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C F- ET E- º F- º Fº E- Fº T Fºl ST F- º C º º F- F- º ETL - * **- T] BEQUEST OF MRS. JAMES HUNTLEY CAMPBELL HT -- -- - - *_2: Yºº :-- * * * ~ * ~ *ºº IllinIIIllilululliſtillllllllllllllllllllllllllllllllllllllliſitſ U - - - - - - - - - - - lºſſilſillſiſſiſſilſill i i | i | : | PRACTIC A.T., DECORATIVE UPHOTISTERY CONTAINING FULL INSTRUCTIONS FOR CUTTING, MAKING AND HANGING ALL KINDS OF INTERIOR UPHOLSTERY DECORATIONS -- imustrated WITH NUMEROUS WORKING DIAGRAMS AND DESIGNS, ALIKE WALUABLE TO THE UPHOLSTERER AND HOUSEKEEPER BY F. A. MORELAND PUBLISHED BY THE AUTHOR COPYRIGHT, 1889, . BY F. A. MORELAND. All rights reserved // K. •) i ºf * # , //34 PREsswork BY BERwick & SMITH, Boston. 73. /. -č % Who. 2/4 -ez. A.I.A.4% # t &/ 5 & 2- P. R. E. F. A. C. E. THE object of this book is explained by its title — to describe the methods of cutting and making drapery and other necessary accessories of the house. It is, we believe, the only book now published relating entirely to practical work. It is not in- tended as a book of design, and the sketches given, with a few exceptions, have been introduced simply to assist the expla– nations or to approximate the expense of the average drapery. 4. In the designs of drapery, the variety of forms being some- what limited, it has been impossible to avoid a similarity to a certain extent, but it has always seemed to the writer that the excellence of a decoration consisted more in its adaptability to the premises, in texture, form, and color, rather than to its possession of some new fold or wrinkle never seen before. It is the art seen from the standpoint of a practical draper, and if to an expert such close attention to detail seems tedious and unnecessary, it must be remembered it is written for the uninitiated. C O N T E N T S. PAGE GENERAL REMARKS . . . - - º * e • tº º 7 MEASURING FOR DRAPERY - & - * tº t º * º 24 PLACING POLES AND CORNICES © º º e e e e º 33 TO PLAN, MEASURE, AND CUT FESTOON DRAPERY e e º - 36 CUTTING WINGS OR TAILs, ETC. - - º e e º - - 44 FRENCH DRAPERY FESToon • - - º e º cº º º 50 IRREGULAR DRAPERY & º º & e tº es e º - 57 3AISED DRAPERY e • - º - . . . . . e e - 69 CUTTING FESTOONS TOGETHER . - & º e ſº & º © 79 NARROW FESTOONS . -> g " e º © e - - S4 LOOPED-UP DRAPERY º e e * dº * ſº e & * 92 FLAT WALANCES WITH FESTOONS . - º º º e -> ... 106 FLAT WALANCEs . e • - - -> º e g º e . 115 ALCOVE AND ARCHWAY DRAPERY . - e & e e º . 127 MUI.LION WINDOWS . e © - - º º * e - . 137 ESTIMATING, CUTTING, MARING, ETC. tº e * & º . . 145 LACES, GLASS AND SASH CURTAINS - º º e e º . 158 SHADE WORK tº © º - * - & e * ſº - . 167 PoRTIEREs . . . e - e e º & tº e - . 179 ARRANGING TRAVERSE CORDS . º - º e º * º . 190 COVERING WALLS e - - • º • º e e e . 194 DRESSING-TABLES - º º - - º e º e º . 201 BED-HANGINGs . • - * - - - e º e º . 225 BRASS BEDSTEADS e º º º e e º * º e . 239 MATTRESSEs, PILLows, CUSHIONs, ETC. . e & tº & º . 259 MANTELS o • e - - - - s tº e & I - . 270 SLIP Covers e e º º - º º & e & e . 280 CARPETs & º s e - - - º e & e - . 292 MEASURING . e e - e - e º e e º - . 296 ESTIMATING AND CUTTING e - - e & º - - . 304 ITALIAN AWNINGS g e - - - e sº e e - . 313 CONCLUDING REMAIrks - º - e ſº & º e - - 317 ILL U S T R ATION S. Treatment of Three Windows A Cosey Gorner Dining-room Drapery Diagram of Poles and Cornices How to Measure Large, Irregular Openings Old-Fashioned Drapery . Diagram of Festoon Diagram of Tail and Pipe Diagram for Cutting Wings in Pairs . Diagram of French Festoon . Design of French Drapery Valance . Diagrams of Irregular Drapery . Design of Irregular Drapery . . Design of Irregular Drapery . . Design of Irregular Drapery . . Diagram of Raised Drapery . Design of Raised Drapery . Design of Raised Drapery * . IXiagrams of Cutting Festoons Together . Design and Diagram of Narrow Festoon . Diagrams of Narrow Swag . Diagrams of Looped-up Drapery . Diagram and Design of Looped Drapery . Diagram and Design of Looped Drapery . I looped Drapery . © * g . Diagram of Flat Valance with Festoons . Flat Valance with Festoons . Diagram of Flat Valance PAGE 99 101 103 107 113 117 ILL USTRA TIONS. NO. 29. 3O. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 4.l. 42. 43. 44. 45. 46. 47. 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58. 59. 6O. 6l. 62. 63. Modern Flat Valance {e & Flat Valance over Looped Drapery. “Morning-room '' Day Window with Box-Pleated Valance Archway Drapery - º Alcove Window Drapery e e g Diagram for Cutting Alcove Window Drapery Pleated Drapery for Mullion Window Mullion Window Drapery Mullion Window Drapery Diagram of Swag for Pleating & sº Design and Diagram for Lace and Glass Curtains Austrian Shade Diagram of Austrian Shade Archway Portières . Diagram of Swinging Pole Looped Hall Drapery g & © Diagram of Traverse Pole and Stage Curtain - Floor-plan for Measuring Walls Dressing-table Diagram of Frame for No. 47 Dressing-table º o & Diagram of Frame for No. 49 Dressing-table * Design of Frame for No. 51 Design of End of Room . Bed with Canopy Canopy with Diagram of Frame Festoon Canopy . & g Bed with Box-pleated Canopy Brass Bed with Raised Canopy Plain Festoon-canopied Bed . Old Four-post Bed . Diagram of Tick Mantel Mantel ILLUSTRATIONS. 64. 65. 66. 67. 68. 69. 7O. Mantel * > • • Mantel Drapery in “The Den” g Chairs showing Working-plan for Slip Covers Chairs showing Working-plan for Slip Covers Diagram of Floor, for Measuring Carpets Diagram of Floor, for Measuring Carpets Vignette . PAGE 276 277 283 289 299 301 320 PRACTICAL DECORATIVE UPHOLSTERY. GENERAL REMARKS. So much has been written on this subject, that the writer, in offering this book to the public, would feel it quite necessary to accompany it with an apology were it not so entirely different in its purposes from anything previously written. The various publications and articles relating to the subject, though full of good suggestions and designs of drapery, fail to furnish the necessary and much desired practical instructions for doing the work. - There is a dearth of information regarding this branch of the upholsterer's trade, and comparatively few who are engaged in the business are good drapers. - Apprentices have been taught, or rather allowed to learn, the other branches of the trade, but the drapery-room has been a sacred precinct, a kind of blue chamber, from which the aver- age apprentice has been excluded, and the drapery-man has usually been very unwilling to communicate what it has per- haps cost him years of experience to learn ; hence the limited knowledge of the average upholsterer of what is known to the craft as “outside work.” The necessity of this practical knowledge is now keenly felt; 8 PRA CTICAL DE COR A TIFE UPHOLSTER Y. for though the mechanical details may be minor affairs, they are still indispensable to the proper completion of the work. Through the rapidly increasing demand for upholstery deco- rations, a large number of persons, as merchants, salesmen, or Workmen, are brought into a business entirely new to them, and of which it is very difficult to obtain a practical knowledge. It is of the first importance to a salesman that he should be Somewhat familiar with various styles of decoration, and that he should know what fabric, color, and arrangement would be suitable for the various apartments. He should also know something of forms and of the construction of drapery, that he may be able to advise correctly and calculate closely the quan- tity of material required, as in this age of sharp competition it is desirable to know how to produce the best results with the least expense. It is of great advantage to be able to make a sketch of the hangings; for a design, however rude, will convey the idea better than any amount of verbal explanation. e If one can make an effective drawing offhand, it will produce a most favorable impression, and inspire others with confidence as to one's taste and ability; also, when parties at a distance desire some fanciful style of drapery, it is a good thing to be able to show by sketches what can be done, and to approximate the cost. It is not necessary that the sketches should be more than plain outline drawings, though of course the more artistic, the better the impression given. A mere front elevation is all that is needed to show the space with the proposed decoration. GENERA. L. R.E.M.A. R. K.S. 9 When the dimensions of the spaces are known, these designs should be drawn to a scale, so that the exact proportion can be shown. One inch to the foot is an excellent proportion for a working-plan, and a half-inch to a foot is a good size for mail- ing, and will convey the idea as well as a larger. If a pleasing sketch has been made without regard to any particular size, or a design chosen, the dimensions of which require altering, it can be adapted to the required space by making a scale drawing of the space and copying the design upon it, keeping the same general style, though modified to fit its altered proportions. By making a scale drawing of the space to be draped and then transferring the sketch to it, it is at once in tangible form to be measured for estimating quantities, and calculations made for cutting. After the sketch has been made into a scale drawing it can be enlarged to full size by the method shown in “Flat Val- ances.” In adapting a narrow sketch to a wide space it will not do to widen each part of the design in the same proportion, as it would probably make the sides too wide to look well; there- fore the sides should be allowed to remain nearly the same, while the excess in width should be met by adding to the centre. In practical work this scale drawing is indispensable; as by having a scale draught of the space the proportions of drapery can be altered until the desired effect is obtained, and the exact relative proportion of the drapery to the space can be shown. 10 * PRACTICAL DECORATIVE UPHOLSTERY. Many people contemplating the addition of drapery to their homes like to know something of the expense to be incurred, before actually giving orders, and have styles suggested; for though their taste may be excellent, their ideas are generally vague and unsettled, and some suggestions in regard to the manner of decorating are necessary. The sketches of the vari- ous draperies in the usual styles may suggest to the reader something appropriate, or assist in producing some happy com- bination. The quantities of material being given for certain dimensions, one can very nearly approximate the expense of similar styles or sizes after deciding upon price of goods; and, by becoming familiar with the usual method of doing the work, will be competent to successfully carry out any ideas one's taste and ingenuity may dictate. The modern house is very dependent upon its upholstery decorations for the necessary finish, and no part of its furnish- ing contributes so much to the elegance, or to the feeling of cosiness and comfort, as the drapery for windows, doors, beds, etc.; and there is always an uncomfortable sense of bareness when no drapery has been furnished, no matter how generously the apartment has been supplied with furniture and other appointments. In planning for drapery, color is of the first importance, and harmony or discord will result from the selection. A few words on the effects of color may not be out of place, though for a more extensive knowledge of it, one should procure some special work on the subject. Red is the most positive color, advancing and asserting itself GENERAL REMA RKS. 11 and producing the effect of warmth, but seemingly contracting the space where it predominates. Yellow is sunny and cheerful, neither advancing nor retiring, and has the effect of both light and warmth. Blue is a retiring color, giving the effect of space and airi- ness, especially if high in tone, but apt to produce a feeling of coldness, unless broken with yellow. In most cases the choice of colors is controlled by the previous treatment of the rooms; for usually the hangings are the last things considered, and the draper the last person called in ; and therefore selections must be made with reference to the plans of architect, painter, and previous furnishing. - Opinions differ regarding colors, whether the window shall match the walls or be furnished with contrasting colors. Some authorities claim that the room should be regarded as a picture of which the walls are the background, and should be retiring in tone, any strong contrasts disturbing the breadth and repose. Advocating that theory, one would seek to match the general color of the walls, and introduce contrasts with furniture and paintings. Quite as happy effects are produced by contrasts, providing they are not so violent as to destroy breadth. In case the walls are of a cold tint, and especially if the room has a northern exposure, it will be advisable to use warm colors in. the hangings. The tendency at the present time is toward light furnishing, suggesting more or less the styles of the First Empire, and the times of Louis XIV. and XV. Woodwork in white or “old ivory,” relieved by gold; walls and ceilings in delicate tints, 12 PRACTICAL DE CORATIVE UPHOLSTER Y. and drapery in festoons. These rooms require drapery of color to suit the airy tone. The fine lines of tapestries of suitable grounds, with floral designs in natural colors, or more subdued colors in silks, brocatelles, etc., are especially appropriate. The variety of color and design is almost endless; for, thanks to a growing taste, the draper is not now, as thirty years ago, confined to a few crude colors, and something can be found suitable for every occasion. The larger number of rooms, how- ever, represent no particular style of decoration, and the desire is simply to produce harmony and good effect with a minimum expense. Figures or design of the material is also a subject for consideration ; for if the walls are covered with very strongly pronounced figures, the hangings will be more in harmony if of a plain material, or one of quite subdued design, as too much Ornamentation becomes tiresome. Good effects are produced by repeating the frieze in the hangings. However, no positive rule can be given : every case must be a study for best effects. The form and manner in which the drapery is to be hung will depend somewhat upon the purpose for which the room is intended, and also upon its architectural design, and again upon the whims or desires of the occupant. The tendency is toward the French drapery in loosely hanging festoons and folds. This style fell into disfavor in the time of the Eastlake reform, but has recovered its prestige to such an extent that in some cases it descends to actual Slovenliness by overcrowding with material; whereas the object should be to decorate and not to encumber the spaces. ~s w e º ºr º * - ***. z?{??\\ 2.0 : "N， **::::ºx * \ ! Y- A. * -: 2) *e * SAA OCINTAA GIGIŅIEIL ŒIO JONGTINJ, V GI™IJL – ”T "ON wº- - NNN\\\\\\\\\\\\\\ GENERA L R EMA R K.S. 15 In planning the drapery for a whole house or a suite of rooms, the parlors naturally represent the height of excellence, and give the keynote, as it were, to the rest of the furnishings. For the windows, long curtains are the most appropriate, and in keeping with the importance of the apartment. If not suffi- ciently elaborate, an over-valance can be added, or the curtains can be carried into festoons at the top, and so connected, repre- senting them in one piece, as shown in article on irregular drapery. The former method is really the most desirable ; for with the over-valance, the long curtains can be hung on a rod and made to draw behind it. This arrangement allows of their being thrown completely back for admittance of more light or the more convenient approach to the window. & Lace curtains should be added, of course, and also short laces or glass-curtains, hung on rods next to the glass. In the usual city parlor, with all the light coming in at the end, and where there are three or four windows in a row, close together, it is desirable to preserve the light as much as possi- ble, and also decorate the windows. A good method in such a case is to use a full, long curtain at each side, covering a little more than half of each outside window, and to connect them with a valance in festoons, or a plainer style, according to fancy. Add laces at each window, under the valance. Rooms built with bay-windows at the end can be treated in a similar manner. Design No. 1 is a suggestion for treatment of three windows in a row, or would answer for a bay-window. The effect of nearly all being in one piece would be increased by using the same trimming on the long curtains and on the valance. 16 PRACTICA L DECORATI VE UPHOLSTER Y. Methods of cutting and making up would be as explained by rules for the same, and the quantities required for space shown, nine feet by fifteen (9 × 15), would be, in fifty-inch goods, fif- teen (15) yards material, thirty yards (30) flannel inter-lining, twenty-two and one-half yards (22%) silesia, or other yard-wide material, for lining, twenty-one (21) yards of fringe ; fifteen feet of rod to hang the laces on, and a pair of brackets for each rod. Make a single hem at the top of the laces for the rods; two pairs loops for the laces, and a pair of loops to match the long curtain, with hooks for all, and the poles of brass or wood. A box-pleated connecting valance always looks well, and com- bines a good effect with less material. The entrance to alcoves or “cosey corners,” usually found in the modern house, offers an opportunity for a tasteful display of drapery. These would be in such a position that both sides would be seen, and so, if lined, the material should be nearly equal in quality to the out- side. A double-faced material would require no lining. Estimate for this design, No. 2, considering the space to be eight feet high and five feet wide (8 ft. × 5 ft.), will be about as follows: two and three-fourths (23) yards fifty-inch material, four and one-half (4%) yards trimming, if used, five and one- half yards inside lining, two and three-fourths lining-satin, or its equivalent in other goods; two and one-half (2}) yards of ribbon for looping. For over-drapery four and one-fourth (44) yards of fifty-inch material, three and one-half (3%) yards fringe for ends of scarf only. If linings, eight and one-half (8%) yards flannel, four and one-half (4%) yards lining-satin. Gilt pole and large ring at top. * *-* **-- *-*. - *-* * * * * * ---> -- . } | --. *s ºffee tº ~~~~ SS- •.-----x-xº~ S sº-sº-" -- ~~~ sº ORNER. NO. 2. — A COSEY C GENERAL REMARKs. 19 If made of China silk, double the quantity of material. Add a pair of laces, or four (4) yards of muslin, and four and one- half (4%) yards ribbon for looping the laces. Portières at entrances are indispensable, and there should be at each of the large double sliding doors a pair for each side of the casing; thus the doors can be closed and concealed by the curtains on either side. - The most satisfactory method of deciding color and design is to show the material with large samples of carpet and wall- hangings. One of the worst features to contend with, and arrive at satisfactory results, is the inside blinds when placed so as to swing into the room ; and the best thing to do with them is to have them folded away, and decide they are not to be used. Unless the window is a recess, the blinds cannot be used under the diapery without crowding the work too far into the room, necessitating either a wide space between the curtains and wall admitting light, or else an ill-proportioned return, either of which is bad. An inside shade of dark, agreeable color, and running next the glass, is as effective as the blind in excluding the light, and when not needed can be run up completely out of sight. In cases where the windows are so close together that outside blinds cannot be used, a neatly made Venetian blind is better than the inside swinging blind. The general effect of the dining-room is usually lower in tone than parlor or drawing-room, and, owing to the greater simplicity of its furnishing, a plainer method of draping seems desirable. Design No. 3 for valance and curtain would look well if made up of plush or plain velours with appliqué or embroidery. Esti- 20 PRACTICAL DECORATI VE UPHOLSTER Y. mate in fifty-inch material : eight and one quarter (84) yards, sixteen (16) yards of canton flannel, twelve (12) yards of silesia, ten (10) yards of cord for edge of curtains, about seven (7) yards of trimming, about four (4) yards of short fringe for lower edge, ten (10) tassels; loops to match. It might be suggested that in place of a valance of the curtain material, a similar treatment with some of the grill work just coming into fashion would make a pretty and appro- priate finish for the top of the window. It should be of the same kind of wood as the rest of the finish of the room. It could be an open lattice allowing the light to show through, and the curtain to draw behind it; or it could be backed with the same material as the curtain. There is generally a greater quantity of woodwork in natural colors shown in the finishing and furnishing of this room than in the other apartments, and this admits of stronger coloring in the drapery. Oak seems to be regarded as the most appro- priate wood for this room ; and for colors to harmonize, shades of blue, brown, dull reds. For ebonized woodwork, shades of gold, olive, or orange red, cream or “old ivory ‘’ finish, pale greens, rose, copper, pale Olives, etc. Black walnut needs more intense coloring in the material than any of the light woods; for its deep, strong color will cause soft tints to appear insipid. Ash, butternut, and other light-colored woods are usually treated in the same way as oak. These suggestions are in accordance with the usual treatment with plain colors; and the same colors should predominate if figured materials are used. 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I l : =44 inſt ill \ --> ~~~-º-º-º: -| –- … • T . ~ ~ ~}>}}\\ •* • • •--***）- №|•… ~ -… №w=======.- **===FE-E№ae，！=№Ē-TEOEFE -*=-z=======— <===_№_ ------------------·→→→~~ſae —~~~~ ·- --------<==--~--~— ！= №-~№ºº…==--~№=--~~~~===<！--№ * -----* …，==>==--~-____ *=~-_===*…-..- *-******~*~~~~ | R-COE„<-----*~）.„ “”*~ ~ ~ ~5–…… . . . ~*~*=~ ~ ~__№s_ - ---- *** ± --~TÊ--~~~~ ~~J_<！--~~~~）;----~~~TE----- ----· * ×s--~~~~__==№_.*~*=~~~===* ----- T` 5€_-ºſ, --~~~~ §2 - 5° ~ *\ x-.\,* -**，* - --- →→→* × «-»� № •<！-- S）：ŹŹ→S N ...º / ----*** ~, „-ºs …ae „æ** •• __（*• -----*---**→ ----…====--- --◄* ___---- •*--◄* , º ~ Ř~_~~~~）; §§ / | 2. §ſ \ \ \ \ \ \ \: 'll ſy" § \ \ , *. & 'º' º \ \ \ } * \ S Q *. 7 { S Q ( º º - - * > S. - b. **** -e--------> * * *** * =ºss tº ** *~ * * ~ *--> -- ~~~~ ***S*** éź *** --§§áÉ<<<<<<<*2^ „ . § { SHIONED DRAPERY. –FA o. 6. —- OLD N PLAN, MEASURE, AND CUT FESTOON DRA PERY. 39 or other space to be draped, and on this draw in plain outline the design selected, keeping the various parts in proper propor- tion to each other and also with regard to the height of the space. Being drawn to a scale as described, it can easily be measured for laying out full size for cutting. Drapery cutters have various ways peculiar to themselves of arriving at the same results, but a good method is to have in the cutting-room a long pole arranged so it can be raised as high as any drapery would be required, or lowered for the greater con- venience of fitting the work to it. In this way a finished drapery can be attached to the pole and raised as high as required for inspection. On this pole mark off the full width of the space to be draped according to the size given in the scale drawing, every inch in the drawing representing a foot on the pole. Design No. 6 is a good example for a practical application of the rules for cutting. This kind of festoon, or swag as it is technically termed, made exactly in this form, will not be often required in the modern style of draping in festoons, but it contains the principle of all festoon-cutting, and the sketch as it is shown will be of assist- ance to the beginner in establishing proportions, and is the basis, as it were, from which to project other ideas. In this design no attempt is made to represent the whole drapery in one piece. The proportions for this or similar are allowed to be about as follows: the side wings or tails to fall about half-way down the side of the window, the festoon to fall between a quarter and a third, and the pipe or centre piece a little over half the depth of the festoon. 40 PRACTICAL DECORATIVE UPHOLSTERY. This arrangement of proportions will define an arch, and for a window nine feet from pole to floor the side wing should fall four and a half feet, including the fringe. Allow about nine inches each side on the pole for the top of the folded wings. The rest of the space to be occupied by the heads of the festoons and the pipe or centre piece. The pleating of the festoons is to be carried under the pipe and side wings. - To Measure and Cut the Pattern for the Festoon. (See diagram No. 7.) —Mark off on the pole a space equal to the top of the festoon, putting a tack at each end of measurement. (See AA, Fig. 1.) Hook the measuring tape at one end, letting it drop down and around as deep as the festoon is to fall when pleated up, — and up to the tack at the other end of the head meas- urement. You have now the measurement around the bottom of the festoon, the width of the head, and the depth when pleated. - The pattern can be cut from the material to be used for lining or inner lining, and afterwards used as such ; though if the fes- toon is to be of thin silk or other flimsy material, a pattern of manilla paper will be better by which to work. The paper or whatever material from which the pattern is to be cut should be as wide as the distance around the bottom of the festoon, and deep enough to allow the proper fulness for pleating. There should be for this kind of festoon five pleats, about four inches apart. The rule allowance for fulness in depth is double the quantity for every pleat in the design, to which add the measurement from upper pleat to top of festoon. This is No. 7. — DIA GRAM OF FESTOONS. PLAN, MEASURE, AND CUT FESTOON DRA PERY. 43 not absolute, and can be departed from to a certain extent, but beginners had better confine themselves to the rule until suffi- ciently expert to experiment. To Cut the Pattern. — Fasten on the cutting-table a sheet of paper or material used of sufficient size for the pattern, its edge even with the side of the table, and on the side nearest you draw the line BB (Fig. 2), and as long as the measurement around the bottom of the festoon. With a large T-square strike out the line C, which, as this festoon has the same form on both sides, will be through the middle of the base line B.B. Now taking one-half the base line for a radius, with C for the centre, describe an arc of a circle of sufficient length to locate the points DD one-quarter of the length of the whole base line above the points BB. Rule from points DD to C on the base line, as indicated by dotted line. The pattern must be rounded a little at the bottom, below the dotted line, as shown by the unbroken line on the diagram. The depth of the festoon is now to be laid out on the line C. The rule is that a full festoon should have five pleats about four inches apart, and that each pleat should have double fulness, or eight inches, making forty inches above, besides the distance from upper pleat to head of festoon, which will be five or six inches more, according to design. Thus it will be seen that in estimating quantities of fifty-inch material, for festoons for a drapery of this or similar size and style, one and a quarter yards (1}) or one and one-third (1) yards each will be sufficient. - Having determined the depth of pattern, mark it off on the 44 PRACTICAL DECORATIVE UPHOLSTERY. line C, and through it draw the head line as shown at AA, and as long as the head measurement on the pole. Rule from points AA to DD. (See dotted line.) In cutting the sides of the pattern, hollow them in a little, as shown by the unbroken lines; an inch or so will be enough. To save time, mark out one side only, fold over on centre line and cut out the other side. This is the simplest form of a festoon when both sides are equal and the head is to be stretched straight along the pole or cornice. In cutting festoons from thin silk or other flimsy material, without linings, the rule of locating the points DD one-quarter of the whole base line above the points BB should be departed from, else the weight of the fringe will drag the lower pleat out of shape. Allow, instead, one-eighth of the whole base line. This keeps the bottom of the festoon straighter, and resists the weight of the fringe. CUTTING WINGS OR TAILS, ETC. DLAGRAM 8 shows the method of planning the wings or tails and centre pieces or pipes. A good proportion for form for the wing or tail is to have the short side about one-half the whole depth, though of course it really depends upon the form given in the design. To cut the pattern, fasten upon the table a sheet of paper or white cotton large enough to receive the full pattern, the edge even with the side of the table nearest you. On this f : No. 8. — DIA GRAM OF TAIL AND PIPE. CUTTING WINGS OR TAILS, ETC. 47 draw with charcoal the exact form of the tail as it appears when folded. Carry up the line of the front edge until it meets the back line, as shown at A (Fig. 1). Stick an awl at A and with string and charcoal-pencil draw the circling lines 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, or as many as there are folds in the drawing, and cutting through them ; also another line representing the top of the tail. (See B, Fig. 1.) Now take the measurement of each fold and add a couple of inches more to it, to allow for hanging loosely, and mark it out on the circling line running through it ; for example, with point of dividers at a on line 2, take the measurement from a to b, and mark it off on line 3. Next take measurement from b to c, place point of dividers at b on base line, draw an arc of a circle to cross the line 4, and so on, taking the measures of the folds and marking them on the circling lines running through them, as shown by diagram; you have now the outline of the bottom of the tail, and marks where to lay the pleats. From these marks, a, b, c, etc., draw lines to A, and at their points of intersection with the head line B, make notches in the pattern to show where to fold the pleats. At C on bottom line, draw a line to A, and its point of inter- section with head line determines the width of head of wing. For a double wing make pattern for one side, fold over and cut out other side by it. Pipes and centre pieces are cut in the same manner. Do not attempt to make too many folds in such small spaces. By an experienced cutter much of this formula can be dis- pensed with, merely measuring the back and front of wing in 48 PRACTICAL DECORATIVE UPHOLSTERY. the design, and guessing at the curves of top and bottom. To -* make a good full wing for a space of fifty-four or sixty inches DIAGRAM 9. — CUTTING WINGS IN PAIRs. in width, nearly a full breadth of fifty- inch goods or its equivalent will be required, getting the facings for the lower edge from the waste. For a space of forty-eight inches or less in width very fair wings can be cut from one half- breadth of fifty-inch goods, and by laying the folds from back to front there will be no zigzag line at the bottom, so no facing will be re- quired except at the lower corner where the wing returns to the wall. Where the wings are folded from inside outward forming a zigzag bottom line, as shown in design, it must be faced up inside with the material, else the lining will show. CUTTING WINGS OR TAILS, ETC. 49 Nine (9) inches will be usually wide enough to cut the fac- ing strips, and they will bear piecing by calculating so the seams will be hidden in the folds. There is usually enough waste in cutting the swags and wings to furnish facings. Another method to economize in cutting the wings when the figure of the material permits them to be reversed, and also does not show darker or lighter, is shown by Diagram 9, representing a breadth of goods with a pair of wings marked out upon it. It will be seen they are both for the same side of the window, and to cut their mates from the next breadth the raking lines must be run in the opposite direction, as shown by the dotted lines in the diagram. This can only be done when two or more even numbers of spaces are to be draped. For an odd space the wings would require each a full length without reversing, except in cases where the material was dou- ble-faced as well as reversible. It would not be wise to esti- mate on such a basis unless the material had been decided upon. 50 PR_4 CTICAL DE COR A TI VE UPHOLSTER Y. FRENCH DRAPERY FESTOON. IN making up a drapery when the design is intended to con- vey the idea that the whole is in one piece and simply thrown over the pole, the festoons are cut by a different rule, as in hanging they are to droop below the pole at the head, and the pleats, instead of being gathered together in a small compass, are - spread along the pole to correspond to the width of the wing or long curtain to which it is attached. * This method is especially adapted to the fashion of using poles, which allows a freer handling of goods than in using the cornice, and if well done will quite deceive the eye and appear as though the goods had been put over the pole without cutting. Indeed the request is sometimes made that the drapery be so arranged and not cut at all. This would be impossible to do except for some very simple form of drapery in silks or other reversible goods requiring no lining. It would be very impracticable any way, and the desired effect can be produced better by having the drapery properly cut and made up in separate pieces. - The design must first be drawn to a scale adapted to the form of the window or whatever the space may be, having each part in good proportion. On the pole before alluded to, mark off in full size the width of the drapery, dividing it up according to the spaces required for the various parts. Put a tack at each end of space to be º t º R § W § º * ū \\ Wi) wºw." : \\\ - ſºr' Wilſº j|| !!! º No. 10. – DIAGRAM OF FRENCH yºutſill' mill - | t! ſtill it!" FESTOON. FR ENCH DRA PER Y FESTOON. 