Figure 11D. Cut
the covering as Figure 11C, allowing a half inch all around for hem;
fold together wrong side out and stitch the edges A----A and B----B
together; press the seam out flat, turn right side out, and pull over
the buckram form, turning in the edge around the bottom and sewing it
down.
The tails are cut just as for festoon draperies, and the tops are
turned over the top edge of the buckram body and sewn to the wrong side
or back of it.
A valance of this kind is provided with lambrequin hooks on the wrong
side to hook into the curtain rings, and can be put upon the same rings
with the lace curtains or on extra rings, as you desire. The hooks
should be placed to support it at the points where will be the greatest
weight--one on each side of the tail, one at the top of each pipe, and
about every six inches between. The tip of the pipe is sewn over the
top like the tails and the bottom is fastened securely at the end of
the scallop. A nice effect is given to the pipe by suspending a large
pair of tassels from its interior, falling about six to twelve inches
from its base, according to size.
[Illustration: GOTHIC.]
Figure 12 is a similar treatment, with the lower third composed of
a shirred skirt; the buckram form is made first and covered, and
the skirt is sewn to the under side before the lining is put on. In
addition to the fringe at the bottom of the skirt this style is further
embellished with an edging or lace around each scallop and an appliqué
ornament centreing each scallop. The top edge is sometimes finished as
illustrated with a heavy silk cord with knots or double loops at the
prominent points.
Figure 13 is a combination of pelmet and overdrapery, used where
the decoration is desired to be very deep without the appearance of
excessive weight. The flat back or pelmet is made perfectly straight
and flat, trimmed with a gimp or galloon, and appliquéd, the long end
being provided with a deep fringe. The overdrapery is cut as per rule
for irregular festoons, and while it has the appearance of passing over
and down behind the pelmet, it is joined behind just out of sight,
using no more goods than is necessary for the appearance on the face
side. This can be made very effective by using a plain material for the
pelmet covering and a striped or figured fabric for the overdrapery. It
can be used for dining-rooms, libraries and offices where the windows
are high and not very wide. Repeated from the left side with double
tail in centre it is a nice treatment for a double or mullioned window.
Figure 14 illustrates another style and the method of applying it to a
double window. The top is further embellished with a garniture of heavy
silk cords and tassels, which, on very deep valances, is sometimes
replaced with a light-weight silk festoon drapery in harmonizing shades.
A bow or bay window is treated in like manner by suspending a double
tail between each window.
To make up flat valances lay the cut out buckram form upon the goods
with which it is to be covered and cut the goods an inch larger all
around.
If there is a pattern that is conspicuous, plan it so that it will
centre in each scallop, joining the goods if necessary where the pipes
will conceal the seams. Pin the goods to the buckram to prevent from
slipping and draw the edges over and baste them to the back of the
buckram. This must be done smoothly and without puckering.
[Illustration: ILLUSTRATING FOUR POSITIONS OF THE DRAPERY RELATIVE
TO THE WOODWORK.]
It will be necessary to notch the goods to allow it to go up into the
points of the scallops, as X, Figure 15.
After the covering is all basted down lay the face side down and spread
the lining out over it, allowing an inch to project all round. Turn
in the edge and tack it with shoe tacks or pins, then the bottom edge
and the two ends, taking care to keep the thread or grain of the goods
straight and square to avoid puckering.
When all properly basted it is either slip-stitched together, as shown
in Figure 15A, or machine stitched, keeping the edge of the lining
about a sixteenth of an inch back from the edge. The tails also are
lined; lay the cut tail on the table face down and turn over on top
about half an inch on the two sides and bottom, and with shoe tacks
tack it to the table nice and even all round the edge; lay the lining
over it face side up and tack it over the other, turning in the edge
the same distance that the goods is turned over, and with edges lying
even, removing the first round of tacks as you put in the others, baste
the two together with basting stitch and slip-stitch, or machine stitch
it together, according to the nature of the goods. In making the pipe
cover the buckram form with the lining before forming it into the cone
shape, bringing all the edges over and sewing them to the wrong side,
so that they will not be visible in the cone when made.
[Illustration: A MODERN VERSION.]
For the skirt in Figure 12 allow about as much again for fullness for
light-weight goods, and half as much again for medium weight.
Do not make it on heavy goods unless very deep, and then some other
styles would be better.
All appliqués should be put on and sewn before the lining is put on.
In estimating for these styles calculate how many widths of goods are
required to cover the form from end to end, and take that many times
the depth of the valance, with two inches allowance each time for
turning in, and add to that the length of the two tails.
Thus a valance like Figure 11 would take for a four-foot window two and
five-eighths yards of fifty-inch goods, the same of lining, and about
one yard of thirty-six-inch buckram.
The fringe you can measure from the drawing, but three yards more
fringe than goods is near enough for an approximate estimate.
[Illustration]
[Illustration]
PLEATED VALANCES OR LAMBREQUINS
For places where a flat valance seems too stiff and severe, a number of
simple, but dainty and graceful, treatments have been evolved.
One of these is the plain box pleat surmounted by a French ruffle. (See
Figure 16 on opposite page.) The box pleat is made with various degrees
of fullness and in many different ways. The usual method is to allow
each pleat to be as wide as the spaces between them--as illustrated.
For a valance pleated in this way allow about three feet of material to
one foot of finished pleating. After the goods are hemmed the proper
width for the valance, they are pleated on the table, the pleats are
tacked top and bottom to keep them in place temporarily, and the folds
are pressed.
The tops are pinned while still in this position and the whole is then
turned face down, each pleat being tacked to the next one with stout
thread (see Figure 16A) to keep them from becoming disarranged in use.
The top is either attached to a pole or is nailed flat to a board
cornice and the top edge finished with a moulding or French ruffle.
(See Figure 16.)
When the pole is used sew a flat tape to the back of the heading, and
sew lambrequin hooks to the tape.
The French ruffle illustrated in Figure 16 is made of a strip of goods
about four inches wide, lined with window holland wiggin or fine canvas
to give it stiffness.
