All other shades except the previously mentioned styles are provided
with a slat to which is attached a screw-eye and tassel, as
illustrated. Always attach the tassel above the insertion on insertion
shades, as Figure 79 and X, Figure 87, as the strain of pulling the
shade will stretch the insertion out of shape if fastened below. (See
diagram on page 40.)
The cloth is not hemmed at the sides, but left as trimmed, and the top
is tacked on to the roller in a straight line, as Figure 93. Most shade
rollers have a line drawn the length of the roller as a guide for the
shade cloth, and one-ounce tacks are used to tack it to the roller.
Several kinds of clips or clasps are also used, but the tacks are most
popular.
Standard sizes of shade rollers in both wood and tin are guaranteed
by the makers to carry ordinary cloth up to a certain size for each
roller, but it is safe to underestimate their assurance by a little
rather than work up to the limit.
The roller is cut to be one and a-half inches longer over all than the
width of the cloth, and is mounted to allow the same play at each side,
though in special cases this rule may be departed from, and a smaller
allowance for play will sometimes work quite freely if hung perfectly
true. It is customary to allow only one inch difference between cloth
and roller for inside brackets, as they are usually made narrower than
those for outside brackets, and, the bracket being much smaller, they
work freely with the smaller allowance.
Dark-colored shades are most opaque, but light-colored shades
give a more cheerful appearance to the exterior of a house.
Combination-colored shades are frequently used; light on the outside to
the glass and dark on the inside to the room. This gives the necessary
density and preserves the cheerful exterior of light-colored shades.
In making combination shades the bottom hem is cut off, reversed,
and sewn on as illustrated by Figure 89. The chief objection to
combination-colored shades is the fact that the dark color is exposed
to view in the room whenever the shade is pulled down, and the window
cannot be at all obscured without this feature.
[Illustration: Fig. 97]
Perhaps the best plan for correctly shading and obscuring a window is
to use double shades, as illustrated by Figure 90; the outer shade next
to the glass made of a light-colored material, which may be ornamented
and decorated in any desired manner. This may be fastened to the window
stop as at A, Figure 79, with inside brackets, or at C, Figure 90, with
outside brackets.
If placed on the stop at A, Figure 79, a plain shade of dark green or
other opaque color is placed on the frame at C-C, Figure 90, and is
made wide enough to effectually shut out all sunlight at the sides.
If the light shade is placed on the frame at C-C, as Figure 90, the
dark shade is placed just beneath it at D-D, and is made about two
inches wider than the light shade, so that the cloth of the light shade
passes freely between the brackets at D-D and does not interfere with
the dark shade.
The advantage of this plan is that the light shade may be used all the
time and is decorative from both sides, while the dark shade is only
used when needed, and when not in use is only a small dark roll at the
top of the window, where it is not objectionable.
The dark shade must be provided with a small cord or chain reaching
down a convenient distance when the shade is completely rolled up at
the top. Roller shades are hung perfectly level and square, noFig. 95
matter how much the window may be out of true, as they will only work
satisfactorily when so hung.
The two different kinds of brackets used are illustrated by Figures 93,
outside brackets, and 93 A, inside brackets--outside meaning on the
face or room side of the window frame and projecting toward the room;
inside meaning some portion of the woodwork facing to the centre of the
window (see diagram 94).
Wood rollers are made with two slots or notches in the spring-post, in
which the pawls drop when slowly revolving, and as they are on opposite
sides of the roller, it is immaterial which side is uppermost as it
lies in the bracket.
[Illustration: Fig. 95]
Most tin rollers, however, have only one slot, and if dropped into the
bracket with the slot down, the pawl, which depends on its weight for
its action, will not come in contact with the slot, and the shade will
not remain down when unrolled. Should you accidentally place a shade in
the brackets thus wrong side up, unroll it altogether and push a small
wire or stout pin through the hole you will find punched through the
roller directly behind one of the pawls and force the pawl up into the
slot, when the tension of the spring will hold it in place so that it
can be taken out and put in properly.
It is sometimes necessary to run shades from the bottom of the window
instead of the top, as in the case of a 10 ind-top window (Figure 95),
or when the object is obscurity without excluding necessary light, as
in some office windows. This is accomplished by placing the brackets at
the bottom of the window, as illustrated by Figure 95, the slot bracket
to the right, placed upright on the sill, and a small nail inserted in
the little holes found near the edge of the opening, to prevent the
roller from leaving the bracket. Stop the action of the pawls after the
shade is adjusted by a clip made for the purpose (squeezing soap in
behind them answers very well), so that all the tension of the spring
is exerted on the cloth and on the cord, which passes over a pulley at
the top of the window.
This pulley may be an ordinary pulley and the cord attached to a small
cleat at the side of the frame to hold the shade the required distance,
or an eccentric stop-pulley may be used, which binds the cord at the
will of the operator, the latter being the more convenient method.
Round-top shades are provided with extra slats at various distances,
as illustrated by Figure 95, which prevent the edges of the shade from
flapping as they might unless so supported. These slats are perfectly
flat, made of clear wood about one-eighth of an inch thick and one inch
wide, or larger, according to the strength required, and, being flat,
they readily roll up with the shade.
The slat used in the bottom of shades is usually made wedge shape, as
Figure 92, and possesses more strength than the perfectly flat slat.
As we have already stated, roller shades are usually made of painted
cloth or glazed holland, and while for years they have been, with
few exceptions, plain and undecorated as to the fabric itself, we
are pleased to note recent efforts on the part of manufacturers to
produce something more distinctive and artistic, shade holland now
being produced in delightful damask effects in a variety of weaves
and colors, while the painted goods are also being made to order in
beautiful hand-decorated patterns of artistic merit.
The Austrian shade illustrated by Figures 96 and 96 A is a very pretty
and effective method of diffusing and softening the glare of the sun
without excluding the light.
They may be made of a great variety of fabrics, including challie,
casement cloth, plain and brocaded silk, silk or wool damask, madras,
net, or other soft material of sufficient strength and fast color to
withstand the sun, and are a very effective combination of shade and
sash curtain. They are simple of construction, but must be accurately
and neatly made to insure satisfaction.
Having secured the size of the window and determined the space the
shade is to cover, the goods are joined up to the required size,
allowing a third of the space (four inches to the foot) each way extra
for fullness, with about three inches allowed in addition for double
hem at the top and also for a single hem on each side. Calculate so
that the seams will come on one of the shirrings each time when joining
for the width, as they will not show there and are very unsightly
anywhere else.
The material, when ready, is spread flat on the table, as Figure 97,
and the width divided into the requisite number of panels and marked
in straight lines for shirring. Turn the double hem at the top for the
rod, and a single hem on each side of one or one and a-half inches.
Baste these hems and sew them. Then spread the material on the table
again, as illustrated, and with a stout thread gather each shirring
line into the required length, fasten each end of the thread to the
table with tacks as you gather them, and when all gathered go over each
one and adjust the fullness until it is nicely distributed the length
of the curtain. Leave the lower one-third of the curtain slightly less
full than the upper two-thirds, for when in place it is generally left
fastened about half way up the window, and if this is done, the lower
end, which is all pleated on the strings, does not look so much more
full than the upper portion, which is hanging as shirred.
