When the nation is called on to do honor to one high in the world’s
esteem, and State, corporation or society coffers contribute to the
erection of a triumphal arch, the experienced decorator, supplementing
his knowledge with the advice of the carpenter, plasterer and painter,
will submit plans and specifications, and will frequently secure the
contract. Figure 50 shows a quadruple arch placed at the intersection
of two streets. The frame is built of heavy timbers and lathed into
the shape of the arches and moldings. Then two or three heavy coats of
plaster, and a smoothing last coat, which is colored dead-white.
The same effect can be produced with bleached cotton stretched tight
over wooden frames, the molding being covered separately and attached
afterwards.
Electricity is an important decorative feature in nearly all
present-day treatments of any size, and serves the two-fold purpose
of decoration and illumination. Its unquestioned supremacy after dark
is a temptation to place the entire decoration in the hands of the
electrician. The result of that is a building pleasing by night, but by
daylight exhibiting nothing more attractive than a temporary wiring and
stripping.
To produce a satisfactory result the electrical and fabric decorations
should be planned together, so that one will aid the other.
Ball and banquet decorations are usually planned in keeping with the
nature of the function, and suggest by the symbols and emblems used
the nature of the organization under whose auspices it is held. Figure
53 represents a large hall decorated for a yacht club ball. This hall
is fortunate in possessing a stage and gallery, which facilitates its
decorative arrangement. The stage is planned to represent the upper
deck and pilot house of a large yacht, and is arranged for the use of
the orchestra. Everything in the yacht’s furnishings is represented,
and the effect is of a vessel moored bow on, at the end of the hall.
Flanking this, on each side, are miniature lighthouses, made of wood
covered with cotton, and fitted in the upper chamber with electric
lights. The roof of the hall is covered in the club colors of blue and
white, so interwoven as to form four complete club burgees radiating
from the centrepiece, which is a St. Andrew’s cross, made on a frame
and drawn up into position.
[Illustration:
Fig 56
Fig 55 A
Fig 55
Fig 58
shirring thread
shirring thread
Fig 54]
The cotton forming the ceiling is first attached to the centrepiece and
stretched to the outer edges, one or two men handling each end of the
goods so that it can be stretched without showing gaps between. Where
there is much overhead work, time is saved by constructing an upright
trestle after the manner of Figure 54, which is mounted on large
casters, and can be moved about from place to place in the room without
the workmen descending. We have used trestles of this kind thirty-five
feet high, eight feet square at the base and three feet square at the
top, which could be moved about quite easily.
Immediately below the ceiling is a painted frieze, representing
primitive and modern methods of navigation, the figures sketched on
white cotton and heavily shadowed to give a relief effect. Separating
the figures are shields bearing the principal dates and events in the
club’s history.
The space between the bottom of the frieze and the edge of the gallery
ceiling is covered with white, over which are suspended banners bearing
the club emblem and the names of the different yachts, and in addition
to these a double festooning of large white cotton rope, with anchor
pendants.
The pillars are pleated from floor to frieze with white cotton, which
spreads fan-shape above the electric light bracket; a short board is
fastened across the post, just above the bracket, and another of equal
length at its base; the cotton is tacked first to the upper block and
drawn up to the frieze and tacked there. Then commencing at the upper
block again it is drawn to the lower block and secured. It can be done
in one piece, but is more easily accomplished by using one piece for
the fan and another for the straight lower part.
The spaces between the pillars above and below the gallery are draped
with large tri-color banners, gathered as dotted lines, Figures 55 and
55 A, and require about two feet of material to each foot of space. The
banners on the faces of the pillars are suspended from boat-hooks, the
whole thought being to give things nautical particular prominence.
The drapery on the front of the stage platform, with Figure 56,
illustrates another method of manipulating a scarf drapery to secure
the necessary fullness for the bottom edge, and take up the excess of
the top edge, by forming a double pleat at the top and gathering the
material from the bottom. This method is equally applicable to any
purpose where the fringe is all on one edge of the material, and not
reversed, and will be found particularly useful with narrow material.
The back and sides of the stage may either be pleated in with white or
covered with marine scenery.
[Illustration: Fig 57]
We illustrate, Figure 57, a booth for exhibition purposes which
embodies some of the main decorative ideas in use. This is built
independent of any pillars or beams of the building in which it may be
used, but frequently a booth is so situated that part of the building
proper is incorporated in its construction.
[Illustration: AUSTRIAN SHADES. SEE ARTICLE “WINDOW SHADES AND
BLINDS” BEGINNING ON PAGE 39.]