Hem both edges, allowing about two and one-third times as much strip
as the finished ruffle is desired; turn on its face and mark every two
inches on the back on or slightly below the centre (A to B in Figure
16B). Then take a needle and stout thread or twine and draw together
every alternate mark and knot them securely (B to C). At the top and
bottom of these alternate spaces pinch them together and knot them
about one-half of an inch from the pinched point, which should be in
line with the centre of the space (C to D). Then turn face side up, and
a slight pulling or stretching from end to end will start the pleats
into shape, when a little manipulation will make them take the desired
shape, as sketch Figure 16C, showing the face side; the back should
appear as D to E, Figure 16B.
The double box pleat is a little more decorative than the ordinary
pleat, and is made as illustrated by Figure 17. The top is turned
forward and pressed flat, as shown in successive stages by drawings
17A, 17B and 17C. And another style by drawings 17D, 17E and 17F, which
can be quite easily followed.
Figure 18 illustrates another style with French heading, which requires
a little more care in calculation and in making. If you have determined
the length and depth of the valance, divide the distance into the
number of scallops you desire to make, and proceed to mark out the full
size of one festoon upon your pattern paper. Use the bottom of your
pleats (dotted line A----A in Figure 18) as a temporary top line, and
the distance from centre of pipe to centre of pipe, with about four
inches extra as a temporary width, the depth the same as plan calls
for, with no allowance extra.
Lay out the bottom line according to the measurement of bottom of
scallop, and draw perpendicular lines at A and B to about nine or
twelve inches above the line A----A in Figure 18A. On these mark off
the distance from bottom pleat (line A----A) to the top of heading,
with as much again for fullness, and rule line E----E, which is the
true top of the festoon.
Half way between E and E make a perpendicular cut, C----C, from the top
to the line A----A, and from the bottom C draw a horizontal line the
length of the measurement of the bottom pleat (in this case 1 foot 2
inches); divide it in the centre and erect a perpendicular line through
E----E as a centre guide.
On the line E----E, with F----F as a centre, mark the points of the top
of the heading, H and E in Figure 18A, the distance apart that lies
between X and X on your sketch (in this case, Figure 18, one foot) and
repeat this measurement at D----G one-third the distance from line
E----E to line A----A in Figure 18A.
Rule from D to H, G to E, D to C on dotted line, and G to A, as
illustrated, and from A to B, fold pattern over on centre line C----C
and cut out the other side. Lay pattern on the goods so as to centre
the pattern of fabric nicely in the scallop, and cut out as many as
required for the valance.
In order to get the pleating shirr or pleat the raking lines G to A and
D to C as tightly as possible, so that H H and D D meet together just
above the lower C. The pipes between the festoons are cut in a manner
similar to the plain pipes in last chapter.
When the pattern is planned out and ruled off for cutting, as there
explained, measure down from top point of pattern on centre line one
and one-half times the distance represented between the lines H----E
and D----G on Figure 18A, and with point of dividers at this point (K,
Figure 18B), and point I, the top of pipe, as a radius, strike an arc
equal in length to one and one-half times the radius. Rule from each
end of the arc, J----J, toward middle K, till you meet the raking line
of each side.
This gives the outline of the pipe, which is joined flat to the
festoons on either side, as illustrated, Figure 18C, and formed into a
pipe by pinching together the two back edges at L and L.
Should the pleated pipe seem too wide at this point double pleats on
each side will obviate any difficulty. The pattern included between the
points J J and M on pipe pattern is the size and shape required for the
little heading at C----C, Figure 18, and is simply formed into a pipe
inverted and sewn in place. This particular style is very effective
for bedrooms, made in art ticking, denim, cretonne or taffeta, having
a prominent pattern. The sketch shows a slight ripple in the bottom of
the scallop, which is not sufficient to interfere with the pattern,
and will be greater or less, according to the sag of the pleats, and
consequent distance between H and H, Figure 18.
The pipe on the outside is joined to the tail and festoon, as Figure
18C, and is pleated up with the tail to the shape illustrated.
[Illustration: SIMPLE DRAPERY SCHEME.]
Figure 19 is similar in style, with a pleated scallop, and is made
after much the same plan. Make a scale or full-size drawing of the
festoon and pipe, and measure the bottom of the festoon, as a regular
or straight festoon. Lay the measurement out on your pattern paper, as
per rule for straight festoon, chapter I, except that points E E are
raised one-quarter the distance from A to B, instead of one-sixth, as
formerly explained.
The depth for cutting is twice the depth of the finished festoon,
and the top measurement and centre cut are found and determined as
explained for plain scallop in Figure 18A.
Mark out the full pattern as illustrated in Figure 19A, measure the
circumference of bottom of pipe, and lay out the distance horizontally
from E to E parallel with the bottom line. From the centre of line
E----E erect a perpendicular line as a centre guide, and on it mark the
length of the pipe from F to G and G to H. (See dotted outline of pipe
pattern in Figure 19A.)
The circumference of the small part of the pipe is laid out
horizontally at G, and also the upper sweep at H, as explained for
pipe in Figure 18B. Then rule from the extremities of dotted line G,
dropping slightly to raking edge of festoon, add pleating allowance as
dotted line from D to pipe, and the pattern is complete.
This festoon and pipe can be repeated indefinitely, as in Figure 19A,
and make a very pretty effect as a valance. If necessary stiffen the
top edge with wiggin or fine canvas. The festoon is pleated up as
hereafter explained for Figure 22. The design can also be made with
separate pipes, if so desired, by following the instructions for Figure
22 and using pipes instead of tails.
Another simple valance is that illustrated in Figure 20. It is very
easily constructed. The goods are cut to the required length to allow
for top and bottom hems and as many widths as are necessary to give
double fullness across the space. Starting at one end make three
or four pleats about one and one-half inches wide, and fasten them
temporarily together at a distance of six or nine inches or more,
according to the design of the goods and width of the space, repeat
pleating, and so on to the end of the goods.
If you have correctly spaced and estimated your goods so that they come
out even to the desired length, fasten the pleats permanently together
about two and one-half inches down from the top and through the centre
of the pleat. (See X in Figure 20.) Draw down the top of each outside
pleat behind and stitch them in fan shape, as shown in back view,
Figure 20 A, the top edge turns over to the back between each bunch of
pleats and is sewn flat.