Cut strips of paper one inch wide and as long as the shirring-thread
and pin them along each shirring, the pins sufficiently close to hold
the fullness in place. When all pinned in place, the tacks are drawn
and the curtain turned paper side down and run through the machine
(the paper is used to prevent the machine feed from disturbing the
fullness), using the thread as the line for stitching. The paper is
then torn away and the shirrings run through the machine a second time
for safety if very stretchy material is used.
Spread it out on the table once more, face side down, and on the back
of the shirrings baste a quarter-inch baby ribbon or tape to match the
goods, and stitch this also. Sew small brass rings to these tapes, as
illustrated in Figure 96, about six inches apart, along the full length
of each tape or ribbon. Shirr the double hem at the top to the required
length and stitch a tape to it also, to keep the panels equally
divided, and trim the bottom with a fringe.
The bottom of the shade need not be scalloped unless the material
is heavy, as the act of shirring it lengthwise and across forces the
fullness to take that shape.
The bottoms of the shirrings are weighted to keep the lines
perpendicular. This is accomplished either by a small rod covered with
the material, as left of Figure 96 A, or by small bags of shot covered
with the material and attached to the bottom of each shirring.
The rod, while not so unobtrusive as the bags, has the advantage
of keeping the bottom spread full width, separate weights having a
tendency to swing toward the centre.
The shade is drawn up and lowered by means of cords passed through
screw-eyes at the top of the window, down through the brass rings and
attached to the bottom weights. After passing through the screw-eyes at
the top they are led to a pulley at the side, as indicated by Figure
96, and all adjusted to draw evenly, fastened together and attached to
a cleat. They may also be manipulated by attaching the cords to a shade
roller after they pass through the screw-eyes.
The roller is provided with spools either turned up in wood or made by
tacking a ridge of leather around the roller, allowing a spool-like
space between, and the cords are wound several times around these,
while the shade hangs full length; the free bottom ends are then
attached to the weights, as before explained, and the whole manipulated
by the free cord at the end (X, Figure 96 B), as explained for raising
and lowering the shade illustrated in Figure 90.
If the roller is swelled toward the centre by wrapping with leather or
by using graduated spools, as Figures 98 and 96 B, the shade will draw
up in an arching shape, as indicated by dotted lines in Figure 96 A,
the larger spools in the centre consuming more cord each revolution
than the smaller ones at the ends, and hence drawing the curtain up
faster in the centre, producing the arched effect.
If the cords are mounted on a plain roller without spring-winding
attachment, as Figure 99, the manipulating cord is wound on it the
reverse way, and is all wound on when the shade is down, so that
pulling on it causes the roller to revolve, winding up the other cords,
and, releasing it, allows the weight of the shade to unwind the roller
and causes the shade to descend.
In measuring for shades, some decorators measure for the cloth only and
have the rollers cut and mounted accordingly, either at the house or in
the shop. We have found it best to measure for the rollers by selecting
the most convenient place for the bracket and making the cloth to fit
the rollers. Figure 94 illustrates a modern window trim, showing by
crosses the most convenient places for placing shade brackets, those
enclosed in circles representing inside brackets and the plain crosses
outside brackets.
The illustration of a window’s elevation, Figure 78 in the chapter on
sash curtains, also shows the positions of double shades on the face of
the window frame--C, the roller of the light shade, and H the bottom of
the shade, and D the roller of the dark shade, with F the bottom of the
shade.
Always measure for shades with a rule, as tape-lines are unreliable,
and put down the measurement accurately in feet and inches, being
careful to make a decided stroke or dot between the feet and inches, as
2 = 2--6 × 9--0 means two shades two feet six inches wide by nine feet
long, and the obliteration of the strokes between vastly alters the
sizes.
If there is anything peculiar about the windows that should be noted
in their manufacture, jot it down also, leaving nothing to memory. In
measuring the length, allow about one foot extra for a couple of laps
around the roller when the shade is all pulled down. Austrian shades
need no extra length, but should just clear the sill when down full
length.
Shades running horizontally, as across the bottom of a skylight, are
treated exactly the same as explained for Figure 95, and if very large,
stretch a number of wires lengthways beneath the shade to help support
it.
Put up shade brackets with the slot or open bracket to the left side
of the window and the hole or closed bracket to the right, leaving a
little play between the brackets and the roller. Place the shade in the
brackets and pull it down full length. If the spring is too weak to
carry it up smartly, take it out of the brackets and roll it partly up,
replace it in the brackets and try it again. If still too weak, take it
out and roll up a little higher.
If the spring is too strong or will not allow the shade to come down
full length, take it out of the brackets when rolled up and unroll it a
little.
Do this until the roller will carry the shade smartly without too much
tension, and if you find the roller is not strong enough it is always
better to replace it with a heavier one before the customer makes a
complaint.
[Illustration]
[Illustration: _ARCHWAYS AND ALCOVES_
Fig 103
Fig 100
Fig 100 C
Fig 100 D
Fig 101
Fig 100 A
Fig 100 B
Fig 106 A
Fig 102
Fig 104
Fig 105
Fig 106]
ARCHWAYS AND ALCOVES
Given a straight opening, the average decorator will have no hesitancy
in suggesting numerous stock schemes of treatment, from the simple and
inexpensive to the most elaborate. But if the top of the opening is
curved, his difficulties are increased. In the chapters on scarf and
festoon draperies, we illustrated how draperies may be applied to the
face of a round top opening when the object is to decorate or relieve
the severity of the opening by partially concealing the outline. We
desire now to more particularly deal with a few cases which demand that
the opening be not concealed, but harmoniously decorated within its
prescribed limits.
Figure 100 illustrates an opening between two rooms, presumably a
drawing-room and dining-room, where a treatment is desired that will
admit of the opening being either completely or partially closed at
will. This is accomplished in this case by a pair of portières that
traverse freely on a pole placed at X, the spring of the arch; or if
this is considered too high the pole may be placed lower and the upper
treatment brought down to meet it. It is not wise, however, to leave an
opening less than six feet six inches in height beneath the pole. The
upper part of this arch is filled with a frame made as illustrated in
Figure 100 A and covered with the same material of which the curtains
are made. This is fastened beneath the arch by mirror plates (see
Figure 100 B), which are barely visible, and hold the frame securely in
place. If the curve of the arch is an unbroken line and the portière
curtains are desired to completely divide the rooms, the bottom of the
frame will look well straight, as illustrated, and the curtains are
suspended directly beneath it, as Figure 100 C, showing side detail of
frame and curtain.
