space between as you desire it to look when finished (see Figure 121).
Continue the side outlines of the pipes downward until they meet, as
A----A. This, of course, will be nearer or more distant according to
the flare of the top of the pipe. Place point of dividers at A, and
using the length of the pipe as a radius, strike a quarter circle
through and on each side of the top of the pipe, as line B----B; now
draw perpendicular lines passing up through the centre of each pipe and
at right angles to the straight bottom line of the ruffle.
Place one point of dividers at C, where upright line intercepts the
circling line, B----B, and with a little more than D----D as radii,
sweep to cross the line B----B on each side; place dividers at the
point where your sweep crossed B----B, with the same radius, and strike
another line to cross B----B and locate E, and rule from E and D to
A on each side of the pipe; with dividers at A, and with the bottom
of the pipe as a radius strike another quarter circle as H----H, the
points where dotted lines D and D cross H----H locate G----G, and where
dotted lines E and E cross H----H, F----F are located; mark the place
where the perpendicular line crosses H----H as X, which is shown on the
middle pipe, and the pattern is ready for punching.
Note instructions for punching pattern of Figure 107 A in chapter on
archways, and follow the same procedure with this pattern, punching
points E----D----C----D----E at the top, and F----G----X----G----F at
the bottom. You will notice that letters E----D----D----E----F, G----G
and F outline the pipe and show the lines for folding, while the space
enclosed between C----C----X----X is the pattern of the plain piece
between the pipes; now by shifting the pattern as explained for Figure
107 B, in above mentioned chapter, and marking through the perforations
you will have a pattern outlined by the same letters as Figure 122;
rule from point to point and you have the complete pattern of one pipe
and the space between it and the next one, by repeating this, as shown
in Figure 122 A, you may make the ruffle any required length, stiffen
with wiggin holland or buckram and pleat as indicated by lines in
pipes, the shaded portions of Figure 122 A going to the back of the
pipe, and the points C E----C E and X F----X F meeting and fastened
together. The completed ruffle is now sewn to the top of the festoons
and the seam finished with a cord, as Figure 113.
Figure 114 illustrates the application of straight top festoons to
a molded canopy frame, the roof of which is shirred to a centre in
sunburst effect.
Figure 115 shows a ruffle or piped heading similar to Figure 113 with
larger spaces between the pipes, and the method of detailing the
pattern is the same as already explained.
Figure 123 illustrates a dome shaped canopy supported by a molded
cornice, and is more simple of construction than at first appears; the
molded cornice needs no further explanation than the front view, Figure
123, and the side view, Figure 123 A.
The construction of the dome can easily be followed by Figures 123 B
and 123 C; a light hardwood circular frame is first marked at intervals
around the outer edge where the ribs are desired to be, and a number
of straight iron wires about one-eighth of an inch in diameter are
inserted by boring holes in the edge of the frame, driving in the
wires as C, in 123 D, after which tacks are driven in beside the
holes to swell the fibres of the wood against the wire, and the wires
bent upright as A and B of this illustration. Each separate wire is
bent to take the shape of the rib, and all are fastened at the centre
temporarily; when all are thus fastened, commence winding the three
wires composing each rib, binding them solidly together with soft twine
continuing to the centre, then turn the wires sharply aside, in line
with the next rib, to which the ends are then bound, and the winding
repeated on each rib.
[Illustration:
Fig 123 A
Fig 123 B
Fig 123 C
Fig 123 D
Fig 122
Fig 122 A
Fig 118]
It is desirable that no wires be permitted to continue across the
centre, but that all should turn back, leaving the centre free from the
thickness that would be occasioned by the crossing and recrossing of
the wires.
[Illustration: EMBROIDERED LACE CURTAINS AND BONNE FEMMES--IRISH
POINT, RENAISSANCE AND MARIE ANTOINETTE.]
By crossing twines on the frame and dropping a plumb line over the
intersections, the centre of the dome may be kept in line with the
centre of the open frame (see Figure 123 C).
When the ribs are all in position wire loops are run around the ribbed
circle inside, at different heights, to strengthen them and preserve
the globular shape. The framework is then covered with canvas, and each
panel (the space between two ribs) is padded with some soft material
evenly distributed and covered with cotton, after which the covering
material is put on, a row of stitching holding all firmly to each rib
and a cord covering the stitching.
The drapery beneath the cornice of Figure 123 combines the festoon
and straight valance principles which have been already explained in
former chapters, and the small drapery above the embroidery is put on
separately.
The four-poster of Figure 124 shows the application of a straight box
pleat in keeping with the architectural lines of the bed, and any of
the draperies shown herewith may be applied to four-post beds if the
general outline and style of the draperies conforms to the general
construction of the bed itself.
In Figure 125 we illustrate a French canopy which adapts itself
very readily to the decoration of brass beds. The dome is formed of
panels of buckram or cardboard, cut to shape, and covered with the
fabric, plain or pleated; the panels are then sewn together with the
baseball stitch, previously illustrated, and a hoop fastened inside
the bottom to preserve the shape. If heavy fabrics are desired for
curtains, drapery and covering, the dome should be more substantially
constructed, as described for Figure 123, dispensing with the molded
cornice if desired.
Bed canopies, no matter how light, must be carefully put up and
securely fastened to avoid accident.
The back curtains, which appear in almost all of the illustrations
presented herewith, are in some cases attached to the side curtains, so
that the fabric is continuous from fringe to fringe, those of Figures
123 and 125 being so planned.
The back curtain of Figure 124 is shirred on a rod top and bottom,
and stretched into pleats, while those shown in Figures 113, 114 and
115 may be treated similarly, or, as illustrated, pleated into long,
sweeping pleats. The material is joined up, allowing nearly half as
much again to the width, say a piece 6--- 9 for a 4--- 6 bed, and allow
a like quantity (2--- 3) in addition to the required length.
Spread the material out on the table, find the centre of the top,
and measure each way on the top edge a distance of eighteen inches;
measure down each side from the top corner the distance you have
allowed (2----3), and rule from these marks to the extremities of your
eighteen-inch marks; add outside of this the allowance for tacking and
trimming and trim off the corner, which means that you remove from
each corner a piece of material measuring about 20 x 24 inches, and
triangular in shape. Tack the straight top to the back of the canopy,
centering the goods (3----0) in the space (4----6) and pleat up the
biased corners into the remaining spaces at each side.