Figure 21 is another form of lambrequin in which the corners to form
the festoons are obtained by piecing out. Draw out on paper the
full-size sketch of complete lambrequin, as in Figure 21 A, and from
the pleated ends of festoons represented by the letters O, A, D and I,
mark out on the sketch each festoon pattern, allowing them to overlap
each other as they will, taking double the depth of the pleated parts
for the depth of the festoon from dotted line to bottom (Figure 21 A).
After each pattern is lined out on the paper in full, take a small
nail, and laying the pattern over a piece of soft wood, punch the
extreme points of the outline of each part by driving the head of the
nail through the paper, as also the points where any part crosses the
perpendicular double lines. The paper is then cut up the double lines
and around the extreme outline of the parts, as from outside bottom
corner of right hand tail to N, N to I, K to H, H to D and F to C; the
pattern can then be folded over on X----X, the centre line, and the
left side cut out.
By laying the pattern over another paper, and with a soft pencil
marking through the punched holes, as well as the corners where the
perpendicular lines cut through the outline, you easily get the
dimensions of the pieces to be joined on to complete the pattern.
Thus the triangular piece represented by the points A, B and C is that
required to piece out the left side of festoon No. 2; D, E and F the
right side of festoon No. 2; D, G and H the left side of festoon No.
3; I, J and K the right side of festoon No. 3, and I, L, M and N the
balance of the tail.
After the different pieces are all joined on and the whole lined the
parts are pleated up in the usual way, with the top of valance tacked
flat on the board, and the ends of the pleating sewn nicely and covered
with a knot of large cord which appears to support each raised part.
When cutting the goods add the trimming allowance of three inches
beyond the raking sides of the patterns and trim the surplus to as
small a compass as possible when pleated.
Figure 22 represents a style of narrow festoon drapery which presents a
fairly elaborate appearance with a small quantity of goods. The tails
are planned as explained in the chapter on French Festoon Drapery.
The festoons are measured from the sketch, allowing the straight lines
between the heads of pipes and tails to represent the top measurement,
the curved line at bottom of festoon the bottom measurement, and twice
the distance between for depth and fullness.
To plan festoon A, which is a regular festoon, lay out the bottom
line, Figure 22 A, and from its centre erect the perpendicular line
X----X, and on the horizontal line at the upper end mark off the top of
festoon. Find all the points of the festoon, as explained for straight
festoons in the chapter on French Festoon Drapery, and round out the
bottom and sides as for regular festoons.
Follow also the instructions already given in cutting the goods,
keeping the perpendicular line parallel with the selvage, and in regard
to nap and pattern.
To pleat up the festoon fasten the top edge to the board with temporary
tacks, pinch up a pleat about one-fifth the distance from top to
bottom, and with the disengaged hand form a pleat at the edge of the
goods, the point of which is attached on the line of the top edge.
(Points A----A, Figure 22 B.)
The remaining goods are equally divided and pleated in like manner into
four full pleats of equal size and depth.
When all tacked in place a line is drawn from A to B on each side, the
pleats pinned or basted and taken down, then the edges trimmed off
square to the line and bound.
The centre pipe or tail is treated as a single tail by drawing a line
through its centre to divide it for measuring. (E----F, Figure 22,
dotted line.)
The half is sketched out full size, as explained in Figure 3, Chapter
on Festoon Drapery, allowing one more return fold at back to meet
the other side at centre line (Point F, Figure 22), and the pattern
repeated at G----H X in Figure 3 to make the full double tail, which
is lined and joined together at the edges E----F, Figure 22, and then
pleated.
It is well to cut a double pattern all in one piece and pleat it so
that you can tell by the folds of the pattern where seams will be
permissible in the fabric.
A great many combinations such as these can be made by the exercise of
a little ingenuity and patience, which will depend for their appearance
on the neatness of the work and the disposition of the stripe or
pattern of the fabric.
[Illustration:
Fig 23
Fig 25
Fig 24
Fig 24 A
Fig 27
Fig 25 A
Fig 28
Fig 29
Fig 30
Fig 29 A
Fig 31
Fig 32
Fig 32 A
Fig 32 B
Fig 26]
PIANO AND MANTEL DRAPERIES
The fabric decoration of pianos presents difficulties peculiar to
itself, and the effort to combine beauty with common-sense utility
has resulted in many pretty treatments, a few of which we illustrate.
One of the first problems in the treatment of an upright piano is to
securely and neatly attach the drapery to the instrument without in
anywise interfering with its use or marring its finish.
For most treatments a board the shape of the top of the instrument,
covered with a neutral-tinted fabric and lined beneath with felt or
canton flannel, will be found to be an easy and practical method of
protecting the top of the instrument, at the same time affording a
solid place for the attachment of the drapery.
When covering the under side be careful not to leave any tack heads
projecting; either sink them into the fabric below the surface, or at
the four corners, and centre tack a small wad of felt about an inch
in diameter, and drive the tack in so that the felt is forced upward
around the head of the tack.
If the board should be inclined to teeter or rock, thicken the wads at
the loose corners until it lies perfectly flat and solid.
The drapery can be attached to the board in a number of different ways.
For light festoon draperies in which the top of the festoon falls below
the edge of the board a good method is to attach a small metal rod
to the edge of the board, turning the corners nicely with elbows, or
bending it sharply at right angles, and loop the drapery over this. For
flat or straight top festoons attach directly to the board and cover
the edge with a ruffle or large cord.
Figure 23 illustrates a valance or lambrequin treatment made with a
plain scalloped centre and narrow festoons on the sides and ends, with
pipes at the intersections of the scallops. The festoons are fastened
along the edge of the board and covered by a large cord. The plain
scallop in centre does not interfere with the use of the music rest and
is sufficiently decorated with an appliqué pattern.
The pipes may either be made separately, as explained in chapter on
flat valances, or cut together with festoons, as in chapter on pleated
valances or lambrequins. Where appliqués are used, whether of leather,
tinsel or lace, the best effect is obtained by using a self-color
fabric without pattern or design. Sew the appliqués down flat either by
hand or machine before the lining is put in.
Figure 24 is a flat appliqué valance on which the appliqué is allowed
to project beyond the edge of the scallops, making an irregular lace
edge effect. This makes a very neat and simple arrangement, and is cut
as Figure 24 A, to allow an overhang on the face and two ends of the
instrument.