If the pattern of the fabric, the motif appliqués, or the irregular
curves of the opening suggest an irregular curved bottom line, as
Figure 101, and perfect division is desired, two frames are used, as
Figure 100 D, with the curtains traversing between them, and the pole
placed high enough to be invisible, or if one room is less particular
than the other, the pole may be placed high enough on the back or least
particular side so as not to show from the other room, and a single
frame be used to fill the opening from the front room. For arches which
have large projections, as Figure 101, the frame is not usually made to
fit into all the _little_ irregularities of the plaster, but these
little irregularities are usually included in graceful sweeping curves,
which follow the general outlines of the projections, giving almost
as good effect as if it were made to fit closely. Of course we do not
mean that it is permissible to leave conspicuous openings between the
plaster and the frame, but as it will be found extremely difficult to
fit all the little projections in plaster ornamentation, we suggest the
advisability of including the lesser ornamentation in this way rather
than nicking out the edges so that it is neither square nor curving.
If, as frequently occurs, there is more light on one side of the arch
than on the other, and little points of light sift through, showing up
any irregularities from the dark side, a little chinking with a strip
of the same material will overcome this difficulty; but it must be
neatly done, and unless the frame is a very bad misfit it should not
require enough to be at all visible from either side.
In measuring curved openings for any purpose there is no method so
satisfactory as an accurate full-sized pattern, which may be marked,
cut, and tried into the opening before leaving the house. Figure 102
illustrates a splendid way of taking the shape of a plaster detail
where an exact fit is required. The pattern paper is held behind the
object, and with one point of a pair of dividers following the outline
the other point will tick off the corresponding points on the paper by
pressing it through the paper or marking with a lead pencil, and when
cut and fitted the detail may be attached to the rest of the pattern in
the proper position.
[Illustration: Fig.126 B
The portière curtains may be attached to a pole as above mentioned to
secure complete division, but if the object is rather decoration, with
partial division, the method (illustrated in Figure 101) of suspending
the curtains from chains will be found pretty and effective, the chains
equalizing the irregular curves and keeping the tops of the curtains
straight. Portières can be hung in a shallow arched opening by using
the chains to equalize the sweep and allowing the curtains to hang
straight on a line with the spring of the arch. The chain used should
be of a fairly large pattern, and of metal and finish to harmonize
with its immediate surroundings. It is attached to the arch or frame
by cup hooks, and being in one continuous length (as illustrated) is
easily adjusted to the proper length before fastening permanently.
Figure 103 illustrates a round top opening treated with a pair of
shaped curtains shirred on a rod so as to leave a small heading all
around the curve, and is a very pretty way of treating a window or
doorway where the top of the curtains may remain fastened and need
not be disturbed for ingress or egress. The space left for the rod
should be made small enough to fit quite snugly to the rod and prevent
the weight of curtain from dragging the fullness down to the outside
corners; or if the material is very heavy a shirring tape is sewn in
separate from the rod, and stitched to the goods to keep the fullness
in shape, after which it is run on to the rod and placed in position.
Figure 104 is another variation of the same principle, showing a double
festooned curtain, which is very effective and largely used in arch
draperies. The lace curtains shown in this illustration are hung on
a separate rod, and so arranged that one does not interfere with the
other.
To plan the top of a shirred round-top curtain, lay out the full size
of your arch on a blackboard (as Figure 105), dividing it in the centre
by an upright line, as X--B. Locate the point where the curved top
leaves the straight side line, and mark it (as A in illustration).
The distance from this to the centre line, B--X, is the width of half
the space, and, therefore, the proportion of the space covered by one
curtain or width of goods, and the circling line from A to B represents
the shape to which the curtain is to be shirred.
[Illustration]
It will be readily seen that the circle of the top must be increased in
proportion to the amount of fullness desired in the shirred curtain.
For example, say that the distance from A to line B--X is twenty
inches and the width of the curtain before shirring is fifty inches.
Spread out the goods on your cutting-table, and, taking the line E--C
of Figure 105 to be the top of the goods, measure down on the E or
left-hand selvage the distance from E, the top of the arch, to A, the
spring of the arch, and mark point A; now, with a cord fastened at
A, and the goods spread smoothly out, face side up, strike a quarter
circle, with C as a radius (line C--D, Figure 105); shift the cord to
C, and with A as a radius strike another line to intersect the first
one, thus locating point D, the point of intersection; shift the cord
again to point D, and with A as a radius strike another sweep toward
the upper right-hand corner until you cross point C.
The line thus drawn from A to C will be the top line of the curtain
that will shirr properly into the space A--B. Add sufficient for
heading and hem, before cutting, and trim to shape. If the curtain is
to hang as Figure 103, measure down the C selvage edge of the goods the
distance from top of arch to the floor, and trim squarely across for
the bottom of the curtain, the gathering and raking edge (Figure 103)
being formed by the looping up, as illustrated in Figures 34, B, C and
D, chapter on Scarf Draperies.
If the curtain is to hang as a double festoon curtain, as Figure 104,
sketch the curtain on your blackboard with the arch as Figure 105, and
after defining the top of the curtain on your goods as above explained,
measure the distance from B to G on your blackboard, and mark the same
distance on the edge of your goods from C downward.
This locates point F. Measure the distance from A to H (the top of the
seam) on your board and mark it on your goods exactly same size; add
trimming allowance as dotted line three inches extra at each end and
one and one-half inches in centre, and the piece of material defined
by points A, C, F and H will shirr and pleat correctly into the space
sketched on board, and defined by A, B, G and H. Pleat this up on the
board and trim the line H--G square. Measure the distance from H to
floor and cut a length of material, allowing a little for trimming.
Pleat this on the board also, allowing the bottom to clear the floor
nicely by a half inch, and not spreading beyond the points H and I.
Trim this corner dotted line H--I--G to fit the line H--G, and join to
the upper part, making as small a seam as possible, which is covered by
a cord, in Figure 104.
[Illustration]
The back of the seam is bound by a piece of the material or lining, as
the case demands.
The Gothic arch illustrated in Figure 106 shows a case not often met
with, but serves to illustrate a principle of soft valance cutting
equally applicable to any shaped opening and any desired scallop.
The opening in question had an arching exposure into one room and a
square exposure into the other room. The square opening is simply
treated with a pair of portières, as Figure 106 A, the same showing
behind the valance in Figure 106. To plan the valance itself it is
necessary to have a full-size pattern of the arch, and on this as a
plan (106 B) sketch out the drapery actual size. Be sure to allow more
paper than is defined by the outline of the arch, as the details of the
pattern will probably go beyond the outline as in this case. Half
of the sketch only need be used, but it should be fairly correct in
outline and proportion. When satisfactorily sketched (as Figure 106 B)
detail the individual pipes and tails as follows:
If the pipes have been properly sketched it will be readily seen that
the side outlines converge toward the centre at the top, and diverge
from the centre at the bottom. Continue these lines upward until they
intersect as at U and V, Figure 106 B. This point will be nearer or
more distant according to the flare of the pipe at the base. With one
point of a pair of dividers at point U, and with the top of the pipe as
a radius, strike a line across and on each side of the pipe, as line
1--2; repeat at the bottom of the pipe, cutting through the front sides
and back of the mouth of the pipe, as dotted lines 13 and 14; place
one point of dividers at Y and with Z as a radius add a half inch for
fold, and strike to cross line 13 on each side; shift point of dividers
to this intersection on line 13, and with I as a radius strike to
intersect line 14, thus locating point 8 (Figure 106 B). Locate point
7 in the same way, and rule from 7 to Y and from 8 to Y, swinging the
line a little to include the intersection on line 13 a half inch from
point Z; rule also from all these points, 7--8--Z and Z to U, locating
points 1 and 2 where the outside lines cross the sweep at the top of
the pipe. Find all the points on the next pipe and mark and rule in the
same way. Continue the outlines of the first fold of the tail until
they meet at W; attach a cord there, and with chalk or pencil strike
circling lines at the top of the tail and at M, N, O, P, Q, R, S and T,
the bottom of the tail.