TRAVERSE, · DROP · AND · THEATRE · CURTAINS
Where curtains, while possessing decorative properties, are also to
form a complete or partial screen at will, it is essential that their
manipulation be simple and easy. For curtains which travel to and fro
on a straight pole while hanging at full length traverse cords are
effective. This is accomplished by means of two pulleys, as Figure 126,
the pulley marked A being a double pulley and B a single pulley. The
curtains are pleated up to the required width so that they just nicely
fill the space, and are hooked, pinned or sewn to the rings. Place
the pulleys in position even with the outer edges of the curtains and
thread a small braided sash cord (well stretched) through the single
pulley B; carry the doubled cord over to A and measure the distance,
the ends will have to fall below A to bring them within easy reach;
allow a couple of feet extra on one of the cords, and cut. Without
allowing the cords to shift in the single pulley fasten the short cord
to D, the right hand corner of the left curtain, and thread the end
through the double pulley.
Fasten the longer cord to the corresponding ring at C on the right-hand
curtain and thread it through the other groove of the double pulley. By
pulling E (Figure 126), the shorter cord, the curtains will separate
each way from the centre, and as this cord descends the F cord ascends,
the cords traveling in the direction of the arrows, and by pulling F
the curtains draw together again.
Adjust the cords so that when F, the closing cord, is taut the curtains
will meet exactly in the centre of the pole, and also so that E, the
opening cord, is a foot higher than F when the curtains are closed.
Finish the cord ends with a weighted tassel, and, as will readily be
seen, it is only necessary to pull the higher tassel at any time to
alter the position of the curtains.
To insure easy manipulation, it is necessary to have the rings large
enough to travel freely upon the pole, and if the curtains are heavy
the rings should be provided with small wheels or rollers which run
upon the pole. The rings should also be free from any projections that
would catch the cord, and the hooks or pins should have the points bent
back into the fabric so that the cord cannot get caught thereon.
[Illustration: Fig 129]
[Illustration: Fig 127]
[Illustration: Fig 126]
This method is employed for sun or draught curtains, and sometimes for
small concert curtains. Another method of curtain manipulation in which
the curtains draw up in drapery form is illustrated by Figure 127.
To accomplish this effect the pair of curtains are pleated to size,
as back view Figure 127 A. Spread flat on the floor, and with a cord
attached at A, the inside corner of the curtain, a quarter circle is
struck from the outside corner to a corresponding position on the front
edge of the curtain.
[Illustration: FIG. 129 A.]
[Illustration: FIG. 127 A.]
Rings are sewn to this line, and a cord which is attached to B is
threaded through the rings, passed over a pulley at C, and across and
over a large pulley at D, and brought down to the floor, as E.
A pull on the cord at E now causes the cord to draw up through the
rings on the curtain, the material gathering into folds because of its
weight, and the release of the cord allows the curtain to swing back
again into place. By arranging both curtains in this manner and drawing
them simultaneously a pretty draped opening is produced, as Figure 127.
For a heavy pair of curtains, attach the cords, after passing over
pulley D, to a counter weight, and either attach a separate cord to the
B cord immediately above A, the centre of the curtains, and bring it
over D and down to F, so that a pull at F sets the pulley and weight in
motion; or arrange as explained later for Figure 129 A.
If it is desired that the front edges may draw completely up to the
pulley, forming two festoons, as Figure 128, more sweep must be allowed
on the front edge than on the top, and can be easily calculated by
moving the stationary end of the marking cord out beyond A the distance
desired to give the required sag to the bottom edge when drawn up (see
X, Figure 127 A, and the dotted sweep).
Figure 129 illustrates a drop curtain made after the style of Austrian
shades, as explained in the chapter on blinds and shades. The back
view (Figure 129 A) shows the method of running the lines to a counter
weight, which balances the weight of the curtain and is controlled by
two lines--J, leading from the weight to the small pulley F, and down
to the floor pulley I; H, the other line, leading from the weight down.
As will be readily seen, this line is continuous from the top of the
weight around to the bottom of it, and the curtain is raised by pulling
line H, which lowers the weight and is lowered by pulling line J.
[Illustration:
Fig 128
Fig 132
Fig 131
Fig 130
Fig 130 A]
We have used the plans outlined by Figures 127 and 129 for temporary
drop curtains forty feet high by eighty feet wide with complete
success. The back view of Figure 129 A illustrates the method employed
for swinging a temporary drop curtain of these dimensions across a hall
that had no curtain facilities, bare walls and rounded ceiling, it
being accomplished by three groups of stay lines (B) drawn up through
the ceiling, each line adjusted to the proper tension while slightly
hoisted, and the curtain itself attached to batten D, which is built up
of 1 x 4-inch stuff to aggregate 2 x 4 inches. The top of the curtain
remains stationary, the bottom shirring to the desired height, the deep
flounce forming a decoration to the bottom edge when in either position.
[Illustration: BRISE-BISES SUSPENDED FROM CURVED RODS AND AUSTRIAN
SHADES THAT CURVE TO MEET THEM.]
The drawn lines K are attached to the bottom batten C, and are adjusted
evenly over the individual pulleys L, and all carried over E and
attached to G, the counter weight. To prevent the draught from blowing
the curtain out small loops of stiff wire, as M, Figure 129 A, are
attached to the sides of the curtain, and traverse freely up and down
the guide wires A--A.
Should a curtain of this sort be desired as a permanent theatre
curtain, it may be prettily made as Figure 130, which is drawn up by
means of strips of webbing or leather, which pass through covered metal
keepers on the face of the curtain and are attached to the bottom
batten.
These pass over pulley wheels at the top, as Figure 130 A, and are
fastened to a bar counter weight which balances the weight of the
movable portion of the curtain, and is put in motion by causing the
shaft to revolve in the desired direction. The theatre curtain which
rolls from the bottom, as Figure 131, is fastened to a batten at the
top and a roller attached to the bottom. The method of constructing the
roller is shown in Figure 132. A sufficient number of six-inch circles
of clear pine are procured to allow of one being placed every twelve
inches, and these are sheeted round with ¾ × 2-inch strips of clear,
straight pine, kiln dried, each piece securely fastened with screws to
every circle it touches, and the joins all made where supported by a
circle. The whole roll is then wrapped with a strip of coarse canvas
plentifully supplied with a solution of hot glue, care being exercised
to keep the wrapping uniform and tight.
The roller is made long enough to contain a large spool at each end,
and works equally well at the bottom of the curtain, where it rolls
up with it, or at the top, where it revolves in brackets and winds
the curtain up. The rope which causes the roller to revolve is first
wound around the spool a couple of times when the curtain is altogether
rolled up, and as the curtain is unrolled, the spools take up a
sufficient quantity of rope, so that pulling the rope causes the spool
to revolve and the curtain to roll up.