The overhang X at the end is made the width of the top, so that the
front overhang falls close to its front edge and meets the appliqué to
conceal the opening at the corner.
This style usually requires two breadths of fifty-inch goods, and is
made with an overhang of six or nine inches in front and eighteen to
twenty-four inches at each end. After the edging is sewn on it is lined
(sometimes interlined) and laid on the piano, where its weight is
usually sufficient to keep it in place.
Figure 25 is a festoon drapery looped over the metal rod on the edge
of the board or attached to the edge of piano top, as illustrated by
small cords and tassels, which are attached to the back of the piano.
(See dotted lines Figure 25 A.) They may be either straight loops, as
left side of illustration, or crossed, as right side of illustration.
This style is cut and made up with due consideration of the size and
requirements of the space, as explained in chapter on French festoon
drapery.
A pretty scheme is sometimes made in soft fabrics by using a drapery
that is a composite of the last two, a flat top cover with a pleated
festoon effect on the front and end, as outlined by scalloped broken
lines on Figure 26. It is made as explained for Figure 21 in chapter on
pleated valances or lambrequins.
After the festoons are drawn out full size and marked for cutting, the
pipe for the corner may be added and cut out with the festoon. (See
explanation for Figure 19 A in chapter on pleated valances.)
The tail in Figure 26 is planned the reverse way to the method
mentioned in a former chapter, but a study of this illustration will
show that the principle is the same.
The tail and pipe may be cut separate from the rest or cut attached by
allowing for the little connecting pieces X and X, which fold beneath
and do not show. In cutting the tail for this design there is nothing
to be gained by cutting it attached to the festoon, but the method is
given here to explain the principle.
The plain tied scarf, Figure 27, is usually a piece of soft unlined
fabric twenty-seven inches wide by about two and two-thirds yards long,
and is caught up as illustrated by tying a small shirring cord which
is run through the fabric and divides the front overhang into three
festoons.
In large rooms there is sometimes an advantage in turning the keyboard
to the wall and decorating the back of the instrument, which is then
the most prominent part.
The nature of this treatment is to disguise the piano and give it the
effect and usefulness of another piece of furniture.
Figure 28 illustrates a popular treatment, the back covered with a
curtain of soft fabric shirred on a rod, and attached to the back of
the instrument so that the heading or shirring projects slightly above
the top. In making the curtain allow about as much again for fullness
(or twice the length of the space to be covered), letting the bottom
edge of the curtain hang free or shirr it on a rod similar to the top.
To this is added an upholstered seat or bench and a few pillows.
If desired a festoon drapery can be added at the top of the curtain
with good effect.
A decorative panel may be used instead of a curtain, as illustrated
in Figure 29, either with or without a seat, and the drapery made to
conform to the style of the panel.
The drapery may be made as a part of the panel, as Figure 29 A, or
attached separately after the panel is in place.
A square or grand piano is prettily treated with a flat cover, the size
and shape of the top trimmed with an overhanging fringe or appliquéd
edge of a depth to suit the individual taste.
The cover may be made of any medium-weight material of self or
composite colorings, but preference should be given to a fabric not
easily marked by the ornaments or bric-à-brac.
In many cases the designs suitable for an upright piano can be used
with good effect on a mantel, Figures 23, 24, 25 and 27 of our
illustrations possessing this feature to a certain degree.
The decoration of a mantel, however, does not present the same
difficulties as the decoration of a piano, because there are fewer
restrictions to bear in mind, and there is perhaps more danger of
overdoing mantel decoration on this account.
From the appearance of some of the old-fashioned fireplaces still in
existence we would infer that in those days utility and capacity were
the first, last and only considerations.
The open grate, though popular for a long time after its introduction
into this country, gradually became less and less frequently used,
and as its usefulness decreased its artistic insufficiencies became
more and more apparent, draperies being used to relieve and ornament
it where it was thought unwise to remove it altogether. Succeeding
the period of disguised homeliness we have a period of more elaborate
designs, and with the return of the overmantel architectural art has
lavished upon this piece of furniture carvings and mouldings until it
is usually a thing of beauty, and the decorator has sometimes to advise
against what would be a superfluity of decoration in the employment of
fabric.
A little judicious advice along the line of superabundant decoration
is sometimes profitably and kindly received, but the man who presumes
to so advise must do so only upon invitation and with the utmost
tact. In a great many cases, however, the mantel drapery is still an
artistic necessity, and we give herewith a few styles and methods
of modern treatments. Figure 30 is a flat-covered buckram pelmet,
having a scalloped bottom, and a series of apertures through which a
light-weight drapery is arranged in regular festoons.
This style is frequently employed to obtain depth without the
appearance of weight. The top edge of the pelmet may be finished with a
cord, fringe, moulding, antique nails or any simple form of trimming.
For method of making this class of drapery see chapter on flat valances
and lambrequins. It is sometimes necessary to provide an open grate
with draught curtains, as Figure 31.
These are hung on a small rod close up to the top of the opening, using
rings large enough to allow them to traverse easily, and are provided
with a tassel loop at each side to retain curtains, as dotted lines,
Figure 31, when the grate contains fire.
It is necessary, unless the goods are very heavy, to weight the bottoms
of the curtains to prevent the draught from drawing them inward. This
is accomplished by a small roll of shot, about the thickness of a lead
pencil, cased in cotton and inserted between the lining and the goods
along the bottom of the curtain. Do not fill the roll so tightly that
it will not retain its flexibility.
This will be found a good method to employ where a draught of any kind
interferes with the proper appearance of a light-weight curtain, and
the roll can be kept almost invisible in the lightest materials by
covering it with a piece of material the same shade as the curtains.
Frequently the appearance of a room may be enhanced by giving the
mantel fitment some elevation, as, for instance, Figure 32, by reason
of its plainness, would in a large room present a squatty appearance,
were it not for the elevation given it by the panel and drapery.
Instead of the panel, a mirror may be used, and the drapery added to
relieve the bare top line. The drapery may be attached to a pole, cords
or ornaments, as your design may require, taking care only to give it
sufficient extension to clear the panel nicely and not lie flat against
the face of it.
This style, with Figure 32 A, gives another method of combining a
festoon and a tail, the join being made after both are pleated up and
the seam concealed by a cord which appears to loop it back.