53 occupied by the festoon. (See AA, Fig. 1.) Hook the measuring tape at A, letting it fall down and around to A at the other end, and as low as required by the scale drawing. This gives the full measurement around the bottom of the festoon which is to be laid out for base line AA, on the pre- viously prepared paper for patterns the same as for cutting the common festoon. (See Fig. 2.) - With the T-square erect the perpendicular line BB, Fig. 2. This will be through the middle of the base line, as the festoon at the bottom is the same on both sides. Now take half the base line for radius with centre at B, draw the sweep C, and on it locate the point C, one-sixth (l) the whole base line above the point A. Now mark off on line BB the depth of the pattern, which is to be twice the depth of the festoon when pleated up. Through the mark at the top draw the head line, which is to be as long as the measurement of the head each side of the per- pendicular line, which in this case is a little less on the right side. (See head line DD.) The head is to be measured the same as the base by dropping the measuring tape as low as the head of the festoon is to sag below the pole, and noting the measurement each side of the plumb line, which is represented by the perpendicular line on the pattern. - Rule from points CC to DD, and you have three sides of the festoon. Draw one-half the bottom as shown by diagram. Cut around sides, top, and this half of the base, fold over on perpen- 54 PRACTICAL DECORATIVE UPHOLSTER Y. dicular line, and cut out the other side of bottom by the same CULI'V6. Design No. 11 would do for an over-drapery for portières going outside the door casing, or the form modified for the occa- sion would be an easily made valance in silk for a light drapery over laces, or to festoon the front of a mantel, and is an easy lesson for a beginner. From five to seven yards of silk would make a lambrequin for an ordinary-sized window, requiring five to six yards of fringe. In cutting the festoon for the design, the perpendicular line would come in the centre, as the festoon spreads the same both sides. IRREGULAR DRAPER Y. 57 IRREGULAR DRAPERY. Irregular-formed Festoons. – Much of this work is very irregu- lar, the festoons spreading more on One side than another, as illustrated by Design No. 13, where the festoon or swag is to appear as a continuation of the curtain. This requires another . rule and explanation for cutting. First make a careful scale drawing of the design, keeping each part in good proportion. Now mark off on the pole the full width of space required for the whole drapery. (See Fig. 1, Diagram 12.) - The width of the pleated long curtain at top will determine the spread of festoon on that side, as they are to represent one piece. Drapery hung in this manner will naturally incline more to the side having the heaviest quantity of material, and this should be regarded in making the scale drawing. Drive tacks in the pole to determine the space occupied by the festoon. (See AA, Fig. 1, and also at BB, showing the width of space for head of festoon.) Now prepare the paper or other material from which the pattern is to be cut, spread it smoothly upon the table as before explained, and proceed to take the measures directly from the pole. First determine where the heaviest and lowest part of the festoon will come, drive a tack in the pole directly above it, from which drop a plumb line (see Fig. 1), as a guide to the tape. 58 PRACTICAL DE CORATIVE UPHOLSTER Y. Now hook the tape at A on the left, letting it fall down as low as the festoon is to be when pleated up, and up to A on right. Swing the tape a little to the heavier side, and note the measure as it crosses plumb line. You have now the measure- ment around the bottom of festoon and also the quantities each side of the plumb line. Lay this out on the pattern for the base line (AA, Fig. 2). Mark on the base line the distance from A on the left to the crossing of the plumb line. (See Fig. 1.) This locates the position of perpendicular line (BB, Fig. 2), and on it mark the depth of the pattern which is to be double the depth of the festoon when pleated up. (See Fig. 1.) Through this mark draw the head line CC, which is to be as long as the measure- ment around the head of festoon (Fig. 1), and also according to the quantity allowed each side of plumb line (Fig. 1). Allow about one and a half inches more on each side for going over the pole and for trimming off after pleating. It is seen that most of the head falls to left of the plumb line and also a difference each side on the base line, so that in the irregular festoon the perpendicular line does not come in the centre. Proceed to find the lower points (DD, Fig. 2), in the same manner as explained for the other festoons, taking the irregu- lar quantities each side the perpendicular line for a radius and finding the points one-third of each radius above AA on base line each side. (Fig. 2.) Draw the curving line representing the bottom of festoon as seen in Fig. 2. Now rule from DD to CC, and your pattern is No. 12. — DIA GRAMS OF IRREGULAR DEAPERY. ， … ：-） ：:：：：：： ***** gz.，3 &; º ∞ §§§ §.ſ & º &º 3×2.3 22. º < *śs & & * * & º Ş. Sºğ º 3:6&I. ſº ** ÑwNŅ***** jº |-***=\ſ*（）. J_（~~）=（x！='•=================：：=* ==------==--> ===::=~~~ • … ------ ----¡¿ĒŻ，ż $（， ， ， ， ， aegaeaeaeaeaeae• ##:. （AS）. . . .，.，:.，，，。2。、:Zºº！！！！！！！！！！！！ £ €§， №.№ssº- - - № ！！ ！！ ） ■ ■ ■ ■ ■ =====ºsº №Ñ\！）~~·º ， §§¿№. ！！！！！！！！ ！！ ！！！！！！ :： （）、、、」 • * _…=:º :：：:• № |-·z-ig* → … •???- |-> → ž~~~~ ~~~~ ~~~~， -…±，±，±，±,± ∞∞∞∞aerº， №， |- №ſae [- ſº º º [. t ، ، ،Ē， ， ， ºg*ae s：=≡ ≈ ≠ ≤ ≥ <== ae : §§§ €2， €： <ºzzz！ （~~~~<） ！~=* zº. %, z Ř No. 18. — DESIGN OF TREEGUI, A.R. DRAPERY. IR REGULA R D R A PER Y. 63 complete. Remember to reverse the pattern when cutting pairs, else the festoons will all be for one side. The top of the curtain must be laid in folds, not box-pleated, to correspond to the folds in the festoon, and if carefully done, the whole will seem as in one piece. Fig. 3 shows the manner of fitting and pleating to the pole, after which the festoon is trimmed, basted, or pinned, and taken down to be bound. Now sew the three parts together to throw over the pole. sº- This design, No. 13, is introduced as an illustration of irregu- lar work with estimates for items for windows nine feet long by five feet wide (9ft. × 5ft.). Five and three-fourths (53) yards of fifty-inch goods, eleven and one-half (11%) yards flannel, about nine (9) yards sateen, two and three-fourths (2+) yards of edge fringe, and four and one-half (4%) yards deep fringe, three-fourths (#) of a yard of rope for looping back. Add laces, loops, and three-eighths (3) brass rod to support the lace and poles of wood or metal. The long wing will be a full breadth, cut raking at the bottom. Measure down front and back edges of the wing design to determine the angle. The festoon is cut as per rule, dropping a plumb line over the deepest fall and noting the measurement of head and base line each side. To fall twenty-four inches when pleated up will require forty-eight (48) inches of material, so allow one and one-third (1%) yards; it will require some piecing out at the corners. The short wing will require more than half a breadth of goods and not quite a whole one, so the waste from the wing 64 PRACTICA L DE COIRA TI WE UPHOLSTER Y. will piece out the festoon. Both wings will need to be faced up about nine or ten inches. Turn over the laces at the top and make a two-inch hem to receive the rod. No. 14 is a style of draping adapted to soft material, and if well cut and properly put together, can be made to appear as though all in One piece. It is, however, made in four parts and joined over the pole. That effect would be more apparent if the same fringe were used alike on valance and curtains. Items for a window nine feet six inches by five feet (9 ft. 6 in. × 5 ft.) would be six and one-half (64) yards of fifty-inch mate- rial for long curtains, two and three-fourths (2%) yards for the festoons; these would fall about two feet, or perhaps two or three inches more, exclusive of the fringe. Eighteen and a half (18%) yards of flannel interlining, thirteen and a half (134) yards yard-wide lining, fourteen (14) yards fringe, three and one-fourth (3}) yards of which is for the valance. The several parts are made up, pleated, and bound with the material and sewed together, and when hung are simply thrown Over the pole and kept in place either by tapes on the under side, to tie around the pole, or by stage pins. This design is intended to give the impression of all being in One piece, and will make up well in any soft material. It is a good example for a beginner, but it is better to cut it out in the flannel inner lining first, and try it. The quantities of fifty-inch material for a window nine feet high by four and a half feet wide (9 × 4) would be about as follows: six and a quarter (6%) yards for the long curtains and about one and a sixth (1*) yards for each festoon, seventeen ll: unº ilº '*'ſ * * ∞ ſae ķ iſ; ſae {{#ž }№ | №№ sº įžğ#ff|İſ Ķīļ ſaei [iſ:’ xa ^.a. ----***- TOE™Ş, T__ ·şS`` → （~~~~===~====S 2×3××××zzzzzczaeCaeſae 。2。、、、、、、S§§ ŹŹŽŽŻŻŻŻ?$2ğźŽĢĞ 323322222222Ă， ZZZZZZZrae º - sº ſº W.” - W. sº º:S$$$. ∞ | 0 ſ. ： ae ſ. No. 14. — DESIGN OF IRREGULAR. D.R.A.P.E.R.Y. OF THRHREGULAIR. I.) H. A.P.E.R. Y. No. 15. — I) ESIGN RAISED DRAPERY. 69 (17) yards cotton flannel inner lining, thirteen (13) yards silesia, 3 and a half (3%) yards fringe for festoon, ten (10) yards fringe for long curtains; add pole and loops. Estimated quan- tities for No. 15 about the same as No. 13. RAISED DRAPERY. THIS is a very effective method of treating a wide space, as, for instance, in uniting several windows under one drapery, or for the middle section of bay-window. It serves to break the monotonous level line, and apparently adds height to the room. The design No. 16 is given as a practical example, and the accompanying diagram of the festoon will show the method of cutting it. There is no rule to decide the height of raised pole above the main pole, as its location is determined by the design made for the space, under the control of taste and circumstances; but for a window of ordinary size, or the middle section of bay, or sim- ilar space, six to ten inches above the top of main pole will be enough. It should project enough beyond lower pole to allow the drapery to swing clear. For convenience of making this kind of drapery, there should be attached to the working-pole another small pole, arranged so it can be raised and adjusted to any height required by a design. This will also be of great convenience in fitting the drapery. Suppose them to be in place and adjusted as required, meas- 70 PRA CTICAL DE CORATIVE UPHOLSTER Y. ure for the drapery as follows: Lay out on the pole, each side of the centre, spaces required for each part of the drapery as given in the scale drawing of design. See Fig. 1 for method of measuring for the festoon. Hook the measuring tape at A, on the raised pole (Fig. 1), drop it down and around to A, on the main pole. Allow it to fall as low as the festoon is to be when pleated up. This will be the measurement around the bottom of the festoon. Take measurement for head of festoon in same man- ner from B on raised pole to B on main pole (Fig. 1). Drop a plumb line down over the heaviest and lowest part of the festoon, and note the difference of measurements each side of it on the top and bottom. This is now the exact size of the festoon when pleated up, and all the measurements for cutting out the patterns. * To Cut the Pattern. — (See Fig. 2.) Fasten upon the table, as explained, the material from which the pattern is to be cut. Draw the base line AA (Fig. 2), as long as measurement around base of festoon on Fig. 1. Take measurement from A on raised pole to plumb line, Fig. 1, and mark it off on base line, Fig. 2, to locate line BB ; On it mark the top of pattern, which is to be twice the depth of pleated festoon, measuring from top of festoon to base, Fig. 1. Through the mark at B draw the head line CC (Fig. 2), as long as measure around the top of festoon on Fig. 1, allowing the proper quantities each side of the perpendicular line, and also an inch and a half each side for going over the pole. The bottom of the pattern is cut in the same manner as & — DIA GRAM OF RAISEI) LR A PERY. No. 16. * *--~: • <> ^）. //% lºſ， �g=== •- ،ae ، ، ، ، ، * | ！ ..--~ • • ► ►- - %%%%ºj ae …，= ar ssº： № ſae ¿№， ！§-s №È=xxRE：5Ē | '， —- DESIGN OF INAISED DRAPERY. No. 17. RAISED DRAPERY. - 75 explained for irregular festoons, by using the quantities of base line each side the perpendicular for radii. Raise the points DD (Fig. 2), one-third the radius given for their respective sides, as per rule for French festoons, and rule from DD to CC on head line. It is seen in this case, also, that the perpendicular line does not come in the middle of the festoon, and that the point D on raised side is much higher than the other. Remember, in using, that it is for one side only, and to cut the festoon for the opposite side the pattern must be reversed. Design No. 17 is a suggestion for long curtains carried over raised pole, to give the effect of the whole in one piece. For a small window, one breadth of silk would be wide enough, and it could be easily made. Cut the festoons as per rule for irregular festoon, dropping the plummet down over the lowest part of the festoon ; the head would be entirely on one side of the line. If cutting these from silk, cut the paper patterns first, and remember to reverse the pattern after cutting one side. It is very easy to ascertain the quantity by making a scale drawing of the window-casing; draw in outline the drapery, and with a fine cord measure the length of the cul- tains, and around the lower edge of each festoon. See how many inches your measurement shows, and every inch repre- sents a foot of goods, i. e. if the scale was one inch to the foot. The same measurement including also the bottoms of each cul- tain with ten per cent. added, gives the quantity of trimming. For a chamber window, say eight feet six inches high, about 76 PRACTICAL DECORATIVE UPHOLSTERY. eight and a half yards of siik or muslin, and twelve yards of fringe. The design No. 18 is given as an illustration of the work where the raised drapery valance ran into long curtains and would serve to break the monotony of the long line around the bay and add loftiness to the space. In place of the long side curtains, the festoons could end in wings and form a raised drapery valance, which, with the pair of long curtains each side, would make an effective bay-window drapery. The drapery as it is would require for a nine-foot window, nine yards of fifty-inch material, eighteen yards of flannel, thirteen and a half yards of silesia, nine yards of rope for edge, three and one- half yards of valance fringe. gael ſº ، vº *;， * ||||}| | ^ ||| ！ ！±，±，±，±，±）， 3，5（?：（?:（?：）?（.*）（.*）： {} £ { º № ſae - • ***-< :::::：::::：：№ºaeae §2º ºſºa，ãą. （'.::::::>:>>SSS №.№s=~~~~~-- ~~~）; №ſſae... :-） 'eae %}}:$3 �s º &&&&&&&&§2º:::：:| }V QKX，c'：} ► ► ►� » （、~ săšģēšșā ¿№ № 。，，S“№ºr_ 22€2<<！22ā~º --- sº & Nº. w & ſº -…--*** —-e- , --—-T r --- -------------" --" -- * ºsºvº. º, ...tx. º : º * . . . º ºlºr:ºr ºxxº~…sº **** º a- jº * Frº º º sº: #. * º ſº ** Wºº. * ...!! º § º º º W \\ { Ş “ſ --sº º \ , \ f ºx ~ \ c' \ \ * t l, *{ g = <！-- * -ae），~ ， ， ， ， …“ （E. zeae … ass=æ y - - ） ！ ！ ！！3！！！！!！！！！！！！！！！！！！！！！ Fae、。g.Laeae S ！=<ſzae |####### N 'S√≠ ≈ ≠ ≤ ≥ ≡ ≈ ≠ ≤ +× × × × × × ©∞ ſaeae-№zaezae; № № № №ºaeae №vae！：-Z-Z-Z-Z-Z 3. DIA GRAM AND DESIGN OF TOOPED DRAPERY No. 2 ~ \\? \ < - - - - - - - \* * * 3| \ lo #~ rºl QX, lo S. ~ No. 24. — DIA GRAM AND DESIGN OF LOOPED DRAPERY_ º &: º: º º *se. *º `ſºģ ?！?！?; ſae { |||||∞ | | ŽĒĢs（）; -|-- №ſaesă-lº=s.Lº|→ （U-T，75.233āžėžº į | ||ſ.ſ. № ſº'º -ș · ſae« .* ~:： *** ¡ º jº RY 25. – IJO OPED DRAPE NO LOOPE D– UP DR A PER Y. 105 one-half fulness at the top is quite small enough, but if parties desiring to economize should use less it will in no wise inter- fere with the methods here given, providing the relative propor- tions are observed. To Cut the Pattern. — Spread the paper of sufficient size on the table, the edge representing the back of the drapery nearest you, and even with table edge. (See diagram.) With T-square erect the line 1, representing the foot of the pattern. Now measure off the full depth of drapery and draw the line 2, repre- senting the extreme finish height of the drapery. Add line 3 two and a half inches beyond, for the top hem. Now draw the line 4–4 parallel to the back edge and as far from it as once and a half the measurement from 1 to 2, Fig. 1. Now draw line 5, Fig. 2, and as far from line 4 as once and a half the measurement from 2 to 3, Fig. 1. This represents the extreme front of pattern. On line 4, Fig. 2, mark the point 6, which is the same measurement from the top as that on Fig. 1. On line 2, quarter the space from 4 to 5 and draw the line 7 and as long as the measurement around the lower edge of fes- toon on Fig. 1, curving it as shown by diagram. Rule from 7 to 6, and the outline is complete. Now cut out the piece to form the pleated part. (See Fig. 3.) It is to be moved up on. line 4 until the two raking lines coincide, and the pattern is complete. - This utilizes the waste and furnishes the material to piece out the wing. Its position is shown by the dotted lines. The two pieces of the pattern are not to be joined. Keep them separated while cutting the material. 106 PRACTICAL DECORATIVE UPHOLSTERY. To Make up the Drapery. — Turn over wide hem at the top and divide it by a row of stitching through the centre ; the rod is to go in the lower section. Stitch on the wing piece and fell the seam. Put on the fringe and shirr up the rake of festoon and top of wing. Sew them together on the wrong side and put on a narrow binding. Add the ribbon or cord loops. FLAT VALANCES WITH FESTOONS. THE design with Diagram No. 26 is to illustrate another method of cutting a drapery where the festoons are made to appear on the face of a flat valance, without being made up separately and attached to it. It can be made a very attractive lambrequin with cretonnes by a tasteful disposition of the figures, bringing the principal ones in the design in con- spicuous positions. Materials having the figures in large, well- defined groups, or those perfectly plain, make up this way with better effect than those with striped or flowing designs. In some cases the design of the material should be considered in planning the form of the drapery, so as to better display the beauty of the goods. To plan and cut this lambrequin will explain the method for all of this style. Make the usual scale drawing of the space to be draped, and draw in outline upon it the form of the lambre- quin in good proportion. Measure across the face of the scale drawing, Fig. 1, and see how much goods is required in width to make the face of the ſº º -- Ir tº- C *. | } No. 26. — DIA GRAM OF FLAT WALANCE WITH FESTOONS. FLA T VALANCES WITH FESTOONS. 109 lambrequin and the returns each side. Suppose the one shown was in fifty-inch cretonne, it would require just two breadths in width. Cut off in length enough to reach from pole to bottom of wing. They must be nicely matched and sewed together and pressed. Fig. 2 represents the breadths sewed and spread on the table, the bottom even with the front edge. Measure the scale drawing, Fig. 1, to locate the position of the rosettes and the lower corners of the side festoons. Mark these on the goods. (See 1, 2, 3, 4, Fig. 2.) The festoon patterns are now to be cut from paper, treating the middle one as an equal-sided plain festoon and the two side ones as raised festoons. For the middle festoon take the measurement between the rosettes 2 and 3 to represent the head, and cut the pattern as explained for common festoon, laying out the head measures on the false pole and dropping down and around with the tape line. The side festoons can be measured from the design by striking a line (see AA, Fig. 1) with the T-square through the middle of the lowest fall, and taking the measurement of each side of it for base line. Being in scale, the measurement can easily be calculated for full size ; no head measurement need be taken. Cut a paper pattern full size from these measurements, and it will appear as shown from 1 to 2, Fig. 2. Lay the swag patterns on the goods to see how much in depth is required for them, and mark out the line 5—5, Fig. 2, and cut up and across, taking the piece completely out to be used in piecing out swags and side wings. Now make straight cuts up to Nos. 1, 2, 3, and 4, Fig. 2, leaving the goods in five strips to 110 PRACTICAL DECORATIVE UPHOLSTER Y. be pieced out to fit the swag and wing patterns. Push the swag patterns under the parts to be pieced out, round them at the bottom and piece out the corners to fit the patterns. Treat the wings in same manner. (See Fig. 2.) It will seldom be necessary to exactly match, as the shirring of the swags and folds of the wings will prevent mismatching from being discovered. All the piecing required can be taken from the part cut out. After being all pieced out and pressed, the swag pattern had better be laid on and the goods trimmed to a close fit. - If necessary to use interlining, silesia will be better than flannel, being less bulky. A lambrequin of this style for a window seven feet wide would require about three and a half yards fifty-inch material, five and one-fourth yards silesia inter- lining, five and a fourth yards yard-wide outer lining, six yards fringe, three yards drapery rope for looping up. Pole and fix- tures. This style could be carried out with good effect in light materials and ruffled cornice in place of the pole, and also dis- pense with the rope and use rosettes at points of looping. If cornice were arched in the middle, using one-third of the width for the arch, make the middle swag of corresponding width. - A pine cornice four inches wide and arch four to six inches in rise would be a good proportion. For ruffled cornice and ruffle instead of fringe for trimming, the lambrequin, the same size, would require in fifty-inch goods the same quantity for valance and linings, to which add, instead of fringe, two and a half yards extra for cornice and valance ruffle. For FLA T' VA LANCES WITH FESTOONS. 111 valance ruffle, make nine cuts, four inches; for cornice, six cuts, six inches wide. The cornice must be covered on top and bottom edges or all over with the material before putting on the ruffle. A pole would look well if covered with the same material. We admit that ruffle trimming is a little out of date, but many still prefer it to fringe, and we are not suggesting aesthetic ideas but teaching practical work. Design No. 27 is a suggestion for flat valance with half fes- toon each side, cut from the same piece. Would be suitable for traverse curtains, as the valance reaches quite across the win- dow. This would admit of the use of two materials, the valance being in velours, plush, or some other plain goods with appliqué or embroidery in silk, gold or silver cord on the flat portion. The double pipes at sides are made quite separate and with fringe of different design and coloring. The long curtains could be of the same or some other material of suitable color and softer in texture. This could be used with a pole if preferred to a cornice, but the pole should not be less than two inches in diameter, and with very bold ornamental ends. In either case the long cur- tains would be hung on an iron rod behind the valance. The rod should be of five-eighths polished iron. An iron rod is more slippery than one of brass, and curtains traverse more freely over them. Arrange the traverse as ex- plained by the diagram further on. The cord should be well stretched before using, else in a short time the curtains will cease to meet when drawn together. Put stout rings on the 112 PRACTICAL DECORATIVE UPHOLSTERY. rod, large enough to move freely without jamming, and put hooks on the tops of the curtain. If they are put three or four inches apart, the curtain will not bulge out against the valance when drawn back. The lace curtains are to go on a rod back of long curtains. The valance can be cut to have a short seam over the rosettes, run the material the other way and get the rake of swag from under the round of the centre piece. The estimate given is for a window ten feet by five feet six inches. For long curtains seven yards fifty-inch material, four- teen yards canton flannel inner lining, ten and a half yards silesia, ten yards edge trimming, one pair loops, nine yards traverse cord, rod and pulley. Valance would require two and three-fourths yards fifty-inch goods, five and three-fourths yards of valance fringe, two yards fringe for the pipes. Bands can be made from the waste if the whole drapery is of the same material. The quantity of material for appliqué work depends upon the amount of ornamentation. fº & Jº º çãº, * * * * sº R_ sºe. Sssº'. * - 2 *7. ==Gººse /º SS- --.' . \ ſ f % ... * 2/33 º < * * \, e’,º º ºf 3 \º, * 5, Ys ~/ C e \, \º < * {{? st * ºb S. * ...? sa...22% º 'º...card ' tº º # Šs cº,<3 gº" & ‘Seo.o...?’ ‘’ ~&&.” * <5&.' '-' ‘. S&pgº £gºš% ; §§33 Y º | º §§ t i Ş. \| w | |} | t | 3. # '3 | 2 | ? | | ? ſºlº ||| | § Nº. *7. Fij 㺠§ p isº l | | | . . . // | | !c *}} | | | | | }, , | | fº/ | % Q., SS ~~~ º “º S - * * 8è Sss Wuw ſ *g ºśs---ºff *4% ) fy §§ Eš. Tº ſ. \ . . Sº, Q2 fº ſº '• }} ; } | ſº f ( .N P * * ) ºn 2. J \ *~~3. 3. J * -) ; R. g . º Y ; Sº 2 ſ | {} º ; c. . . \ - J * ; "| § 3.) III ū t \ * iłł \ \ º } º } t % \, 2% ºf i § N | | º º º' 1– No. 27. — FLAT WALANCE WITH FESTOONS. IFLA T VALANCES. 115 FLAT WALANCES. FLAT valances are things of the past except when used in connection with festoon work to heighten its effect. They are usually made over buckram to help preserve a flat surface. The accompanying design, No. 28, with diagram, will explain the method of transferring the scale drawing to the pattern paper in full size. The diagram shows only a small enlarge- ment, but sufficient to illustrate the principle. Make a scale drawing of the window and draw upon it an outline of the design desired. Prepare paper or buckram of sufficient size to make the lambrequin. Paper had better be used for the pattern, as it saves the buckram from being broken in doubling over, and the buckram can be cut from the paper afterward. r Divide the scale drawing by a line, A, through the centre, and subdivide one-half by lines as shown in Fig. 1. Now with the paper for pattern fastened to the table, the top part nearest you and on line with edge, with the T-square strike the line through the centre, corresponding to the line A, Fig. 1. Add the lines BB, giving the measurement across the face of the lambrequin, and outside add the lines CC to determine the width of returns each side. Now divide one side of the full-sized pattern into the same number of divisions as the scale drawing, and copy the contents of each division on the scale drawing into the corresponding divisions on the full-sized pattern. (See Fig. 2.) This is a very 116 PRACTICAL DE CORATIVE UPHOLSTERY. easy and accurate method of enlarging or reducing drawings. If you do not wish to make lines across the face of a drawing, tack together a light frame, or cut a hole in a sheet of pasteboard as large as required, and divide the opening into spaces with thread. Fasten the frame upon the drawing and copy from it as explained. The exact pattern being now transferred and enlarged to the full size, the paper can be taken up and folded over on the centre line. Tack it to the table and with a sharp knife cut out both sides at once. Now block out the buckram into pieces large enough to receive the pattern. Pile them all up evenly on the table with the paper pattern on top. Fasten all in place with awls or tacks, and cut the whole pile at once. Now block out the material and piece out if necessary. Have the seams, if possible, where they will be the shortest, and also pay due attention to showing conspicuous figures to the best advantage. Press the seams and spread the work on table, face down, lay on it a buckram form and secure it in place with tacks round the edge. Trim off material all round one inch larger for hemming down. The material is to run across the valance, bringing selvages up and down. Fold the material over on to the buckram and hem down with long stitches, clipping in a little at the corners, etc., to make a flat surface. Now take out the tacks and spread on the lining, previously pieced and pressed; secure this in place also with tacks, and baste all round; trim all round, leaving enough to hem down. Hem down top and sides, sew on the • => •• • • • •= <> •=> • • • • • → → → → → → → → → → → • • • • → e- → • • •== = = = => • � No. 28. —DIAGRAM OF FLAT WALANCE. lºsſ/º/º 2. e % º ºW =\ =% = 3% jº/sºs.Wºº ºs &sº Š §§2. %$ \ A t * o s 2&\\\\\\\;=\S㺠--- §RN 3 WºSA) º SSN-223 & Sºzº Sº r NSN: ſº º ſº Aſ 57. §: º §§ Nº *—— !. * / 'ºrº f º ºw. ſº | || º ~ sº sº * º § \ * * \ ſº H 1 ºf . \ | ºt } º \\l * g Z 's HH t \ f º / º HH } \ f \ ,' | |A sº, // //###| | | || & \, | || $ 2% //" #A ' ' | t | || || Cº. 4// E \ . . . 