Some of the more recent theatre curtains are stretched on a frame like
a picture and rise flat, like the lower sash of a window. They are not
difficult of manufacture, but require that the proscenium and fly loft
be as high again as the stage opening, and the curtain is arranged with
counter weights and side guides, as Figure 129 A.
If you consider the batten D of Figure 129 A as the top of the fly
loft, and batten C as the top of the curtain, the lines K are correctly
placed to raise the curtain until C comes in contact with the pulleys
L. The whole frame will have then been drawn up this distance, and it
is only necessary to have batten D high enough to permit of the curtain
being drawn out of sight.
We show the hand line E on Figures 131 and 127 A to illustrate its
position if the curtains should be manipulated by hand without a
counter weight, but for permanent curtains the plan of 129 A, with the
continuous operating line, will be found much better.
[Illustration: _LOUIS XVI_]
[Illustration: _LOUIS XIV_]
INTERIOR · GROUPING. COSEY · CORNERS. WALL-HANGINGS
That there is a knack in the selection and disposition of furniture
beyond the haphazard placing of odd pieces inside four walls is a fact
admitted by housekeepers generally. That this knack is possessed in a
very limited degree by the average housekeeper is impressed again and
again on the mind of the observant decorator.
We have heard the statement that houses decorated and furnished by
the professional decorator lack that something--that indefinable
charm--which can only be imparted by the touch of the homemaker woman.
In other words, that man can make houses but woman makes homes.
This is beautiful as a theory, but as a matter of fact the average
drawing-room--woman’s particular care--contains enough incongruities to
shock the artistic sense of the most liberal-minded of decorators.
The writer does not lay claim to any special dispensation of taste nor
any extraordinary degree of artistic training, but he has seen scores
of rooms which by their furniture selection and arrangement were a
jumble of inarticulate profanity and defeated the purpose for which
they were intended.
I have in mind the drawing-room of a wealthy dry goods merchant (who
is something of a curio hunter), that is, considering the individual
pieces, rich and sumptuous, but the assembled whole is such a
conglomeration of style, design and color that it gives one the
impression of a bazaar.
Another expensively furnished drawing-room which occurs to my mind
imparts to the observer a feeling of strangeness. The various pieces
are not only unrelated, but are so conspicuously separate in style and
purpose that they are not even acquainted.
Then there are drawing-rooms that are so repellent because of their
military austerity that the back of the visitor unconsciously stiffens
and he feels that his entrance is presumptuous.
We have purposely drawn these descriptions in an exaggerated sense
that we might in some measure give point to our statement that every
room of a house should have as the fundamental purpose of its creation
the comfort of mankind. And as man is many sided in his nature, having
many moods and needs, these different moods create the necessity for a
varying environment suited to the complexity of the hour.
Thus we have a sleeping-room, a dining-room, a reception-room, an
entertaining-room, a cooking-room, and so on, each designed and
furnished to create the atmosphere and stimulate the spirits of the
occupant to the mood which the environment best serves.
The man who told his friend _in confidence_ that the architect
wanted to put a drawing-room in his new house, and he supposed he
wpurposeould have to have it, though it was no earthly use to him,
for he couldn’t draw a straight line, was in his way thinking pretty
close to the line of _purpose_ in home making, which should be the
dominant factor in the furnishing of every room.
A sleeping-room should be not only provided with a bed and its
complement of clothing, but in its location, furnishings and color
theory should suggest restfulness, simplicity and repose. That this
might be more easily produced, we would suggest the use of modified
color and slight gradations of tone throughout, using a monotone or
duotone carpet of a modified shade (a normal color is modified by
the addition of white and intensified by the addition of black), a
lighter shade of the same color introduced in the movable furnishings,
as furniture and hangings, lighter shades still in the side-wall and
frieze, and modified to the barest suggestion of a tint in the ceiling.
Avoid stimulating contrasts and keep to the same balance or
modification of color where the slight contrasts are introduced.
For the living-room heavier colors and sharper contrasts may be
introduced. But the same strength of color should be present in all
contrasts, that the sense of balance be maintained. In the living-room
will be assembled those with varied interests and purposes. So there
will be present more or less of a jumble of different things which for
the moment interest the various members of the circle. Consequently
more license is permitted in the furnishings. But those things which
by their design or construction suggest austerity or dignity should be
forever banished from this room. In fact, we know of no room in the
modern house where there is space to waste on furnishings which suggest
or actually impart discomfort.
The dining-room should be cozily, even joyously, furnished with those
colors and designs which suggest strength and satisfaction. No half-way
colors or designs will answer here. The tones used must be full,
rich, satisfying, and the furniture should complete the suggestion.
The prevailing styles of dining-room furniture--particularly of
the chairs--seem to have been purposely planned utterly devoid of
comfort, that the occupant might not even for a moment be lulled into
forgetfulness of the business at hand, but be urged to prosecute it
with dispatch and seek comfort elsewhere.
[Illustration]
Much the same thought seems to have established the prevailing styles
of hall chairs and seats. Truly, if the chance guest who must needs
occupy one of them until his identity is established should judge of
the hospitality of the host by the comfort of these furnishings, he
would make haste to depart while his wearied limbs could still perform
their office.
The reception-hall and drawing-room are, perhaps, the two places most
anxiously considered in the planning of the house. There seems to be
a mistaken idea that these places, which are most seen by strangers,
should be furnished as an advertisement of the financial standing
of the owner. No matter how much the rest of the house may suffer,
these places must be lavishly, even extravagantly, replete with
everything that custom ordains as necessary to a stylish house. Against
extravagance as to value we have no quarrel, provided all things are in
keeping, but we do oppose the garish assembling of costly goods which
do not make for comfort or beauty or utility. Have extravagance if you
will, but not riot; luxury, but not profusion; comfort, but not stock
display.
As to the arrangement of the various pieces of furniture we would
strongly advise a study of nature’s scheme. Note the variety of
shapes and sizes of the trees of the forest; the broken, sympathetic,
undulating surfaces of undisturbed mother earth. Note how well
acquainted and even familiar the various parts of the landscape seem to
be; how the tall tree nods and reaches down to the short one and the
low one reaches up to the high one; how the knoll sweeps gracefully
down to the level glade and how the glade runs up to the knoll.
Everywhere is the charm of related variety and harmonious grouping of
equalized differences.
[Illustration: Fig 135]
[Illustration: Fig 133]
[Illustration: Fig 134]
Everything in nature is formed and placed for _purpose_, and here
is the keynote of harmonious interior arrangement. For instance, here
is a drawing-room with appropriate and well-chosen pieces of furniture.