In all cases where goods are exhibited for commercial purposes, the
size, shape and appearance of the materials exhibited should guide in
the construction of the booth. Our illustration shows only one exposure
of the booth which is repeated on all four sides. The corners are
columns made like Figures 40 A and 40 B, capped with plaster crowns.
The roof is made on a shaped frame covered in the same manner as the
globe Figure 41. The arches are curved pieces of wood covered with
velvet, and radiating from the corners to the arches are spirals of
twisted ribbon or colored crêpe tissue paper. The drapery illustrated
is a simple reversed scarf drapery made as explained in the chapter on
scarf draperies. The lower portion of the booth shows three methods of
paneling. The first one on the left is made of one piece of material
with a circular piece taken out of the centre. The piece taken out is
equal to about one-quarter of the width of the panel and the material
gathered and fastened in the centre as illustrated by Figure 58. After
that it is stretched into pleats to the edges.
The centre panel is a quick and effective method of covering space.
The background is first covered plain, then commencing at the floor or
bottom of paneling stretch the goods out its full width and tack the
end of it at A--B, Figure 57. Tie a small piece of the goods loosely
around this at what will be about the middle when it is pulled up.
Then proceed to stretch up the top and tack it along. Draw it out to
the same width as the bottom and pull out all the wrinkles, so that it
pleats nicely each way from the tied part. After it is tacked in place
adjust the tying to the exact middle and proceed the same with the next
one.
To make the right hand panel, alternate colors of material are bunched
and tacked in the centre of the space and stretched to the outer edge,
keeping the dividing lines square and true.
The designs and instructions that we have given are sufficient when
variously combined and assembled for almost any decorative requirement.
The main things to bear in mind are balance or symmetry, neatness, and
color harmony; a proper consideration of these points will result in a
satisfactory trim.
For interior work the decorator is limited only by his price in his
selection of material; but sometimes the best effects are obtained
without the use of more expensive fabrics than those previously
mentioned. Next in the order of values are sateen, cashmere, velours,
satin and silk, in plain fabrics, and the endless variety of damasks,
brocades, etc.
[Illustration:
Fig 59
Fig 60
Fig 61
Fig 62
Fig 64
Fig 70
Fig 77
Fig 74
Fig 69
Fig 71
Fig 63
Fig 76
Fig 65
Fig 66
Fig 68
Fig 67
Fig 78
ELEVATION DETAIL
TOP EDGE]
LACE · CURTAINS
In the eyes of the housewife the lace curtains are one of the most
important considerations in the furnishing of the home, and until
they are properly in place the house does not seem to be settled.
Considerable interest is usually exhibited in the matter of hanging
them, and the discussion as to the proper method invariably hangs on
the following queries:
Should they come to the window sill, a little below it, or down to the
floor?
Should they hang straight, be looped back, or caught up with a rosette?
Should sash curtains, stores or panels be used next to the glass?
The answers to these and other questions will depend largely on the
architectural position and style of the window, the nature of the
room and the purpose for which it is to be used. The question of sash
or glass curtains is usually a matter of taste, and in the majority
of cases they are used for outside appearance only. The examples of
different styles presented herewith cover a fair range of treatments,
which can be easily added to or modified, as the occasion demands.
Sash curtains to hang straight are made as Curtain A, Figure 59, and
reach from the top of the window sash to nicely clear the sill. They
may be shirred on a rod or attached to rings.
If the material is liable to shrink when laundered it is customary to
turn in an extra allowance of one or two inches at the top (according
to the length of the curtain), to be let down when required. Sash
curtains hanging straight, as Figure 59, reduce the apparent width and
increase the height of the window, and should not be used on long,
narrow windows.
If made of plain or dotted material they may be edged with lace or
ruffle on the sides and bottom, or finished with a deep hem, as Figure
67, with or without an insertion.
Sash curtains to loop back, as A, Figure 60, are made about six inches
longer than the length of the window from top to sill, with shrinking
allowance added, and produce the opposite effect to straight curtains,
seeming to increase the width and reduce the height. They may be made
of bordered goods or of plain or dotted material edged with lace or
ruffle of itself. Looped curtains give a jaunty, cheerful appearance to
the exterior of a house, but do not look well on wide, short windows,
unless left widely separated at the top. Stores bonne femme, as
illustrated, Figure 61, Curtain A, do not materially alter the apparent
size of a window, and are very effective on large windows. They are
usually made with scalloped bottom edge, trimmed with a frill eight or
ten inches deep, and edged with lace.
For a wide window the body of the curtain is sometimes divided into
panels by rows of insertion, instead of having a motif or lace pattern
set into it, as illustrated.