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'. * ſ j , tº W. | | \ {& ** * * e s ‘. . . . ! sº \' t ! jº" * ', f \ / * ./, !" lº * ! | . # =3- * y & } " ; , i...} \} { \ 'º- S, sº \; f s } | \ \ \ ū // ſº = \ ... ', } | ...' / | sº 's : \ \\ º § == - , \{ \ \ |\ \'º','!'}; --→ ---- - - - -a- j i. i* " ", !" ºf j \;= ~~~~ --------- --------> -- i) \; \,\ |\ \ }, ºff-s ---------—- “T” * \º A\ \ Aſ I ſºft- • i : E||~- TT. i- \ \ - + E. ------ t E: T * - l |=#===- - \ ! E:ES - - * * Eä T E::==== ET_- No. 29. — MODERN FLAT WALANCE. * \s - - ~ * "> < e- * ,2' * * * - <$ * N. º f * S. * af \ . & - * Sºme, Iºrºiº),TºDº) TEMI. º º sº-º £ºffl --- *== : . . . . . t= | —ſ- Sººn § *RYºg º H §ſ Wºrs fºr wº |\ſſºrãs, * : E.” `NY NY \}^ Z.A. ºlaº . :=º §§ º sº y- CŞs $ $º : ºf § [º *-*-*—ss- \ - ſ - || | ºžs (\ \ ^ - *- No. 30.-FLAT WALANCE OVER LOOPED DRAPERY, MORNING ROOM. FLA T VALA NCES. 123 fringe, leaving the heading projecting over the edge enough to have the lining hemmed over on to it. If there is gimp, bands, borders, or trimmings of any descrip- tion to be sewed on, it is to be done after basting in the buck- ram and before putting on the linings. If to be hung under a cornice, it is simply tacked to the edge of the board, or have small rings sewed a few inches apart along the top to go over hooks on the board. If to be hung with a pole, mark off the returns each side and put hooks at regular intervals for the rings on the pole. Design 29 shows a modern way of using a flat valance. This can be made of plush with silk over-drapery. For a window nine or ten feet high by four and a half to five feet wide, the quantities would be about as follows: Two and a half yards plush, two yards plush fringe, two and a half yards canton flannel, one and a half yards silesia. If over-drapery is to be of silk, about thirteen yards, using one and a half breadths wide; fringe for ends of scarf, about four yards. If the silk is to be lined, estimate about the same quantity as for silk. If over-drapery is to be of plush, it would require about sixteen yards, as the side curtain would require two breadths. Design 30 is a suggestion for single window, with flat val- ance and looped drapery. This might be made with valance in plush and drapery in silk, or the whole of one material. The valance would not need buckram, as that would prevent pleat- ing. The valance should be cut slanting at the left end to give more fulness for pleating. Pleat up and attach the wing, 124 . PRACTICAL DECORATIVE UPHOLSTERY. make up the rosettes, and put the cord around as though it was holding all in place. For a window nine by five feet the quantities of plush and silk would be about as follows: Three and a half yards of plush, same quantity of cotton flannel, four yards of silesia lining, four and a half yards of fringe for plush. If under drapery is of silk it will require about eight yards, and if lined, get the same quantity in yard-wide material, two yards small rope for looping, and three yards large rope with three tassels for the plush. A valance of plush, silk, or other material suitable to receive embroidery or appliqué work, with lace, muslin, or Madras under curtains, may be suggested for variety. f •. Design 31 is a plain and tasteful way of treating a bay window, and especially appropriate for a dining-room or library, though not in order for a room that is to be treated in the French style of decoration. Looks well in any kind of material, and requires much less of it than a drapery in festoons, and equally well adapted to pole or cornice. For a window not exceeding nine feet high, a depth of two feet including the fringe would be sufficient for the valance. Allow double ful- ness for each pleat, and for an estimate for quantity of material double the measure around the window. If plush is used, run the breadth around, and avoid seams. Figured materials would require to be cut in short breadths and joined. Line, interline, and pleat to fit the pole or cornice. Six and a quarter yards for long curtains; four and a half yards of material, and ten yards of fringe for the valance. This is for fifty-inch goods. “RHON VIIVAgalvata xoaHILIAA AA OGINIA\ \vºſ – · Ig roºt { W N N N N s W s N\, «.§ : ¿¿AŃ ≡≡. № Ē№ №}|$## šįÈ№ſſºſ įſiſ}\Ēł | §§ .* № №=-） ≤= ==№ſſºſ |№-№ºr） |-f *-*=--~--~-~ ~~ ~~~~--~--~~） ~_----------| ~*=~*=~）____ ≤ \ | sº | l l e |||| :--> Wilſ ºf it." f - - - -->e: *>} *|-Č-º ， • ----§§ -???? Nt.� ~\)# -،}Å å ·# ��'ſ~*،\\|}\\mſaé! ! ſº:-· , ! 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The middle festoons must be kept high enough to allow a proper depth to the side ones, and thus preserve the ſº arch, and all must be carefully fitted, as the work º shows equally on both sides. f To get the exact form of the archway by which to form the pole, get a plan of it on paper, or by measuring as explained in the article on measuring for draperies. If there should be no capitals to rest the ends of the pole on, use socket brackets screwed to the wall, and keep the pole upright in place by a screw through the middle, under the pleating. It is absolutely necessary, to insure an easy hanging of 128 PRACTICAL DE CORATIVE UPHOLSTER Y. drapery, that the measures for cutting should be taken from the pole itself, or a duplicate drawing of it on the wall. A drawing of one-half would be enough if the festoons were cut the same on both sides, but as this is cut as a raised festoon on One side and a looped-up drapery on the other, the whole form must be drawn. Measure and cut the two centre festoons as per rule for French festoons, getting the measurements of top and bottom lines each side of the plumb line. By this method the exact form will be easily gained, which no amount of guesswork would accomplish. Cut the festoon on one side as a raised drapery and shirr up the lower rake; shirr the short wing, but throw it into folds at the lower part in hanging; trim off nicely and join the two together so that the seam can be covered by the loop. The other side will be cut as explained for looped-up drapery, shirring up the rake as shown ini sketch. - The wing can be shirred up, trimmed, and sewed to the fes- toon, both shirrings to be closely bound before sewing together, the rope loop hiding the seam. If the wing contains as much material in width as the festoon, and the shirring is properly arranged, the effect will be as of one piece; otherwise the effort will be defeated. Cut the paper patterns for the two side festoons, lay them On the material and cut out the sides and bottom, but leave the tops rounded up above the head line so it can be fitted to the pole. Now shirr these up and fit them to their places on the wall drawing ; draw the rounded tops up to fit the form of the arch, and trim them off nicely, allowing for a small hem, and A LCO VE AND AIR CH WA Y DRA PER Y. 129 mark the ring places. Take them down, hem the tops, and sew on the rings and fringe the bottoms. If the work is to be pleated instead of shirred, it must, after fringing, be pleated up to the wall drawing, pinned, trimmed off, bound, and all sewed together. The pleating or shirring, as it crosses the pole, must be prevented from slipping to either side by small pins sewed to the under side of the seam, and fitting into holes on upper side of the pole. The drapery must be all fitted to its place on the pole before putting up, and when taken down, all must come down together. The rings on the sharp curve each side must have pins on the inside to fit into holes on the top of the pole, otherwise the drapery will drag down out of proper form. The size of the pole will depend upon the nature of the goods. If light silk were used, a pole one inch in diameter would be large enough. If heavier material were used, a pole one and a half or two inches would be more appropriate. This sketch is for an eight-foot opening and nine feet in height. Quantities of fifty-inch material would be six and one- third yards, ten yards fringe. In silk, eleven yards, the same amount of fringe as before. Design of alcove drapery No. 33 is to illustrate the method of cutting the festoons. This is very similar to the methods already explained, but still sufficiently different to require Special explanation. First make a scale drawing of the space to be draped, as before explained, and sketch in the design selected. The best way to proceed is to fasten to the wall paper of sufficient size to 130 PRACTICAL DE CORATI VE UPHOLSTER Y. allow the full-sized drawing of the arch or space to be draped, to be drawn upon it. Paste two or more sheets together if one be not large enough. It will not be necessary to draw the whole opening, only that which is to be occupied by the fes- toons and part of the wings. (See Fig. 1 on Diagram No. 34.) On this make the full-sized drawing of the drapery just as it is to hang, allowing proper proportions of each part to the space, as per scale drawing. It can now be measured for cutting the patterns, leaving the drawing on the wall for future fitting. To Cut Pattern of Middle Festoon. —Draw a line from A to A to represent the head of the festoon. Centre it, and drop the plumb line, beginning at B in crown of the arch, and note the measurement of head and bottom each side of it. (See Fig 1.) The space from the line AA to the arching top will be the same as that shown in drawing, except leaving one and a half inches over for hemming, but that need not show in the pattern. Fasten the pattern paper on the table as explained, and draw the base line CC (Fig. 2), the length of measurement of bottom of festoon. Erect the line BBB, which, as this festoon is the same as both sides, will come in the centre. Mark off on centre line the height of the pleated part of the festoon, which will be twice the measurement from the bottom of festoon to the line AA on Fig. 1. Through the mark draw the line AA on Fig. 2, corresponding to the same line on Fig. 1. Add the arching top in Fig. 2, above the line AA, which is the same form and measurement as Fig. 1. Get the form of the bottom of the festoon by using one-half of the base line for a radius with centre at B, and finding the points DD *s, “iwww sº - s *—sess SS No. 33. — ALCOVE WINDOW DRAPERY. ALCO VE AND ARCH WA Y DRAPER Y. 133 one-half of the radius above CC. Rule from DD to AA, each side, and draw the line around the arching top, and the centre festoon pattern is complete. The allowance of twice the depth depends somewhat upon the nature of the material, thick goods requiring a little less. The side festoons are cut as per rule for irregular festoons. On the wall plan (Fig. 1), draw the line 1–1 to represent the top of festoon. Now drop the plumb line 2–2 down on the lowest part of the festoon as shown in Fig. 1. This will show the quantities of head and base line each side of it. Prepare the pattern paper on the table as before, and draw the base line 1–1 (Fig. 3), as long as the measurement from 3 to 3 around the base of No. 2 (Fig. 1). Now, with T-square erect the line 2–2 (Fig. 3), and locate it on base line as per measurement from 3 to 2 (Fig. 1), No. 2. In this case it does not come in centre of festoon. Now on upright line mark off height of the pleated part of the festoon, which will be twice the measurement from bottom of the festoon to the line 1–1 (Fig. 1). Now draw the line 3–3 (Fig. 3), giving the same amount each side of line 2–2 as that given on each side of plumb line (Fig. 1). This represents the top of pleated part of festoon, and above it add the same quantity to fit the arch as allowed in No. 2 (Fig. 1), or full-sized wall drawing. Get the rounded form for bottom as explained for irregular festoon patterns, and rule from 4–4 to 3–3 (Fig. 3), and the pattern will resemble. the diagram. The raking lines are to be shirred up to fit the measurements. of shirring in full-sized wall drawing, bound and sewed together, 134 PRACTICAL DECORATIVE UPHOLSTER Y. and heavy drapery rope drawn around the seams. Mass the shirring closer together at the bottom to make it appear that the whole is drawn up by the rope. The wings and curtain top are to be shirred to the width required and then trimmed off diagonally at the top to fit the festoon. Sew all together, as explained. An estimate for quantities could be taken from a scale draw- ing of one inch to the foot, without the labor of making the full-sized wall drawing. The quantity required for a drapery such as shown by the alcove design would be about as follows: For a space five feet wide by ten feet high, six yards, fifty-inch goods, twelve yards flannel interlining, if used, nine yards silesia. * If fringed on lower end of wings, about three and a half yards of fringe, or if fringed on all edges of festoons and wings add six yards and about three and a half yards rope. As this drapery would be seen from both sides, the lining should be similar in quality to the material used for the right side. A double-faced material would be specially adapted to cases of this kind. The use of the plumb line is the key to cutting all kinds of irregular forms. If not convenient to make a full-sized wall drawing, make a scale draft two inches to the foot and take the measures from that. • • • • �© © © •• • • • • • →� � * • • • • • 135 No. 34. —DIAGRAM FOR. CUTTING ALCOVE WINDOW DRAPERY. MULLION WINDO WS. * 137 MULLION WINDOWS. DESIGN No. 35 shows a plain treatment for a mullion window with cornice, though the same could be transferred to a pole by the addition of hooks to the drapery. It is an old and com- mon treatment but nevertheless a good one, effective and inex- pensive. It is introduced here to assist in approximating the cost of such a drapery to an average-sized window. The esti- mate given is for a window nine feet high and seven feet wide. Items as follows: Seven and a half yards fifty-inch material, fifteen yards flannel interlining, eleven yards silesia, nine yards edge trimming, two and three-fourths yards valance fringe, two pairs laces, loops for curtains and small loops for laces. Better have two pairs of laces although only one pair is shown in sketch. When one pair of pattern curtains are used for draping, the surplus lengths can be utilized by making the connecting val- ance in this way, as there would not be sufficient for festoon work. No. 36 is an example of a mullion window cut in four parts and joined on the top of the pole. A space seven feet by nine feet high would require about as follows: of fifty-inch material nine and a half yards, nineteen yards of flannel, fourteen and a quarter yards sateen lining, six yards fringe, ten yards cord for edge of curtains, a pole and a pair of loops. Allow about forty- four inches for each festoon and a full breadth for centre piece, cut as per rule for a double tail. This could be changed with good effect by using a raised 138 PRACTICAL DECORATIVE UPHOLSTER Y. pole in centre. This estimate of quantities is for a window nine feet high and seven feet wide, and from this basis it is easy to calculate the requirements of one larger or smaller. Design No. 37 of mullion window in recess. Window seven feet six inches wide by ten feet high. Cut the festoons as irreg- ular swags, and the sides as looped-up drapery. The five pieces are made up separately and joined together on the top of the pole. Eleven and three-quarters yards of fifty-inch material, twenty-three yards of flannel, seventeen yards of silesia or other yard-wide material for lining, ten yards of fringe, and about three yards of rope for looping back the curtains. №aeae :）-（=+，·，≤≥±−×5 ~---،= --！！ ¿≡≡≡≡=£ * * ----> -• • • •L vſ ~~~~ ~~~~）; ae|- ~{5}}º. ." . --№- º aes^ ^ ººae } --~~~ ~~~~ ~~ ~~~~ ~~~~• • • • <！^^ ~^~~ <_<. ! |- ---- • • • • • vlºº- n· • × ° ve … ,,- ：** º ~~~~.~~~~）. --~~~~ ~~~~ ~~~~ ~~~~ ~~~2× ×* • •* ~~~~ ~~~~ （čºč3%- ž==><！--№-№-~s><<.*º， №. ~~~~~~~~~~~ ~~~~~~ ~~~~）;-§§- *№.22−ą，<，2áæ22：2ī_2\ №&#ī， *£<！--~~~~，* ~~~~ x） ∞∞∞•--> - agram of top of Curta ))i （.*¿¿.*¿¿.* — №ĒĒĒĒĒĒĒĒĒĒĒĒĒĒŠŠS$sssss-szs~s - №t:§§§§§S：ssaeºs§§∞∞∞ →- * -ae，=~~~=========================：：-→±±∞&&&&&Ș№----،► ſae§șĒĒĒĻĽtā---.----~--~∞∞∞№sº§§§§`S`№ae E！= №. - ~~±± -----> --~~~ ~~№№§©®№ ！=-_-№._5№r-FĒ№_°:-！№. !! ！！ 3- =№=№ №T-（====Ē№ſsaeſ? №ž EŘ№.± （№№Tº-~--~~~~ ~ ~ ~~~~）.≡≡≡≡ 2 * * · ·： №5'…！！！！======== №ĒTĒ№-№-№|- Ē##Ē ĒĒĖ№ºr-±。 №ãº，Šº№ ATED DRAPERY FOR MULLION WINDOW. No. 35. — PLE sº * \ \ sº & sº º º ºº \ A ºWºº \\ \º &\\\\\\;\\ º, º: \\\\ &i. §§§ §§§ yº. § § \\ $3. §§ *\ . §§ *::$º f- w wº ºš , ; º;3 \\ *WW \º *AW § \\\z\s. §§§§ t * * ** N sº ** N l & \\\\ \ § § § * º \\. \º Wºº \\\ \\\\\\\\\\\\\\\ e º yaſ sº s º §. N\, N H. - § }§\ § s * §º \ * º- i º !| º § §Fº º -]º i &Rº No. 36. — MULLION WINDOW DRAPERY. =&ºmºmºmº-º-º-º-º-º-º-Fº mºmºm - *1 tº . ~~~~~~~~~~~~~~~~~º Jº Sº S - Sºº-º-º-º: * v-w * sº se” -- ~~ sº-º-º-º-º-º-T-> JTS-ºxº~~~~~~~~~T-º-º-º: fº **, *, *.*I' 7– * * & - - - • "T-.S. Nº --~~ :- -- ~ * : * ~ *...*** - - r" ºr * ** ". . . tº S. Jº • * * *—º. • *-ºxºº. v. ... ºf 4. .* f., S. ºf jº, º , w * ... " . . .7 , , ." § ‘. ...Y.S.S ' ' ' , 5.33. T.- - * * ſex & ~\- -*-*, * * * , , * * *- : . .” S. . c. * **) - ***, *, *, o * 9 "Ys * , … <3 sº 2 * , ; 'º - . ~~ . . . . . . . • * §§ • NY - * £ 43.2 °'. * -- ", , ... * t **, **:- - &-ºº ºx k s > * * ^ -'s , - . , 2 ° vº. S J.--> * - ºr 's . . .” --> J it, W \A. - 2. *.* :- *** * & * -- \, -* t * * ºw & - * ." - * *~ * — ** - * = mºtº \º i à - • * º * * * * º ! *\}. \ºdºſiº \ , \ \\ : \ ºº : * - i **** § - zº **ww.... " -->~~2.3% ºuww. gº 23Ž * --& º § s=::=º: sº ºº:: Fº: ##::=::=#Es:#; ſº * - 5- Esº- | * No. 37. — MULLION WINDOW DRAPERY. º. 3 -->. *: •: a sº * 3ºxº *2%.---- - - - - ? 2…<& º: & ESTIMATING, CUTTING, MA KING, ETC. 145 ESTIMATING, CUTTING, MAKING, ETC. IN order to estimate rapidly and correctly the quantity of material and trimming required, one has only to acquaint him- self with the rules and explanations given for festoon work, and then the usual allowance for fulness for plain long curtains. Double fulness is the proper allowance for pleating for curtains, though much less is often used. A breadth of fifty-inch mate- rial should not be expected to cover a space exceeding twenty- seven inches, after deducting what would be required for re- turns and hemming; this would leave only seventeen inches for pleating, which would be a small allowance. It would be safe, however, for a rough estimate, to allow two breadths of fifty-inch goods for a pair of curtains for an ordinary window. An average swag to fall twenty-six to thirty inches would require from forty to fifty inches of fifty-inch goods, and from one and three-fourths to two yards of trimming. This would be sufficiently accurate for an estimate before having the meas- ure. Of course if designs drawn to a scale had been made, it would be an easy matter to determine the exact quantity of material by measuring the drawing. To Estimate Quantities for Lining—If for fifty-inch goods double the quantity for flannel inner lining, and once and a half the quantity of silesia or other yard-wide material. Thus twelve yards fifty-inch goods, twenty-four yards flannel, eighteen yards silesia. If the material is only twenty-four inches wide, the quickest way is to make the quantity for fifty inches by halving 146 PRACTICAL DECORATIVE UPHOLSTERY. it. Thus, twenty-four yards plush, call it twelve yards fifty- inch, then it would take twenty-four yards flannel and eighteen yards silesia. With a material with large set figure, and espe- cially if costly, some attention should be given to the figures regarding the possible waste in cutting, before giving a selling estimate, else it might seriously affect the profits of the trade. With trimming an allowance must be made beyond the exact measure, for what will be taken up in sewing on. It will aver- age in woollen or silk-and-woollen about ten per cent beyond the net amount, and for silk about six per cent will be sufficient. For soft cord edge trimming of any material, allow ten per Cent. - Cutting Drapery. —In cutting long curtains allow three inches beyond the finishing length for hemming at top and bottom. The length is a matter of taste, but the fashion for the last fifteen years has been to have them just reach the floor. Many have preferred quite recently, however, to have them two or three inches longer. Portières that are to slide to and fro should just clear the floor nicely without touching. All curtains to be hung in pairs made from material of large and conspicuous design should have the figures of both curtains on the same line across. The same rule should apply to two or more pairs in a row, though a single pair apart from the others might be different provided they matched with each other. Cutting curtains in pairs this way, one is governed by the figures of the material, and if after cutting off one breadth there is to be a waste of goods before reaching the desired figure for ESTIMATING, CUTTING, MA KING, ETC. 147 beginning the next curtain, try a breadth for a wing, or a swag or odd curtain, if there are to be any, or add some of these lengths together if one is not enough, and so by cutting these odd breadths, not requiring matching, the desired figure may be gained without wasting. If all these fail, try the inside end of the goods. To Cut Swags or Festoons. – Lay the pattern on the goods so they will cross the breadths with the selvages at the sides, piecing out the corner if necessary. Attention should be given to the figures also, and if large and conspicuous it should be arranged to display them in the most tasteful manner, as upon this much of the beauty of the drapery depends. The method of cutting the wings has been thoroughly ex- plained in “Pattern-Cutting.” The inner linings are necessary to prevent the light from shining through and destroying the effect of the figures, as well as to protect the goods from fading. The drapery also hangs better, especially if of very thin material, by being interlined. Use cotton or canton (same thing) flannel generally, though in cases where the object is to cut off the light and still avoid thickness a dark slate-colored silesia will be better. This will be opaque enough to bring out the figures nicely, and be less bulky than flannel. The inner lining if not dark should be near the color of the material, as, for instance, light silk or other thin goods would be seriously affected when hung against a strong light, by having an inner lining of another color. Should a figured outside lining be used, be sure the inner lining is opaque enough to prevent the figures of lining and material from mixing when hung up to the light. - 148 PRACTICAL DE CORATIVE UPHOLSTERY. Careful attention to these matters will save a deal of trouble in ripping out and altering. Linings are usually of silesia or, what is nicer, cotton Sateen, made expressly for the purpose. These are manufactured yard-wide and in colors required. Silks and satins made for the purpose are also used, but gener- ally the sateen answers all purposes. Linings should be of a harmonizing color and lighter in tone than the material. To Make up Drapery. — One should be provided with tables large enough to spread out and baste together the material and lining without being obliged to move them. Before lining in the curtain, the crease in the middle of the goods should be pressed out, and all other work, such as embroidery, appliqué, insertion of strips or bands, should be finished, pressed and shrunk, if necessary, before lining. If the curtains are to be of mohair plush the nap must run down, and if of embossed plush the seam can be sewed by machinery, but if of plain sur- face it must be sewed by hand on the map side in the following manner. About one-half inch from the selvage of each breadth to be joined, with a large needle scratch the back of the plush for the lines for the seam. This will raise a ridge on the face side and open a furrow in the map. The two ridges are brought together and sewed. It is a tedious but not difficult piece of work, care being taken not to pucker the seam. After sewing, the seams must be shrunk by stretching them out and wetting the back. If bands or border are inserted these also must be shrunk out in the same manner. Tack them face down upon the tables, keeping the seams and sides in straight lines and the cross ESTIMATING, CUTTING, MA KING, ETC. 149 seams straight and at right angles with the sides. Sponge the seams a little, but not enough to soak the nap. Allow them to remain in this position until thoroughly dry, and they will be perfectly flat and smooth as though all woven in one piece. This method will do for all plushes and single-faced velours. Before making up silk plushes, the creases caused by folding away in boxes must be removed by forcing hot steam through the goods, and brushing the seam lightly while the map is soft- ened by the steam. If not convenient to have a regular steam- ing apparatus, a hot flat-iron or goose propped face up on the table will answer. Wet a cloth and wring it out so that it will not drip, and lay it over the face of the iron, over which lay the plush, nap side up. A cloud of steam is instantly forced through the plush; when the nap is just softened, brush and pat it lightly with a soft brush. Do not keep the goods over the steam long enough to get very wet, and use for a steaming- cloth an old piece that has been several times washed; a new piece might contain sizing enough to ruin the map of the plush. Bands of silk plush or other light material used on heavy goods should be applied to the face of the curtains, as they would draw and become ill-fitting if inserted, unless in case of a whole dado with no other goods below it. Curtains, table- covers, and the like, having borders of plain goods round the outside, are to have the border sewed on between the corners first. The mitres are then carefully fitted and sewed on the face side, and the whole shrunk as explained. Should it be a figured border, however, the whole border must be made first, 150 PRACTICA L DE CORATIVE UPHOLSTER Y. nicely matching the figures at the corners, after which the body of the cloth can be fitted and sewed, shrinking afterwards. Making up Drapery. — To make up the curtain, and the same methods apply to all other parts, such as wings, swags, etc., the material, being all ready for lining, is spread upon the table, drawn out smoothly, not stretched, and kept in place by tacks about a foot apart. The interlining is then spread out over the material and kept in place by a few tacks at the corners and elsewhere. Do not stretch the interlining, else it will pucker the material at every stitch after hanging; this lining is now to be basted to the material with rows of “knot stitching,” some making the rows every foot apart, and some putting in one row up and down the middle only ; the latter method answering the purpose quite as well as the former generally. The work is now to be basted all round the edge and about two inches from it (which bastings are taken out after the curtain is finished). Now fold over the material and interlining together, and baste a hem all round the edge of the curtain. If the front edge and bottom are to be finished with a fringe, these hems need be no wider than the back, as the outside lining will be carried over and sewed to the fringe heading ; but if no edge trimming is to be used, then the hem on the front edge and bottom must be wide enough to show an inch or more of the material for facing, and the lining is to be hemmed down that distance from the edge. Some always leave the facing. In “knot-stitching” the interlining to the material, use sewing-silk or cotton of the same color as the material, but the basting should be of a con- trasting color, so it can be easily seen and removed. If there are ESTIMATING, CUTTING, MAKING, ETC. 151 any heavy cross fringes to be applied to the curtain, now is the time to sew them on, as they should be sewed through interlin- ing and material. The edge fringe can be left off until the out- side lining is applied, and hemmed down at top and back. The portions of lining where the edge fringe is to go are left unhemmed until the fringe has been applied, when they are hemmed down on to the heading. To fit the lining when ready, spread the curtain again on the table, face down, putting in tacks as before. Spread on the lining and “knot-stitch" it to the flannel interlining as fol- lows: Fold one-half the lining back on the other half, putting an awl or tack at each end of the fold and pressing down the fold smooth. Put a few tacks up and down the row to prevent drawing or slipping back, and make the “knot-stitch " three or four inches apart. One row up and down the middle, or, at most, another row each side of it, will be enough for a fifty-inch- wide curtain. Now baste the lining all round, and hem down as advised. Another method for lining, which would perhaps be better for a novice, is to spread the flannel first and then the material over that, knot-stitching them together. This would remove the danger of taking too large a stitch in the material. The curtain after being basted would have to be spread again to receive the outer lining. In making up swags or wings it would not be necessary to hem the raking sides of one or the tops of the others, as after pleating or shirring they are usually bound with the material. Pleating up. — The wings are to be spread upon the table 152 PRA CTICAL DECORATIVE UPHOLSTER Y. and folded as they are to hang, allowing enough for the return, spreading more at the bottom than at the top. The curving line at the top is intended to force them into that form. If neces-, sary, trim the top and bind it with the material. If swags are to be shirred instead of pleated, they are simply gathered into one-half-inch folds, and bound with the material. Allow the shirring to spread according to the requirements of the design, the pleats to be picked out and arranged after hanging. To pleat the common festoon, such as shown in Diagram No. 38, the method almost suggests itself. Fig. 1 in accompanying diagram may be of assistance, Fig. 2 showing festoon spaced off for pleating. Spread the festoon on the table, fold it over to make a crease down the middle. Mark with a pin the space allowed from top to upper pleat, and divide the rest into five equal parts, putting a pin at each. Now divide the sides into five parts, with one hand pinch up the pleats in the middle, and with the other the corresponding pleats at the sides, beginning at the bottom, arranging them as you proceed so they will follow round properly, and not draw upon each other as you pleat up the other side. A little practice will enable one to dispense with the spacing off and pinning, for one soon becomes accustomed to pleating rapidly and mechanically without the pattern. A swag that is to be pleated and go over a pole to represent a festooned portion of a whole piece of material should be pleated upon the pole, or a duplicate of the one to be used, and better results are obtained than to attempt pleat- ing upon the table. No. 38, - DIA GRAM OF SWAG FOR PLEATING ESTIMATING, CUTTING, MAKING, ETC. 155 Measure off upon the pole the space to be occupied by the swag; fold over the top of the swag, and tack it to the pole, forming the other pleats and tacking on; arrange the pleats so they will follow round without drawing upon each other. In tacking on, allow the tops to stand a little above the pole, so they can be trimmed off square and overcast, after which they can be taken away and bound. See Fig. 3 for illustration. Drapery intended to convey the idea of being all in one piece should be sewed together after the different parts were pleated and bound. They can then be thrown over the pole and kept in place by sewing small stage pins on the under sides of the seams, to fit corresponding holes in the poles. A stout lambrequin hook bent at right angles will make a very good substitute for the pins. In putting on fringe or cord trimmings, hold them loosely and hold the material tight. Nothing but experience will enable one to do this work properly. Fringe will require at least two rows of sewing, unless the heading be extremely narrow. For curtains of chintz, cretonne, dimity, or similar goods, a ruffle of the same material is a pretty way to trim the work. This can be hemmed and box-pleated, or pinked and shirred up. Another way is to cut the goods in strips wide cnough to double over, and run the two edges together, after which shirr up to one-half the length and sew around the edge of curtain, putting it between material and lining. This also makes a good trimming for pillows. For making hemmed and pleated ruffle, cut the material one inch wider than the ruffle is to finish, and it pleats up better 156 PRACTICAL DE CORATIVE UPHOLSTER Y. if cut on a bias. The accompanying table gives the number of feet of finished and pleated ruffle to a yard of thirty-two- inch cretonne : — CUT STRIP. FIN IS IIE IX W IDTH. PLAIN STRIP. PLEATE 1) TO ON E-HALF. 2 inches. 