Measure and cut festoon A, Figure 32 A, as per rule for irregular
festoons in the chapter pertaining to that subject, which will give
you the pattern Figure 32 B. Pleat this up on your board to the
dimensions and shape of your plan and make a paper pattern of an
ordinary single tail the size you require. Pleat this up and trim the
corner C, Figure 32 D, to fit the angle covered by the cord in Figure
32 A. Cut, line, and pleat up the tail in the usual way, and join it to
the pleated festoon as neatly as possible.
[Illustration]
The decorator with an eye for ensemble will sometimes be able to
suggest the breaking up of a too flat boudoir or dressing-room
side-wall with a mantel shelf or hanging book-shelf, which can be
tastefully decorated in keeping with the surroundings. The treatment of
high upright steam rediators is analogous to this line of furnishing
and demands in some instances much the same mode of procedure. A board
or shelf is made to fit the top of the radiator and so constructed
as to fit squarely and securely with a boxing or keeper beneath, to
prevent sliding or slipping. This is covered with a fabric to harmonize
with the other furnishings and trimmed with a deep fringe, a Japanese
reed and bead curtain, a moulding, or a very shallow valance.
The depth of any, governed by the style of the radiator and the taste
of the decorator, best results are obtained by using a board that has
saw cuts about an inch apart, and running within a few inches of from
end to end, lengthwise. Very low upright radiators can be effectively
treated by making the top into an upholstered seat and trimming the
front and ends with a deep close fringe from seat to floor, which will
conceal the radiator and permit the escape of all the heat.
A study of the accompanying illustrations will suggest the application
of each to the requirements of a piano, mantel or shelf, and from these
a great many pretty combinations may be evolved.
In the styles presented we have tried to avoid anything of a cumbrous
or fussy nature, on the ground that dignity and simplicity are more
preferable in the smaller furnishings.
[Illustration]
[Illustration
Fig 33 G
Fig 33 B
Fig 33
Fig 34 D
Fig 33 A
Fig 33 C
Fig 33 E
Fig 34 A
Fig 34 B
Fig 34 C
Fig 33 F
Fig 33 D
Fig 38 A
Fig 36
Fig 34
Fig 34 E
Fig 37
Fig 37 A
Face Side of Goods
Back of Goods
Fig 35
Fig 38
Fig 38 B]
SCARF DRAPERIES
ALL draperies that are not regularly cut and made, according to some
design, but depend for their appearance entirely on the way in which
the fabric is put up, are classed under the heading scarf draperies.
They are at best but an imitation of the cut festoon drapery, and for
anything permanent much better satisfaction is obtained by the use of
fabric properly cut and made up.
When the decoration is of a transient character, however, such as
show-window decoration, festival decoration, or the temporary adornment
of a door or window, very good effects can be obtained by practice
and the exercise of a little ingenuity without cutting the material,
and it is not a rare occurrence to meet men of long experience in the
drapery business who employ this method altogether. As a knowledge of
the methods used to obtain various results in this style will doubtless
prove useful, we present herewith a number of illustrations which show
the versatility of this principle.
Figure 33 (see diagrams on the opposite page) illustrates one treatment
of a pair of tapestry, silk or chenille curtains to form a drapery over
a six or seven foot opening.
To accomplish this divide the width of the opening into three spaces,
the middle one slightly narrower than the others. At point A, Figure
33 A, temporarily attach the corner of one curtain and draw the other
end of it up and over the pole B, from behind; without twisting the
curtain, draw the top (or dotted line) edge Figure 33 A over until
the sag between A and B is nearly correct, then adjust the bottom (or
broken line) edge, allowing it to sag considerably more than the upper
edge to give the necessary depth to festoon 2. Note the stripes of the
material in Figure 33 A, which illustrates how a straight cross-striped
material would look if used in this way.
Fasten the goods temporarily at B with a few tacks and proceed with
festoon 3.
Carry the (broken line) top edge, which was the bottom edge in festoon
2, to C, your left outside point, Figures 33 and 33 A, allowing it to
sag slightly as the top of the festoon.
Hold the material at point C with the right hand, and with the left
hand grasp the edge of the goods a short distance farther to the left
and raise it above the right hand (at point C) until the edge of the
goods between your hands is taut, as illustrated by Figure 33 A.
If you have allowed a sufficient distance between your hands, corner E
of the curtain should be higher than corner F, as illustrated.
Adjust the position of your left hand until you get the corners to
satisfy you, leaving the corner F as low as you desire to have it. With
the hands in the positions of Figure 33 A move the left hand over above
the right hand, keeping the edge of the material still taut between
them, and with the fingers and thumb of the right hand gather up all
the goods across the dotted line X----X into small pleats and squeeze
this tightly with the right hand as Figure 33 B. Half way between the
two hands bend this bunch back, bringing the point held by the left
hand under the fingers of the right hand where it is tied securely by a
cord passed around the goods gathered there, and attach it to the wall,
pole or door frame at point C, Figure 33.
The rosette is formed by spreading out the loop formed by bending back
the point for tying. Spread it fan shape, Figure 33 C, bringing each
side around to form a complete circle, ending by tucking one within the
other as Figure 33 D.
Pick out the most prominent folds below the rosette to form pleats and
form them as far back toward point B as you can follow them, making as
many as are necessary to dispose of the fullness of the festoon; form a
pipe dropping from the centre of the tied bunch beneath the rosette and
pleat the rest of the fullness to form a double tail as illustrated.
Release the goods where they were temporarily tacked at B and form
folds over the pole that will be continuations of the pleats radiating
from the rosette.
Commence at the side nearest the rosette and tack each one as you form
it, allowing the last one to be a nice full pleat, as illustrated in
Figure 33 E. The point of the curtain which was attached at A is now
drawn up slightly to make a few shallow pleats in festoon 2, and the
point thrown back toward the wall, out of sight, where it is fastened
to keep the pleats in place.
For festoon 1 spread the curtain out flat, as Figure 33 F, and with one
hand gather the goods into small pleats across the end on the bias and
slightly curved, as dotted line. This is securely tied and thrown over
the pole at point A, the short edge uppermost and next to the other
curtain (see Figure 33 G), fasten it there and make a festoon rosette
and tail with the balance of the curtain, as explained for festoon 3,
Figure 33 A.