The material used is usually a fine étamine, madras or fine net. They
are hung on a rod fastened to the top or just inside the frame (see
Rod E, Figure 78) so that they will hang next to the glass, as sash
curtains, and are usually made to just clear the sill in length and
very slightly full in width.
The upper part of the window in Figure 68 is a combination of the bonne
femme and Austrian shade, and makes a very effective sash or glass
curtain for dining-room, library or bedroom. They are made in the same
manner as the Austrian shade explained later, except that they hang
stationary, and do not raise or lower. The material may be plain or
colored silk, net, challie, casement cloth, or madras, with insertion
of any desired style, and edged with lace to match. In colored
materials good effects can be obtained by using a contrasting color for
the insertion.
The curtains on the lower sash are attached to a rod placed at I,
Figure 78, and are trimmed to match the curtains on the upper sash,
they hang free at the bottom and just clear the sill, the insertion
across the bottom placed high enough to show clearly through the glass
from without. They may be used in conjunction with the upper curtain,
as illustrated, or may be used alone, and are usually sewn to rings, as
Figures 70 or 77.
Lace panels with motif centre, as A, Figure 62, are quite largely
used for clubs, hotel or institution windows, and in many cases for
dwellings also (though some think them too severe for the latter).
Wherever used they should be perfectly proportioned and shaped to fit
the size and shape of the window, the design so executed that it shall
be entirely visible from without, and appear as a picture framed by the
window sash.
They are generally made to order by applying lace insertion and motifs
to net, and are attached to the sash by rods, tacks, or, what is
still better, make a small wooden frame of strips one-half inch by
three-quarter inch and wrap it neatly with cotton the same color as the
net, baste the panel to the cotton and attach it to the window sash
with small brads. This frame is only slightly visible through the panel
on the inside and completely hidden by the sash from the outside.
To attach a panel to a door where the glass is framed by fancy
moldings, the small frame is made as above to fit into the sash against
the glass. It is finished to match the woodwork of the door, and has a
groove on the outer edge to receive a small, soft cord, tacked or glued
in place, and projecting sufficiently to permit the edge of the panel
to be sewn to it (see Figure 63). Care should be taken in measuring for
panels, as the effect is completely spoiled by a misfit.
Sash curtains, stores or panels, when properly applied, add greatly to
the exterior appearance of a house, but should be uniformly applied
to all windows visible from the same quarter. For instance, if sash
curtains are used on the front drawing-room windows, all of the front
windows, from basement to attic, should be treated with some form of
sash curtains adapted to each individual space and in harmony with the
whole. Nearly all glass curtains are provided with a double hem at the
top, Figure 64, through which is passed a small rod fastened at each
end to the stops or frames of the window in such a manner that the sash
will work freely if raised or lowered. (See E B, Figure 78.)
In some cases it is desirable to apply a peek-a-boo sash curtain to the
lower sash to render it opaque from without and not exclude the light.
This is accomplished by using a curtain with a double hem at top and
bottom and attached (as illustrated A, Figure 65) so that it raises
with the sash and does not touch the stop on either side. (Note Rods I
and G, Figure 78.)
The pleats are stretched tightly from top to bottom, and the usual
allowance for fullness is twice the width of the space to be covered,
which may vary according to the density of the material.
[Illustration]
It is natural that the ground floor windows should be more densely
dressed than those of the upper floors, not only to impart a sense
of privacy, but as following the general construction of ordinary
buildings, the ground floor windows usually being larger and more
heavily trimmed, and as the treatment ascends from floor to floor
permit the curtains to be less weighty in character and expose a
larger area of uncovered glass. By lace curtains we mean that class of
furnishing familiarly known to the trade by that name and comprising
all of the various styles of net and patterns.
The sizes usually carried in stock run 2, 2½, 3, 3½ and 4½ yards long,
and vary in width from one to two yards.
Where the decorator has not the necessary equipment for making special
sizes and designs he is compelled to employ more or less of these
ready-made furnishings. Briefly stated, these for the most part
consist of plain or fancy nets, scrim or muslin with a pattern of lace
or muslin appliquéd thereon or woven in with the net, and the edges
finished with bound or overlock stitched scallops, a lace, or a ruffle
of the same material.
The method of hanging these curtains depends to a great extent on their
surroundings, and on the nature, style and use of the room in which
they are used, and while it is not possible for us to give positive
rules that will guide the decorator in every case, we illustrate some
of the effects that may be produced by the different methods, and
suggest their adaptability to various requirements.
In the absence of special reasons to the contrary, it is a safe rule to
hang any style of lace curtains in the way that will best display the
beauty of the pattern or fabric; thus a heavily worked border and body
pattern would show best hanging straight, while plain bodied goods with
a small pattern would look well either way.