1 inch. 40 feet. 20 feet. 3 & 4 2 64 27 64 13} 44 4 & 4 3 & 4 22 & 11 4 * 4} & 4 3% 44 18 44 * 9 & 4 5 4% - 4 & 4 16 {< 8 & 4 5% & 4 4}. & 4 15 4% 7% 44 6 44 5 * 13 * 6% & 4 7 4 4 6 66 12 4% 6 44 8 44 7 & 4 10 4% 5 & 4 Cut twice the length of strip that you want of finished ruffle. Hem, and pleat up with pins, first making pleats a trifle wider than the space between. Pinked ruffle does not require so much fulness as this, as it is to be shirred instead of pleated. Cut the strip only as wide as it is to be finished. A wide ruffle for a cornice should have paper, wigan, or a strip of hol- land sewed inside with the hem before pleating, or else a plain strip of buckram covered with the material and run along the cornice, to which the pleated heading is caught. Finish French pleated curtains in the same way. Portières, to hang straight and slide to and fro, require care- ful fitting, as they are neither to drag on the floor or be short of it. If of plain goods, cut off and hem the tops and put hooks on them; hook them to rings on the pole, raise them as - high as they are to hang when in the doorway. Now smooth out and pull down to get all the “stretch " out of the goods, ESTIMATING, CUTTING, MA KING, ETC. 157 and see that material and lining hang smoothly, without wrinkles. Trim them off square at the bottom, making proper allowance for hemming and trimming. Baste them if lined. Take down and trim or hem, as the case may be. Loose, “stretchy ’’ material, if not lined, can safely be finished an inch shorter than the space, as they are sure to stretch down by hanging. Portières made from curtains with borders at the bottom, or goods with large patterns to show entire at the bottom, can be hemmed or trimmed at sides and bottom; attach bottom side to the pole, and so allow all irregularities and stretching to come out at the top, which can be trimmed off and marked for hemming. It is better to put hooks close together, and not pleat the curtain. Ten or twelve to a fifty-inch curtain will be sufficient. * Curtains to be fitted to an archway or to an arching pole or cornice can be cut by a geometrical plan, but a less elaborate method can be pursued with equal accuracy. The best way to do this, because it is the quickest and most practical, is to have, when cutting the curtains, a form of that portion of the arch or cornice the curtain is to occupy; see Directions for measuring Archways. When cutting the curtains, block them out to this form, at the top a few inches longer than needed to finish. Make the whole curtain, leaving the top unfinished; spread them on the table, squaring the lower end to a right angle with the front. Pleat the curtain up into the width it is to occupy, arranging them all carefully; then lay on the pattern of arch and mark round with chalk. Cut off, over- 158 PRACTICAL DECORATIVE UPHOLSTERY. cast, and bind, and put on whatever is needed in the way of hooks and rings. - The usual way of doing the work has here been explained, but difficulties often arise that require special consideration, and they must be left to the ingenuity of the workman to overcome. See note in “Concluding Remarks.” LACES, GLASS AND SASH CURTAINS. LACE curtains that are to hang under long curtains or lam- brequins should be arranged so they can be easily removed without taking down the other work. The practice of attach- ing them to the same rings that support the other drapery when poles are used is a bad one, as it brings them all too close together to allow either to drape well. The best method is to turn a hem at the top to receive a rod which is supported by hooks or brackets on the casing. See that in hanging they do not show over the other work. The laces will shirr nicely on the rod, and always hang well. They can thus be quickly taken down, and there are no hooks or rings to rip off when laundered. Use a brass or hard-wood rod, as iron will be apt to rust. - The curtains are usually much longer than is required for the greater number of windows, and for those people who object to having them cut off, some way is to be provided to dispose of the surplus length. When used under lambrequins, they can be folded over toward the front, so not to show from the street LA CES, GLASS AND SASH CURTA INS. 159 side, and can thus be hidden by the curtain or lambrequin. When they are used without other drapery and are pleated and hung directly from the poles, it is a different matter. Not over twelve inches can be folded away at the top without looking badly. Another foot can be left for the bottom, which can be kept off the floor by draping from the bottom. This will allow almost the full width to display the borders to good advantage. It will resemble the arrangement on Design No. 29. Grasp the lower edge near the back, and gather in the pleats until high enough to reach the loops. After putting the loop around, pick out and arrange the pleats. Another way is to bring the lower back corner up to the side hook, gathering in the pleats fan-shape, and allowing the bottom border to hang vertically, the front corner just lying a few inches on the floor. Try it. Sew a loop of tape to the back of the lace to attach to the hook. Either method is of doubtful economy unless there is a prospect of their being required else- where. The best method is to cut them to reach the floor, and then they can be allowed to hang straight and yet be of proper length to loop back. The tops could be used as sash curtains if one so desired. - A very pretty way of treating the cream and colored madras curtains is to cut them off the proper length and use the top as a valance, fringing the bottom and shirring the top in with the head of the curtains. They should be cut off, as simply turning them over would show the wrong side of the goods. They could also be made with a hem at the top, run on a rod, while the tops were made up separately into a shirred or pleated val- 160 PRA CTICAL DE CORATI VE UPHOLSTER Y. ance to be hung to the pole over the curtain. The latter is preferable and could of course be carried out with any descrip- tion of curtain. When necessary to clean the laces, it is best to send them to those who make a specialty of such business, but, if not convenient to do so, the following method, from “The Decorator and Furnisher,” will be found very efficient. “Soak them over-night in warm water with soap and a couple of spoonfuls of borax or ammonia. After soaking twelve hours, move them around in the tub and that will be sufficient to remove everything but stains. Rinse them thoroughly in clean, warm water. Stretch them a little and fasten them to frames to keep them from shrinking.” Frames can be made of light strips. of board screwed together at the corners so they can be easily taken apart and packed away for future use; or the curtains can be tacked out on the floor, previously covering the carpet with large sheets of paper. Be sure, when tacking out, that the front edge and bottom are at right angles. Keep the back edge as near parallel to the front as the work will permit. All the unevenness will then be at the top, and the curtains will dry out nice and square. The top will have to be trimmed off square and rehemmed for the rod. Use very little starch, as, the more flexible they are, the more graceful they will hang. A common method of mending laces is to starch on the patches; some sewing will be needed, however, for large places. At the low price of laces, few people would care to spend much time and patience in extensive patching. The color of écru can be restored by an infusion of coffee in the water. Try the tone of the dye before putting in the curtains. Laces are now sold LACES, GLASS AND SASH CURTA INS. 161 so low that some kinds are within the means of almost every- body, and nothing freshens up the room so, or suggests to an outsider the refinement within, so much as a bit of lace in the window. - If using madras in place of lace for under curtains, it is best to select plain grounds in light cream, Écru, or pale gold, and avoid those containing strongly colored figures, however hand- some they might be in themselves, as it is better to have the curtains next to the glass coolest in tone. Glass Curtains are short curtains to go inside the casing, and are usually hung on a small rod with sockets or eyes on the stop beads, unless the window shades should be on the outside of casing. They will then have the rods supported by brackets projecting far enough to keep the curtain clear of the shade. Lace curtains of this kind are often used at the same window with long laces, and it is also a very tasteful way to drape chamber and cottage windows, and show the casing all round. Make them of some light material, silk, muslin, or madras, and trim them with soft fringes. A dainty way of trimming glass curtains is to use a lace two or two and a half inches wide, or they can be had in regular pattern curtains, in pairs, in Cluny, Brussels, Swiss, Irish point, Nottingham, etc. Finish these in length to just reach the sill, or, as many prefer, a few inches below it. Tie back with ribbon or small silk loops. The tops can be finished by turning a hem two and a quarter inches wide. Run another row of stitching through the middle of this hem. Run the rod through the lower division, and the 162 PRACTICAL DECORATIVE UPHOLSTERY. upper section of hem will form a ruffled heading. If necessary to move them back and forward often, it will be better to shirr up the tops in place of hemming, and put small rings on the back. Making them this way, allow only one and a quarter inches to turn over for shirring. Gather them up so they will be an inch or two wider than the length of the rod. A narrow band of same material or a tape sewed on one inch below top of heading and small rings every two and a fourth inches. A tasteful way of hanging short curtains for chamber or cottage windows is to place the rod with the brackets on the inside member of casing, so the ornamented ends will show on the face of casing. Shirr them at top and put rings close together and have them to open and close with the traverse cord and pulleys in the same manner as portières. The pulleys are made with rings to slip over the rod, and can be had of any house doing an upholstery business. The cord must match the color of the curtains, and the tassels of lead covered and netted over with cord of color to harmonize with the cur- tains. Brass tassels are apt to break the glass by careless handling. These are to hang straight up and down or looped back, as shown in sketch of cottage window. Curtains made of thin silk in this manner had better have the bottoms weighted with a little shot. Make a case of the same material three-fourths of an inch wide and as long as the width of curtain. This is divided into compartments, as the shot is filled in a few in each. Slip the case into the bottom hem, and sew up, and it will keep the curtain from flying around when the window is open. - = ---- ººººººººFº， º №ºaesae ers！！！！！！！！'， ， ， ， ， ， ， ， ， ， ， saewww… §§ŠŇSSSSRSSSRS，SRŠEŇSSSSSSS！！！！！ |№…！！!Ģ\ />）* - Å、。?\ || #777)， 7j/j//////%ſ'%$*| | | | | ----ſae！%Li ſil; Źźſ、§ .\!|- %| | | | t ! ** - *-- H. i d V. ======s=== Fº- No. 39. — DESIGN OF COTTAGE AND DIAMOND DERAPERY. LACES, GLASS AND SASH CURTAINS. 165 Some people prefer to have their glass curtains hung inside the shade, directly against the glass. It looks very pretty from the street, but of course would not show on the room side un- less the shade were raised. If the window shade were in its proper place in the run of the window or that part where the sash cords are, the laces could be hung on rods placed between the shade and the glass, placing the sockets on the small bead separating the two sashes, or if the groove is so narrow as to bring the shade and lace too near together, the shade should be moved out, else they would be entangled with the curtain. If they, the shades, could not be placed on the outside of casing without interfering with the other drapery, notch out the top of the stop beads and move the shade brackets out into the space so made. All this can be quickly done by removing the bead. Leave on the front edge of bead to hide the bracket. This is better than placing the bracket on the bead, as it allows a wider shade. In using ribbons for tying back, allow four and a half yards to a pair. Sash Curtains are usually made to cover three-fourths or the whole of the lower sash. Double-hem the top as explained and run on a rod with sockets, between the stop beads or Outside with brackets, according to circumstances. The top hem will require two and a quarter inches, and allow one inch for the lower hem. Make them of silk, muslin, or madras, and allow about double fulness. Make in pairs for convenience in opening. Vestibule Curtains are usually hung with rod top and bottom, and allow double fulness if possible. Finish them about five inches longer than the glass opening, so the hemming will not 166 PRACTICAL DECORATIVE UPHOLSTERY. be seen on the outside. In hanging, place the upper rod first, slip the lower rod through the hem, and draw down tightly enough to cause the curtain to hang in well-defined pleats, screwing on the brackets to hold. For a door with single large opening, a pretty treatment is to have the curtains in pairs, fringed and weighted with shot. Shirr up the top, put on rings for the rod. A traverse cord and pulleys with dainty tassels to match are a nice addition, but as such curtains would be within easy reach one could dispense with the traverse. To Cut Curtains to show a Diamond-shape Opening, as shown in sketch 39 (see Fig. 3, same page), make a full-sized draught of the opening and draw in outline the curtains as they are to look when finished. (See Fig. 2.) Spread the material on the table right side up and what is to be the back edge of the curtain on line with the edge of the table. Mark off the height of extreme finish measure of curtain at the back, and add two and a quar- ter inches more at each end for hems, Fig. 3. With T-square strike a line through the middle across to other edge of goods. This line will serve as a guide in shirring up the middle. Now measure the front edge of one curtain in Fig. 2, as it is shown pleated up, from top of upper hem to bottom of lower hem; lay this measurement out on other edge of goods, one-half each side of centre line, add also the two-and-a-quarter-inch allowance for the hems, as on the back line. Now rule from back to front edge two lines at each end, to show hem. The ends are thus cut obliquely, but after hemming, shirring on rods, and tying back, they will be like Fig. 2. Through the pencil line made with T-square draw a shirring thread before putting on the ribbons. SHA DE WORK. 167 SHADE WORK. To furnish a house with window shades so they will be satis- factory in every particular and remain so, requires proper decis- ion how they shall be hung, careful measuring, and equal care in the cutting and sewing. In hanging the shade see that the rollers are not so long as to bind in the bracket or so short as to fall out after a little wear; and that the springs are properly adjusted, so the shade may rise or remain down as desired. Often, even in new houses, the window frame is “out of square " enough to cause the shade to run crooked when put up “inside.” This defect often escapes notice in the hurry with the work, but the difference of the sides can be easily found by drawing down the upper sash just enough for the light to show over the top of it. All the requirements being properly complied with, the shade should keep in order for a long time with an occasional wind- ing-up of the springs. Trouble with shades often arises from the carelessness of those handling them. To raise or draw them down, the power applied should be exactly in the centre of the lowest part, and yet they are often seized by the side hem, which will cause them to run crooked, however well they were hung. It is very annoying not to be able to raise the shade or have it remain down when it is expected to do so; and the cause generally is, the spring requires winding up or un- winding a little, as the case may be. This trouble can be easily 168 PRACTICAL DE CORATIVE UPHOLSTER Y. corrected without waiting for the upholsterer, by knowing how to proceed. - - If the shade will not rise, it requires winding up a little. Draw it wholly down, lift the roller carefully out of its brackets, roll the shade up and replace it in the brackets. Repeat the operation until it will rise smartly. If the shade will not stay down, it is wound up too tightly. Take the roller from the brackets, unwind enough of the shade to fill the place it refused to COver. - New shades hung on balance fixture will often, after a few days’ use, refuse to remain wholly down when required, how- ever well the work was performed at first. This is no fault of the workman, but is caused by the shade becoming more flexi- ble as the sizing in the material is softened by use, and offers less resistance to the spring. Unwind them a little and the trouble will cease. The various kinds of shade rollers carried now by the trade are all classed under two heads, viz.: Those which are held in place by a ratchet on the spindle or barrel like the Hartshorn, and the “balance,” or those whose weight opposes the tension of the springs, like the Bray and Knapp fixtures. ' It is better generally to put the shade inside the casing, be- tween the stiles, as they are equally serviceable there and out of the way of the drapery. If two shades to each window are required, place them one above the other with double brackets, the lower one being the one to hang next to the glass. Unless, as in many' cases, the windows were sunk in several inches beyond the outside casing so the second shade coming next the SHA DE WORK. 169 room could be hung between the jambs. Such a possibility would be apparent at once to the experienced measurer. We can give only general rules, as it would be impossible to anticipate and advise for every situation. One must be gov- erned by circumstances. Objections are sometimes raised against putting shades inside the casing, on account of being in the way of the mosquito screen; but the proper place for the screen is on the outside of the house. Misunderstanding con- cerning the terms “ inside'' and “outside 'shades sometimes leads to serious blunders. To the trade, “inside " means not inside the room, but inside the casing, next to the glass, and that is often considered outside by the uninitiated. “Outside ‘’ means outside the casing although next to the room. Where light and dark shades are used at the same window, the dark are usually the “inside’’ ones. To measure for shades always use a rule. For “inside * shades take the exact measurement between the stiles for width, and height of window between the casings for length, to which add ten to twelve inches more for trimming, making a hem, and a few inches extra length. Outside shades should lap on the casing from one to two inches beyond the bead strip each side, and in measuring for width select the places for the brackets so they will stand on a flat surface if possible. The width meas- ure represents the distance between the brackets, outside to outside. If Hartshorn rollers, cut them five-eighths of an inch shorter than the measure and when the cap is nailed on the end the fixture is just the proper length to drop inside the brackets. Cut the Knapp fixture one and a half inches less than the 170 PRA CTICA L DE CORATI VE UPHOLSTERY. measure, mail the wooden pivot block on the end, and it will be just right to go easily into the brackets. Shades should be cut to finish one and three-fourths inches less in width than the bracket measurement. Allow an inch and a half to two inches for side hem and two inches for bottom hem. A minute de- scription of the method of cutting the shade would hardly repay perusal, as those in the trade can see for themselves, and others needing them will find it cheaper to purchase them than to attempt home manufacture. Hanging shades is a very simple operation, and yet, as with 22 measuring and making, no part of “outside '' upholstery work requires more careful attention. All but the Bray fixtures are placed in brackets with the shade rolled up. To hang the Bray, screw up the brackets, the square hole bracket at the left if inside shades, and at the right if outside. Now stand in front of the window with shade entirely unrolled and hanging down in front. Place the roller in the brackets. Draw out the pin at the spindle end of the fixture, which releases the spring and allows the roller to revolve. Should the spring become entirely unwound, sixty-five turns is the proper number for winding up the Ordinary-sized roller. To take down the shade, unroll it as in hanging, slip the pin through the roller into the spindle, which fastens the spring wound up. Remove the roller from the brackets, and roll the shade around it. The little pin is to be placed in the small holes of the square-holed bracket when withdrawn from the roller. Festoon or Austrian Shades, aS they are called, are the most complex of all shade work. 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Wacº 'ºs-- . º' , Xº, Nº •º w ºr * * * *; N | Wºwº/VSS. ºf Rººts º {{\,ny, * # 3 º' WSº"|NSº ****** | # $º $ $ $ºw.} Vº | *śl \ | º ; § , alſº SU | &\!) #1 Fºr N | º-2 S ! # | |F, º [. | à - | i º * * - ºrs: *-*** — — Tºº ă 3 | - - º 3 3 & § # # ºf k--- *%: 32 jº É ÉÉ. > Fiºsºs == ==ºses:ss.x=- No. 40. — A USTRIAN SHADE. | § § $ § # : *. ~s º > * % º º \- - * - *- l == SHA DE WORK. - 173 no other thin fabric combines so much weight with flexibility. Design No. 40 represents a window furnished with one of these shades, partly raised to show the disposition of the goods when drawn up. There is a great amount of careful work in the con- struction of these shades, and the excellence of the whole de- pends chiefly on the skill of the upholsteress. They are made to fill the space between the stop beads, fitting closely on each side. They are suspended from a strip of wood screwed firmly to the inside top of the window casing, and are made in a series of slightly shirred festoons having a narrow tape of the same goods sewed on the out or street side of the shade over each seam or shirring. These tapes should be cut wide enough to finish three-eighths or one-half an inch in width when folded in ready to be sewed on. There is no rule for the width of the festoon, but it should be divided in good proportion to the width of the window, but not exceeding twelve inches. They are lifted by silk cords, one at each shirring. These are attached to the rod at the bottom, passed up through one- quarter-inch brass rings which are sewed on to the tapes every three inches, thence through small pulleys fastened to the under side of the strips at the top and exactly over each division, and all are led through a pulley at the extreme right, which is made with a wheel for every cord. After passing through this pulley draw them all tightly to see that they are all right to lift the shade perfectly square, and then fasten them all together by a knot or lashing just outside the pulley. Twist or braid them all together into a large cord to come down the side. The cords must be made to match the exact color of the silk. 174 PRACTICAL DECORATIVE UPHOLSTERY. The pulley frames should be made as small as possible, the one at the extreme left side having one wheel only, the next having a wheel and a hole beside, through which to lead the other cord; the third has one wheel and two holes; the fourth, one wheel and three holes, and the fifth at the extreme right five wheels or one for each cord. Running the cords through the holes in the pulley frames prevents them from getting tangled. To measure for, cut, and make one of these shades, proceed as follows. Make a scale plan of the opening to be filled, which will be from top to bottom of inside casing, and width between the stop beads. Make a drawing of the shade as it is to appear when finished and in place, allowing the side hems to be about one and a half inches wide, and divide the space between them into the division of festoons. These must not be too wide, or they will sag down and prevent the outside edges from fitting closely to the stop bead. Ten to twelve inches will be abont right. To estimate the quantity, add about four inches for every foot in length, to which add the turnings for top and bottom hems. For width, add an inch to every foot beside about an inch and a half more each side for the turning of the hem. Allow the hem at the top to be about an inch wide, and the bottom hem large enough to receive a three-eighths brass rod, or larger if a large shade. Have the rod about an inch shorter than the finishing width of the shade. From this plan it will be easy to calculate the positions of the shirrings, and if the material need to be pieced out to make it wide enough, the piecing must ,9HA DE WORK. 175 be at one of the lines of shirring, as making a seam where it would show would not be tolerated. Having calculated the length and width required after add- ing the allowances for hems and shirring, spread the silk on the table and space off the divisions and side hems. These can be defined by drawing out a thread of the warp, which will give the exact width measures without farther lining out, but if the material is carefully spread and kept in place without stretch- ing any part more than another, the divisions and hems can be lined out on the tape side with chalk. The side hems are to be sewed down raw edge, as the tape over them will lie flatter that way. Cut and sew the strips for the tapes and have them finish about three-eighths of an inch wide, and as long as the shade is to be when finished. They should be carried inside the top and bottom hems for strength. After hemming all round, the shirring threads can be put in, and as the shirring must be exactly alike at each division a good method is to divide the seams into sixteen-inch spaces and marked. Mark the tapes into twelve-inch spaces. Thus the exact allowance for each foot of the tape can be shirred along into it. After the shirring threads are all in, spread the work on the table and stretch the tapes along over the divisions and put a tack at each end, arrange the shirring under it as allowed for each foot and with a crooked needle baste the tapes to the lines of shirring. After all are basted in place, take up the work and sew the tape nicely down on both edges. Sew the rings on the tapes every three inches apart eacactly opposite each other across the shade. Make small, shallow festoons, at top 176 PRACTICAL DECORATIVE UPHOLSTERY. and bottom on room side of shade, for each division; which are shirred up and sewed to the bottom hem and finished with ros- ettes. If cut on a bias they will hang better. Put fringe on the festoons. The cords at the bottom should be carried inside the bottom hem and around the rod, as should also the tapes, and be carried into the hems at the top. To a skilful and experienced uphol- steress, who had acquired a dexterous sleight-of-hand at her business, some digression from the rules here given would prob- ably be made regarding the method of making up the work, but it is the intention to make clear to the novice, if possible, how to proceed to gain the same result. Another method is to cut the goods all into strips long and wide enough for several festoons, rounding the bottoms for the festoons, instead of hemming up to receive a rod. The rod is covered and fastened on afterward. Few people out of the trade would undertake to make one of these shades. Such an intricate and expensive affair had better be left to experienced hands. 2€.，¿ №§<<< Sº& \`, `N , \\• \\ , // • { - //* - 1}·w {•/ z; /•///// / /.////* */zº 4，44，444，4 ź22&ſ2，4ſaer2，ſaeºſ，º✉ae©2，2，2，！4%，2224 §0<--！>§§§£ €&#éģ№śęść §-™NT：§§§<<<<ÑŅŇÑ N NSN（\\Ņ ŅŇŇ *^,\\\\• •NN •\R\\ … »^ \\Ņ -^ •N.-\N.W\N NN\^\\\\, \ ， \，\\\\\\ （ \\ |-}|ſº ) ; \* } J} / zá → * «. /.…” º · · *’,2Ź/ºſº،/ ,→ %%%ᏏŹź ***Saes！！！، ، ،№|-№raſ~ \\ÑÑŅŅŇŇ№Ş§§ÑÑŅŅ（NN~*§§Sº.• w：º.ſae∞∞„* ∞ ſººs： §.: •la ---- •- N\ \\ \\\ ' .|--•w •^● \,\\ſa\, · |-Ź// Æ 2，2-432^,ſae24 ſae§§§) • Tº w §*<（NNNNN 50• · N\\N\\\\ \\ } } N. N’ x \ \ Y -}|Ř.}·}•m+/ •}•*\\ts ///////////////////////'/, /， /, / W.●-• ... * •,*-• •///«»•/„”//// ///%% /'）;%）///*//, * •%"/.///• »//////••// %/%');,2%% º’,7 · ·.