[Illustration: Fig 36 A]
If you wish the single tail at A, formed by the end of the second
curtain, to cascade the reverse way (with long side next to the other
curtain), twist it where it is brought up behind the pole, but do not
turn the whole curtain over, as you need the longest edge for the
bottom of the festoon.
A study of the dotted and broken line edges of each illustration will
explain how they are manipulated to secure the requisite length for
the bottom of the festoon, how the surplus from the top of one festoon
is used to increase the length of the next one, and how, by using
alternate edges of the curtain, it is made to cover a larger space.
Figure 34 is another treatment of a pair of curtains for a similar
space.
The right-hand curtain is manipulated much the same as the left-hand
curtain in Figure 33, which has been already explained. The left-hand
curtain is pleated into the space allowed for it at the top, either
tacked over the pole as illustrated, or attached to rings. It is
allowed to hang straight from the pole and either caught up with a
rosette at the side or is gathered back and confined by a loop.
To make the rosette, allow the curtain to hang perfectly straight
either just to the floor or even a half yard longer (if you desire the
sweep of the bottom edge nice and full), and grasp the edge, without
stretching it, at the point where you wish to make the rosette.
Then with the disengaged hand, Figure 34 A, catch the edge again lower
down and raise it until the longest point of the curtain clears the
floor or is as much higher as you want it to be when finished, gather
across dotted line, Figure 34 A, and form the surplus into a rosette,
as explained for Figure 33.
Pick out the fullness of the curtain into pleats, form a pipe depending
from the centre of the tied part beneath the rosette and pleat the
balance into a double tail.
To gather the curtain back with a loop, as Figure 34 B, allow it to
just nicely clear the floor, and then with both hands gather it into
large folds commencing at the outside edge considerably below the
position of the loop, and following the sweep indicated by dotted line
across curtain in Figure 34 B.
Figure 34 C is an illustration of how this can be accomplished neatly
without the necessity of pulling the curtain through the loop after it
has been caught up; Figure 34 D is a cross section of a curtain while
being gathered, illustrating the position of the fingers as they form
each successive pleat, the thumbs remaining stationary and the fingers
drawing the goods toward them to form each pleat.
Figure 34 E is a back view of the end of the curtain that is pleated
over the pole, Figure 34, and shows also the corner of the curtain
which forms the middle festoon. For Figure 35, another treatment of a
pair of curtains, gather the curtains, one for each side, as explained
for festoon 1, Figures 33 F and 33 G, and fasten the tied parts
together to form the double tail in the centre, twist each curtain
where it passes through the ring to bring the short edges to form the
outside of the double tail, and form the festoons, rosettes and outside
tails, as explained for Figure 33.
Figure 36 is an illustration of a scarf drapery for a six-foot circular
top window or archway, made of six yards of fifty-inch material, with a
fringe sewn on one side and both ends.
Divide the space for the number of festoons you wish to make, mark the
points where the attachments will be fastened, and put them in place,
mark X the centre of the space and V the middle of your length of goods
on the top or unfringed edge.
Temporarily attach V at point X and carry the edge of the half length
to the right or left to A or B, the first point of attachment, allowing
a slight sag for the top of the festoon.
With one hand hold the edge of the goods at B, Figure 36 A, and move
the other hand twelve or eighteen inches farther along the edge, and
with a gathering motion of fingers and thumb allow the two hands to
follow the shape of the dotted line across the goods, Figure 36 A,
until they meet at E, which you have judged to be as far from the
bottom edge as the length you wish to make the pipe O, formed at
B----B, Figure 36.
As the hands meet gather all the goods into one and with the other
tie a cord tightly around the gathering, the same as for the rosette,
Figures 33 A and 33 B; the surplus above the tying may be formed into a
rosette or thrown back through a ring, as illustrated.
The same process is repeated at ring A----A, and the two outer festoons
and tails formed as explained for festoon 3, Figure 33. After all is
securely attached pick the fullness into pleats that follow nicely from
one point of attachment to the next; form pipes of the surplus bottom
edge and fold and pick out the ends until you have a presentable double
tail surmounted by a rosette, as illustrated.
As we have already stated, scarf draperies depend for their appearance
on the way in which they are put up, and a little time spent in
carefully adjusting the pleats and pipes so that they hang gracefully
without drawing or twisting will be amply rewarded by the appearance of
the finished product.
Some materials require an infinite amount of coaxing, particularly for
scarf draperies, but patience and perseverance will usually conquer the
most contrary fabric.
Figure 37 is a scarf drapery made with one reverse where it passes
through the ring. By reverse we mean that the fringe instead of being
all sewn on one side of the goods is for some distance transferred to
the other side of the goods and sewn to the opposite edge.
If the material is reversible (finished alike on both sides) the fringe
can be reversed, as Figure 37 A, without cutting the goods, and the
fringe, instead of ending with the two ends opposite one another, is
allowed to pass or overlap to about the position indicated by the
extremities of the dotted A----A.
If the material is not reversible, as is supposedly the case in Figure
37 A, the goods are cut (in this case one-third the distance from one
end) and sewn together at A1----A1, with the long end the reverse side
up. Gather the goods across the broken line A1----A1 and draw through
the ring until the seam is concealed; draw over the hook B, leaving
the necessary sag to the bottom edge and allowing the top edge only a
slight droop; gather and tie at the outside corner D, and then go over
both the festoons and coax the pleats into shape.
You will find that the goods have become considerably biased where
they pass over the hook B, and for that reason do not fasten them at C
until the centre festoon is finished to your satisfaction. When this
is accomplished proceed to finish the left festoon after the manner of
festoon 3, Figure 33 A.
The top edge between B and C will be found quite full, and the surplus
must be disposed of in the rosette at C. This is one of the most
popular styles of small scarf draperies, and if nicely carried out in
soft fabrics can be made to look quite neat. Before cutting the goods
for reversing, we would advise the temporary draping of the goods, as
hereafter explained for Figure 38.
Figure 38 is an elaborate festoon scarf drapery, with the fringe
reversed in four places.
To accomplish this successfully it is almost imperative that we use a
reversible material that will permit of each side being alternately
presented to view in the festoons without perceptible difference.