How then shall we arrange them?
Imagine the room peopled with a chattering gathering of average people.
This stout all-over-upholstered armchair would be occupied by one of
the portly members of the group, and as these persons would by contrast
appear larger and more portly in contact with those of lighter build (a
chance of comparison which they studiously avoid), we will dispose the
heavier pieces of furniture, if not altogether removed from the lighter
and more frail, at least with intermediaries between in the shape of
pieces which possess, in a measure, the characteristics of both.
Preserve the balance of the room by distributing the weight much as
you would if it were a disk revolving on a central point. If there is
a mantel here on the left, over there somewhere on the right would
be a good place for the upright piano. If the cosey corner is in the
southeast corner, then the eye instinctively seeks a corresponding
piece of capacious seat room in the vicinity of the northwest
corner. Continue this thought. Seat your imaginary guests in négligé
conversational groups, drawing some of the pieces confidentially near
to each other, and you will in a great measure have solved the knack of
pleasing furniture arrangement.
To reach this consummation we said that the articles were in the first
place appropriate and well chosen, and this, of course, must be the
basis of the furnishing scheme.
If we might, we would plead for greater simplicity in furniture
selection, less of the garishness and more of the subpurposestantiality
of goods built to satisfy and to last; not necessarily the
cumbersomeness of Mission, but the pleasing styles of Sheraton’s
work, where strength was clothed with grace of outline and disguised
with unobtrusive ornamentation. We look for a style somewhat similar
in character and purpose to grow out of the present Arts and Crafts
and Mission, which have appealed so strongly to ornament-satiated
appetites; that grace will be added to strength, and chaste ornament to
simplicity of construction.
COSEY CORNERS.
All that has been said in regard to appropriateness in general
furnishings is true in a concentrated sense of the cosey corner.
Applicable and suitable in almost every room of the house, it should
be all that the name implies. The simple desire for its possession
should be no excuse for its introduction in a location where coziness
or even comfort would be an impossibility. A cosey seat should never be
placed in a position where its presence would constitute a nuisance, as
before a window or in a doorway. It usually appears lonesome away from
the wall, and as its atmosphere is retiring it should occupy the least
conspicuous position. It is not intended as a single seat, and should
therefore be fairly commodious but not oppressively large. And, above
all, it should be comfortable.
As to color, the cosey seat and all other large upholstered pieces
should follow the dominant color tone of the room, the contrasts being
introduced in the smaller pieces.
We illustrate a few of the treatments which serve this useful purpose
and conform to the prevailing thought in regard to style, shape and
general utility.
Figure 133, one of the common types, is constructed of a bench seat,
loose cushion, box pleated valance, and curtain back. In suitable
covering this style could be introduced in almost any room of the
house, but is most used for den, sitting and bedroom corners.
Figure 135 illustrates apurposen all-over-upholstered seat and back
with bric-à-brac shelf. This style is capable of a great deal of
elaboration and is much used for reception and drawing-rooms. Made with
a polished wood frame instead of the stuff-over, it is much more dainty
in rooms where the other furniture is delicate and of the show wood
variety.
Figure 134 is a heavier type and more after the style of Arts and
Crafts. Built to conform with the other furnishings, this style is very
appropriate for dining-room, library, hall, club or den corners and
lends an air of solidity to the room it occupies.
[Illustration: Fig 136]
Figure 136 illustrates a den seat with over canopy--the seat is
provided with a loose couch throw or cover and the canopy is made up
of two scarf draperies and a pair of curtains with a shirred roof of a
plain color to match the draperies.
There is opportunity for a great deal of ingenuity in the construction
of these fitments, and by following the motif or theme of the general
furnishing scheme of a room you will have little difficulty in evolving
fitments that will not only suit their environment, but will be an
artistic addition to the furniture of the room.
WALL-HANGINGS.
If the walls of a room are covered with a fabric there is usually less
difficulty in working out a complete scheme of color harmony, and for
that reason the use of fabric wall coverings is usually recommended by
the decorator who undertakes the complete furnishing of a room or suite.
Although there are little tricks and wrinkles for the application of
special fabrics to special places which are acquired by practice, in
the main wall covering is quite simple.
In Figure 137 we show the plan of a room measured for covering. The
walls are drawn as if they had been pushed out flat like the sides of a
cardboard box. Each wall is measured separately, and the positions of
doors, windows, recesses and projections accurately indicated on the
plan by the proper measurements.
To cut the sections for a wall such as we illustrate commence with
section 1 and each separate section is cut and matched to the preceding
one, so that the pattern will be continuous around the room; this
requires nice calculation to allow for the quantities of pattern that
are consumed by the tacking and back tacking in the angles, but an
allowance of two or three inches extra each way will usually be found
sufficient to allow of the pattern being matched, provided the lengths
have been cut at the same pattern.
Upright seams only are permissible in wall fabrics, and these should be
as few as possible and perfectly plumb.
[Illustration]
After having cut the first length with about three inches extra for
handling, if the next length when matched would cut to waste, try one
of the shorter lengths or two of the short ones together--if this still
causes waste try the other end of the goods--never cut goods to waste
until you have exhausted every expedient you know to avoid it.
[Illustration: Fig 137]
Beveled wall strips, as Figure 138 A, are placed at top, bottom and
both sides of every separate space as well as around all projecting
frames, as windows and doors; these are securely fastened to the
studding by nails or screws, and all holes in the plaster covered with
pasted paper to prevent dust sifting out.
The double lines of Figure 137 illustrate where beveled strips are
necessary and provide for two in every angle corner and two also on the
face of each projecting corner.
One of those, however, used in each angle, as number 2 of Figure 138 B,
is only temporarily fastened at first. Commencing with section 1 cover
the walls first with shaker or canton flannel lining tacked smoothly
and evenly on the strips, as Figure 138; next spread the covering out,
attaching it temporarily to the top strip until you get it in place,
then commencing in the centre at X tack each way, keeping the edge
straight and tight, but not stretched. Drop a plumb line from the top
over the centre seam and stretch the seam down as the line indicates,
tack it temporarily, and do this with all the seams; now pull down half
way between the seams and tack permanently, halve the two spaces thus
made and tack again and continue halving and tacking until the bottom
is all tacked in place, taking care to stretch the goods so that the
pattern is perfectly straight at the bottom.
Now stretch each side and tack it closely into the angles, as the tacks
on strip number 1 must be covered by the thick edge of strip number 2,
Figure 138 B; now take the loose strip number 2 which was removed to
allow the tacks to drive close up into the corner.