*ș- „^2/4.|-:// įſ.%ź4šį°′%ééºz.ść�śćáéééééééééééééééé，é， Jºsè（~~~~}-}}§Ê№∞`À ÀàÈèÌì N SHADE. No. 41. — DIA GRAM OF BACK OF AUSTRIA PORTIERE.S. 179 PORTIERES. THE idea of decorating the doorways is coming more into general favor, many discarding their doors as useless incum- brances. Of course, the outside doors and others separating rooms requiring special seclusion must be retained. All other doors might as well be removed, and their places filled with curtains, which add an elegant feature to the room, and also allow a freer circulation of air and more even temperature throughout the house. Remove the hinges and have the mortises blocked up. Paint, stain, or otherwise finish to match the woodwork. - In selecting goods for the portière, there is generally a choice in favor of something of different figure and material from the window hangings, though often the same material of a different color would be appropriate. Select some contrasting color, which must also be in harmony with the walls. For figured goods, avoid generally wandering vines except when they occur in regular pattern curtains with borders all round, or floral patterns unless they are designed in well-defined masses, quite distinct from each other. Detached figures are generally to be preferred in the portière. For figured material the various styles of tapestries in silk, silk and wool, and all wool, furnish all that can be desired. Goods woven in cross stripes are very desirable, but avoid a vertical stripe, as it tends to giving an impression of scantiness to the curtain. Plain, solid colors are rather to be favored as 180 PRACTICAL DE CORATIVE UPHOLSTER Y. a contrast to a figured wall, especially if the curtains should be hung outside the casing, where they would be brought in direct contact with the wall hanging. Fine lines of plain goods especially adapted for portières are manufactured from jute and flax, under the name of velours. - They are made both single and double faced, and are fur- nished in very reasonable prices in comparison to their effect. These goods are made in all the modern colorings, and are suitable for most occasions. The double-faced goods are easily made up, requiring no lining, and can be finished by hemming all round, or by adding cord or fringe to the sides and bottom. The single-faced goods would have to be double in quantity to show an equal finish on both sides, but this would allow the use of another color, which could be selected with reference to the room in which it was shown. These could be made up without inner lining, as the two thicknesses of velours would be quite heavy enough. The single-faced velours are very suitable for appliqué work, and handsome portières can be made in that manner; good effects are also produced by inserting borders of figured velours, or by adding deep, heavy, netted fringe at the top or over the dado. Very elegant curtains of velours suitable for portières are made in pairs, and many are made with each side a different color. These need only to be finished the proper length, and trimmed sides and bottom. Mohair plush is sometimes used, but it is a bulky material, and, being single-faced, would require to be doubled for a finish on both sides. It is a very durable material, but somewhat limited PORTIEREs. 181 in range of color. Silk plush is better and more flexible, and can be had in almost any color and shade desired. Plushes excel in beauty all other unfigured material, and elegant cur- tains can be made of these goods, trimmed with silk cords in diagonal lines or check work all over the surface, or use deep fringes at top and bottom. This material receives paint very well, and so offers an opportunity for flower-painting, and a very dainty portière for a boudoir could be made in this manner. Japanese needlework curtains, or panels properly mounted with silk or plush, make nice portières for summer houses. For a hall or reception-room entrance, the Turkish or Arabian goods are very effective. Some of them come in the form of rugs, and are heavily fringed, but trimming can be easily made to match if required. They should be hung in a manner in keep- ing with their character. Use bamboo poles, or, better, suspend them from a rude spear or lance. The effect would be better if, instead of being drawn apart, they were stationary at the top, and were drawn up at the sides with heavy drapery ropes, as shown in Diagram 45 of stage curtain. The lances, spears, or whatever was required could be made to order by any brass- founder working for the trade, or they could be made of wood and metalized to exactly resemble any metal required. Pretty portières, and also curtains for windows for summer houses, are made from various plain materials now in the mar- ket, and decorated with needlework. The methods of doing this work can be learned by procuring one of the books on the subject, several of which are in the market. The questions as to materials have been made as preliminary 182 PRACTICAL DECORA TI JTE UPHOLSTER Y. steps towards ascertaining what is needed, and what the cost would be. The quantities can easily be ascertained by measur- ing the height of the door. For quantity in width, also, for almost any single door, if to be hung inside the casing, one breadth of fifty-inch goods, or an equal quantity of narrow material. For single doors with portières on outside of casing, a single breadth of goods would be a scant allowance, so better allow a breadth for each side. Put the pole across top of casing. For double doors with the curtain inside the casing, and the open- ing not exceeding five feet, one breadth of fifty-inch each side will be quite enough to give good pleating ; and even if the opening increases to six feet, one breadth each side will be sufficient for most cases. Of course, in the latter case, the pleating would be out of the question, but by putting the hooks close together, say ten to twelve to each curtain, the portières hang quite as well. In pleating portières that are hung inside the casing, the pleats should be made to show in the room of most importance. If, however, they were made with both sides of equal finish, as, for instance, both sides of plush or velours, then each side is to be pleated as follows: pleat one side, the most important, if there be any choice, sew the hooks on the wrong side of goods at the back of each pleat; pleat the other side on to it, bringing the pleats exactly opposite each other, and the hook concealed by the pleat. The best method is not to pleat at all. Put twelve hooks on every curtain of fifty inches wide, and they will gather in pleats as they are thrown back to the wall. * * -- * * *-* sºmºsºme ** t ... g.º.ºsºm-º: sºme-ºs- -*-º-º-, * = KY §ºTº Tº º-sº ºwe -ºss “-º-º-º- * essº a geºs. *-ºsº || ##|||||| ||||||###############################_###########!!!!!!!# sº-c = **** **** º i →→→→→====== RES. E *=º ºtºsºmº-ºº-ºººººººº sº sº * * * • • • • • • •* • •* • …–…）--~~** • • • • • •••••••••= *= * • = ~~~~（~~~ •¿Y ***** * * * * * *- : * * –- *** * * ***** * **-º-º-º-º: **-*==== *** * * ** | | | ſº [] ae{{#[I]•••º•→ ------wº， i ，，，，，，…），* FH„…º№ №！№._（Sºe=、« Œ«.€.■■■■■■ſſºa （№ №：22• “T07： Zº€2ș2（?：\ſ*<！#∞，∞}%）, ſae. №•）,~~~~T_2_（~~№ºr№, Zø{<<ſae***： < ≤ . ≤ ∞- * * * · * =≡--ae ~ ae:：: * ?, 222222） •ząa ºſaeſſae aeqaeſae-saeſº， 2№777 ·ºlae z aeaeË&######ĒĢģĞğŹĞĢº ”A” 4żae?！==~...ººº，…” º 4 ſ！**：∞ * * ******* *-ºs-assº mºm- — ARCHIWAY PORTI 42 No. PORTIERE.S. 185 It is often the custom to hang pairs of curtains each side of doors between parlors and adjoining rooms, and the usual method is to place the poles between the jambs each side the sliding-doors, and as high as they can go, allowing the rings to traverse freely. A pole one and a half inches in diameter is large enough for any space under eight feet high. If the space should be so wide as to allow the weight of the curtain to spring the pole, a centre support will be needed; the simplest and least conspicuous is a long, slim screw, drawn through the pole into the casing above. Sink the head into the under side of pole and fill and color to match. All portières hung so high as to be out of easy reach of the hand should be furnished with traverse cord and pulleys; these can be worked with tassels at the side and so save the curtains from being pulled out of shape. The curtains must be nicely fitted so to just reach the floor without dragging, and if the traverse cord is not fur- nished, the tendency is to attempt to pull them together by the front edge, which soon destroys the nicety of the hanging. Should the portière be for a space where there were sliding- doors, the pole must be placed on the flat jamb, on that side of the door to which the curtains belong, so that the door can be hidden. Should there be no door at all and only one pair of curtains, place the pole exactly in the centre of the jambs. If the opening should be arching at the top, place the pole only as high as the spring of the arch, or where the sides cease to be parallel. The arch is not to be encroached upon; and should the space be so low as to prevent passing under the pole - 186 PRACTICAL DECORATIVE UPHOLSTERY. if properly placed, fit a curved pole around inside the arch and loop the curtains up at each side. Secure the pole in place by socket brackets at each end and the screw centre support at the top of the arch. The rings should be fitted with short pins on the inside to slip into holes in the upper part of the pole, else they will drag down and dis- turb the proper sitting of the curtain. Portières are seldom NO. 43. — DESIGN OF SWINGING POLE. placed outside the casing unless it is desirable to cover un- sightly woodwork, and then a portion of it would be in sight when the curtains were thrown apart unless a valance were used at the top. In this case the valance alone is attached to the pole, while the curtains are made to slide to and fro on a stout rod directly under it. Sometimes it is desirable to cover the casing with the curtains and have them open with the door; then a swinging-pole is employed to open with the door. (See design of pole.) ĶĒ øº /, / „7! 7 /// //, // z ' ,· / „• |-· …“ （， ， ,Ž. {,»^ { =E2 | ·Ķ ††） $ $（'|{' I. tº sº MI. Ēffffff;} №. ºr ſº §È §§§ tiitſiä， ™ ¿? •º ae ∞ pºj •* , ， ŞäSºś 2. º ºrººººººº. *=ºmº-º-º-º: * * º º º º º º Cº-º-º-º-º-º: SZŽWZZ WWWW ſº Ş i 5/ | ！== --！>=3§3º $3，32%）; S, \， &~~ ##№iiiuuiſumiiiiııiıııııiifilmmuſiiiiiii ===========）. 5，======：：= <=== ====）. ||2ſuaeIIIIIIIIIIIIIaegaenigmaeſtimmiſſimț¢mmf：wymųīñïſºſ ž=============ËE= · •\\\\\\ \\ \\ %%\`\\ \\ \\,\· , ^ %%× $%.) • No. 44. — LOOPED HALL DRAPERY. Por TIERE.S. 189 Very lofty portières or alcove curtains look well to be drawn up and away at the sides, allowing them to hang in heavy folds. These can be raised by means of a cord running through rings properly placed between the curtains and the lining, though the effect is decidedly better to have a rope show outside also. This arrangement is sometimes used for stage curtains, and Diagram 45 shows the method of placing the rings. To arrange the cords for a curtain drawn up in the manner shown by diagram, the rings are placed at intervals on an arc of a circle whose point of radius is at the upper front corner; this is drawn up to the extreme width of the curtain. (See line on diagram.) If desired to be drawn up in more than one festoon, another arc must be drawn, taking the same point of radius and with length equal to distance from this point to the point of looping. The most practical method to strike out these lines is to spread the curtains out smoothly on the table or floor, having the side and top at right angles; stick an awl at upper front corner of the curtains, hook on the measuring-tape or string, and with radius equal to the distance to the point of looping-up describe an arc of a circle to the front edge, at which point fasten the cord. The rings are to be sewed to a tape which is placed between the inner and outer lining. As the whole method of cutting, fitting, and trimming has been fully explained, it will not be necessary to repeat it here. 190 PRA CTICAL DE CORATIVE UPHOLSTER Y. ARRANGING TRAVERSE CORDS. THE method for arranging the cord and pulley for opening or closing curtains is a simple affair, but would perhaps puzzle a novice. They should be arranged so as to have the tassels. always at the right-hand side of the window. Put the double pulley on right end of pole and the single on the left. Run the cord through the pulleys, allowing the ends to hang down sufficiently long at the sides. Now draw the two inside rings together exactly in the middle of pole, draw the cord out of the double pulley from the wheel nearest you, and tie it to the right- hand ring and replace the end through the pulley again. Now hold the rings tightly together in the middle of the pole, draw the other end of the cord from the double pulley and tie to the left-hand ring and replace the end through the double pulley again. By drawing the cord next you both rings will separate, and by drawing the other end both rings will approach each other. The cord, of course, is only to be attached to the rings on front edge of each curtain. Sometimes the cord, instead of having the ends hang down and provided with tassels, is arranged so as to have the bight or middle run through a side pulley or ring near the floor. In that case tie one end of the cord to the ring on front edge of right-hand curtain, carry it through the nearest wheel of the double pulley, down through the ring or side pulley, up through the double pulley again, carry it along and tie it to the first ring on left-hand curtain, carry it through the single pulley at left-hand end, and tie it to )w Q, SYXY), rººftºº:::::::::::Bºsnºś E--- §º -->. Tº 2^ * 2% /. 2 / º sº. 2. .* 2^ 2* - / } Ž º sessº ~< ！---* = № . º /... º/º/X;'， **: r ！ººg� R=~::~~~~. ſaeae #*ae&&#####ź№ !“ T :zvaºyzaaer *ae~~ºs ¡ſºſ，Ź. . cș Œé،，ã∞ ~ *- ** sº * SS-S ^, | | | |||||| |į SST S. * -*. * ***- No. 49. — DRESSING-TABLE. ses ^ -N-SN- -- S$SSSS ºr-tº-ºº: {\(|||| [[Wł Errºr-t-i- ſºlºe-tº- # *=saeff_■=• • • ∞$#######*）.« ŘË#ffffffffffffffffff v ~（_）~~ º-º-º: } ŽŠķēģ############-#•Ķ|||#|}, §§§§#######7FFS• Ç, A * *. . ~^§ l. ſ\; • ſºĶĒĖĘĘ& - 3 , ^ c ^ „ º ,C_;• ºy’s$###|i ] z º.ºſaeº -，|----- -*-•± ±±±°****?<> ~~~~ ~~~~ ~~ ~~~~ ~~）;'）;� \！ È -$2∞ſºſ| \，•º * -ae （№. º.）}} * T. A¿¿.º |- < º.）„Ķī£®±∞∞∞$1 :） :）�ğźğ№2，2，2，2，2），（2：2：$）;| ſae º sº-sº -º- sº2ś№gº\\ Ģ- žé№ž_（~~~~ A- #######!º ſº º: g * :::::::::::: ºš º: º • ~ ā3:#; #: ; Hº º -*====<: 2- # º: --~: ~ . - \\\\\\\W \\ \ $." n 4. :- <^* == \ N " ºr § * of l- º - * --> º * - -, #. #ſſiſ. Tº Iº ==\;== º f ... J. T. sºv \\\{ }, \ \º TVS Rs ~\xi} I §º, v S.Nº || *, * * Nºy º { } º º “. . -. * * p * - Fºº , -- 5. §§ \ S.Nº. 3 \\º . ~ || - Yºº “ . . \\ §§§ {< M *N | \ \x,\\ Sº * ^N. \\ \\ ^ sºlº g fºliº \ &W & s sº * * K. - S. º. ºv, , \\\\ . \\ W\\ •, Y. ar < *.* sº - § * ex" \ \. '...}}- &S \ < \; \ s ! !!!\lººnlineſſyūſhū, Allº!!!ſlº w zºsº $. N. N. S v \ |ss , x\\ § Sº K. VN \- \\\\ \. | $ * * ... * * : * : * * - * * *s & \ \ º-W & º º * * : * * >;-- - --~~~~ º-º-º: º I'll lºſſ. §§§ {: *3. -- ~~~~ *-- . . * - —- - *-es: * - sº *** * * * *** z- * º #sº * & . ..T * " _ T- &: " & s& t «. ** # ,” No. 54. — BED WITH CANOPY. BED–HANG INGS. 229 could be supported by hooks in the ceiling directly above it. The frame should be as light as possible, and for a simple hang- ing, such as a pair of curtains with a ruffled valance all round or similar light-weight drapery, a plain flat frame one-half inch in thickness and of size required will be sufficient. For a heavy drapery of many pieces a stouter frame will be required, similar in construction to Fig. 1 in Design 55. This design, No. 55, with diagrams, is given to illustrate the method of getting up a bed-canopy in cretonne or other mate- rial permitting a ruffled heading, and they will show what is required and how to do this and similar kinds of work. Fig. 1 represents the canopy frame made in box form instead of flat, of pine or whitewood, not less than an inch in thickness and four inches deep. There should be a moulding around the upper edge at front and side, projecting an inch, to force for- ward the canopy ruffle. Fig. 2 shows the method of attaching it to the wall by hooks at the back, and the strap and turn buckle for front support; Fig. 3, the socket to screw to the wall to receive the hook on the back of the frame. The iron-work can be had of any uphol- stery house, or any blacksmith could make them. This style of canopy would be easy to make and quite effec- tive, but better adapted to such materials as silks, muslims, madras, cretonnes, etc., as damasks, plushes, or similar goods would not be suitable for ruffled canopies. Made in this way with a valance all round, the long curtains could be hung on rods inside the frame and provided with trav- erse cord and pulleys to draw them to and fro. If one desired 230 PRACTICAL DE CORATIVE UPHOLSTER Y. to economize, the side festoons could be left off and the long curtains connected by the front valance. Made in that manner, the curtains would have to remain stationary. Suppose this to be made of cretonne and lined with cotton sateen, no interlining would be needed. It is seldom necessary to use an interlining in bed work except to give body in thin silks. If needed to cut off the light, use a silesia of suitable color, being less bulky than flannel. First cover the canopy- frame with the lining material and then put in the top pleating. Cut off the strips long enough to reach from the gathering point to the sides all round. Allow once and a half the width for fulness in pleating. This pleating on the inside top of the canopy can be done in various ways: — By gathering the material all up in the centre, and have the pleats radiate to all four sides; or gather all up in the middle of the back, and pleat towards sides and front; or plain pleating from front to back. The strips for pleating need not be sewed together, simply gather the ends up into three-quarter-inch pleats with the strongest upholstery twine, and tack the ends of the twine securely in place. Divide the distance around the frame into quarters and arrange the material so the fulness will be equally distributed. Space off the pleats nicely, holding them temporarily with tacks until all is ready for the final nail- ing down. A more permanent way to gather up pleats is to baste or hem down the ends and then sew them to the edge of a round block cut as thick as the width of the folds. The block must be cov- ered first with cotton flannel. Fold the pleats the width re- | Wilſº No. 55. — CANOPY WITH DIA GRAM OF FRAME. BED–HANG INGS. 233 quired and catch the fold to the block on both edges. The former method produces the same effect, as the point of shirr- ing is to be covered with a rosette. Canopies are sometimes tufted the same as the back shown in No. 55, tufting in squares or in radiating lines from a centre; and for a silk or satin lining it would make a very effec- tive finish dividing the tufting with gold, silver, or other suit- able cords. For tufted work make a light frame to fit micely inside of the canopy, cover it with burlap, and on the back mark out all the scheme for tufting. Mark the cotton cloth allowing the proper amount of fulness, about one inch for each tuft in width and length, using about five pounds of hair, and proceed as for other tufted panels. A novice would hardly make a success of this kind of work. The inside back can be finished with a simple headcloth if preferred, gathered on a tape and tacked to the frame inside. Cut it long enough to fall below the bedding. No rod will be required at the bottom of it. To finish the back with any elaborate pleating or finishing with tufts similar to the sketch shown, a light frame will be needed to stand behind the bed. Fit it so it can be attached to the canopy under the inside ruffle. Tuft or pleat only that part showing above the board. If tufted, cover the frame with burlap, and mark the tufting scheme on the back, and proceed the same as for the canopy. Cut and make the curtain just long enough to reach the floor. Fasten a small rod inside the frame, near the top, and have rings on the tops of the curtains. One breadth of fifty-inch cretonne or one and a half of single- width goods will be wide enough for each curtain. The valance 234 PRACTICAL DE CORATI VE UPHOLSTER Y. will appear less set if cut with the swags and pipes all together, as explained by the rule for cutting that kind of work. See also the diagram, Fig. 5, showing the form of side and front swag with the bell pipe for the corner between them. The bell pipes for the extreme outside of the swags are cut separately and joined to the swags on the line marked with an X. Allow width enough for the pipes to make full double folds, and in pleating them up make them taper off at top as per sketch. In cutting the swags make a tasteful arrangement of the fig- ures on the material. In planning the swag pattern allow the heads of them to be wide enough to fill the entire space to be occupied by the swags, so that when they are tacked in place on the canopy, the heads will meet and the shirring will be cov- ered by the folds of the bell pipes. The pleated centre piece on the swell front of the canopy should fall about fifteen inches exclusive of the fringe, and a little over double fulness should be allowed to admit making full, round pleats. Allow besides enough more to go under the bell pipes at each side. Cut the ruffle for the canopy so that it will finish five inches wide, and take two and a quarter times the measurement around the front and sides of canopy for the allowance for pleating. The gathering through the pleats should be about one-third the width from the bottom. This will be more effective than gath- ered through the middle. The ruffle should be made over wigan, strips of shade holland, or even stiff brown paper to keep it upright. Cut the strips as wide as the ruffle is to finish, fold the material over it and stitch down before pleating. Another way is to cut a strip of buckram long enough to BED–HANGINGS. 235 reach around the sides and front of canopy, without fulness. Cover it with the material and pleat the ruffle on to it. It should be narrower than the ruffle, but so it will stand up be- hind it at the top, and have the retreating folds of the ruffle caught to it. Make also a ruffle of the lining material to run around inside the canopy. Finish it about four or five inches wide, shirr or pleat it, gathering one-third from the top, and sew a tape on the back and also small rings to the tape every three inches apart. Small hooks on the inside of the canopy will keep it in place, or it may be tacked on and thus dispense with the rings. It should meet under the rosette or in one of the corners if the rosette be in the centre; this will conceal the tops of the curtains with their rods, cords, etc. Make and trim the drapery as explained in a previous article. Ruffled bands are more in keeping than cord loops for hold- ing back the curtains. Cut a buckram band and cover it with the material and pleat a ruffle on to it. Put a line of gathering about one-third from the top of pleating, instead of through the middle. Bands made in crescent forms sit better than when cut straight. Diminish the width of ruffling as it approaches the ends of bands. To put all the drapery in place, cover and pleat the canopy, and tack cambric over the top, outside, to keep the dust away from the pleating, and also to cut off the light. Fasten it to the wall and finish and fasten the back frame in its place. Put the inside rods in place for the curtains and the traverse gear if there is to be any. Hook the long curtains in place. Put around the inside ruffle and the inside of canopy is finished. 236 PRA CTICAL DE CORATIVE UPHOLSTERY. Now tack the pleated centre piece around the swell and next the festoon work each side of it. Before putting the festooned parts in place, measure a space exactly corresponding to the space they are to occupy on the canopy. Shirr down the raking sides of festoons and bring the heads close together; pleat the bell pipes nicely, trim off tops, overcast and bind, and transfer them to their places on the canopy. Fasten the ruffle around the top, loop up the curtains, and move the bed into place. This explanation will be sufficient to acquaint the reader with the usual treatment, and assist in making up any special style. Quantities of material would be about as follows: Twelve yards of fifty-inch cretonne or its equivalent in nar- rower goods ; seventeen yards sateen lining ; twelve yards sateen for a plain back cloth and canopy; three yards silesia yard-wide; ten yards fringe for canopy; nine yards of fringe for long curtains; frames for canopy and back; six feet of brass rod to hang curtains on ; two pairs of traverse pulleys; two pairs of weighted tassels, about fourteen yards traverse cord to draw the curtains, and iron-work for the canopy. This design, No. 56, of festooned canopy shows another style of making a canopy frame when the front is arching as well as projecting. The arch is generally made as high as the depth of the frame. The festoons in the arch would be cut as per rule for raised drapery, the other swags cut as advised in previous description or separately, and the pipes added afterwards. Back cloth of three breadths of silesia shirred and tacked to the inside back of canopy. - This or similar styles would be very easy and simple to make J3 ED–HANG ING S. 237 4-l up in light goods. Madras or muslin over colored silesia, pink, blue, gold, etc., with the same colors for lining and pleating of back and canopy, make dainty and inexpensive bed-drapings. * \v. º #. iSºft § fº, \-> 2 º'. §§ #ſº W sº º g º º | ag º º º º i º' tº |*|† M º "ſºlº º "ºſ". y sº t º Nº º | º º: Y sºlv º flºš | | | " . Si | t § & S | | Öğ S i 'g S. Nº. § | | | | \ S. § | | | * §§ $. | | || \ § §§§ º "> % \ s s k \ § . No. 56. -- FESTOONED CANOPY. Spread and bolster of the material over the colored lining. Loop back with bands of the same. Curtains and canopy made in this way would require about thirteen yards of fifty-inch madras, thirty-one yards of yard- wide silesia, and eighteen yards of fringe trimming. The spread made to run under the bolster and fall to the floor each 238 PRACTICAL DE CORATIVE UPHOLSTER Y. side and foot, would require about eight and a half yards of fifty-inch madras, nine yards sateen, seven yards of fringe. The spread made to go under and around the bolster and lie on the bed in front of it, would require about three yards more of material and lining and five yards of fringe. The bolster, if of the usual round kind, would require two and a quarter yards of the same material and lining. If the bolster were made to be covered by the quilt, it would not re- quire the madras or silesia. The white cotton cover would be sufficient. Canopies for such light drapery could be made on very light frames, not exceeding one-half inch in thickness, providing the arching front was discarded. Fasten to the wall in the same manner as advised for heavy frames. Brass pole canopies made with curved forms are quite expensive, as they require to be made of brass tubing with an equal expense for bending. BRASS BE DSTEADS. 239 BRASS BEDSTEADS. Brass bedsteads are much in favor and are tasteful pieces of furniture when curtained. We give a few sketches of the usual styles of draping, with estimates for quantities and instructions regarding the work. The materials used are generally light- weight goods, silks, muslins, madras, Cretonnes, etc. Design No. 57 is given as an example in pleated work. It is simple, easily made, and a favorite style with those who do not fancy festoon work. With estimates for quantities given, one can very nearly approximate the cost after deciding upon the material. To drape a bed in this style, using fifty-inch Cretonne for curtains, valance, spread, and bolster lined with yard-wide silesia and trimmed with fringe, would require about as follows, and this estimate will apply to any fifty-inch goods lined in the same manner. For curtains and Valance eight and a half yards cretonne, silesia lining for the same, and including canopy lining and head-cloth, twenty-five yards; sixteen yards fringe for curtains and valance ; four yards cord to go around the heading ; three yards dark silesia for outside top of Canopy. - For spread made plain to run under the bolster, as shown in sketch, lined and fringed around the bottom, would require eight and a half yards of cretonne and eight and a half yards of silesia, seven yards of fringe. The bolster will require two and a quarter yards cretonne, three and a quarter yards canton flannel to go under the cretonne. These quantities include 240 PRACTICAL DE CORATIVE UPHOE, STER Y. material for ruffled bands for looping the curtains. To this add the expense of the light canopy frame and the roll bolster. Treated in the same style in China silk, the back and canopy lining can be in silk of another color, if so preferred. The cur- tains and valance without lining, spread lined, and all trimmed with fringe, would require about as follows: Curtains and val- ance, twelve yards of silk; canopy lining and head-cloth, four- teen yards; sixteen yards of fringe. Spread and bolster, twelve yards silk, nine yards silesia, seven yards fringe. Add canopy frame, roll bolster, three and a half yards cotton flannel to go on the bolster under the silk; three yards dark silesia for canopy top. The curtains would require one and a half breadths each of thirty-inch silk. To measure the bed for spread and drapery, measure length and width of bedstead, and if there are no mattresses upon it, ascertain how high the bedding will be when on. Measure from the head down the length to the floor at the foot; measure from the floor on One side up over the bed to the floor on the Other side. Deduct one inch each side and one inch from the foot for finishing size, i. e., the spread should finish an inch from the floor all round. Measure the height of the rail from the floor for notching out the corners, though the corners should be notched out nearly as high as the top of the mattress, else there will be too much to turn away. Measure the distance from the head-post to the brace on the side, as the spread must be cut to go each side of brace. For the bolster, measure between the head-posts for its length. For the curtains, measure from top of canopy rail to s*- S2x ， • # #\ # ' # # #- #; # 7 # ! § #! | # # # | # ! # 7è #) # 2 ?, º - 4 4» : # # # # # # # # # # j # # # # # # # # l # ' # | # | | #'' # | # # # # # # ! # # # \ # # # | # | # # § # § # # # t # -# #o .#. # | # | # | # # # | # # # #§ #, ſi º, #! #r ， # ºN # # M # f$ % {% $ $ [ # # V, # # # # # * # # # # # # # # # #| # # # $ § # / #)'# à l' ; § # # # # # # # # 1l $ #) l \ V \ N # # A， <° "i M • # $ ! } A,º # (4 !\ | | ºk ? # *es : $ # S |， • $ \ \ \s # $ | $ ; † | | | | § ] § ! # # # # E !