To calculate for reversing scarf draperies the best plan is to mark
off on your drapery board the dimensions of your space or opening, and
attach to it at requisite points ornaments, rings or poles similar to
those you intend to attach it to when finished.
Cut off your material, allowing one yard of material to each foot
in width of space, and temporarily attach the centre of one edge of
your goods to the middle of your space; then bring it through or over
the next attachment, drawing to about the desired proportion of the
festoon, and repeat at the next point, and so on to the end rosette;
bring the goods over and over each time without twisting it, as you
would bind a bandage round a limb. When all temporarily attached go
back over each festoon and be sure that it is correctly adjusted, and
then tie up the ends to form rosettes. You can now readily see where
fringe will be needed; mark it as it hangs, using safety curtain pins,
placing a pin at the extremities of the bottom line of each festoon,
the points toward the bottom of the festoon. (See Figure 38 B, points D
and G.)
The bottom line of the next festoon runs up behind this one,
consequently you must reach up underneath the first festoon and place
the pins in the face side of the under festoon, points downward, as
dotted out lines, E and F, Figure 38 B. Put a pin also in the outside
corner of each tail, pointing toward the lower point of the tail. When
all pinned take down and sew the fringe on the side from which each
pair of pins was inserted, and from point to point of each pair. This
will bring the fringe alternately first on one side and edge and then
on the other side and edge, as Figure 38 A, which represents the fringe
between points A----B, D----G and H----J, as being on the top side of
the goods as it lies spread out, and that between points C----E and
F----I, on the under side.
Figure 38 B shows a variation from the style of Figure 38, in that the
festoon does not form a wind round the pole, but is as a loop dropped
over it, both ends of the festoon showing in front of the pole. It is
seldom employed more than once or twice in a large drapery, and then in
the centre or at equal distances on each side of it.
In scarf draperies, as in cut draperies, study to produce a symmetrical
and well-balanced effect, and at the same time avoid having each
side the exact duplicate of the other. Figure 38, for example, is an
illustration of this thought.
If for architectural reasons it is necessary that both sides be alike,
as Figure 35, then plan to have them as exact as possible, but, as a
general rule, a slight variation adds character to the decoration.
Avoid, also, too many rosettes, two being quite sufficient in almost
any drapery that is not of a temporary character.
We do not advocate the use of scarf draperies for permanent treatments,
but the knowledge and skill acquired by practice in this style of
decoration is a valuable possession.
[Illustration]
[Illustration: BUNTING DECORATIONS
RED WHITE BLUE
ENGLAND
NETHERLANDS
PARAGUAY
WHITE BLUE RED
RUSSIA
BLUE WHITE RED
UNITED STATES
FRANCE]
FESTIVAL · DECORATIONS
PART I.
[Illustration]
During certain seasons of the year the decorator is called upon to
furnish decorations for national demonstrations, society functions and
the enrichment of halls, lawns, booths, etc. These decorations demand
something more than the usual exhibition of a few flags and bunting,
that may signify anything from a national victory to the opening of a
saloon, and this branch of work is gradually becoming more important in
the decorative business.
To successfully handle it to any extent it is necessary to carry on
hand a quantity of the different decorative materials, such as flags,
bunting, shields, banners, etc., and for quick and effective display a
few of the following suggestions might be profitably adopted.
[Illustration]
The natural advantages peculiar to each building frequently suggest the
basis for a decorative scheme, and in planning an exterior trim it is
best to first make a careful study of the building and jot down what
particular features strike you as offering advantage or difficulty in
their decoration. Note also the accessibility of the prominent places,
and plan your trim accordingly.
Too much stress cannot be laid on the importance of this preliminary
survey, for plans might be suggested which would have to be
considerably modified in execution, to the disappointment of your
customer.
After notes are taken, secure, if possible, a cut of the building from
the stationery or advertising matter of the tenants or owners, and with
these as a basis project your scheme of decoration. If a sketch must be
made, adhere rigidly to the architectural proportions of the building,
and be careful not to show streamers or festoons where your workmen
would require wings to place them and glue to stick them in position.
The methods of disposing decorations for exterior work differ according
to taste, and no hard and fast rule can be laid down as to what is and
is not proper. We illustrate in Figure 39, on the opposite page, a few
of the different designs which are most frequently used.
[Illustration]
This building possesses most decided natural advantages, and the whole
decoration could be carried out completely in any one of the different
styles suggested in the illustration.
On the ground floor elevation we illustrate a number of columns resting
on a square base and surmounted by an illuminated globe. The plinth
(see detail Figure 40) is a square box covered with cotton stretched
smoothly and tacked on the back or bottom to conceal the tacks.
The torus is a circular piece of board a little less in diameter than
the top surface of the plinth, covered with cotton, also drawn
tightly and tacked underneath.
[Illustration: _FESTIVAL DECORATIONS_
FIGURE 39. SEE TEXT ON OPPOSITE PAGE.]
The framework of the shaft is made as Figure 40 A. Two pieces of board
are nailed together V-shape, and finished at each end with a circular
piece of board the diameter you desire your shaft to be; this frame is
covered with cotton pleated from end to end, as figure 40 B.
This requires considerable practice to do it nicely, but when neatly
covered with bleached white cotton, with pleats about one and one-half
inches wide, it makes a very pleasing column.
The astragal, neck, ovolo and abacus (see detail) are covered circles
of graduated diameters, all securely fastened together; the globe
which surmounts the capital is a hollow shell made on a frame similar
to Figure 41, and covered with alternate colors of cotton, the joins
tacked together on the ribs and concealed by the puffing explained a
little later.
When completed, the whole forms a light and neat semblance of a heavy
fluted column, and gives a dignified appearance to a trim. If desired
they can be made half round or half square and used as pilasters,
made and finished in the same way. While not quite as effective, they
require less time and material.
[Illustration:
Fig. 40
Fig. 40 B
Fig. 40 A
Fig. 43
Fig. 41
Fig. 42
A
B
C
Fig. 47 A
Fig. 47]
[Illustration:
Fig. 44
Fig. 49
Fig. 48
Fig. 45
Fig. 46]
The corner doorway of Figure 39 shows a round top shirred in with
cotton or bunting trimmed with a couple of flags and a drapery of two
alternate colors.