After matching the exact part of the pattern which is to turn in of the
next section, tack the marked edge of goods to the back edge of strip
2, nail the strip in place so that there is no gap between the two
angle strips. Cover the wall with lining and stretch the cover across
from the tacked side, fasten it temporarily and then commencing at the
side which is fastened permanently tack across the top, keeping the top
tight, but not stretched, stretch down and plumb the seams and finish
as before.
The detail of procedure for Figure 137 would be as follows: Section 1
tacked all around. Section 2 back tacked at B stretched around C and
to tack at E. Section 3 back tacked at E and stretched to F. Section
4 backed tacked at F and stretched around G to H. Back tack Section 5
at H, stretch to I. Back tack 6 at I, stretch to J. Back tack 7 at J,
stretch around K and L to M. Back tack 8 at M, stretch to N. Back tack
9 at N, stretch around O to angle P. Back tack 10 at A, stretch around
S to R. Back tack half of 11 at R and half at P, and stretch each to
join at L, which has been chosen as the smallest place for a join to be
made by hand.
[Illustration:
Fig 138
Fig 138 A
Fig 138 B]
Finish at top and bottom and around windows and doors with a gimp or
molding, and the room is complete with continuous pattern and every
tack concealed.
AWNINGS · AND · VERANDA · CURTAINS
Awnings are naturally divided into two classes--house awnings and store
awnings. Of the first, Figures 139, 140 and 141 illustrate the kinds of
windows most frequently met with. Figure 139 is an ordinary square top
window, of which Figure 142 A is a side view in skeleton, showing the
method of attaching the frame to the window, and also the relative size
of the awning to the window.
To measure this window for an awning, measure the width of frame from
centre to centre (A--A), and half the distance from the top of the
frame to the sill, with three inches added (A--B). These measures are
simple, but should be carefully taken to ensure a good fit. Take note
also of any projections of stone or brick which would prevent the
awning fitting closely to the frame all around, and be sure to allow
for these when making the awning.
Figure 141 is measured in like manner, and a record also made of the
depth from the top of the centre to the top of the straight side of
the frame (C--B). The round top (Figure 140) is measured for width and
height as the foregoing, but the height of the circular sweep must also
be taken. Stretch a tape or cord across at B--B, the spring of the
arch, and then measure the distance from this to the top of the frame
(B--C). If the windows are so constructed or are in such a position
that a projection of three inches more than half the height would not
be permissible, a measurement must be taken for projection also; but if
there is nothing to interfere with this amount of projection the height
measurement will be sufficient to determine the amount of projection.
When ready to cut the goods, mark out on your awning table (which
should have a top measurement of at least 5.0 × 8.0, and larger if
possible) the measurements as follows: On one end of your table (Figure
143) draw a line across it parallel with the end and eleven inches from
it. Now, attaching a tape at A, one end of your line, measure across
to B, the projection of your awning (A--B, Figure 139), which is half
the height of the window and three inches extra. Place a tack at B, the
point thus determined, and then measure up the table the height of the
awning (in this case the same as the projection). Place a tack at this
measurement (D) also, and chalk a line across the table; fasten the
tape at tack D, draw it across to tack B and down to C, the end of the
table, as indicated by the heavy line; add a couple of inches for hems,
and this measurement represents the length of the top of the awning.
Plate 155 is a ready-reckoner for quantities required for the sizes
therein contained when the projection and height are the same. To find
the height required for the top of a given size, take, for instance,
3.0 projection by 3.0 high (3.O × 3.0), the top measurement is 4.3; add
1.0 for curtain and the total 5.3 is reached.
To determine the number of widths required to make the width of the
awning, refer to the width table, which gives the finished measurement
of different numbers of widths when joined together. Cut a sufficient
number of lengths the size needed as measured from D to C and join them
up to aggregate the width of the top of the awning. To cut the ends
draw another chalk line eleven inches beyond point D on your table and
mark the projection on it (F, Figure 143) and rule from F to C, the
end of the table, cutting through B; snap a chalk line from B to D (as
heavy line, Figure 143). Take a flexible slat, and placing it against
the tacks at D and B, bend it an inch beyond the chalk line at G; mark
the curve thus described as dotted line and repeat on the other side
of the line. Cut out along the two curved lines and across at F, which
will give you two complete ends, and if the goods are reversible (_i.
e._, the same on both surfaces), by turning one end over these two
form a pair.
Should the goods not be reversible, and there are two awnings to make
which are the same size, mark one set (as Figure 143), and the next set
biased from A to H, and this will give you two pairs of ends. Or, if
only one awning is to be made, and the goods are not reversible, each
end is planned out separately by ruling the pattern (as Figure 143) and
piecing the goods out to fill the space outlined by D--B--C and I.
To assemble the pieces the ends are joined to the top, as indicated by
figure 144, the edge of the top forming a binding over the biased edge
of the end (see Figure 144 A, a cross section of the seam). Scallop the
bottom edge as indicated by dotted lines, so that each stripe centres
in the scallop (as Figure 144) and sew a two-inch strip or band of the
duck on the inside of the awning to receive the iron, as indicated by
dotted lines, Figures 144 and 145. Figure 145 also indicates where
patches of the same material, about four inches square, are sewn to the
top (inside) to reinforce the rings through which the ropes pass, and
the method of attaching the rope to the iron, small openings being left
in the band for this purpose.
[Illustration]
Awning rings are sewn along the top edge at intervals of six inches,
and also one at each end of the band, as X, Figures 144 and 145. Mount
the awning by sliding the iron through the pocket between the band and
the awning proper; thread the ropes through the rings so as to lead
to the right side of the awning from inside the room, as Figure 145,
and as Figures 142 A and B, which show an awning iron in position, but
uncovered to show the roping.
[Illustration:
Fig 139
Fig 140
Fig 141
Fig 142
Fig 142 A
Fig 142 B
Fig 143
Fig 144
Fig 144 A
Fig 145
Fig 146
Fig 146 A
Fig 147
Fig 148
Fig 148 A
Fig 148 B
Fig 149
Fig 149 B
Fig 150
Fig 150 A
Fig 150 B
Fig 150 C]
To put up the awning, fasten the cleat B (Figure 142 A) in position,
then, by measuring the positions of the ropes on the front of the iron,
determine where pulleys or screw-eyes will have to be placed to be in
line with the ropes; put these in and pass the ropes through them, pull
up the awning and fasten the ropes to the cleat. The weight of the
awning is now held in position, and it is a simple matter to put in the
hooks at the top, one for each ring. Lower the awning until it hangs
in position (as Figure 142), the iron supported by the cover. Adjust
the feet at A (Figure 142 A), so that the iron hangs square and true,
and fasten them in place. Test the ropes to see that the awning raises
properly and easily, and the job is complete.