# , # y ,! - # # $ $ $ ! #s • - | --$ # = # ! #|$ $ 2 ' # . #e º# # | º # $ % $ # 'ſ S> #e | | #) # # # ，--{ | # # #. ， # N\ x \ | \\$ $ # ! y\\ $ N \ \ s W\ \\\N \\\, $# \ \ $ * tt \\ N v \ ) ) *V\, , \N \\ \ # º ^, <. ºseº lt | S， ' ) 'àNAN M \ == =zs # •- # # $. t † \WN $ $ # . * = $ i | #, $h " (\ \ \ #| $ #- =-_ - s $ ' Il|/ij) hy \ \ \\ È N Tit T . = $ # " Y "Nºss \\$H|$ s -- s S =# è ^s 4 t \\ #|$ T - s -=-- :- --，==-FT - s ÉSu - ' $ \ $ *-= =- #- =-^ == $e Ss '\N\ $ $ * -, -- # #=，s- \\N s]$ _ = _ == --# = #sss , \$ # A = - ^ -- * =s S ，s . •r # ! - _ . ==é - -= * = -$ $s# e , - --- * - . - s = 4. - —-- - T -- S - -- ST - --- - _ --- -- | E- -- `*- *-- • | -- e- . *" -- ^-- %- *-, •* ss -- ------ - - ·-- - _ -- - - - Les- *, ^-- No. 57. — BED WITH BOX-PLEATED CANOPY . BRASS BE DSTEADS. 243 floor; also from the inside rail under the canopy rail to floor. For the head-cloth, measure from the canopy rail as low as the mattress. To get the size and form of the canopy rail, the best way is to lift it off and lay it on a large sheet of manilla paper, mark all round it with pencil, and mark exactly where to make the holes in the frame so it will fit over the tops of the posts. If not convenient to take off the top frame, then measure the length and width and get a profile of the round front corners. Now have a light pine or whitewood frame made of strips three and a half inches wide and one-half to three-eighths inches thick. This is to be the exact form of the paper pattern, only made large enough to project three-quarters of an inch beyond the rail all around. It is to lie flat on the top of the canopy rail and have holes at the back corners to receive the tops of the bed-posts. Remove the brass ball orna- ments, drop the frame over the head-posts, replace ornaments and screw them down tightly, and the frame will be firmly fixed in its place. Cover frame before putting in place. Spreads are made in various ways. The one shown in Design 57 is simply made wide and long enough to reach the floor, with its trimmings. Spread it out and line it, cut out at the corners, and also slit it up the side exactly where the side- brace joins the iron frame near the head. The slit at the brace should be fitted with hooks and loops. The cutting at the foot- posts is to be carried a few inches above the iron frame and folded away each side to fit the corners; or the foot-piece can be cut to finish the width of the frame, and the sides carried under it and fitted with hooks and loops. The former is the 244 PRACTICAL DE CORATIVE UPHOLSTER Y. usual way. In the latter the spread has to be laid on the bed and fitted around the frame, basted, and taken off again to finish. The bolster must be made to fit in easily between the braces at the head of the bed. They can be made in various ways. Make them by stuffing the tick with hair, moss, or excelsior, and stitch up edges around the ends sharp and firm. Bolsters made with light wooden hoops to which are tacked thin strips of wood are light and firm and easily made. If not convenient to obtain the hoops, use three or four circles of half-inch board. Saw them about ten inches in diameter. Have the strips about one inch wide by a quarter of an inch thick; cut them as long as the bolster is to finish, and tack them on around the hoops or circles of board, one-half inch or thereabout apart. Allow the ends to project an inch beyond the boards at each end, that the covering may be drawn in at finishing. Cover the whole with burlap, string on a coating of hair, and cover it again with cotton cloth drawn on very tightly and smoothly, and gathered at the ends. It is then ready to be covered with the material according to fancy. Sometimes there is a space left open on the under side of this hollow bolster, that it may be made a receptacle for pillows, etc., dur- ing the day. Should not advise this, however, for after the bolster has been nicely covered and trimmed, the less it is han- dled the better. Before covering any bolster that is to finish with a rosette in the ends, a long piece of twine, should be stitched into the centre, leaving both ends hanging out. The rosette is strung BRASS BE DSTEADS. * 245 on this and drawn in tightly with slip knots. The bolster can be covered in a variety of ways. The one in No. 57 simply has the material drawn over it tightly and gathered in at the ends with rosettes. In this case, if the figure will permit, it will be better to run the goods lengthwise the bolster and thus avoid the seam in the middle. If the material will not meet around, it can be pieced on the under side. Spread goods on the table, lay bolster on them, bring goods together and pin the seam. See that the figures are in straight line with the length. Draw the cover around very tight so that when drawn together at the ends the pleats will not run over on to the face of the bolster. The lining at the back of the bed, and the under side of the canopy can be treated in a variety of ways, as explained in preceding article ; a tufted back or a simple gathered-up head-cloth which is cut to reach below the mattress, shirred up, and tacked to the back of the canopy. Three breadths of silesia or its equivalent in other goods will be enough. The valance is cut to finish about six- teen inches deep, exclusive of the fringe. Allow double fulness to make good pleating at the top. Many prefer a simple ruffled valance, and then one-half fulness will be enough. If of fig- ured material, do not cut off the breadths hap-hazard, but consider how to cut to produce the best arrangement of the figures. They must be nicely matched, and as it will require several short breadths to make the valance, care must be taken not to waste the material in matching. If after cutting off one breadth there should be waste in cutting another to match, cut off a breadth for a curtain or the spread or bolster, and perhaps 246 PRA CTI CA. L. DE CORATIVE UPHOLSTER Y. the match will be found for the next valance breadth. By judicious handling in all such cases much waste can be avoided. Sew and press the seams and mark off for turning at top and bottom. Line and fringe, sewing the lining down on to the fringe. Inner lining is seldom used. If the material is quite flimsy sew a strip of wigan, holland, or even stiff brown paper would do, into the heading to make the pleats stand up. If the heading is quite high and the material thick, the pleats can be kept in better form by inserting a core of buckram at each one after they are drawn together and sewed. Cut the pieces as deep as the heading and fold them into sharp cones; after they are in, baste them in place, or the sewing at the base of pleats where the goods are drawn up to the rosette will be sufficient. Mark off on the table the measurement around the sides and front of the canopy frame, and space it off in equal distances for pleating. Six inches apart will be about right for large pleat- ing. Pinch up, sew, and finish the pleats with cord or other- wise. Sew the cord all round and put on the rosettes. On the back side at the base of the pleating sew a stout tape, and on this sew a three-fourths inch ring at each pleat and Öne between. These are to go over tenter-hooks driven into the top of the canopy frame. Carry the valance around the frame, driving the hooks as you proceed, and the pleating will always hang well. Thus made, it can be removed and replaced without difficulty. Make small rosettes for the base of each pleat, or run a soft drapery rope, of colors to match, around the canopy. The curtains are to finish in length at the top of easter, so they will not get under the wheels and be torn when the bed is JBIE A SS J3E DSTEADS. 247 moved. Line and trim with the fringe on front edge and bottom ; no interlining is required generally. The curtains should be headed up so they will draw forward as far as the beginning of the round corners and be hooked to rings running on the lower rod. A traverse each side could be used to advan- tage to throw the curtains to and fro. Bands of same material to loop the curtains back. Make inside ruffle and bands for looping as previously explained, and follow the same routine in putting the work together. Suggestions for brass bedstead, Design No. 58, with raised pole with festoons ending in looped-up long curtains drawn up with silk ropes. Curtains of muslin trimmed with softball fringe at the sides ; the back and inside of canopy, muslin pleated over silesia of suitable color, which should be tacked on without pleating. The back frame would be required, and the work done as previously explained. The small raised pole should be about six inches above the canopy rail, and inclined forward about one and a half inches, that the drapery may hang clear of rod below. It should be of brass tubing the size of canopy rail, and might be attached to it with small rods bored into each and soldered. The front and side festoons are to be planned and cut as per rules for raised and irregular swags respectively. Put the raised rod in place and take the measures for the fes- toon work directly from the canopy frame. A good way for a novice would be to arrange some drapery rope in a skeleton form of festoons, and when a pleasing propor- tion was gained, record them all with a measuring tape, thus getting quantities of material and fringes at the same time. 248 PRA CTICA L DE CORATIVE UPHOLSTER Y. The festoon would require muslin over the lining on the inside to correspond with the back and canopy. It is not necessary, however, to use it on the long curtains, as the muslin curtains hanging against them will produce the desired effect. After pleating and trimming off the swags as explained previously, bind the tops very closely and sew all the parts together so the seams will be on the top of the canopy frame. Tapes sewed on the under side and tied very tightly around the rods will keep the work from slipping out of place. The top frame is to be fitted to drop down inside of canopy so not to show above the festoons, and can be held up by hooks over the rail and screwed to the frame. It must fit nicely, and whatever space there may be between the frame and the rail can be concealed by the ruffle on the inside. The long curtains can be cut square and not as looped-up drapery. They can be shirred up as explained for stage curtains, the rope put in place around the pleats, nicely arranged and stitched in place. The spread is made plain to cover the top of the bed. The skirt is all finished first, box-pleated and sewed on afterward, leaving an inch heading standing up all round. Line the spread with silesia and fringe the bottom. Cut the bolster cover the length of roll, allowing a little more for seam. Sew a strip round the edge of each end with cord or ruffle in the seam to make the end covering. Now turn the cover right side out and put it over the bolster. The long seam and part of one end should be left open until the cover is put on. Gather up the ends with a rosette, drawing them in tightly. The bolster should be of pasteboard made over hoops, or the _** -: \\ ſ|| i * } Nº-2 zº My | º § * / 1' { ---.” | fºll ! I 2== \{l."ºut" / ". * - * -- ~ *- ºt- § i ". ... * / º | ==#|Nº.2%Wº/º. Z/ ſº == †<= hºr /4 'uhitºr’ iſ " º, 24 {} \} E= 4%) *...* ºf ** Elżh.” | | | \, N §º y | F. : : | | | | t \º \ ==|º-º: §l' \\\\\ y \ \\ t --~~ 2^2 = - w | t * N \ t v - \ \\ , 1W - 2–23 \ 1. \ \\ ^ - g \ \, \!' !) . ." ! ". - - 3. | \ | | º \ * * \\ W * ==\\\\\\\ S NNW | | \ \ W i | Ş Sº N Š S \ N | - \\ º ". º N. s \ § \ ". \\ SSNS \\\\\, '," \\ •- ** | | º sº | N -----~~...~. º T----. ~~~~ * == * § ==== \ § l = > \; =\ \ \ | ~ . 22::= \\ § º ~~E * == # is |*|| § ſº #: L–\, \! ===#######}, i \ | 2- ~" - >= § tº f () || - •- : - É \ i #=º § | | ||==|º." | #=#| || º | | | ###A\,." " ####|| Wiśllº lººk, | ====#| ||s", ...} t s ===#|| # ºff. * N. | +E =#| || |||||| | =#| |º. | *- L==== * ºri º | tº ſº | \ - | ** | \\ \ ... I f | ºl” | | | | | | || \\ | | T.& - y *---------- | - \ . , . =-- ~~ *m. | | | hºsts ºf º- *º-s-s-s--- t f 2-—- ** .2– Lºlli | | | -. - = ~ *- <> *Re. -- - - sº- R. * <--- -T e- * --- - *= * * - -, - =- yer ~, c- - ET ~ - --- ~. sº - *- *-*- w *. _r ~ *. -*. *- **- -_-- - - - - - - - - - - - - - , ~ -- ==* sº -- = --- --- - * == ~e. -a- ---., -ºr- --- - .x: sº * *s- *==- ---T **_ ^se- * - Tº Tº **- ~. * ** *se. *—---- *_ -- - , * ** *---------- 2- - *-ºs, *~ — 22 - . No. 58. – BRASS BED WITH RAISED CANOPY. BRASS BE DSTEADS. 251 wooden slatted frame, to insure firm edges around the ends. The estimates for fifty-inch material for curtains and festoons would be about as follows: Ten yards material, sixteen yards fringe, thirty yards silesia, including quantity needed for back and canopy, twenty yards muslin for curtains and linings and pleating, eight yards ball fringe for the curtains, five yards rope for side curtains. For spread and bolster, regular-sized bed, using the waste of the spread in the pleated skirt, there would be required twelve yards material, thirteen yards silesia lining, twelve yards of fringe for spread. For a bed in this style in China silk without the muslin, with back pleating and canopy in silk and no lining used except for the spread, there would be required fourteen yards silk for long curtains and festoons, twenty yards for back, inside canopy and ruffling, sixteen yards of fringe for festoons and curtains. For spread and bolster, seventeen yards of silk, about thirteen yards silesia lining, about nine yards of fringe for bottom of skirt. Much less silk could be used by substituting a nice silesia for pleated back and inside of canopy. Design No. 59 is to illustrate a simple and easily made drapery for a brass bedstead by attaching the curtains directly to the rod and with a festooned valance thrown over the pole in front. In this case the wooden frame for the top pleating must be made to drop inside of the rod so it will not be seen above it. Notch it out at the sides to fit the rings on the rod, and otherwise treat it as advised for the top of the bed previously described. The spread in this case is carried to the head of the bed under the bolster and laid back on to the bed again. The bolster can 252 PRACTICAL DECORATIVE UPHOLSTERY. be flat or round, and the overlying piece is cut separate and joined to the head of the quilt under the bolster, unless it should be made of some reversible material, in which case it is simply carried under the bolster and turned back again. The embroidery for the overlying piece would, of course, have to be on the opposite surface of the quilt, else when turned over it would be out of sight. The back is pleated to a frame, as before explained. Quantities for this bed, in silk thirty-two inches wide, would be about as follows: For long curtains, one and a half breadth each, about eight yards, and if lined (hardly necessary) use same quantity of yard-wide material. For the festooned val- ance six yards, for pleating of canopy top six yards, for pleated back twelve yards; the ray pleating ending at top cross-rail, the material behind the brass rods being put on plain or in narrow pleats up and down. The quilt made in this way for a full-width bed would require of thirty-two-inch silk about ten yards, leaving waste enough to make bands for looping back the curtains. We have given the quantities for each part separately, as it might be desirable to use a nice silesia or silk of another color for the back or inside canopy pleating. Seven yards of fringe would be required for festooned valance. Draping old four-post beds (see Design 60) not having a canopy frame attached: If poles are to be used, cut them the proper length that the corners shall meet at the top of the bed- posts ; joining together by mitring or by the ball joint that has the side spindle to screw into the post. There should be a No. 59. — PLAIN FESTOON-CANOPIED BED. * *|* § | i i 3 à : T- BRASS BE DSTEADS. 255 light wooden frame made to fit nicely between the poles all round, the centre of which should be raised and kept in place by strips running from the four corners or sides and ends. Raise the centre more or less, according to fancy. Finish the inside by pleating the lining material to a block. Screw the block firmly up in the crown of canopy and pleat out to the frame all round. The tacking should all be on the outside of frame. Cover the outside top, using the drapery material, and finish the apex with a pompon to correspond with the drapery or a ball of brass or wood. The frame will be kept in place by small iron knees screwed to the posts, the inside ruffle concealing all Seams, etc. The drapery is made and hung the same as for windows. The sketch shown will assist in planning a drapery, and quanti- ties of material for this or similar treatment would be about as follows: Twenty-three feet of pole, two pairs corner joints, canopy and back frames and brackets for support. The curtains, using a half-breadth of fifty-inch material for each, and the festoons, would require fifteen and a half yards, twenty-three yards of yard-wide lining, thirty yards of fringe, two pairs of loops, or make bands of the material for looping. The head-cloth, if plain, would require about six yards lining material if simply gathered and hung behind the head. If pleated on a frame as shown in design, it would require about ten yards. The inside of the canopy would require about thirteen yards, getting the inside ruffle from the waste. In cutting the lining for such places, advantage can be taken 256 PRACTICAL DECORATIVE UPHOLSTERY. of the oblique forms of the ends of the breadths, and much material saved, but just how much would depend upon the ingenuity of the cutter. If the canopy were raised so high that the top would show from the floor, that also would require to be covered with the same material as the curtains. Nine yards fifty-inch would give good pleating to cover all over. The quilt and pillows would require about nine yards of the same width material, and eleven yards lining. If silk or other thirty-two-inch material is used, allow two-fifths more in place of the fifty-inch material and the same quantity to replace the - lining material. This last quantity bas been given separate, as it might be preferable to use another color for these linings. A simpler way Gf draping the bed would be to dispense with the poles, bring the canopy frame out to their places, tack all the festoons and curtains to the frame and finish with a four- inch ruffle all round the canopy. Cretonnes seem specially adapted to these old-fashioned bedsteads, using ruffled trimming instead of fringe. For calculating the quantity required for pleated ruffling, see Table for Ruffling Quantities in article on Making up Curtains. ■ ©®|--ſ-->|- •- _ - （--· u ſpºj，• \\\WwwūTŪTTTTTTTT††=№===№ ∞-|*}{{ __）------------------ ~~|-JS===№Ē~~Å “. . . '-Wº J ș •…ºn ***·yºÀaežģĞğ：：- �ſae）•ſ’• ! *· --◄◄=−=−=− «==---~–|-→ ====***• ___---*-،ķ@>yºZgº ºŹit. �Laeºſ@%\ſ|}'，'', -- 2 , ！Ņſa z- ~--~ ~ $ !• |. . . {i. ：• -|-！！！！（）.gºſZ ~-----ſ@WWW.§ 2º - || … ! RŅŇŇ）,№§：:: • •, !- { ſae # , ! 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This is the usual way of making a mattress, though a softer and better one can be made by what is called “laying,” a very much slower process. - - 262 PRACTICAL DE CORATIVE UPHOLSTER Y. For a regular-sized laid mattress, cut off two breadths seven feet eight inches long and sew them together. This makes the bottom, both end borders, and one side border. Cut off two more breadths six feet ten inches long ; this makes the cover or top, and one side border which is split off five inches wide and sewed to the other two breadths. The corners are now notched out on the long breadths, and all four sewed and bound as well as the sides and ends. The lower side of the mattress- tick now represents a shallow box five inches deep ; the upper side, without either border, representing the cover. Now spread out both upon the table, one above the other, and mark the tufts as explained, and also mark the edge of the cover and top of the border as a guide to sewing the cover in place after the box is filled. The shallow box of ticking is now stretched out upon the table, the corners, side and end borders kept upright and in place by awls or small steel rods made for the purpose. The hair is now picked up lightly and placed in successive layers all over the box, making them a little firmer toward the centre. When all is in, put on the cover or top ticking, crowd- ing down the hair and pinning the cover to the borders accord- ing to the marks previously made along the edges of border and cover. Sew all round and bind. Regulate the borders till they are nice and plump, and stitch the edge with a curved needle. The stitches are to show on the top as well as on the borders, and the curved needle brings the hair out into the edge. Stitch the other side in the same manner, and put in the tufts as before explained. A mattress made in this way is much softer at first, and retains its elasticity longer than if stuffed in at the ends. MA TTRESSES, PILLOWS, CUSHIONS, ETC. 263 A very luxurious mattress is made in a similar manner with sheets of wool each side of the hair. Make the tick as for a laid mattress, and before putting in the hair spread on a thick layer of wool in the bottom of the box, and another layer over the top, after the hair is all in. A “regular-sized" mattress requires nine and three-fourths yards of ticking and sixteen yards of binding. A mattress will remain elastic and wear longer by being made in two parts. Make the large part the width of the bed square, putting balance of mattress in the other piece. Thus the large part can be turned round, bringing a fresh edge in the middle. It is customary' to make the small piece weigh ten pounds, tick and hair together, and put the balance in the large piece. Mattresses should be made over every few years, to keep them plump and free from dust and moths. They usually require three or four pounds of new hair in the middle. Moths can be disposed of by deluging the mattress with three or four gallons of naphtha. Put it on with a fine rose water-pot. This will saturate every part, and it will dry out thoroughly in a short time. Expose it freely to the air, and keep lighted lamps and matches away until the fumes of the naphtha have entirely disappeared. Furniture can be treated in the same manner, without the slightest damage to frame or covering, however delicate, providing the naphtha is nice and clean. We have given these instructions about the cutting and mak- ing up of mattresses because so many people insist upon having them made over at their own home. 264 PRACTICAL DECORATIVE UPHOLSTERY. Bolsters are made round and flat, and sometimes quarter- round, for fancy bed-work. The round bolster should be as long as width of bed, though allowing it to go easily between the side braces, if for a brass bed. For a full bed twelve inches diameter will be about right. Two and a half yards of ticking will make the case. Cut the round end the size the bolster is to finish. Stuff it at the end, using about ten pounds of hair. Stitch the end up plump and sharp-edged. The round bolster is now generally made of pasteboard or hoops or ticking goods stuffed with excelsior. The common flat bolster is made by cutting off two breadths of ticking each a yard long, sew together and fold over wrong side out, and sew sides and ends, leaving stuffing place in end. Turn right side out, stuff it with four pounds of hair, and put in a few tufts to keep the hair in place. Use an oval end bor- der if preferred. If to be filled with feathers use the same weight. For eighteen-inch pillows cut off one yard and one inch of ticking, fold over wrong side out, sew and turn and add two pounds of hair or feathers. For twenty-inch pillows cut off forty-one inches of ticking, make in the same way and add two and a half pounds of hair or feathers. For those twenty-two- inch cut forty-five inches of ticking, and allow three pounds hair or feathers. The twenty-four-inch is seldom used now for beds, but would require three and a half pounds hair or feathers and forty-nine inches of ticking. Same sizes filled with down would require about one-half the weight. Sofa pillows cut square, eighteen, twenty, twenty-two, or twenty-four inches, MA TTRESSES, PILLOWS, CUSHIONS, ETC. 265 would require of down each about one pound, one and a quar- ter, one and three-quarters, and two pounds respectively. Hair Cushions. – The usual method is to make them so that when all tufted and stitched they will be an inch larger in area than the outside case. The thickness is to be the same as the case. Cut the cotton case one-half inch to the foot longer and wider than the finishing size of the cushion. This is to allow for the taking up in tufting. Allow also one-half inch all round sides and borders for seams. For irregular forms for chairs, window seats, etc., better take paper patterns. Seat cushions require usually to be stuffed firmer than mattresses, so the proportion per square foot must be greater. Cushions are seldom required over four inches thick, and generally much less will be sufficient. Two to two and a half will be enough for the usual-sized wicker chair, re- quiring about one and three-quarters pounds for the average seat. Two and a half to three inches thick for window seats, requiring about one and a half to the square foot. A pretty way to make wicker chair cushions is to make a tufted centre and have a border of plain work all round it. Morris chair cushions for seat require four and a half to five pounds of hair for a cushion not quite two feet square and four inches thick, and this gives about one and three-quarters pounds to the square foot. Taking this as a basis it is easy to calculate quantities for cushions of irregular area and thickness. Back cushions should be made very much lighter and thinner than seat cushions. Cushions are stuffed, stitched and tufted in a similar manner to a mattress, though often the tufts or but- 266 PRACTICAL DE COR A TI VE UPHOLSTER Y. tons are left until the outside case is on. Very nice cushions are made for wicker chairs by making them very thin and tuft- ing in squares every inch; use no borders. To make a plain (i.e., without tufts) cushion, stuff, stitch border so as to leave a small ridge all round the edge, and tuft it down quite flat; then string a thin coat of hair over the top or on both sides if it is to be reversible. Draw cotton over the hair, sewing it smoothly to the edges of the border all round. Now put on the outside case, and it will keep its form for a long time. In cut- ting the cotton case no allowance need be made for tufting. Only have it finish one-half inch larger all round than the out- side case. Border the same as the case. A cushion that is to be deep-tufted on the top like a sofa seat is to be cut, made up the same as the one last described excepting that instead of the thin coat of hair the top is marked off for tufts. Mark for the front and back rows, three and a half inches from the edges, another row through the middle, making about eight and a half inches long from front to back, and five inches apart in the row. Run two more rows between these three with tufts same dis- tance, five inches apart, and bringing them in the centres of squares caused by the other tufts, throwing the tufting into dia- monds. The tufting twines are now drawn in at each mark. Cut them about twenty inches long, draw in and knot the ends loosely together. The hair is now put on under the twine stitches put on for that purpose. The stitches are about a foot long, and in rows five inches apart. Put the hair in firmly but lightly, picking it all together with the fingers, and at the same time the twines for tufting down are to be kept upright, placing MA TTRESSES, PILLOWS, CUSHIONS, ETC. 267 the hair around them. The cotton for the stuffing-cloth over the hair is to be marked with the same number of tufts as the top of cushion, allowing about two and a half inches more in length from front to back, and two and a quarter inches in width more than the measurement between the tuft-marks on the cushion. This will be allowance enough for tufting, as the cushion does not require so much hair as a sofa seat. Now draw over the cotton and stick the ends of the tufting-twine through the top, loosely knotting it. After they are all in, draw the tufts down, the outside rows first. In marking off the places for the tufts on the cotton, keep on the same thread the whole length, and also when marking crosswise, else the strain on the cotton will be unequal, and therefore it will not pleat well. The . covering must be treated in the same manner. After drawing down, arrange the hair nicely between the outside tufts; sew the cotton to the edge of cushion. Put outside cover on in the same way, except that buttons of the same material are used at the tufts. Sew it down over the edge, this time using a curved needle. Now sew a corded welt along the top edge of the cushion. The border is now cut and sewed to the welt, wrong side out, and then drawn down over the edge of the cushion and under it. Sew cambric over the bottom. For all hair work, the best is the cheapest, for, though higher in price, less weight is required. Feather Beds can be estimated at eight pounds for every foot in width, i.e., a bed five feet wide will require forty pounds live-geese feathers. For cleaning and preserving feathers, the following, taken from the “London Furniture Gazette,” a valu- 268 PRACTICAL DE CORATIVE UPHOLSTER Y. able monthly for every one engaged in business, will be of value to those interested and who have not the desire or opportunity to send to a regular feather-house: “In a small room, eight feet or so square, set up a stove; close the windows so that they will be air-tight, and put the feathers on shelves around the room. Build a good fire, and over it put about a half-pound of sulphur in an iron Saucepan, and close the door. In about twelve hours, whip the feathers with a stick, and all the dross and dirt fall to the bottom. Now pick the feathers and place them in a clean room, and in about twenty-four hours put them back into the tick. They will lose about one pound in every twelve by this treatment.” To cover pillows, when no trimming is to be used in the seam, or when a plain cord or fringe is to go round outside, cut the covering the exact measurement from seam to seam. What is taken up by the seam will cause the case to fit tight and smooth. Put the two sides of cushion together with the head of fringe between them, in case a fringe is required in seam, and sew all together around three sides. The fourth side the fringe is to be sewed to one side of the case only; turn, put in pillow, and sew the seam to the fringe. The style of the fringe will suggest how to put it on. To cover a boxed pillow and put puffed border around it, baste the covering each side on to the pillow and sew down nicely to the edge of the box border; cut the puffing wide enough to stand out well around the pillow ; allow enough besides for the turning on each edge. Allow double fulness for the shirred-up border, if of silk, and about once and a half as much for plush. Sew on the puffing MA TTRESSES, PILLOWS, CUSHIONS, ETC. 269 and cover the seam with a cord. It can be put on without using a cord, by shirring it with the thread as it is sewed on. Take two or three gathering-stitches in the puffing and then a short stitch in edge of the border, through the material, and draw the stitch, forcing the gathering-stitches into the space of the short stitch of the border; as the stitches are drawn in, force the edge in with the thumb, and the seam will roll and hide the sewing. After sewing on one side, a little soft hair or roll of cotton must be put in, to keep the puffing out full and plump, and then sew down the other side. Pew-cushions are usually made eighteen inches wide and two and a half inches thick, and two for each pew of the usual length. Always use a cotton lining inside the material, which is spread out with the material, cut, and sewed at the same time. Use ticking for the bottom, and in cutting the top allow one-half inch to the foot, to allow for tufting. These are now made altogether by spe- cialists, at prices defying competition, and so a description of their manufacture would be useless. To calculate for the quan- tity of goods, allow twenty yards of fifty-inch material for every one hundred feet of finished cushion, to which add forty yards of cotton for lining, and about eighteen yards of ticking split for bottom. A variety of material is used in stuffing, according to the contract. Next to an all-hair cushion, probably those made of African fibre with hair on top are the most comfortable, and really better than ones made of very cheap hair. 270 PRACTICAL DECORATIVE UPHOLSTER Y. MANTELS. MANTEL drapery should conform in a general way to the style of the windows, though if they had been elaborately treated it would be better not to make the mantel an exact copy; while preserving the main features simplify the design as in better keeping with its reduced size. Other colors also can be used, providing they harmonize with the surroundings, favoring those of darker tones, or at least dark grounds with lighter over-drapery. * Much of the mantel woodwork is now so elaborate that it requires no draping beyond a tasteful arrangement of scarfs of silk. Dark colors give a better ground to show off the usual mantel ornaments. A plain, simple scarf of plush or other material, lined, fringed, etc., to throw over the shelf and hang down over at ends and front, forming folds at the corners, can be laid directly upon the mantel, but for any elaborate draping with festoons and rods, etc., a false shelf must be made to lay upon the other, projecting an inch beyond, all round, or more in front, if the original shelf should be too narrow. The upright back-piece, if there be any, must also be covered. The false shelf must be cleated at the ends to resist warping, and the false back-piece made high enough to cover the original one, and go back to the wall at top and ends, forming a kind of shallow box, to be screwed to the back edge of the board. It would be better, if there were to be festoon work in the drapery, to have the false shelf straight along the front, ..]