Setting aside for the moment all thought of the size and shape of
the window, long curtains hanging straight to the floor, as Figures
B 60 and B and C 67, appear to curtail the floor space, while
curtains looped back or caught up with rosettes, as 61, 62, 65 and
66, apparently increase it, therefore in small rooms it is usually an
advantage to tie up the curtains, and in extra large rooms to allow
them to hang straight to the floor, subject, of course, to other
considerations equally desirable.
If sash curtains are used it is usually a good plan to hang the long
curtains to be the opposite of the sash curtains; that is, if the sash
curtains hang straight loop the long curtains, and vice versa. In this
way the treatment will balance, and a neutral effect be obtained, as
Figures 59 and 60. Bear in mind also in this connection our former
statement that long curtains hanging straight reduce the width and
increase the height of the window, while curtains looped or caught up
with a rosette reduce the height and increase the width.
Curtains reaching only to the sill, or just below it, as Figure 68,
have a tendency to shorten the window, and if looped or draped this
effect is increased.
Sash curtains, stores, panels, or any other style of glass curtains,
are hung with the right side of the goods to the glass, unless the
windows are so far removed from ordinary vision that it is impossible
to discern the difference. Long lace curtains are hung with the right
side to the room where sash curtains are used, or the reverse way when
hung alone, subject to the above proviso in reference to the difference
being perceptible from without.
We illustrated in Figures 34 A and 34 B, chapter on scarf draping, the
method of gathering back a curtain for looping and for draping with a
rosette, and lace goods are manipulated in the same way. To obtain the
effect illustrated in Figure 61, Curtain B, attach the curtain at the
top, allowing it to be from six to eighteen inches longer than to the
floor, hold the edges of the curtain in each hand and pleat it forward
and back from the bottom, as illustrated in Figure 69, until it is
pleated up to where you desire to fasten the loop; hold the outside
side edge there and release the inside edge and it will fall in a fan
shape, as illustrated; the loop is then passed around, the pleats still
retained, and the surplus of about six inches above the tying pushed
back and down behind the edge of the curtain, as shown.
Lace curtains may be shirred on to the pole or rod by making a double
hem at the top, as illustrated in Figure 64, the distance between the
two stitchings A and B a little less than twice the diameter of the
pole, to allow for shrinkage. Thus, for a one-inch pole, which would
measure loosely three and one-eighth inches in circumference, you would
require to allow about one and seven-eighths inches between A and B,
making three and three-quarter inches of a pocket for the pole to pass
through.
A pretty effect is produced (Figure 70) by running a tape into a small
double hem (leaving one inch for the heading and half an inch between A
and B for the tape) and shirring the curtain to the width of the space
it is to cover, after which rings or hooks are sewn to the back in the
position indicated by letter A above Figure 70.
Curtains made of soft net or muslin, with a very small border or soft
ruffled edge, look well shirred, but those having heavy pattern borders
look best pleated.
Where it is possible to do so the top of the curtain to be pleated
should be turned over about two inches (Figure 71) and a tape about one
inch wide sewn along the back where the pins will be inserted. This
gives strength to the delicate fabric where repeated pinning is apt to
cause its destruction.
If this cannot be done, spread the curtain out upon the floor or other
flat surface, face downwards, and turn over about six inches of the
top, smooth this down nicely and fold it again in the middle, or three
inches from the top of the first fold, press it flat with the hands and
pleat and pin it while in this position, the pins being inserted about
two inches from the top edge (Figure 72).
Curtain B, Figure 61, with Figure 73, shows a box pleat slightly
gathered on a safety curtain-pin, the fullness being taken up equally
in the pleats.
In curtain B, Figure 59, with Figure 74, the fullness of the curtain,
instead of being pleated, is gathered on to the safety pin, but this
can only be done with fine curtains. The fullness is equally divided
among the pins, and the tops of the small pleats are spread into a
small fan shape, making a dainty finish beneath the pole.
The pleat illustrated in Figure 67 C and 77, is a straight pleat, held
in place by the curtain pin, and is most commonly used for all purposes.
Turn the pleat to the front edge of the curtain on the wrong side,
which lies upwards, as you pin it, and that will make the pleats turn
to the back edge on the under or right side, as illustrated in Figure
72.
If a small curtain the pleats may be formed and the rings sewn on as
Figure 77.
Lace curtains hanging straight, as in Figure 60, Curtain B, should just
nicely clear the floor, and to adjust this to a nicety we have found it
a good plan to pin them so as to clear the floor by about two inches
(not more), and then gently stretch them down this distance.