For round elliptic or shaped tops, as Figures 140 and 141, we prefer
to cut the awning from the iron itself. Fasten the iron to the floor
(as Figure 146) and then let it lie flat, as dotted line, while you
mark out its shape and dimensions on the floor. Raise it again to the
perpendicular and fasten it with a cord, as indicated, so that it will
stay in an upright position. Measure the distance from A on the dotted
line to B on the iron; allow a couple of inches at each end for hems,
and cut a length this size.
Try this on the iron and dotted line, and measure the length for the
next piece to join to this one. Repeat this until enough are joined to
reach around the iron, and commencing in the centre of the iron and
dotted line pin and tack the goods smoothly to the shape thus outlined,
working all the fullness out to the corners (as Figure 146 A). Mark
the line described by your tacks, which have followed the dotted line
on your floor, and mark the goods on the edge of the iron all around;
allow for seams beyond these marks and cut the surplus away. Turn a
half-inch hem around the edge marked on the floor and sew rings to it
for the top edge. Cut and scallop a piece long enough to go around
the length of the iron and sew this to the edge of the cover where
marked on the iron. Lay the scallop and cover face to face and take an
ordinary seam, so that when the seam is opened out the raw edges will
be on the under side; sew a two-inch band beneath this seam for the
iron and patch and rope it as before.
This is the simplest and most certain plan of getting any shape other
than square to fit the iron properly.
The foregoing methods apply to all iron-frame awnings where the height
equals the projection. It is sometimes required, however, that the
projection. be greater than the height, that the necessary shade be
obtained and not have the frame so low that it would interfere with
ordinary traffic beneath it.
To overcome this difference slides may be used, like Figure 147, which
permit the iron to drop to their lower ends, as X--X, dotted bar, when
drawing up the awning, and the irons are pushed up and pinned, as
illustrated, when the awning is fully extended. Awning covers for irons
with slides have a band on the front edge only, as side-bands would
prevent the iron from descending the slides. The bottom corner of the
awning is held in place by a ring and hook at the top of the slide.
[Illustration: VIEW INSIDE OF VERANDA
Fig 151
Fig 152
Fig 153]
[Illustration: Plate 154
------+----------+---------+--------+----------+---------+--------+
WIDTH | | Feet of | Yds of | | Feet of | Yds of |
|Projection| Iron | Duck |Projection| Iron | Duck |
------+----------+---------+--------+----------+---------+--------+
2-0 | 2-6 | 7 | 3⅜ | 3-0 | 8 | 5⅛ |
| 3-6 | 9 | 5⅔ | 4-0 | 10 | 6¼ |
| 4-6 | 11 | 7⅛ | 5-0 | 12 | 8 |
------+----------+---------+--------+----------+---------+--------+
2-6 | 2-6 | 7½ | 3⅜ | 3-0 | 8½ | 5⅛ |
| 3-6 | 9½ | 5⅔ | 4-0 | 10½ | 6¼ |
| 4-6 | 11½ | 7⅛ | 5-0 | 12½ | 8 |
------+----------+---------+--------+----------+---------+--------+
3-0 | 2-6 | 8 | 4½ | 3-0 | 9 | 5¼ |
| 3-6 | 10 | 6 | 4-0 | 11 | 6⅔ |
| 4-6 | 12 | 7½ | 5-0 | 13 | 10 |
------+----------+---------+--------+----------+---------+--------+
3-6 | 2-6 | 8½ | 4½ | 3-0 | 9½ | 5¼ |
| 3-6 | 10½ | 6¼ | 4-0 | 11½ | 6⅔ |
| 4-6 | 12½ | 9¼ | 5-0 | 13½ | 10 |
------+----------+---------+--------+----------+---------+--------+
4-0 | 2-6 | 9 | 4½ | 3-0 | 10 | 5½ |
| 3-6 | 11 | 6¼ | 4-0 | 12 | 8 |
| 4-6 | 13 | 9¾ | 5-0 | 14 | 10½ |
------+----------+---------+--------+----------+---------+--------+
4-6 | 2-6 | 9½ | 4⅔ | 3-0 | 10½ | 5⅔ |
| 3-6 | 11½ | 7⅔ | 4-0 | 12½ | 8 |
| 4-6 | 13½ | 9¾ | 5-0 | 14½ | 10½ |
------+----------+---------+--------+----------+---------+--------+
5-0 | 2-6 | 10 | 4⅞ | 3-0 | 11 | 6⅞ |
| 3-6 | 12 | 7⅔ | 4-0 | 13 | 8⅔ |
| 4-6 | 14 | 9¾ | 5-0 | 15 | 10½ |
------+----------+---------+--------+----------+---------+--------+
]
Figure 148 illustrates another method of obtaining a greater
projection than the height by using an extended bracket, the iron
throwing up as dotted bar X--X; while dotted bar, Figure 148 A, would
give greater projection, still on the same bracket, by increasing the
length of the bar and lowering the bracket till the straight part of
the bar is on a level with the front of the awning.
[Illustration]
For awnings wider than 6.0, with a projection of 4.0 or over, the iron
is usually made in three sections (as Figure 149), and if more than 9.0
wide a centre support is put in like Figure 149 A. Small store awnings
may be made as above, but for large sizes roller awnings (as Figure
150) will be found much more substantial and easy of manipulation.
The roller is either made of iron tubing wrapped with canvas and the
duck sewn to it, or it can be built up of wood (as Figure 150 C), the
laps or joints wound with band iron and the whole securely nailed
together.
[Illustration: Plate 155]
Put an iron hoop on each end to keep the pin from spreading it, and
provide one end with a spool (as X, Figure 150 B). The rope is attached
to and wound upon the spool and the roller put in the brackets. If
the roller is long enough to require a centre support, Figure 149 B
provides an excellent bracket. The side arms are placed in position as
indicated in Figure 150, so that they will throw up straight with the
edge of the bar in line with the roller (Figure 150 B). The bar is made
of clear straight pine 2 × 4 inches, and the duck is first tacked to
the roller and then to the bar, as Figure 150.
The ends are made and attached, as illustrated by Figure 150 A, and
need not be further explained. The awning is manipulated by pulling the
rope which unwinds, causing the roller to revolve and releasing the
rope allows the weight of the awning to make the roller revolve the
reverse way, winding up the rope.