Place point of dividers at M, and with N as a radius add an inch and
strike to cross line NI, locating NX on line NI; measure from N to O
and lay out this distance, with an inch added, by placing dividers at
NX and crossing line OI, locating point OX; locate PX, QX, RX, and so
on, in the same way, and rule from NX to TX, striking each intersection
on the way, and also from each intersection to W, as dotted lines. When
all located the lines between 5--6--11 and 12 will be the outline of
the tail, those between 3--4--9 and 10 one of the pipes, and 1--2--7
and 8 the other pipe.
Now, lay the patterns over a soft board, and with a nail perforate the
outline of the arch from A to T, the outline of the drapery from G to
H, I to J and K to L, and also the outlining points of the pipes and
tail, namely, 1--2--7 and 8, 3--4--9 and 10, 5--6--11 and 12, and the
points NX, OX, PX, QX, RX and SX.
(_Continued on page 51._)
[Illustration:
Fig 111 A
Fig 111 B
Fig 111 C
Fig 107 B
Fig 108
Fig 109
Fig 109 A
Fig 109 B
Fig 110 G
Fig 110 A
Fig 110 E
Fig 110]
ARCHWAYS AND ALCOVES
(_Continued from page 49._)
Now take a piece of paper about twice the size of your pattern paper
and lay your perforated pattern over it. A glance at 107 B, showing the
detailed drapery pattern, will show you how best to lay your pattern to
use the paper you have to advantage.
Commence by marking A--B--G and H through your perforations as well as
any perforations which may be included between these; shift No. 1 on
the pattern over point B, as marked through your perforation, and point
7 over point H, and mark out the perforations from 1 to 2 and 7 to 8;
shift C over mark 2 and I over mark 8, and mark from C to D and I to
J; shift 9 over mark J and 3 over D; mark the perforations included
between 3--4--9 and 10; shift E over mark 4 and K over 10, and mark E
to F and K to L; shift 5 over F and 11 over L, and mark all the points
of the tail pattern. When all complete the under paper should appear as
the outline of 107 B. Fold the pattern by following the lines of this
illustration, the plain parts all face the front and the shaded parts
all face the back of the drapery. As this is rather an intricate piece
of work we have given each move in detail, and would suggest that you
make a full-size plan of the pattern here illustrated to familiarize
the details.
Figure 108 illustrates a round-top window treatment made like the
foregoing, or either of these effects may be obtained by making
scalloped flat valances as explained in the chapter on that subject.
The round-top flat valances may also be used in conjunction with a
festoon drapery by providing apertures in the valance through which the
drapery is passed, as left side of Figure 109.
[Illustration: Fig. 112]
To plan aperture pelmets for any purpose we prefer to sketch out the
full size of the pelmet on a blackboard and plan the points where the
apertures will be. Then lightly sketch the outlines of the drapery on
your board, as right side of Figure 109, and measure from your chalk
lines direct as follows: Take a small plumb line and allow it to fall
over the deepest part of the festoon, as illustrated; attach a tape at
D, festoon A, and allow it to drop down to X and around up to C; note
the measurement at X and record it, and also the distance from X to C,
which, in the case of a regular or equal-sided festoon, is the same;
measure from B to A in the same way, recording the distance on each
side of the line and also the distance from the top of the festoon to
the bottom of it, in line with the plumb line. Measure festoon B in the
same way, recording the distance on each side of the plumb line, and
also the depth.
These festoons are cut as explained in the chapters on French festoon
drapery and irregular festoon drapery, but we give the diagrams here as
an additional guide. (Note Figure 109 A and 109 B.)
The drapery illustrated in Figure 110 illustrates an irregular festoon
drapery, made to exactly fit the arch or opening. To plan this drapery
use the blackboard and full-size sketch as for last figure. After the
outline is sketched in and corrected to your satisfaction, flatten
the tops of the festoon by ruling lines from each end of the bottom
outline, as B to C dotted line, or from the outside extremity of one
bottom outline to the outside extremity of the next festoon, as A to B
and C to D dotted lines.
Drop a plumb line over the deepest part of each festoon and measure
the outlines as explained for Figure 109, recording the measurements
on the board; measure the distances of the straight dotted lines, tops
of festoons on each side of the cord, and also on each side of the
centre of the dotted line, recording the distances each way, and also
the distances from the centre of the dotted lines to the outline of the
arch.
[Illustration: Fig. 111]
When all measured, take a large sheet of pattern paper and proceed to
mark out your pattern. Spread your paper on the table, the longest edge
of the paper even with the side of the table next to you, and on this
edge mark the measurement of the bottom line of festoon F, as recorded
on your board. (See Figure 110 A.) In this festoon the plumb line
crossed its centre and both sides measured equal, so, measuring each
way from the centre of your line, mark the ends B and C, distant 1--4
from X, the centre of your line; erect a perpendicular line twice the
length of the depth of the festoon, from dotted line to bottom line,
and in line with the plum line (twice 1--1½ = 2--3). At the top of this
line, or 2--3 from its base, draw another horizontal line parallel with
the bottom line, and on it, each side of the perpendicular line, mark
the distances recorded on your board each side of the plumb line; now,
with one end of a pair of dividers or cord at X (110 A), and with B--C
as radii, strike a quarter circle upward from these two points; with
one end of the dividers at C and one-third of the distance from C to X
as a radius strike an arc to intersect the first circle, locating C 1.
Repeat this arc at B and rule from B 1 to X, C 1 to X, B 1 to B X and C
1 to C X. Add trimming allowance at the sides, as dotted lines, three
inches extra at extremities and one and one-half inches in centre, and
round out the bottom from C 1 to B 1, as dotted line. This gives you
the shape of the pleated part of festoon F, and to this you must add
the plain piece above the dotted line.
From the centre of the top line of the festoon erect a perpendicular
line to correspond in length with the upright three-inch dotted line
at the top of festoon F (Figure 110); place one end of dividers at
this point D (Figure 110 A), and with a little more than half the
distance to C X as a radius strike an arc equal to a quarter circle.