/A NTELS. 271 although the original might be of serpentine shape, or other- wise. Round the corners a little, and provide iron clamps to secure it to the mantel. These can be obtained at any uphol- stery house or from any blacksmith working for the trade. Attach them to the under side of the false shelf in the middle of each end, and they should be let in flush with the surface of the board; their form will suggest the method of using. To measure for the mantel, measure the length and width of the shelf, and its height from the floor; also the height and thick- ness or projection from the wall of the upright back-piece. To estimate quantity required it will be necessary to decide upon some particular style of draping and make a scale drawing of it, say one inch to the foot. Being drawn to a scale it can be easily measured, provided one is acquainted with the forms and quantities required for festoons. See Rules and Explana- tions for Swag Work. For materials for draping, silk plush is very appropriate and is equally good for elaborate festoon work, for flat scarfs with appliqué, needle-work, or hand-painting. Also makes up beau- tifully with silks for over-draping. Velours with appliqué are rich and heavy and make very effective mantel-work. For chambers, silks, madras over colored silks or sateens, and man- tels in cretonne draped to conform to the style of windows and bed-curtains in the same material, are always pretty. Generally plain materials, i.e., without figures, cretonnes excepted, make up with better effect, depending upon their trimming for orna- mentation and are a better relief for the usual bric-à-brac. In explaining the methods of doing mantel-work the few 272 PRACTICA L DE COR A TI JTE UPHO LSTER Y. styles given will enable the reader to estimate and make up any design fancy may suggest. For a good effect with the least expense one might have the plain scarf thrown over the mantel-shelf, hanging over in front and ends of equal depth, and fringed on front edge and ends. One breadth of twenty-four-inch plush or an equal quantity of other material for a mantel not exceeding eleven inches in width will allow nearly twelve inches to hang over in front, exclusive of the fringe. Allow the same overhang at each end. This should be lined with flannel and faced across the front corners with the material of which the mantel is made. This can be laid on the mantel without the false shelf, and can be roughly estimated for quantity as follows: Two and three- fourths yards plush, four and one-half yards flannel, four yards fringe, board and fixtures. This estimate is for a five-foot mantel. This can be made more elaborate by adding the false shelf and festoons of silk over a rod along the edge of the board, as shown by Design No. 62 of mantel drapery in plush with silk festoons. A mantel of the size suggested, five feet long and one foot wide, would require, beside the plush, three and a half yards of silk, five yards of fringe, rod and fixtures. For combination of colors choose those in harmony with the room. Use brass or gilt rods with ornamental ends, or use a rod covered with the material. When silk is to be used to cover the board, the flan- nel under covering should be near the same color, else it will injure the effect of the silk. Cut the plush for the top and M.4 NTELS. 273 overhang, and before lining it up steam out the crease made by folding, as explained in making up. Line the plush and fringe the front and ends. - To Cut Festoon Over-draping. — Lay out along the edge of the cutting-table the full length of the rod, and mark off upon it *::::: 3:… º. " :=º 2. r- ºr º-º- … • *-*-*- - _-ºº: — ...-- mi w * == NNN sº ^ §§§§hiº; #ºnt 2% similiº Sssm N * ** gº ºf *. º * ~ \º *ANN "Ne º Dr. Lº N SS * > \,\SSNN\, s & , sº ly N *\ke 2% $ "W"Mººs” *SS º ; : *-eeze” 7 º’ - ^s, sº Sº, W All —º } ºt N- § N \, sº ->. º § §§§ ^\s $º.". g N - sº º § § º \ws... ºf . * ºssº sº.§§§ Yºss.” ºš §ºš sºftº Ns. " 271.2% º * § §: jºr t ſº §§ § § §§§ rºſ. nºt § §§ſ! tºrts t | tºu''< *šº ºw º §º', §º.º.º. No. 62. — MANTEL. the spaces to be occupied by the swags as shown by the scale drawing of the drapery. With the tape measure get the dimen- sions of the swags as explained for spread swags, and allow not lessthan double fulness in depth if silk is to be used, as such flimsy material requires a generous quantity to pleat well; also, if silk, remember to raise the corners only one-sixth instead of one-third the radius each side, as explained. Cut the wings as per rule. After fringing, the wings and Swags can be shirred up to the widths given in scale drawing, and after overcasting very closely can be all sewed together on the wrong side so the seam will be next the rod. Pleating is 2 74 PRA (TICA L DE COIRA TIVE UPHOLSTE IR Y. more work, though very much more satisfactory. Pleat with tacks on the table edge, allowing the ends to stand above the table for convenience of trimming off. Now trim off the tops and oversew closely. Sew these all together, as explained for the shirred work. A half-inch brass or wooden rod will be the proper size. Use screw brackets in the edge of shelf to hold the rod. These can ń. * º '.: * } | - > 22* & --~~~~ * º ------ §§ wº- y º Aſ ºl], yº. yº * *-- | &º - % * \\!\! º l --~~~. Siłºś. No. 63. — MANTEL. be screwed up tightly after the drapery is properly arranged, and so keep the work from slipping around. It may be found necessary to cut a hole in the part of drapery going behind the rod, to accommodate the screw or bracket, as they must both be placed where they will be covered by the drapery. The back piece can be covered and screwed to the board. If the rod is to be covered, sew the material on tightly. Design No. 63 could be a combination of silk and plush. Instead of covering in the back piece with the upright box, MIA NTELS. 275 use a shallow valance, pleated and hung on a rod with rings, or make a double heading, the same as for sash curtains. The latter way would be the best for silk. Cover the top with cotton flannel with plush over it. The back valance, ends, and front can all be cut from one breadth, top and covering for rods from another breadth, the ends cut as explained for cutting swags and pipes together. The ends and front skirt are tacked to the edge, and an edge trimming made for covering the tacking at the ends. Tack the front skirt on at the top wrong side out and turned over, thus concealing the tacks. It is to be cut up from the right like the side of a swag, to give more fulness for pleating. After being fringed, shirr or pleat it up to make it appear as though drawn up by the silk scarf. The back valance is to be pleated and rings sewed on. Rods covered with the plush look better than brass, as that soon tarnishes. The silk over- drapery is cut in four parts. The extreme right piece with fringed end can be tacked to the edge under the rod; the next piece fitted to the front just as it is to appear when fin- ished, and all closely overcast and bound. One end is then fastened to the rod, and the other carried behind the valance and attached to the board by hooks. The other parts are made in a similar way. The rod should be pressed up tightly against the edge of the board, to conceal the tacking and ends of festoons or swags. The quantities for this valance would be about as follows: Five and a fourth yards of plush, two yards canton flannel, three and three-quar- ters yards plush fringe, four yards silk, one and three-fourths 276 PRACTICAL DECORATIVE UPHOLSTER Y. yards fringe for silk, three-fourths yard edge gimp for edges at end. Festoons are cut as per rule for irregular swags. No. 64 can be all of one material, and would make up well in either silk or plush. One breadth would cover top, back, and rod, and use a full breadth for each end for pleating. An edge gimp will be needed to cover the tacking. Cut the festoons as per rule for French drapery, and pleat up and bind all nicely before sewing together. f \\ §§ *Nº, rººt *N. - N | % is *}|\, !!! º • *: \\ \\ º § . ; § º \! 4 º º *5.7" Aſ *s, - º tº M ºr . . ; wº, w º º :-" sº º & N. h life- °3 {{ N §llº,"|Ns 9 UTS:-- • - ( * \ º "Wºrrºsawa" § º | ºw." N § Ö) jº, N Y (). No. 64. — MANTEL. The side wings will require to be faced up on the inside, but Will require no extra material, for, as the sides must be cut full- length, the piece cut from the slanting end on one side will make the facing for the opposite side. If made of plush, it Would require eight and one-fourth yards, two yards canton flannel, seven and a half yards fringe. If of silk the usual width, about the same quantities would be needed. Design No. 65 is a suggestion for mantel treatment for a “den " or similar situation. It is simply a scarf thrown over ºs, sasgºwa Wº%lſº SNSºfiºn. 22:32:32 sašº VåWº%; ºffgas Mºjšº ſºlº % º º % N § ſº Y g w Wºź & 3% ? *ś == jil | ºº: iſiºšN % $º SWº%;% ºft • *.* -** -- . ~-- " ... --~~ - * → E3 ſ #; : §## : }\,, w While= S-> # s J.- # # º: = W fi.*. * H! fºº -} SS-sſº s- -# §A -º: t f # --> - s: š - Tº:--> - - T-- º |-- -- - --- - - - --- º -- - g tº: &º: --- g :* -ºº ºr E. ===#Esº sº-ºº: a ==sº sº º # = sº-sº § -º :-sº -- º sº # - º sº: Ǻ # No. 65. — MANTEL DRAPERY IN “THE DEN.” MA NTELS. 279 the shelf and slashed up in the middle, to allow the under- drapery to be drawn through. Make the cut slant away from the right side, to allow the pleated part to have the side rake similar to a festoon. This allows more fulness for pleats. The scarf at the right side has been raised and fitted to a rod at front of small raised shelf, which affords a position of especial prominence for the trophy of the regatta and a nice tuck-away place underneath. The long curtains reaching to the floor should be hung on rods under the board so they can be thrown apart when the fire is burning. They should be all of plush, velours, or similar material, as silk would be too combustible to be so near a fire. Use for the top of shelf and overhang one and a half breadths of plush. Cut the half-breadth long enough to cut in two, and add to the curtains, which should be one and a half breadths wide each. A mantel five feet long would require about ten and a half yards of plush, four yards of fringe, and five yards of cord for curtain. 280 PIR A CTICAL DE CORATIVE UPHOLSTER Y. SLIP COVERS. SLIP covers are indispensable for protecting furniture during the dusty season, and well repay the labor and expense of making them. They should be made to cover the piece of fur- niture entirely, woodwork and all, for nicely finished frames or intricate carving will suffer quite as much from the dust as the covering material. They should be made in as few pieces as possible for each article of furniture, and loose enough to allow for shrinkage when washed. The better way is to have the required quantity shrunk before cutting, but in this age of haste few will wait to have it done. Almost all of the modern easy-chairs can be fitted so the covers can be made whole and dropped over them or removed without an opening up the outside back. Any sofa that does not flare out much around the back, and has the back and arms close to the seat without an opening between them, can be covered in a similar manner, requiring no buttoning or tying with tapes. - Since many pieces, however, require special consideration as to the manner of proceeding to cut them, the ingenuity of the novice will sometimes be taxed to overcome difficulties which cannot be intelligibly explained here. Begin with the easy ones, and the difficult ones will easily be vanquished by a little extra patience. No measuring of the furniture is required beyond just enough to estimate somewhat near the quantity of goods re- SLIP COVERS. - 281 quired, as each cover must be cut and fitted to that particular piece of furniture to which it belongs. This rule could be departed from where there were a number of small simple pieces all exactly alike. This will be explained further on. The very best material to use is plain brown linen, though they are made of striped and figured linen, dimity, French cottons, and cretonnes, etc. The plain linens are easier to cut, having no stripes or figures to match or cause waste. Where the material used has conspicuous figures they should be arranged tastefully, the same as in making up drapery. It may cause waste, but better so than sacrifice the beauty of the covers. There are several ways of making them up, but the best, because it is the neatest, strongest, and the best to stand washing, is the French fell. In this way the seam is first stitched up by machine, then felled down by hand-sewing. Another method is to cut them wrong side out on the furni- ture, pinning the seams closely. They are then taken off and machine-stitched, the seams trimmed, and the covers turned right side out. The old-fashioned way of binding the seams is not to be recommended, as the binding shrinks more than the linen, and is also apt to get off in wāshing. To explain the manner of cutting so it will be sufficiently clear to enable the reader to understand exactly how to proceed is rather difficult, but as the writer taught himself, it may rea- sonably be supposed that any one of average intelligence, after knowing what is required, can puzzle it out successfully. To measure rapidly, first see if the goods are wide enough to reach across the width of the seat or back, and allow one inch each 282 PRACTICAL DECORATIVE UPHOLSTERY. side for the hems. If not wide enough, of course it must be pieced at the sides. There must be no seams through the middle of the seat or inside back, unless two breadths are needed. To illustrate the method of measuring rapidly, see Design No. 66 of a stuffed-back parlor chair, Fig. 1. This and similar chairs having a thick back stuffing will require borders inserted at top and sides. Furniture having thin back stuffing can have the coverings of inside and outside back brought together at the edge without the border between. Chairs of this kind would require a full breadth of the striped French cotton or single- width Cretonne across the seat and across the inside and outside back. The quantity in length can all be taken in one measure, as follows (see Fig. 1): Drop the measuring tape down behind the chair to the floor ; pinch up two inches at A on the top of the seam, bring it forward to B and pinch up again as before for seam on front edge of top. Now bring it down over the front of the back and tuck it away in between the back and seat nearly or quite to the seat frame. Let the fold remain there and bring the tape forward to the front edge of the seat; pinch up for that seam also and thence to the floor. This gives the quantity in one continuous strip, to which add a breadth for each side. The borders can often be cut from the waste, but it is not always safe to estimate on that basis. The tuck-away parts of the seat and back covers should reach nearly or quite to the seat frame in order to keep the cover in place while the chair is in use. It is much easier to cut the covers with the furniture stand- ‘SHQIAOO TITS ĢIONINVTā ĐNIXIŅIO A\ :) NIĄ\OHS‘S?IIVIHO – '99‘ON SLIP CO WERS. 285 ing upon trestles, but as they are usually cut as they stand upon the floor the work becomes very tedious. Sketch of large easy-chairs is introduced to illustrate the method of cutting the cover. (See Fig. 2.) The seat A is always covered first. Cut off enough of the material to reach from the front edge and be tucked away to the seat frame at the back and around under the arms in the same manner. If of figured goods, arrange them tastefully, or if striped material see that the stripes run exactly straight from front to back. Put in half a dozen pins to hold the piece in place. Allow an inch or more over the front edge for the seam, and trim the tuck-away part all round to the form of the seat'frame before pushing it back into place. Leave enough in front of the arms to allow the end piece EE to be pinned to it. The inside back piece B is the next to go on, or the front skirt, if by so doing it would save a waste of material when using figured goods. The inside back piece B is to be cut off in the same way as the seat piece, arranging the figures or stripes properly, and allowing enough at the top for the seam and for the tuck-away at the bottom, which should be the same as allowed for seat. Pin it in its place so it will fit into the form and all the hollows smoothly yet loosely. Hollow it out at the bottom of the tuck-away and split it up a few inches in the centre so a gore can be inserted to allow spreading at the bottom to fit the form of the seat piece. The gore must not come up high enough to be seen when the cover is in place. Sometimes more than one is needed. They are required only when the seat is rounded at the back. - 286 PRACTICAL DECORATIVE UPHOLSTERY. The front skirt piece CC can now be fitted, or the outside back if one prefers. For the skirt cut the bottom straight across, stand it up in front and pin it loosely yet smoothly around the front of the chair, leaving enough at each side to join to the side covers. Now pin the seat and skirt closely together, leaving not less than three-fourths of an inch standing up above the row of pins for the seam. Put the pins not less than three inches apart, and so they will not slip out easily. All carelessness in cutting and pinning causes great annoy- ance and delay in sewing together. Next cut off the outside back piece, stand it in its place and pin it loosely all round where it is to join the top and side border. Next fit the pieces for the covering of the inside arms, DD. Allow enough for the tuck-away at the bottom to be carried down and joined to the seat piece and also spread out to meet the base of the back. Now carry it smoothly over the arm and pin it in place so the seam at the joining with the outside cover would be about as indicated by the arrows. (See Fig. 2.) Now fit it nicely to the back, curving the pieces to fit each other. There is very often space enough between the arm and back to allow of a small tuck-away, and if so fit the cover to it, as it allows more fulness and is less liable to rip the seam in using. These two seams are to be sewed on the inside, not felled, but they can be fitted and pinned on the outside like the others and reversed when making up. The joining around the tuck-away and all piecing is to be sewed on the inside in the same IIla, Ill]62]”. Before unpinning to reverse the seam, clip into each seam SLIP CO VERS. 287 With the scissors so they can be joined in the same places after reversing. In carrying the material over the arms to meet the straight top of the outside arm covering, it is sometimes neces- sary to dispose of the fulness by making little pleats which are to be hemmed down when making. Treat all similar conditions in the same way. The pieces for the front of the arms can now be put in place. (See EE, Fig. 2.) Pin them to the bottom covering so they will be sewed on the inside; stand them up in front of the arms and pin them in place, and then pin them to the inside arm cover all round, keeping the form of the arm and allowing three-fourths of an inch or more for the seam. Now put on the outside arm pieces. Stand them in place in the same manner as the other pieces. Pin them first at the top So they will hang down squarely, swing them in a little and pin to the edge of the front skirt and arm pieces and also to the back cover, which must also be swung in as much as possible and yet hang clear of the legs. This last seam is to be stitched up on the inside, but it must be fitted and trimmed on the out- side first and then reversed. The seams can now all be trimmed three-fourths above the pinning. Now mark it all round at the bottom for the hem so it will be in all parts equally distant from the floor and so high as not to catch under the caster wheel. Remove all the pins except those in the seams and lift the cover off to be sewed. If for French fell, stitch and fell over. If to be bound, the seam will need to be trimmed more closely. When there are several pieces exactly alike and not requiring elaborate fitting, as for instance several parlor chairs, one cover can be fitted to a 288 PRACTICAL DE COI: A TI FE UPHOLSTER Y. chair, then taken apart and used as a pattern by which to cut the others. Before taking apart, every seam must be clipped into with the scissors as a guide to fitting together again. Now block out pieces of material of sufficient size, and number for each part of the pattern. Put each lot together with pattern pinned on top, and cut carefully round to fit, not forgetting to clip into the pile according to the clippings of the pattern. Each lot should be marked before unpinning, whether back or front, right or left side, to save confusion. Furniture having the seat and back disconnected, with more or less space between them, should have the coverings of seat and back made entirely separate. (See Design No. 67, Figs. 3 and 4.) First, and in every case, fit piece for seat covering, pin it in place, notch out at the back and arm posts, and leave it project- ing an inch beyond the edge of the seat all round. Now block out the piece for the front skirt and pin it loosely in place, turn the corners and carry it beyond the arm posts that it may hook over the side skirts, which are to be fitted in the same way and carried around the rear posts and under the back skirt, as shown by chair No. 4. Fit the back skirt as shown by the sketch. The turned-back corner shows how the hooks and loops are to be placed. The skirt is to be pinned to the seat all round, as explained for No. 2. Mark a gauge line all round the bottom of skirt be- fore taking off. They should finish at the top of caster wheel. The back covering is simply a case made to drop loosely over 'S':[GIAOC) SLIP COVERS. 291 it. The front piece is to be notched out to fit around the arm where it joins the back, and a piece of it carried under the arm. The side border is carried down and hooked over it, and both pass under the back cover, as shown by sketch. The arm covering is in this case a box of the material dropped over it and secured in place by straps or tapes sewed on the inside. The round felled seam is to go all round the top and ends. If a piece of furniture is much wider at the upper part, cut the back covering to follow the form and then split it up the outside back so it can be easily removed. Finish the cut with a fly and fasten with hooks and loops. The same general treatment will apply to all kinds of chairs and sofas, simply to cover them all over, preserving the form as much as possible consistent with an allowance for shrinkage. For quantities required in thirty-six-inch goods the following will give about the correct estimate : — - Common Parlor Set of seven pieces, about twenty-five yards of single-width cretonne or yard-wide linen. Ottoman Sofa, ten to twelve yards. Ottoman Couch, nine to ten yards. Large Turkish Chair, six to seven yards. Large Square Armchair, five to six yards. Common Couch or Lounge, seven yards. Average Stuffed-back Parlor Chair, four yards. 292 PRACTICA L DE COR A TI VE UPHOLSTER Y. CARPETS. ALTHOUGH carpets can hardly be considered a part of decora- tive upholstery, they are a most important feature in the house, and though once included with general upholstery furnishing, they now form a distinct business. The handling required in the general planning, fitting, making-up, etc., has become a trade entirely separate from upholstery and drapery work; and as the proper methods of working are to be gained only by long practical experience, the subject has been considered of sufficient interest to add a few pages of instructions and explan- ations in this work. Many people are not able to distinguish to a certainty the different varieties of carpets manufactured, and therefore a brief description, with their wearing qualities, may be of service to the reader. The principal varieties sold, and named in order according to their grade, are as follows: Turkish, French Moquette, Scotch and English Axminsters, English and American Wiltons and Brussels, English and American Velvets and Tapestries, and “Woollens,” as all Ingrain carpets are called by the trade; also the Venetian, a method of manufacturing employed only for cheap stair carpeting; and several lower grades, called by various trade names, and not necessary to describe here. The Turkish carpet is made in one entire piece, of form to fit the room, plans of which are made and sent to the native manu- facturers. The French Moquette has a deep pile of soft wool fastened on a very thick cotton back as a groundwork, none of CA RPETS. 293 the wool showing through the back. The colors are usually soft and delicate, designs finely drawn and shaded, and the fabric extremely durable; width always twenty-seven inches. The Axminster has also a thick groundwork upon which the woollen pile, previously formed into threads resembling chemille, is woven to and fro across the groundwork and fastened upon it by threads of warp. It has, like the Moquette, a cut or velvet pile. They are very elegant and quite expensive, but very durable, with proper treatment. The Wilton, next in grade, is probably the most enduring of all included in the list. These are woven with a thick, firm worsted pile upon, or, rather, intermingling with, a linen back. The worsted is entirely in the warp, and is woven over wires running across the breadths forming the pile in rows of loops; as the wires are withdrawn the loops are cut, leaving a velvet surface. Each color is represented by threads of warp running the entire length of the web, and as they cease to be required on the surface they are dropped and carried along in the warp, show- ing the worsted in the back, until again needed by the design on the surface. As each color is worked by a separate “frame,” the number is of necessity quite limited, rarely exceeding five, and never more than six ; and thus the quality of each grade is determined by the number of separate colors, each representing a frame, thus two, three, four, and five frame carpets. The Brussels is woven with the pile in loops and the worsted showing in the back, in the same manner as the Wilton, except that the pile is not quite so thick and close, and the loops remain uncut. It is often confounded with Tapestry, as the 294 PRA CTICA L DE CoRA TIVE UPHOLSTERY. formation of the pile is similar, though of very much greater durability. - The Tapestry, or Tapestry Brussels, as it is often advertised, has a very similar pile to the Brussels, though there is usually a greater variety of colors and a freer handling of design and shading. This is because of the different manner of construc- tion, not necessary to describe, except that the worsted is stamped in the required colors, and then woven upon a hard background or foundation of hemp or linen. The worsted does not show at all on the back, and thus it can be easily distin- guished from the Brussels without seeking further comparison. It is not as durable as Brussels, though the beauty of design and the low cost are great temptations to purchasers. Velvets are Tapestries with the pile cut, though woven closer, and are good wearers. All these are made three-fourths of a yard or twenty-seven inches wide. Sometimes Velvets are made up double-width, four feet six inches. All these varieties are also made in plain or unfigured carpets to be used as a groundwork or bordering for rugs. These are usually called fillings. A whole carpet entirely plain is not to be recom- mended, owing to the difficulty of keeping it clear of footprints. The Woollens comprise all the Ingrain carpets such as the three-plies, two-plies, and all the plain or unfigured carpets. The two-plies are called, variously, Ingrains, Kidderminsters, Extra Superfines, etc., all meaning the same thing; the three- plies are made of three separate layers, or thicknesses, ingrained together, and the wearing qualities depend somewhat upon the design. A design showing larger masses of unmingled color CA RPETS. 