Veranda awnings are constructed as are other awnings, and increase
the comfort and shade of a veranda, the same rule of proportion as
given above being used in the measuring and the feet of the iron
attached to the posts of the veranda. In many cases veranda awnings are
impracticable, and veranda curtains are used as a substitute. These are
constructed to work horizontally (as Figure 151), or mounted on rollers
(as Figures 152 and 153). Of the two styles those of Figures 152 and
153 are more preferable, because when not in use they may be drawn up
completely, while the other is more or less exposed to the elements at
all times.
The rollers may be a spring shade roller mounted in the ordinary way,
or a roller with a spool and cord, identical in principle with the
roller shown in Figure 150, and the bottom of the curtain is provided
with snaps to hold it in place when down.
In Plate 154 we give a table of the ordinary sized awnings, giving the
quantities of iron and duck required in their making. We have figured
on thirty-one-inch reversible duck, cutting the ends as marked out in
Figure 143.
The awning trade is essentially a Summer trade and the season
necessarily short, and as customers usually postpone the purchase of
these things until they are really needed, this work must be handled
quickly to be successful. We have found it a good plan where possible
to arrange for recovering and renewing this work for regular customers
during the late Winter months, when the workroom is apt to be a little
slack.
[Illustration]
THE · APPLICATION · OF · GRILLE · WORK
Grille work, fret work or lattice work, as it is variously termed, may,
when properly applied, serve a very useful and decorative purpose.
Like many other decorative articles, however, its uses are not always
governed by its limitations, and it is frequently misapplied.
As an aid to decorative fabrics in the artistic reduction of large
openings, or as a partial screen or division that will not altogether
obstruct either the vision or the light, it is unequalled by any
other upholstery adjunct. Setting aside its uses for office railings,
partitions, etc., in which we are not particularly interested, we
consider it solely as a household fitment.
Unlike other furnishings, such as draperies, chairs, tables, etc., the
grille is essentially a part of the room itself, and should conform to
the style, color and composition of the wood trimmings of the room,
which practically means that the fitment must be made to order.
There are scores of ready-made stock grilles and patterns on the
market, some of which can be applied with comparatively little trouble
to different purposes, but their greatest drawback as a general
decorative stock is their set style and finish, and consequent lack of
sympathy or relation to other furnishings.
We have been continuously advocating uniformity or conformity as the
foundation of decorative thought, and in no branch of the trade is this
more necessary than in the application of grille work. Few people would
have the courage to advocate the use of quartered-oak polished doors
in a room with white enameled wood trims, and yet grille work made
and finished in natural oak is confidently shown by some salesmen as
equally suitable for weathered oak dining-rooms, Oriental dens or Louis
XVI drawing-rooms.
This, of course, is the salesman or check-book holder’s end of the
business, and with incentives in the way of tally sheets and selling
percentage, small wonder if he considers the amount of the sale rather
than the suitability of the article. It would be better for the
trade generally if every salesman could have expert training in the
application of the goods he sells, and we believe this is possible
to the man who studies and profits by experience. “There is always
information for the man who is willing to dig,” but until this is
considered possible the decision as to fitness rests with the decorator.
We illustrate suggestively a few designs in which the practical element
is as much considered as the decorative.
[Illustration]
[Illustration:
Fig 157
Fig 156
Fig 158
Fig 159]
In Figure 156 grille work is used to break the length of a room and
form a partial division. The weight of the whole treatment should be
carried out in keeping with the woodwork of the room, and also with due
consideration of the size of the room itself, a large room requiring
the use of heavier woodwork than a small one, and the columns properly
proportioned to the amount of woodwork in the upper portion of the
grille which they support.
[Illustration:
Fig 160
Fig 161]
This treatment can be effectually employed to divide a large bay window
from the room proper, to divide a hallway, or to reduce the size of a
large opening between two rooms.
Figure 157 illustrates another application of the same idea, with
one side only supported from the floor. While it is not absolutely
necessary that the pattern in grill work should be exactly duplicated
on each side of the centre, the balance or symmetry must be retained by
having the same body or expanse of woodwork on each side of the centre,
or when a drapery is used, as in this case, it should be so disposed as
to equalize the appearance of the grille by having the heaviest part of
the drapery opposite to the heaviest side of the grille work.
Figure 158 illustrates an archway treated with a grille and drapery
forming an entrance to a bow window. Both sides of this treatment
balance, and the depth of the whole is determined by the height of the
room, sufficient room being provided for a comfortable passage beneath.
High doorways may be reduced in height by using a straight panel of
grille work, as Figure 159, and when used in conjunction with a pair of
portières the slim appearance imparted to an opening by long, straight
portières may be avoided.
Rope portières, as shown in Figure 159, serve much the same purpose of
transparent decoration as grille work, and may be effectively employed
for doorways, archways, alcoves, etc., and as they can be so easily
procured in special colors to match their surroundings, they have
become quite popular.
[Illustration: Fig 162]
In Figure 160 we illustrate a combination of scarf drapery and grille
corners. This idea can be employed in a great many ways, and with
different designs of corners (which can be finished to match the
desired woodwork), some very effective trims can be produced.
[Illustration]
The metal grille shown in Figure 161 is made of strap iron or brass,
bent to shape and riveted together in a frame. It is provided with two
incandescent lights, serving for illumination as well as decoration,
and squaring the arch for straight portières.
This idea of doorway illumination has recently been elaborately
introduced by the Parisian decorators in the form of festoons of
electric jewels, which scintillate and glow with beautiful prismatic
colors.
A door treatment after the style of Figure 162 would form an attractive
treatment for club, hotel or ballrooms, and the idea admits of almost
endless variation.
[Illustration]
Grilles are also made of rattan, the patterns made up in the scrolls
and spindles common to rattan furniture, and ordinary manila rope,
stiffened with glue, while bent into circles and scrolls, can be
assembled into very attractive grilles, which are shellacked and
varnished in natural or tinted colors.
Some of the mistakes most frequently made in the application of grille
work are characterized as follows:
“Using a design foreign to the style of the room.”
“Using too much grille for the size of the space.”
“Using diminutive designs for large spaces, and vice versa.”
“Poorly-balanced, top-heavy or lop-sided designs.”
“Inharmonious coloring.”
Always use a rule or rod when measuring for grille work; never a tape.
Take a pattern of all irregular spaces and fit the pattern into the
space to insure its correctness before making the grille.
The prettiest design may be hopelessly spoiled by a poor fit, and
measurements should be absolutely accurate.