Shift the dividers to C X with the same radius and strike an arc that
will intersect the first one at both extremities; repeat these with
the same radius from D toward B X and from B X (as illustrated), and
rule lines that will pass through both intersections of both arcs
until they themselves intersect at E; now, with one point at E and
B X as a radius you can sweep the same circle from B X to C X as is
outlined on your board of Figure 110. Festoon E and G of Figure 110,
and B of Figure 109, are measured and laid out in the same manner; the
measurements on each side of the perpendicular line corresponding with
those recorded each side of the plumb line, the points locating the end
of bottom lines raised one-third the distance from the end in question
to the perpendicular line, and the depth of the festoon doubled on the
perpendicular line to allow for pleating.
The draperies illustrated in Figures 109 and 110 are attached by rings
to bent poles inside the arch, to a light frame similar to Figure 100
A, or may be tacked to the arch itself.
A plan employed largely by French decorators is illustrated by Figure
111, combining the principles of the drapery and long curtain. The arch
here illustrated and detailed in Figure 111 A represents an arch 5--0
wide by 8--0 high. Add to these dimensions half as much again to the
width (2--6) and a like quantity (2--6) to the length; join the fabric
up to these increased dimensions (111 B), 7--6 x 10--6, and lay it
out flat on the table; from the centre of the top edge draw a line at
right angles to the top and as long as the quantity added to the length
(2--6), and on each side of this line mark on the top edge points equal
to half the quantity added (1--3), thus locating points C--D and E;
rule from C to E and E to D; add the trimming allowance, as dotted
lines, and cut this piece out.
Shirr these curved lines from C to D tightly (as illustrated 111 C) and
tack it in place at C--D (111 A); raise each outside edge until it just
clears the floor and tack it at E, the spring of the arch; edges C to A
and D to B are tacked around the curve from the centre as far as they
will reach, and the surplus between B and E is distributed into pleats
and the same repeated on the other side.
It is sometimes necessary to square the bottom edge if the goods
are very heavy, but the bottom can usually be kept square with
the pleating. To straighten the bottom tack the curtain in place
temporarily and allowing it to hang naturally, insert pins all along
the goods as it hangs at the floor line; trim off the surplus thus
marked, and finish the bottom with a hem, cord or fringe, and trim the
top with a gimp or large cord. This method is only suitable where the
fabric will not be disturbed, but is very effective as a background.
Figure 112, a combination of an embroidered flat valance and pair of
double festooned curtains, is very effective for large spaces. The
valance, made on a light frame or on buckram and tacked to the arch,
the tacks covered with a gimp in harmony with the embroidery, and the
curtains attached as explained for Figure 104.
The method of employing a blackboard and full-sized drawings mentioned
in the foregoing, with the explanation of festoon F (Figures 110 and
110 A) gives the fundamental principle of the blackboard system of
drapery cutting, and the principles therein suggested may be applied to
any explanation of drapery cutting which we have given by changing the
scale drawings to full-sized drawings and measuring the sketch with a
tape. It is not at all necessary that the outline of the festoons be
made up of accurate and true lines. If the general size and shape is
fairly correct you will find that the tape will hang true enough to
correct any deficiency in sketching.
PORTIÈRES · AND · APPLIQUÉS
As early as the year 1012 B.C., straight hanging portières for
connecting doorways were employed in the temple built by King Solomon.
In a modern house, portières are almost as important as doors. Aside
from the ready-made portières, which are manufactured in a variety of
patterns and materials, the demand for portière curtains specially
adapted to various rooms has resulted in a profusion of made-to-order
styles, a few of which we illustrate.
Among the fabrics most used are tapestries, brocatelles, damasks,
velvet, plush, plain and figured velours, armures, fancy reps and
serges, and for Summer furnishings, the lighter-weight fabrics, such as
taffetas, art tickings, cretonnes, denim and sateen, in almost endless
variety of shade and pattern.
In many cases the carpets and wall coverings are chosen and in place
before the portières are considered. This is unfortunate for the
drapery man, as it not infrequently happens that the unadvised or
overadvised purchaser has chosen colorings that bear no relation to
one another, so that to select a material for portières that will
harmonize with the carpet at its base and also with the side-wall
which it divides is a difficult proposition. Frequently the best that
can be done is to employ an unassuming neutral color that will not
offer a very decided contrast to either floor or side-wall, and then
introduce the colors of these other furnishings in a modified form in
the trimmings.
Where walls and floor are in harmony, or where the furnishings are
chosen together, it is a safe plan to build from the ground up,
allowing the portières to be slightly lighter in tone than the carpet,
and the over-draperies and side-wall in lighter tones still. This
applies equally whether the scheme be one of contrast, or analogy.
[Illustration]
Considerable care must also be exercised as to the general effect of
plain or patterned fabrics in relation to floor and side-wall. As a
general rule avoid upright stripes for long, narrow doors, since the
stripes accentuate the slimness of the portières. Likewise avoid cross
stripes on short openings, as they decrease the height and increase the
width. Plain self-colored materials look larger than figured materials
unless the expanse of color is reduced by appliqué trimmings. Study the
effect you wish to produce and plan accordingly.
Some of the fabrics mentioned above are reversible, having a finished
surface on each side. These, as a rule, do not require lining unless
too light in weight or out of harmony with the colors of the adjoining
room. Other goods should be lined and--unless the goods are heavy
enough without it--interlined as well.
Figure 113, on the next page, illustrates the most common type of
portières made of a figured material and trimmed with a cord on one
side and bottom of each curtain.
Assuming that these are made of a reversible or double-faced material,
the goods are first spread on the table and the measurement of the
portière marked out. If the curtain length as marked spoils the pattern
at both top and bottom it is better to shift it up so that the bottom
pattern may be perfect (or both bottom and top if possible), add about
three inches to the net length of the curtain measurement and cut it;
match the next length to this one before making the second cut. If
it creates too great a waste and there should be more than one pair
required of the same material (the pairs not required to match each
other) cut a length for one of the other pairs and try the first pair
again. If this is no better and there are no other sizes to cut, try
the other end of the goods. Never cut to waste without trying every
plan you know for avoiding it, as a little planning will often pay for
itself in the amount of material saved.
[Illustration: _PORTIÈRES AND APPLIQUÉS_
Fig 114
Fig 114 A
Fig 113
Fig 113 B
Fig 114 A
Fig 114 B
Fig 113 A
Fig 113 C
Fig 117
Fig 118
Fig 117 A
Fig 117 B
Fig 117 C
Fig 119
Fig 120
Fig 116
Fig 115
Fig 114 C
Fig 114 D
Fig 114 F
Fig 115]
Assuming still that this is reversible material and the matched lengths
are ready for making, spread each length on the table and cut off the
selvage or part of it, according to the width of it, and turn or fold
the edge over as Figure 113 A to make a felled edge about three-eighths
of an inch wide, which is slip-stitched as illustrated. Be careful that
the stitches are taken between the threads of the goods and do not show
on the reverse side.