To stretch them, place an outspread hand on each side of the curtain,
and, pressing the two palms together, stretch gently, a little at a
time, working across the curtain from one side to the other until it
is the required length. This must be done very carefully, and if the
curtain is not found pliable enough to stretch the required distance
pin it over again, allowing it to be longer.
Curtains having a distinct pattern, as figure 72, are usually
pleated as there indicated, without any pleats in the border, the
fullness being all taken up by pleats in the body of the curtain, and
where fabric over-curtains are used, as Curtain C, Figure 67, the
over-curtain should not be permitted to cover the border of the lace
curtain.
Over-curtains are always better on a separate pole, but may be
attached to the same pole as the lace curtains by using extra rings for
them. In the elevation detail, Figure 78, Rod B is for lace curtains
and Pole A for the over-curtains, a plan that permits either curtain
to be drawn without interfering with the other. Over-curtains may be
used at the discretion of the decorator in almost any room, and are
particularly effective in large rooms. They may hang straight or loop
back, having the same effect on the apparent size of the window as
already explained. They should be long enough to just clear the floor,
whether straight or looped back, and should cover the back edge of the
lace curtains.
When gathered back, as in Figure 62, the lace curtain and over-curtain
should be looped back separately, the over-curtain drawn back far
enough to show a good border of lace down the front edge and across the
bottom.
Narrow windows in large rooms may be made to appear wider by making
the pole or cornice project at each side and pleating the curtain to
cover part of the wall at each side. The pole or cornice should be
placed high enough in this case to entirely conceal the top of the
wood trim, as in Figure 67; but in cases where it is advisable to show
the wood trim at the top it should be shown also at the outside, as in
Figure 68, which shows the trim all around. Over-curtains are pleated
to the size as illustrated by Figure 72 for lace curtains, or shirred
on a tape, as in figure 70, and lambrequin hooks or rings sewn on. A
lined over-curtain, if to be pleated for pinning, is made as the right
corner of Figure 75, the two materials turned in and slip stitched at
the top and sides and machine stitched as indicated, about one and
one-half inches from the top of the curtain. The curtain is spread out
right side up for pinning, the pleats formed and a Gordon hook pin (as
Figure 76) is passed through the pleat between the two lines of machine
stitching. Use the straight pleat of Figure 72 for this purpose, making
as many as may be necessary to dispose of the fullness. If the
over-curtain is not to be lined turn the top over as the left corner of
Figure 75, and stitch and pin as already explained.
Soft curtains finished with a full ruffle usually look best looped
back, as B, Figure 65, or if fastened with a rosette the edge drawn up
near the rosette to give a full sweep to the ruffle, as Figure 66.
If the curtain is made of very fine or soft net graceful effects are
produced by using two rods at B, Figure 78, one a little in advance of
the other, and both the same height; shirr one curtain on each rod, so
that when tied back the crossed effect is produced, as illustrated.
A great variety of styles can be produced in either crossed or single
curtains by changing the position of the loop or rosette, and a good
way to acquire the different styles is to take a pair of curtains
and see how many different effects you can obtain by tying them at
different heights and by manipulating the fullness in different ways.
Crossed curtains are not effective unless the curtain is lacy and soft
enough to drape gracefully. Heavy patterned curtains treated in this
way do not produce good results.
Frilled curtains, as Figure 65 and 66, are more particularly suitable
for bedrooms, sewing and sitting-rooms, but with proper surroundings
may be applied to some of the heavier down-stairs rooms during the
Summer season.
Frilled curtains made up as sash curtains are also very effective next
to the glass, but should be made of very soft material that will drape
easily and gracefully.
Sash curtains, lace curtains or over-curtains should be pleated to the
exact width of the space they are to cover, sufficient pins being used
to dispose of all the fullness and hold the top edge of the curtain
from sagging between each pin.
This may seem a small thing, but to those accustomed to neatness the
sloppy droop of the top edge of a curtain from pin to pin is extremely
distasteful and would spoil an otherwise neat arrangement.
In hanging lace curtains having a prominent pattern it does not always
follow that the same distance turned down at the top of each one will
bring the patterns in line, and it is well to spread them in pairs side
by side and match the pattern, so that when hung the pattern will be
perfectly true and not zig-zag all the way up the two middle edges.
We have given the simpler forms of pinning and tying, which may
be easily mastered by practice. Numerous other forms will suggest
themselves, and a proper consideration of the effect to be produced
will result in the selection of the style most suited to each
requirement.
[Illustration]
[Illustration: _LOUIS XIV_]
[Illustration: _LOUIS XV_]
WINDOW SHADES AND BLINDS