[Illustration]
WORKROOM · AUXILIARIES
The workroom should be cheerful and well lighted; roomy and
well-equipped. Some upholstery managers, evidently considering the
workroom a disagreeable though necessary part of the department, do not
give sufficient attention to its location and furnishing. Perhaps one
of the reasons why the average upholstery buyer does not think more
highly of the workroom is because of the unsatisfactory comparison
it presents to the strictly merchandise end of the business. He has
comparatively little difficulty in figuring the percentage of gain on
twenty-five or fifty yards of material cut off the piece and delivered,
and can easily determine whether the transaction was profitable or
otherwise. But send that twenty-five or fifty yards of material
through the workroom, and unless he is a practical man, thoroughly
understanding the nature and value of the work performed, he is apt to
feel that the ratio of profit is uncertain.
We know of but one way to offset this feeling, and that is by a
carefully thought-out system of tallying, so that each item that passes
through the workroom will be accompanied by a voucher that shows
correctly all details of the work performed.
Briefly enumerated, the points to be covered in a system are about as
follows:
1. A careful check on every item of material directly or indirectly
supplied to the workroom.
2. A careful charging-up in the workroom of every item consumed in the
completion of the work.
3. A serial numbered sheet for each workroom order, which is filed and
indexed on the completion of the work.
[Illustration: Fig. 164.]
4. All goods taken from the department for use in the workroom should
be duly accepted, measured, checked and receipted for by the head of
the workroom and the receipt immediately deposited in the office.
5. All goods received from the workroom should be examined by the
salesman whose order they are, and all surplus goods checked and
receipted for by him.
6. All goods taken to the workroom should be accompanied by fullest
written instructions, and work should not be commenced until the
instructions are accepted by the head of the workroom.
7. All disputes relative to the amount of goods used should be referred
to the manager, and on no account should a salesman be permitted to
alter the workroom report on any order.
8. On receipt of the finished work the salesman should fill out on
workroom voucher his sales number, the amount charged the customer for
the completed work as covered by the workroom report, the date and the
number of his sales check.
The head of the workroom shall, after having receipted for an order, be
held responsible for its execution within the time stated, and should
return with the completed order all surplus goods, requiring a receipt
for same and depositing the receipt in the office. By having all
receipts from department and workroom numbered with the serial numbers
of the work-sheet to which the order belongs, it will be possible at
any time to verify the quantities reported as having been consumed in
the workroom, and a check can be kept on every order.
There is, however, no plan which human ingenuity can devise which will
not depend on the honesty and carefulness of those who operate it for
its effectiveness, and there is every necessity for carefulness and
certainty in connection with workroom management.
[Illustration: Fig 163.]
The work performed by outside men should be just as carefully
recorded--a proper sheet should be made out for each order showing
the nature of the work and the amount paid for it. The workman should
record his time and the materials used, and the sheet should be
returned to the office for filing.
With a system such as we suggest the manager has but to compare these
reports with his salary and expense list to ascertain the amount earned
by the workroom staff.
The equipment of the workroom should at all times be fully adequate to
the demands upon it, and the very smallest of workrooms should have
at least: A good sewing machine, capable of performing fine or coarse
work; a cutting table approximately 5--0 by 12--0; a work table 5--0 by
9--0; a pressing table 3--0 by 6--0; a draping board, a test pole, a
steamer and a cupboard for finished work.
As to the sewing machine, almost any reliable make of machine will do
the necessary sewing for ordinary drapery work. There are, however,
special machines for special kinds of work, such as window shades,
awnings, bobbinet curtains, etc., which greatly facilitate their
manufacture. Poor machines of any kind (human or mechanical) are false
economy.
The cutting table should have a level, smooth top, and should be so
situated that the operator can walk all around it. If covered with
white table oil-cloth the measuring lines placed upon it from time to
time can be washed off, and the top is always smooth and free from
slivers.
The work table should have a good, clear, soft wood top, and should
be permanently marked in feet, the first foot at one end being again
divided and marked in inches. This is the table to which portières are
tacked in making, as illustrated in the chapter on portières.
[Illustration: Fig 165]
The pressing table should be of a convenient height for pressing, and
should be padded to about the thickness that two layers of an ordinary
blanket would give it, and then covered with clean white unsized cotton.
The drapery blackboard should be about 5--0 by 15--0, or larger, if
convenient, so placed that the top of it can be easily reached. The use
of this board has been referred to in the preceding chapters, and the
illustration, Figure 163, gives further explanation of its purpose.
The test pole, which is also shown in Figure 164, is used to test the
hang of portières before and after cording.
The opening can be set at any desired height, and the portières can be
thoroughly examined before leaving the workroom.
The steamer shown in Figure 165 is used for steaming the nap of pile
goods which have become crushed, the cross partitions A--A are tightly
stretched pieces of heavy cotton which absorb the moisture, and the
open top of the box is covered with several thicknesses of the same
fabric. The steam enters the intake at X, and follows the direction
of the arrows until it finally emerges through the top. The goods
are drawn across the top of the box beneath the roller nap side up,
and the brush roller is made to revolve so as to lay the nap in the
proper direction while it is softened by the steam. The motion of both
roller and goods should be steady and continuous from beginning to end,
and should be slow or quick according to the amount of steam passing
through the fabric.
The quantity of steam should be regulated so that it will just soften
the fabric without making it wet. The hair of the brush should be
short, even, and fairly stiff. The brushes used in carpet sweepers
when joined end to end make good steamer brushes, or the roller can be
covered with mohair plush, so that the nap forms a brush.
While it may not be always convenient to construct a steamer large
enough to take the width of the goods with one operation, and as
complete as the one herein described, the quality of the work performed
by one of this kind will repay the effort of building it.
Drapery work that is not worth doing well is not worth doing at all,
and it is far better to turn out a perfect job at cost, or even at an
occasional loss, than to turn out poor work that pays a big profit. The
customer who receives firstclass work will usually return and will be
willing to pay you a fair price for your work, so that in the end you
may be recouped; but the customer who pays a big price for a poor and
unsatisfactory article seldom returns to give you another chance.
It would be a magnificent achievement to make a workroom pay
thirty-three and one-third per cent. profit, but the chief _value_
of a workroom lies not in its earning power from a per cent.
standpoint, but rather in its power to hold and satisfy critical custom
and in the educational suggestiveness finished work produces, and which
accounts for a large amount of the yard goods which are sold without
passing through the workroom.
Transcriber’s Notes:
Obvious printers’, punctuation and spelling errors have been corrected
silently.