Fell the curtains on both sides and bottom, taking care not to stretch
the edge of the material in doing so, and leave the top as cut. When
all felled around, lay the fabric on the table with the bottom of the
curtain even with the end of it and the sides parallel with the table
top, mark the length of the finished curtain on the table as A Figure
113 B and fold the top of the curtain over as illustrated, making a
fold about two inches deep, which is stitched at X the bottom edge of
the fold and at O one-half inch above it.
The cord is sewn on as illustrated by Figure 113 C, holding both cord
and curtain loosely, so as not to stretch either, and pulling the
stitches barely taut.
A great deal of the difficulty in the hang of portières is caused by
the way in which the cord has been put on, and too much care cannot be
taken until one is expert enough to produce perfect results.
The right side of the curtain is considered to be that side from which
the hems were turned, and the cord is sewn from the right side, the
ends being securely fastened and sufficient fullness allowed at the
corners to turn them squarely.
In portières, as in draperies, cut the goods to be made with the
pattern running up, and the nap of pile goods running down. When not
shirred to the width of the space the portières are pleated to the
width, the pins being inserted between the two stitchings X and O,
Figure 113 B, and the pleats turning to the back edge of the curtain,
as Figure 113.
Figure 114 is an illustration of how a pair of portières can be applied
to a narrow door to give it the effect of greater width. Hung in this
way and for this purpose all woodwork must be hidden and the pole
projected forward far enough for the curtains to clear the face of the
door frame.
An appliqué lace is illustrated as a trimming on the left-hand curtain
(Figure 114), and the curtains are lined on the reverse side with a
fabric to harmonize with the surroundings in the next room.
[Illustration]
To apply the trimming, the curtain is first tacked out flat on the
table face upward, true and even with the square table edge, and a
guide line ruled where the lace is desired to be.
Open-work appliqué trimmings are usually started from the corner,
and the trimming so planned that where the mitre is made a perfect
pattern is made and the surplus cut away. When all laid on in place
the trimming may be either basted, pinned or cemented, after which it
is taken up and sewn permanently. For pile goods a splendid method of
holding the trimming in place is to spread some paste on a piece of
paper and then press the wrong side of the trimming on to the paper
until it absorbs a quantity of the paste, then lay it on the fabric in
position and weight it until dry, after which it can be stitched.
After the trimming is stitched in place, lay the curtain on the table
face downward and turn a half inch (or more if desired) over on sides
and bottom, as illustrated in Figure 114 A and 114 B, and tack it
temporarily, taking care not to stretch the material, but keeping it
smooth and straight with the table; turn the surplus down at the top to
make it the length of the finished curtain, less whatever allowance is
necessary for cord or fringe, which projects beyond the bottom edge,
and so must be included in the length of the curtain.
Lay the lining over it, as Figure 114 B, turning under sufficient at
sides and bottom to make it equal to the width of the tapestry or chief
fabric of the curtain. Tack only half of this, as illustrated, and
then fold the free half back over the tacked half and knot--stitch the
lining and fabric together, as shown in 114 C. Pass the needle between
the threads of each material in such a manner that the stitch will
not show through on the right side of the curtain, and knot it to one
fabric only.
When all knot-stitched, using one, two or more rows, according to the
weight, texture and value of the fabric, finish tacking the lining,
turning under the edges as before and baste the fabrics together all
around, using a stitch similar to that illustrated in Figure 114 A,
which holds the folded edge well in place.
Stitch the top across twice, as X--O, Figure 114 E, and then pin the
curtains temporarily to a try-pole to see if either side sags down and
looks baggy. If it does so the bottom basting must be taken out and the
excessive fullness allowed to hang free until both fabrics hang square
and flat together; then pin the two fabrics about four inches from the
bottom, so that neither can shift, lay it on the table, and, turning in
the bottom evenly as at first, baste it once more and test it on the
pole.
If flat and even this time without sagging, it may be removed and
slip-stitched all around, holding the edges as basted and using the
stitch illustrated in Figure 114 D.
The curtain is then corded as explained in connection with illustration
Figure 113 C, and if the lining is a different color and sufficiently
important to require it, the cord should either be a mixture of the
two colors or two separate cords should be put on, each sewn from and
matching the color of its own side.
If the tops are to be pleated and pinned, as Figure 113, the pins are
inserted between the stitches X and O, Figure 114 E; but if they are to
be shirred, as Figure 114 A, a tape is run between the stitches X and
O, and hooks placed in between the tops, as A, Figure 114 E, and sewn
to the tape, after which the spaces between the hooks are stitched at
intervals to keep the two fabrics up in position.
Where price limitations do not exist a more satisfactory portière can
be made by using an interlining of sateen, canton, or shaker flannel
the bottom of which contains small vertical pockets, as Figure 114 F,
which are filled with shot and sewn up. These are made by turning up
the bottom of the lining about three inches and running it through the
machine, as indicated by the arrow. It will be noticed that the pockets
are heavier or a little closer together at the corners to increase the
weight there and correct the tendency to flare common to a pleated
or shirred curtain. This weighted interlining is placed in position
before putting on the lining in Figure 114 B, and is included in the
knot stitching and basting; the edge of it, however, is trimmed even
and lies between the turned-in edges of the two fabrics without itself
being turned in. When weighted interlinings are used with extra-heavy
corners the fabrics should be knot-stitched together, say four inches
from each outside edge and down the middle for ordinary fifty-inch
material (three rows in all). There is a tendency on the part of a
great many fabrics to sag or stretch down with their own weight after
hanging for some time. The best way we have found to correct this is
to stretch the material between clamps, as Figure 115, allowing the
tension to remain on the material for about twelve hours, after which
it is made up in the usual way.
[Illustration]
Figure 116 illustrates a pair of portières with a leather or embroidery
appliqué corner which is applied as already explained for lace
appliqué, making a very rich and effective portière. When made to order
it is possible to have the embroidering done on the fabric itself,
making thereby a better finished and more durable article.
The French heading illustrated in Figure 117 is made as explained by
drawings 117 A and 117 B, showing the front and back views of the
double box pleat which is opened out into the heading after having been
sewn to the hook. This heading requires a special hook having upright
arms which support the top of the heading and are something after the
style of Figure 117 C.
Figure 118 is an illustration of a tapestry panel made up as a portière
by bordering it with a plain material, such as velours or plush; they
are made with very little fulness in width, and are effective for den,
library or smoking-room curtains.
A great variety of gimps, cords, edgings, galoons and appliqués are
procurable for trimmings, each applicable to specific requirements,
while a combination of two fabrics in the way of bands or borders, as
Figure 118, and the right-hand curtain of Figure 114, is also most
effective, and allows an assembling of colors and shadings not easily
produced in any other way.
Figures 119 and 120 illustrate two kinds of portière poles for use on
a doorway where it is necessary to have the portière swing open as a
door, or with a door which it covers. The principle of each can be
readily seen without explanation, and they serve a useful purpose where
such fixture is desired.
Figure 119 is self-supporting, and is independent of the door unless
provided with bracket X. Figure 120 is dependent on the door for
support at one end, and is hinged just in line with the hinge of the
door. The small bracket at the left of the hinge is equipped with a
set screw, which holds the pole rigid, while the right-hand bracket is
provided with a large opening through which the pole slides with the
opening of door. Portières are usually made to just clear the floor,
and should be suspended from rings which traverse freely on the poles.