If the sweep of the arch is a semi-circle, take a piece of material a
little more than half the diameter in width and as long as twice the
diameter (or bottom measurement) and gather one edge into small pleats,
tie it tightly and attach it to the centre of the bottom frame.
Commence in the centre of the top edge of the fabric and fasten it to
the middle of the top frame, and, working from this each way, stretch
the material smoothly into pleats radiating from the tied edge, and
tack it all around the sweep of the frame, cover the bottom edge with a
couple of flags draped as Figure 42 A, B and C, minus the sticks, and
finish the outside of the circle with a puffing.
To make the puffing, fold a width of material (about 30 inch) into
pleats about two inches wide, and tack one end of it to the point where
the puffing is to finish. Leave a loop of the pleated material about
three inches high, and with a single tack attach the goods three inches
from your first tack; follow this out to where the puffing ends, and
then go back over it and open each loop out nice and round, taking a
selvage each way, as illustrated in Figure 43.
The sprays of flags between the columns are made as explained by
Figure 44; the flags for these and the windows of the second story,
manipulated as Figure 42 A, B and C, to produce the full-draped effect.
[Illustration]
The double drapery of alternate light and dark festoons below the
second story windows are gathered as Figure 45, the hands gathering
down from the top edge till they meet at the bottom edge, as explained
for Figure 36 A, in chapter on scarf draperies.
The banners on the second and third stories may be made of bunting,
joining the different colors together, or of cotton, with the colors
and patterns painted on them. The draperies on the third and fourth
stories are gathered as Figure 46, the hands gathering the goods as
dotted line, and meeting about one-third of the distance from the top.
With an assistant to handle one piece of the goods, the alternate
effect can be easily produced by making first a festoon of one color
then a festoon of the other color, crossing the goods each time a
festoon is made.
If you desire to use three colors, stretch one, preferably the lighter,
straight along the back as a background and drape the others over it.
The wreaths and festooning on the third story are made of tissue paper
or of cedar twigs tied together, and are quite effective in contrast
with other decorations.
To secure the effect illustrated at the windows of this floor, the end
of the material is tied into a bunch and attached at the bottom corner
of the window (Figure 47), and then stretched up and spread along the
top of the frame and tacked; treat the other side of the window the
same, and finish the top with an inverted fan.
To make the fan, allow about three times as much material as the width
of the space, and pleat one edge into small pleats; attach this to the
centre of the top of the frame, and then carry the two outside bottom
corners of the material up to the corners of the window frame, and
gather each into a rosette, as Figure 47 A.
[Illustration]
The drapery on the top floor of the illustration is made as a scarf
drapery. Gather the high points, allowing the hands to describe two
sides of an equilateral triangle (Figure 48), and form the surplus into
rosettes, the lower points gather as Figure 46; tie in position, form
rosettes and carry the goods on up to the next point, as illustrated.
Do not tie rosettes where the shields will be placed, but allow the
goods to fall in a deep festoon. The shields or trophies are a quick
and effective decoration, usually made of sheets of tin or heavy
cardboard, mounted on a frame, as illustrated Figure 49, and painted
with emblematic devices or coats of arms; flags are inserted at the top
to form a spray.
The Venetian masts shown on the top of the building are very largely
employed in out-door decorations, usually in the form of a colonnade,
to line the sides of a street or walk, or to flank the entrance and
approach of public buildings during a demonstration. A quick way to
erect them when they cannot be driven into the ground is to stand them
in barrels; fasten them upright and fill the barrels with sand or
stones.
They may be any height, and placed as far apart as you wish, but do not
put them nearer than a mast length apart to obtain the best effect.
The small triangular banners are suspended from the mast top by ropes
attached at each corner of the wide end of the banner, a rod being
hemmed in the banner for this purpose.
[Illustration]
Festoons of wreathing or small flags and code signal flags may be
strung from mast to mast with good effect. The decorator can easily
arrange a variety of treatments embodying some or all of these ideas,
and by following out the architectural suggestions of each building
will obtain sufficient variety to avoid repetition.
[Illustration]
Two things are to be carefully considered in decorations of this
character. The danger of fire from contact with electric wires, and the
changes which may be occasioned by the weather.
To avoid disaster and disappointment, use only fast colored materials,
drive every nail and tie every knot to stay under the strongest wind.
Various schemes have been used to keep bunting draperies from flapping
in the wind and lodging upon ledges or other projections, thereby
destroying the effect of the decoration.
We have discarded all methods of weighting or tying the bottom
edges, because these methods only serve to hold the wind, as does
a close-hauled sail, and increase the danger of tearing away the
decoration.
To prevent the drapery from becoming disarranged, make short festoons,
and do not allow the top much sag. Use a double alternate drapery, and
keep it so far away from projections that it will drop into place again
after the gust has passed.
You will find if it hangs free with only its own weight to keep it in
position that the wind will to a large extent blow off it, and it will
not become unsightly.
[Illustration: Fig. 50.]
Under ordinary conditions the colors red and blue used with white
present a most attractive combination. For special occasions, however,
any desired colors may be employed, bearing in mind the relation of one
color to the other and the harmony of the whole.
In different countries the relative position of the three colors in a
joined red-white-and-blue bunting drapery is different (Figure at head
of page 26). In Great Britain, Netherlands and Paraguay red has the
place of honor at the top; in the United States blue; and both observe
the old law of heraldry that color must be separated from color by
one of the metals--in this case by white, the emblem of silver. Where
two colors only are used in combination better balance is obtained by
having the darker band slightly the narrower. As the object sought is
brightness, sharp contrasts give best results, always bearing in mind
the correct harmony of related colors. Mourning draperies should avoid
as far as possible fussy or frivolous tendencies, the festoons taking
on the appearance of solemn massiveness, and finished at each extremity
with a heavy cascade or tail.
Black, the accepted emblem of mourning, is either used alone or mixed
with a small percentage of white in unobtrusive places.
Deep purple, symbolical of extreme grief, is used in conjunction with
black as the official emblem of royal mourning.
The weight of the materials used for exterior decorations differs
according to the taste of the decorator. We have found our purpose best
served by using unbleached factory cotton of a fairly heavy weight,
having it specially dyed to the colors in demand, and for white using a
soft-finished bleached cotton or a shaker flannel.
[Illustration: Fig. 53.]
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