Appliqués look best on plain materials. Materials with prominent
patterns are better without them.
BED · DRAPERIES
Bed draperies should be planned and constructed to carry out the style
and design of the bed itself, and should never appear obtrusive. Care
should be particularly exercised in sleeping apartments that the
draperies, furniture, floor and wall coverings merge into one complete
harmonious whole without a discordant note.
The conformation of the draperies has much to do in determining the
artistic atmosphere of a room, and may suggest vivacity, dignity,
restfulness, solemnity or depression, according to the design and the
style of material. The application of style and design to particular
purposes is not governed by rules as fixed as the harmony of color, and
doubtless every decorator of experience has seen scores of treatments
which have impressed him as being in bad taste and unrelated to their
surroundings, yet these treatments must have pleased somebody.
The salesman who told a lady customer that _good taste_ was what
_she_ liked best was not far astray in his definition, and it
would be folly for any of us to say what is and is not absolutely good
taste. We would, however, suggest that the purpose for which a room is
used should govern to a very large extent the nature and character of
the furnishings, and that the more exclusive the purpose so it should
be with the furnishings.
This was hardly the thought prevalent in ancient times, judging from
the examples extant, but is more in touch with latter-day thought and
tendency.
Students of period draperies soon reach the conclusion that there is
very little really new, and we think this is particularly true of bed
draperies. In bed draperies the French decorators of the Sixteenth
and Seventeenth Centuries are still pre-eminent, and we reproduce for
purposes of explanation a few of the best examples of these periods.
[Illustration:
Fig 116
Fig 116 A
Fig 116 B
Fig 117
Fig 120
Fig 121]
Figure 113 is a type of the elaborately upholstered bed of the
Pompadour period and contains much that is graceful and applicable to
present-day decoration, the entire canopy arrangement being worthy of
reproduction in toto.
While it is not customary at present to upholster beds (head-board,
foot and side-rails), except for purposes of exact reproduction, it
would not be amiss to explain in passing the steps taken in producing
the different styles of tufting shown in our illustrations.
The biscuit tufting of Figure 113 is usually made small and shallow
as compared with other styles, the squares composing the tuft seldom
running larger than two inches. To mark off the surface of the article
for tufting find the centre each way and draw lines as dotted lines
1----1, 2----2, Figure 113 A, being careful to make them perfectly
perpendicular and horizontal, as governed by the outline of the space
to be tufted. Measuring from the centre lines draw other lines every
three inches until you reach to within three inches of the outline of
the space, thus dividing the surface into three-inch squares, as dotted
lines, Figure 113 A. Rule diagonal lines, as A, B, C, to cut through
the intersections of the dotted lines, and make these diagonal lines
sufficiently heavy to be legible when tufting, as the smaller squares
enclosed by the diagonal lines outline the size of the tufts and the
intersection of the diagonals mark the points for the buttons. (See
Figure 113 B.) When all the lines have been drawn the article is ready
for tufting, but the cover must also be marked for buttoning before it
can be applied with any degree of success.
To ascertain the size of the covering needed, count the number of
squares diagonally from one extremity to the other, thus from C to C,
Figure 113 A, numbers ten squares, and ten also from A to A; now take
the size of the dotted line squares first marked on Figure 113 A (three
inches), and multiply the number of diagonal squares by the size of the
dotted squares, which gives us the size of the covering as 30 x 30
inches; add an inch all around for tacking, and a piece of covering 32
x 32 will be the size required.
[Illustration: Fig 113
Fig 114 A
Fig 114 B
Fig 119
Fig 114
Fig 115]
For spaces such as 113 A, where the surface is longer than wide, it is
possible to economize in covering by joining two pieces together on the
centre line of tufting, B----B; take width from the lower right hand C
to the upper B, nine squares, and the number from B----B to A, upper
right hand corner, five squares, and multiply each by three inches,
as before, and we find that two pieces, 27 x 15 inches, with tack
allowance added, will be sufficient to cover the spaces thus divided by
line B----B.
The covering is turned face downward upon the table and divided into
the requisite number of three-inch squares, leaving the tacking
allowance beyond the outside lines and keeping the lines parallel with
the edges of the material, similar to Figure 114 B.
Attach the centre mark of the lowest line on your material to X, the
lowest button mark on your tufting surface on line A, Figure 113 A, and
temporarily tack the next marks on the bottom line at X----X, Figure
113 B. Stuff the fullness thus allowed between your button and X----X,
and then put in button B, as Figure 113 B; the space between A----B and
X forms a triangular pocket of fabric, which is stuffed up plumply and
button pulled into place by following the marks on cover and tufting
surface; the rest of the tufting now is a repetition of this procedure,
stuffing up the three-cornered pocket, pulling in the fourth button to
complete the square, and forming the surplus from button to button into
a straight pleat. When all filled the edges are stuffed up plumply and
tacked all around, the surplus fullness around the edge being formed
into pleats running outward from the outside row of buttons, as Figure
113 B.
This is by no means an easy task for a novice, but patience and
perseverance will accomplish the result, and the method of square
marking for the covering and diagonals intersecting similar sized
squares on the article will give the proper allowance for fullness for
all sizes and nearly all coverings.
Square or bun tufting, as shown in Figure 114, is marked as Figure 114
A, dividing the space into three-inch squares (or larger, if desired)
and the covering marked also into squares (as Figure 114 B) from one
to one a-half inches larger than those on the surface of the article.
Thus, for three-inch squares, rule your cover into four and one-half
inch squares and add tacking allowance. The size of the covering can
easily be ascertained, as you need the same number of four and one-half
inch squares of covering as there are three-inch squares marked out for
tufting.
Put in the entire bottom row of buttons and the first one of the next
row (Figure 114 A), forming the triangular pockets, which are stuffed
as explained above for biscuit tufting.
The diamond tufting of Figure 115 is made in a slightly different way,
but the principle is the same. Rule the cross lines 1----2----3----4
as Figure 115 A, line 3, say three inches from the bottom, line 2, six
inches above line 3, and line 1 three inches higher again.
Divide lines 1, 2, 3 and 4 into three-inch spaces, as shown on line
1, A----B----C, etc.; rule from B on line 2 to A on line 3, and also
to C on line 3; rule from C on line 2 to B and D on line 3, and also
from A on line 2 to B on line 3, continuing this until the surface is
all marked, as Figure 115 A. This will give you a row of intersecting
diagonal lines between lines 2 and 3 and marks the diamonds for buttons
by following the intersections.
To measure the space for covering, measure from A to B, to C to D, and
so on to G, adding one and a-half inches to the distance between each
letter for fullness. Measure from 4 to 3 to 2 to 1 in the same way,
adding one and a-half inches to each space, so that a panel the size of
115 A, which measures 12 x 18 inches, requires a piece of covering 18
x 27 inches, with an allowance of another inch all around for tacking
(20 x 29). Mark the covering, as Figure 115 B, which shows the one and
a-half inches added to the spaces between the upright lines and also to
the spaces between the cross lines.
Put in the first row of buttons and draw the bottom edge of the goods,
which lies directly in line with each button, straight down, and tack
it temporarily there. This will form a series of pipes all across the
bottom; stuff evenly and plumply, and commencing in the centre stuff
up all the space between the first row of buttons and the second line;
pull the cover down over this by pulling the button mark on the cover
down to the button mark on the line, and put in the button, forming
the surplus material diagonally from button to button into a pleat,
as illustrated (Figure 115 A). Continue this row and the rest in like
manner, folding the pleats downward and facing each other in pairs, as
indicated by arrows. Finish the top with a row of pipes similar to the
bottom, stuff up all the edges and tack them, drawing all the surplus
fullness into pleats from each button of the outside rows, and rounding
the edges down to the place where finished off by tacking.
Beneath the rail of Figure 113 a short piped valance fills the space
to the floor. It is slightly pleated between the pipes, so that the
pleats fall into festoon shape, and is also an effective valance for
cosey corners and chairs. Mark out on a paper, Figure 116, the exact
appearance of a portion of the valance, including two pipes and the
space between; erect perpendicular lines A and B through the centre of
each pipe, measure the width of the pipes at bottom and top, the length
from top to bottom, the distance between D----C at the top and the
distance around the curved bottom line between A----B at the bottom,
recording the measurements as here shown.
[Illustration: _COLONIAL BEDROOM_]
Take a large piece of paper, and using the longest edge of it as the
bottom line A----B, Figure 116 A, mark off the distance of the bottom
edge of the festoon (1----9); from the centre of this space erect a
perpendicular line E----E at right angles to the bottom line, and
as long as twice the length of the pipe (2----0); at the top of the
perpendicular line rule another horizontal line parallel with the
bottom line or the edge of your paper, and with the perpendicular line
as your centre, locate points C and D, exactly as on your drawing 116.
With E as your centre and A----B as radii (116 A), strike a half circle
to connect A and B; with B as a centre and one-quarter the distance to
E as a radius, strike an arc to intersect the half circle and locate
point A----1, and repeat at B to locate B----1; rule from B----1 and
A----1 to E, from A----1 to C and from B----1 to D, defining the
general outline of the festoon-like section between the pipes.
[Illustration: Fig 123]
Reverting again to Figure 116 the bottom of the pipe measures four and
one-half inches across the face when pressed flat; double this to get
the circumference, which would be nine inches; rule a horizontal line
from point A----1 (116 A) parallel with the bottom line and nine inches
in length; erect a perpendicular line, X----X, from the centre of it,
and on the perpendicular mark the length of the pipe as shown on your
drawing (1----0); at the top of this line lay out the size of the top
circumference of the pipe, which is double the face measurement, and
locate points G and G four and one-half inches apart; rule from G to
A----1, round out the bottom line from A----1 to B----1 as dotted line,
add the trimming allowance between C and G, dropping about two inches
to F, midway between lines C and G as dotted line; fold the paper on
line X----X and cut out the festoon and half the pipe, as outlined
by X----A1----E----B1----D----C----F----G and X, together with the
paper folded underneath, which will give you when opened the pattern
of two festoons and one pipe, as Figure 116 A, which may be repeated
indefinitely by joining the pieces at F so that the seams are hidden
behind the pipe.
To pleat the festoons shirr from C to F and D to F tightly on a stout
thread, fasten F----F together, drawing the pipe together at the back,
and fold the top of the pipe down behind to finish even with the top
of the festoons. Tack the whole to a slat or to the bottom of the bed
itself and straighten out the pipes and pleats to hang nicely and
uniformly.
By increasing the depth of the festoon to (2----8) twice the depth of
the festoon drawn in Figure 116 (1----4) and adding rosettes, made
as explained in chapter on pleated valances and lambrequins, a more
elaborate effect is obtained, as Figure 116 B, suitable for other
purposes where a simple valance is required. The canopy is made on a
frame shaped like Figure 117, suspended by brass chains or wire from
the ceiling or wall, and supports the curtains at sides and back, in
addition to the drapery which completes the canopy. The side curtains
are made about a foot longer than the distance from floor to canopy,
and caught up with rosettes or loops, as explained in chapter on scarf
draperies.
The festoon-like pleats in the top of the curtain are obtained by
cutting out sections of the top of the curtain, similar to the piece
defined by points E----1, E----1, and F, in Figure 118, the total
amounts cut out consuming the fullness allowance, as, for instance, a
piece of forty-eight inch material pleated to twenty-four inches would
have two triangles of eight inches removed, as Figure 119, and a half
triangle of the same size taken off each corner; by shirring the raking
edges the pleats are obtained and the fullness consumed.
The drapery of Figure 113 is made up of triple-pleated festoons, made
as follows: Sketch out the festoon as you desire to pleat it, either
full size on your blackboard or to a reduced scale on paper, the large
lower pleats occupying two-thirds of the depth, and the small upper
pleats the remaining one-third, as Figure 120; measure the distance
around the bottom of the festoon from A to B, the depth from E to X,
and also from C to E and D to E, recording the distance on your drawing.
The bottom line and the depth of the festoon pattern, Figure 118,
are planned as a regular festoon, so draw the bottom line, A to B,
locate the points A1----B1 one-sixth of and above the bottom line, as
explained for straight festoons; rule the perpendicular centre line
E----X as long as twice the depth recorded on Figure 120, and rule the
top line parallel to and almost as long as the bottom line.
[Illustration: Fig 124]
[Illustration: Fig 125]
Now take one-quarter of the measurement between C----D, Figure 120, and
mark it on your top line, so that half of it lies on each side of your
centre line E, thus the distance between C----D is eighteen inches,
one-quarter of it is four and one-half inches, and two and one-quarter
inches on each side of the centre line locates E1 and E1 four and
one-half inches apart.
Now take the distances recorded between C and E and E and D on your
sketch, and mark these distances outward on the top line from E1
and E1, which will give you the size of the top of the festoon and
locate points C and D on your pattern. Mark F about one-quarter of the
distance from E to X on your pattern (Figure 118); rule from F to E1 on
each side, A1 to C and B1 to D, add pleating allowance, as dotted lines
on raking sides of festoon, hollow out the U-shaped marked at E, as
dotted line, round out the bottom of festoon, and cut out the pattern,
shirr the edges from E----1 around to E----1 on a stout thread, and
pleat the raking outside edges up as an ordinary straight festoon.
(See explanation in chapter on French festoons.)
The ruffle which surmounts the drapery and forms a trimming at the edge
of the canopy (Figure 113) consists of a piece of material pleated in
such a manner that the pleats are smaller at the bottom than at the
top. It is made separately, and either joined to the drapery or put on
over it. The size and number of the little cone-like pleats are matters
of personal taste, and the principle of making is the same for all
sizes and shapes.