295 will not wear as well as though thoroughly ingrained or inter- woven with the plies beneath it, those masses representing parts entirely separate from the rest of the fabric, except at the outlines. They are good wearers, however, and can be turned, each side being equally serviceable though different in coloring. The two-plies are fine wearers, being usually woven harder and more thoroughly ingrained than the three-plies, and both sides are equally serviceable, only the colors are reversed. The plain or unfigured woollens, usually called fillings, are firm and durable, but are mostly used for the ground on which to spread rugs. An entire carpet of them would be difficult to keep clean. - Nothing is so nice for summer wear as the mattings of China and Japan. These are being made in colors to suit all occa- sions, besides the old-fashioned checks and stripes, and also the whole web woven in one piece instead of joints at every two yards as formerly. Thus there is no bother about pulling apart when laying the breadths. Mattings once down should remain, as in taking up and relay- ing they are apt to crumble off at the ends; so the best way when one intends using mattings for the summer is to leave them down and lay the other carpet over them, using thick wadded carpet lining between the two, otherwise the selvages of the mat- ting will cause the overlying carpet to show lines of wear. It is not necessary to put anything under the matting unless there should be cracks in the floor, then use plain carpet paper. Do not use wadded linings, as the mattings will neither lie nor wear well over a soft, yielding surface. 296 PRA CTICAL DE CORATI WE UPHOLSTER Y. In purchasing oilcloths, or painted carpets as they are some- times called, it is economy to get sheet goods, i.e., those wide enough to cover the entire floor without piecing. Seams, which yield soonest to wear, are thus avoided, and usually the stock is better than that of narrow goods. The extra cost of the wide cloths is more than offset by their wearing qualities. When washed use warm (not hot) water and castile soap, use soft cloths and no scrubbing-brushes. Every year, give it a heavy coat of copal varnish. Linoleums are similar to oilcloths and in some respects are better, being softer and less noisy to walk over, and are neither cold nor slippery as the oilcloths are apt to be. They are made of cork ground with oil, with cloth foundation, and otherwise are similar to oils. These should not be varnished. Lignums are made of wood ground with oil, and are harder than the cork linoleum and are claimed by some to be superior to them. MEASURING. IN taking the measurements for carpeting a single room, a Suite, or a whole house, a plan of the room, the whole suite, or of each entire floor, if a whole house, should be drawn out to- gether to show the relative positions of the spaces to be carpeted. Not scale drawings, but simply diagrams of the floors with toler- ably correct forms. Use a measuring-tape always, as measuring with rules will surely lead to mistakes. Always take a running measure, i.e., instead of giving the measurement of each space separately, add them together as MEA SUTRING!. 297 you proceed so the last measure taken will give the added sums of all those preceding it. In measuring the lengths, almost al- ways begin at rear ends, measuring toward fronts, as the carpet is to be rolled out; and in measuring across rooms, begin at straight sides or where full-length breadths will be laid, and measure toward alcoves, as the carpet is to be added in that direction. In measuring front halls begin at the front door, as the carpet is usually rolled toward the rear in cutting. Record also on the plan the position of the chandelier, as it is sometimes desirable to arrange the figures of the carpet with reference to it. Taking the measurements for carpets to have borders requires a little more careful attention and also many more measures. Fig. 1 on the plate No. 68 of diagram will illustrate the method of measuring a room for a border carpet. The swell at the side is added to show the method of measuring swells. Make a plan of the floor to show its general form, marking all positions of recesses at windows, doors, etc. The dotted lines represent the measures to be taken. Take the length measures first, beginning with No. 1, giving the length on that side and also width of opening of the swell, though the swell itself will be measured last of all. No. 2 measure gives the corner of bay and shoulder of the oblique line of bay. Nos. 3 and 4 give depth of bay. No. 5 gives the location of the hearth lengthwise, and corner of bay. No. 6 gives position of chimney. No. 1, crosswise measure, gives openings of double doors each side and width of room at rear. No. 2 gives projection of hearth and chimney at rear. No. 2, same as 2 at front. No. 298 PRA CTICAL DE CORATI VE UPHOLSTER Y. 4 locates opening of bay and extreme width at front. The three angles of the bay are to be carefully measured, and the small window recesses located. These are to be covered with “filling,” i. e. plain carpet the same color as the outside edge of the border. Treat the opening at double doors in the same manner and fill in behind the border to the rod on which the doors slide. - If the adjoining room is to be covered with the same carpet, the side borders had better stop at the dividing partitions, and the body breadths carried through the doorway. Now measure the swell. Snap a chalk line across the open- ing and measure into the swell from the centre of chalk line, giving its greatest depth. If the swell is a segment of a circle, this one measure in the middle will be quite sufficient to find the radius to strike out the sweep, proceeding as explained for laying out sweep cornices in article on Measuring for Draperies. If the swell should be irregular in form and not a segment of a circle, then draw two lines each side of centre line, and measure into the swell from each of their centres. See diagram of swell on Fig. 1, arrows indicating measures to be taken ; or measure into the swell from the chord every foot and at right angles with it. Diagrams on plate 69 illustrate the method of planning and measuring oblique-formed spaces or those containing curving lines. These can be accurately measured by taking the dimen- sions of the four sides, and also measuring from corner to corner each way. (See Fig. 2 for illustration.) To lay this plan out on the cutting-floor for a border carpet: First see if either of the four corners makes a right angle and if • • • • ►） • → • ， sae *− =） == ） ） ） • • • •=ș Tº – – – – – – – – – – – – + – – – – – – – – – – – – – –* — — — — — — — — — — — ” — — — — — — — — —f – – – – – – – – * * = sæs -SS *…*s-ºl. zer St * s Fº sº No. 68. — DIA GRAM OF FILOOR FOR MEASURING CARPETS. < — — — — — SLĀaſīvo ĐNIHnsvāIIN HOÀI HOOTI JO INVIÐVICI-09 ºn sışaransvar!ȚOJI (HINT’I \ / *ae \ - - - 4- - - -– – – – – } {\ amºa º ºsmºs = ** * ~ * “IN RIOJI ’’I f º |- I st! | W. MEASUR ING. 303 so mark out with chalk lines their exact dimensions. (See AA, Fig. 2.) From points BB draw the other side lines their exact measurements, using two measuring tapes for convenience, and their points of intersection will locate the fourth corner. A right angle can be quickly drawn by using eight feet for perpen- dicular, six feet for base, and hypothen use ten feet. (See illus- tration in corner of Fig. 2.) Fig. 3 will illustrate the method of securing the measure- ments of an oblique room with an irregular-formed corner, given to explain all similar cases. First continue the line of the base across the alcove, forming the imaginary corner at point A, and proceed to measure the four sides the same as No. 2. Now measure the alcove as defined by the three sides O, O, O, as though it were a separate room. Snap a chalk line across the swell, as shown by dotted line in diagram. Measure toward the swell from the chalk line to secure the form. All irregular spaces having straight sides can be measured by dividing them into triangles. * * Fig. 4 represents a hall with stairs leading above and below, and is given to illustrate the method of securing the form of winding or irregular curved lines, so they can be reproduced correctly on the floor-plan for fitting the borders. Make a correct plan of the form of the space on the paper, and enter all the measurements of lengths and widths of all the straight lines. To get the form of the curves, snap a chalk line along the floor in front of them and measure toward them at regular intervals. These lines for measurement are shown by the dotted lines 1, 2, 3, on Fig. 4. Record their positions 304 PRACTICAL DE CORATIVE UPHOLSTER Y. correctly on the plan so they can be transferred to the cutting-floor. Any irregular curved form can be easily secured by using these lines for measurement. Arrows showing measures to be taken. To measure a stair for border carpet, and, if winding with projections at sides and increasing widths at the lower end, proceed as follows: Draw the plan showing the general form of the stairs, with landings, projections, etc. Fasten the tape at the top and run it down next the baseboard. Let it remain, and with another tape or rule measure across the steps as they increase in width, and note the position of each cross-measure so taken on the long tape. Add one-half to three-fourths of a yard extra at bottom, to allow for slipping back and changing the wear every time it is relaid. - * In measuring for all border carpets draw the tape tightly, using an awl in the floor to hold the ring. Use the same tape or one of exactly the same measure in laying out the plan to fit the carpet. There is often enough difference in measuring- tapes to lead to serious consequences. ESTIMATING AND CUTTING. ESTIMATE borders by adding together the length of each sec- tion of border around the room, and allow about three inches more at each mitre ; allow, besides, about two yards more for waste in a forty-yard carpet. This will be a fair average of waste. Of course the body will be the length between the borders, with turnings added, and allow about three yards, beside, for waste for every forty yards of carpet. This is for estimates ESTIMATING AND CUTTING. 305 only, for if the pattern has been selected the exact quantity can be determined. Moquettes, Axminsters, Wiltons, Brussels, single-width velvets, and tapestries are all twenty-seven inches or three-quarter carpets, and for convenience of calculating num- ber of breadths required for a room, the following table may be of use, – 1 breadth 2 ft. 3 in. 7 breadths 15 ft. 9 in. 2 breadths 4 ft. 6 in. 8 & 4 18 ft. 3 { % 6 ft. 9 in. 9 & 4 20 ft. 3 in. 4. & 4 9 ft. 10 4% 22 ft. 6 in. 5 “ 11 ft. 3 in. 11 { % 24 ft. 9 in. 6 “ 13 ft. 6 in. 12 { { 27 ft. In changing an estimate from a three-quarter-wide carpet to the quantity required for the same space covered with woollens or four-quarter goods, deduct a quarter from the three-quarter estimate; but in changing from a four-quarter to a three-quarter add one-third to the four-quarter estimate. Thus, twenty-four yards of Brussels or eighteen yards of three-ply, and vice versa. The way to run the breadths is not governed by an absolute rule, though, of course, the long way of the room is preferable, and is generally the only proper way, turning the highest lights of the figure towards the strongest lights in the room if possible. Some experts always insist on running from back to front of the house, and this is generally the correct way, as the rooms of most city houses are longest that way, and also have the chimneys on the sides of the rooms. This admits of running the breadths across the hearth, which is a most desirable method. Should the figures be large and conspicuous, to pro- 306 PRACTICAL DECORATIVE UPHOLSTERY. duce the best effect they should be made to line with the centre of a bay window and double doors, or be distributed each side of the centre in equal quantities. The patterns for halls and stairs are usually smaller than for rooms, and, in cutting, plan to have the figure run toward the top, having the hall running the way to correspond. This would depend somewhat upon the form of the hall, however. A stair carpet of Wilton should be cut to have the nap running down the stairs, for convenience in sweeping. In piecing out at the sides, put the piecing on the wall side. When the stairs, halls, and adjoining rooms are to be covered with the same pattern of carpet, the way to run the figure will be decided by the stair carpet. The figures on all adjoining rooms should be on a line with each other, and a tasteful arrangement made even at the risk of wasting goods. In cutting border carpets, lay out the plan on the cutting-floor, which is more convenient than to cut them on the floor of the rooms where they are to be laid. Mark out all the mitre lines at corners and projections. If the room has a bay window, mark the centre of it, and begin there with one of the most conspicuous figures of the border and work each way, making the mitres, matching them and stretching the border smooth and tight, tacking all temporarily in place. If there be a hearth to border around, centre that also, work- ing each way and meeting the other border in some obscure corner, where it would be covered with furniture, as it would not be likely to match at every mitre. If a Wilton or velvet border, cut the mitres down flat, i. e., not turning them under ESTIMA TING AND CUTTING!. 307 at all. These will be sewed together raw edge, and bound with linen on the under side. Some cut Brussels borders flat, but this is not necessary except when making rugs. Tapestry and woollen borders must be turned under. Mitres made in Moquette or Axminster borders must have all the wool picked off the part turned under. Unless the room is very wide or the border very narrow, it would be better not to run the border around the hearth, but stop it at the chimney. It is better also not to run around double doorways, as it narrows the space. Stop borders each side the partition. If the hearths are to be covered with body carpet and the border is wider than the chimney projection, it, the border, must be carried across the chimney, but one can economize by using the inside edges of the mitre pieces to cross the space, meeting the full border on the other side. It is often the case that after fitting the border and fitting in the number of full breadths there is still a space from one-half to two or three inches wide left between the border and body. Rather then fill this space with a long narrow strip of body, causing waste or mismatching, it would be better to move the border up close to the body, and put filling next to the mopboard. This should be done on the recesses each side of chimney or similar spaces. One should an- ticipate this and measure the width of the body, as it often varies a little from the standard width, before fitting the recess border. Recesses at doors and windows, unless large enough to border around, should be covered with filling of same color as outside of border. In cutting carpets it is better to run them all the same way, even though the figure was reversible. It would, 308 PRACTICAL DE CORATIVE - UPHOLSTER Y. however, make no difference with woollens, but Brussels and tapestries are apt to shade a little for a while, owing to the pile being crushed in rolling. The difficulties of shading or “run- ning ” of the figure are sometimes modified by shifting the breadths around a little. If the “running” be shrunk out after it is sewed, by tacking to the floor face down, stretching tightly and wetting the back well. Let it remain till dry. (See Concluding Remarks.) Wiltons must always be run one way, though the figure might allow reversing, else the carpet would show some breadths light and some dark. Sometimes it might be neces- sary to use a short piece where the quantity was limited, or to reverse the half of a split breadth. The map could be turned by steaming with wet cloths and a hot goose, though the process is too tedious to practise to any extent. g still remains, it can When several carpets are to be of the same pattern and it seems as if there would be much waste, add the several lengths together and cut them all in one, dividing them afterward as they lie on the floor, thus having only one quantity of waste for all and each an equal part. If only one carpet of the same pattern, and it seems to waste, try the inside end or calculate for short breadths, if any are required. The waste may often be lessened in that way, although, as one is governed entirely by the figure in cutting, one must submit to the inevitable. If difficult to detect the place to cut by studying the single breadth, pick up the end and bring it up; placing it beside the goods beyond the measure mark, move it along until the match is found. F.S TIMA TING AND CUTTING!. 309 Cutting with a “drop" occurs where the breadths alternate, i.e. where every other one begins with the same figure, and to cut them to match one after another would cause much waste; they are cut in sets and arranged to match afterwards. To illus- trate, suppose seven breadths were required to make the carpet, and the breadths alternate to match, three beginning with a large figure and four with a small figure. Beginning with a large figure, we want to begin the next breadth with a small figure to go back and match, but the length required reaches beyond the small figure, and to go on the next one would cause too much waste on each breadth, so we go on to the beginning of the next large figure and cut, starting another breadth just like the first one; cut off three like this all alike, or sets, as they are called. Now draw the carpet down beside one of these sets until they match, cut off the waste of the match breadth, ex- tending beyond the set, and then cut off three more match breadths all alike, making the four match breadths required. Put two of them between the three sets alternately and one on each outside. Thus much of the waste is avoided. Sometimes the match breadth can be taken from the inside end of roll with- out the waste of a “ drop.” When there is an odd number of breadths, it is better to cut off the lesser number first, as that would permit a saving on the last breadth. In fitting the body to border carpets trim off very close, not turning in more than one and a half inches all round, and for Wiltons cut quite flat, not turning under at all, double-sew the ends of breadths and buttonhole-stitch all raw edges at sides of breadths. All turnings on Moquettes or American Axminsters 310 PRACTICAL DE COR A TI VE UPHO I, STER Y. must have the pile picked out. For English Axminsters un- ravel the pile to the mark of turning and securely tie the warp threads, confining the pile before hemming. In making the seam for joining together two breadths, or cross-joining as it is called, with Brussels, velvets, or tapes- tries cut the end of each piece so they will match the figure when brought together. Cut quite across on the same thread, leaving the loops whole. Leave on one row more than is re- quired to show. Bring the edges together over the middle finger and pinch them close with forefinger and thumb. Over- sew across and back again, keeping the match by the colors of the wool on the back or by examining closely. The seam is sometimes covered with a linen binding. A well-made cross- join would pass unnoticed. In cross-joining Moquettes or Axminsters fold the ends under to match, pick the pile from the part turned under and baste them down. Sew together on the back, drawing them very tightly. Cross-joins in woollens are made in the same way, by folding back and basting. Match the figure very nicely, bring them together and sew on the face side, thus keeping better control of the figure. All plain (without borders) carpets should be trimmed down when laid so as to allow not more than two or three inches to turn under. If much is turned under, it invites moths and also causes that overlying it to wear in stripes. Always use wadded paper under carpets, as it will greatly prolong the wear. The practice of using straw under a carpet is a bad one, as it is impossible to prevent it from being more or less lumpy, thereby causing it to show spots of wear. Many FITTING AND LA YING. 311 people lay their own carpets and make extremely hard work of it; but much of the hard work can be avoided by doing it in the right way. First spread the carpet out just as it is to lie, smoothing it out into all the alcoves and recesses. If it is all right, fold it back on its face, leaving one-half of the floor bare ; spread the lining on that side, replace the carpet and treat the other side in the same way. The lining or paper should never be placed on the floor until the carpet is spread. If the carpet is a plain one, i. e. without border, begin at the rear, turning in the ends of the breadths to the same figure across the whole carpet; now stretch the breadths lengthwise, using a carpet-vise, by which means the work is done with ease. Begin at the straight side, stretching each seam and twice between them. The carpet is held temporarily in place by a cluster of tacks at each stretching. Now lay aside the vise and smooth the carpet to the mopboard ; fold it in, push it up firmly to its place with a hand-stretcher, and tack it down. Now tack down the selvage side and stretch over the other side and finish around the chimney and hearth, if there be one. Leave the bay-window till the last. Stretch it up in the centre, and when it is in perfect line with the other part of the carpet, put a row of tacks up the middle to keep it in place as the sides are fitted. Draw a chalk line across the opening when stretch- ing up the bay, to get the figure straight across the room. Should the carpet be made with a border, begin by tacking down the bay-window first. Before laying a carpet, all mouldings should have been cut 3 12 PRA CTICAL DE CORATIVE UPHOLSTER Y. sufficiently to allow the carpet to run beneath them. To lay a stair, tack down the pads, using three tacks on the back edge ; bring the pad over the front of stair and put a tack in each corner. Begin at the top and unroll the whole carpet, fitting it roughly in place to see if it is all right. Some prefer to begin at the bottom to lay, others to start at the top. Whichever way begun, leave the waste at the bottom so that when moved up in relaying, the worn edge will be on the tread. The thread should be kept as straight as possible on the edge of the winding stairs, and the folds are to be left for the last. A carpet-awl is the most convenient tool for holding the folds of carpet on winding stairs while tacking down. Match all the stripes if possible, and it usually is, by using care and patience. In cutting a stair carpet with a border, allow one-half inch over the exact measure for going over the pads. Broad stairs, covered all over, should have the pads made large enough to cover all the space under the carpet, else it will be lumpy. In using rods tacks are required also, and the rods are fitted afterward. A good way to lay rugs on stairs is to use blind rods. The rug must be fitted to the stair first, and the lines for the rods marked with chalk. Linen tapes are sewed over the lines through which the rods are thrust, both tapes and rods being just short of the edges. Two screw-eyes in the angle serve to hold the ends of the rods, and another in the middle, to which the rod is held by a tape. Turkish rugs are fidgety things to fit to stairs, owing to the irregular manner in which they are made, but much of the irregularity can be taken out ITA LIA N A WNING!.S. 313 by vigorous stretching with a vise. Tack face down on the floor, and repeated stretching and shrinking will improve the form. In using carpet-pins, put them six inches apart. Mark off the floor and sink sockets, using a bit-drill. Fit oilcloths by cutting them away about one-quarter of an inch from the mopboard to allow them to expand. ITALIAN AWNINGS. NOTHING in all the summer furnishings supplies so much of real comfort and benefit as the Italian awning, shielding the apartment from the glare of sunlight, without the suffocating effect of the shade drawn down, or closed blinds, and also pro- tecting the open windows on rainy days, and no one who has enjoyed their benefit will dispense with their convenience. In the city block, where piazzas are impracticable, the front stoop, with its far projecting awning, affords a good substitute. The manufacture of Italian awnings used to be a part of the upholsterer's business, but like the making of carpets, has drifted into the hands of specialists, who by reason of devoting their whole attention to the manufacture of one article provide themselves with facilities for economizing in material and labor, and so supply the public through the retail trade at the very least expense consistent with the thorough work required in an article so much exposed to the weather. No person can now make a few awnings, procure the frames, 314 PRACTICAL DE CORATIVE UPH OD STER Y. material, and trimmings for less than a large percentage above the price for which they could be furnished by any upholstery house. Some expense could be saved by those living at a great dis- tance from supplies, by sending the measures of doors and win- dows, and the methods for so doing will be explained. Under these circumstances a minute description of their manufacture would be needless, though to persons taking orders a knowl- edge of how they are placed, how measured for, and the average quantities required for given sizes, is very valuable information when advising with customers. The usual way of placing the window awning is on the out- side face of the frame just inside of the blinds, so that they (the blinds) could remain on, but of course could not be used. The end of the iron frame is hinged to the window frame about three inches below the upper half of the window, the frame reaching to the top of the window when drawn up, and of course the pro- jection when lowered down over the window is equal to three inches more than one-half the window. Thus only two measures are required, viz.: the width between the blinds, and the height of the upper half of the window with three inches added. Should the window be arching at the top, take a pattern of arch on paper, or if a semi-circle, send the radius. (See diagram for measuring poles and cornices.) Sometimes a projection is required greater than one-half of the space, as in the case where the awning is to be made as a canopy over a door or similar situation, and to raise the iron frame would carry the top far above the limits of the space; the frame, instead of being hinged I TALIAN A WNINGS. 315 to the wall, would be fitted to upright rods attached to the wall and made to slide up and down, so that when the awning was not in use, and drawn up against the wall, the lower ends would slide downward. Made in that way, there must be lines attached to the ends of the rod, passed through pulleys above by which to raise the rod into place. Thus a great projection can be had for quite a limited height. A door awning projecting over a flight of steps can be placed quite low down on the door frame, providing it projects far enough to allow a person ascending the steps to enter within the boundary of the awning without coming in contact with it. Piazza screens of awning material can be fitted and hung as window shades, with strong spring rollers at the top, protected from the weather, or be fitted with cords and rings similar to the Austrian shade. They should be made to fill the space between the piazza posts or pillars, to which during the awning season stout wires should be stretched up and down. The screens can thus be attached to the wire by rings on the sides and prevented from being blown about. For estimating quantities, see table of figures calculated for awning from 2 feet wide and 2 feet high, to 5 feet wide and 5 feet high. Width means between the blinds, as explained. Pro- jection means what the frame will project when lowered into place, and is the same as the height measure. The number of feet of frame required for each size, and the quantity of mate- rial of the regular awning width. These sizes will cover about all required for common purposes. Extra sizes and store awn- 316 PRACTICA L DE CORATIVE UPHOLSTER Y. ings would require especial consideration. This table was cal- culated only as a guide in approximating the probable expense of the average awning, but by making a number of them of the same pattern, no doubt, advantage could be taken in cut- ting so as to lessen the quantity of material. WWIDTH. PEOJECTION. FEET OF FRAME. YARDS. 2 feet 2 feet 6 feet 3} 2 << 2% & 4 7 : 3# 2 << 3’ “ 8 (« 4} 2 {{ 3} 44 9 & 4 6 2 “ 4 48 10 “ 6# 2 “ . 4} & 4 11 & # 24 tº 24 “ 74 “ 3# 2} 4% 3 & 4 # { % 4; 2} & 4 3} & 4 # 44 6+ 2% & 4 4. 4 4. 10} 4 & 64 2; & 4 4% 4 & 11% 44 83 & & 4 24 6 & 44 J : & 4 :* 4 & ; 64 º 3 & 4 3# 4 & 1() & 4 6# 3 * 4. 44 11 & 7} 3 * 4} & 4 12 “ # l 44 6) I 4 & 1 & 4 p: ; & 4 # & 4 ; & 4 * 3} 66 3} 6 & 10% & 4 6% 3} & 4 4. & 4 11; & 4 # 3} & 4 4; 4 & 12% & 4 9 4. 44 3 & 4 10 & 4 5#. 4. 44 3} & 4 11 & 4 7% 4. & 4 4. 4 & 12 & 4 8% 4. 44 4} 4 4 13 & 4 9% 4}. 4% 3 46 10% 4 & 6} 4} & 4 3. & 4 11% 4 4 7% 4}. & 4 4 4 & 7.2% 6 & 9 4 * 4 “ 134 “ 10 4 * 5 * 14 “ 11 5 & 4 3 4 & 11 & 4 6; 5 * 34 “ 12 & 7; 5 & 4 4 “ 13 & 4 9} 5 * 4}. “ 14 “ 10} 5 * 5 15 & 11+ CONCLUDING RE MARKS. 317 CONCLUDING REMARKS. IN the foregoing chapters we have endeavored to be as explicit as the subjects allowed in the explanations for doing the various kinds of work, believing that they should be thorough, otherwise not attempted. In thinking the matter over when too late to insert in the proper places, it seems that a few suggestions on some points that might be of importance to the reader have been omitted; as, for instance, the putting on of trimmings in the form of appli- qué-work on the surface of velours, plushes, or similar mate- rials. The best way in order to avoid puckering is to sew them on with a crooked needle while the material lies out smooth upon the table and before receiving any lining. The curtain must not be stretched tightly, but as near as possible the same tension as when hanging from the pole. This can easily be ascertained by hanging it up, having previously marked out the size required and noting its exact length while hanging. Mark out the same dimensions on the table and fit the curtain to it, keeping it in place with a few tacks. Mark out upon it with chalk the design you wish to represent, and follow the form with the trimming, keeping it in place with pins, used as tacks, as you proceed. If the trimming is of cord, make a design so as to avoid cross- ing one part over another, as too much projection should not be allowed. Care will be required not to get the trimming on too tight, and it is not advisable to pin or baste all on at once, 318 PRACTICAL DECOR.4 TI VE UPHOLSTERY. but pin a little ahead as you proceed with the sewing, so as to keep the work under control, as it takes up more or less in sewing on. In some cases with a flat trimming one edge only need be sewed in this manner. The other could be done after the cur- tain was taken from the table. Experience is needed to do the work rapidly and well, but should it pucker a little after being sewed on, stretch and shrink as explained for borders in “Making Up.” Some trimmings, such as velvets or similar goods, can be pasted on to a surface that is to remain flat, and the best way to do this is to first paste the material from which they are made to very thin cotton or even soft paper, in the following manner: Tack the paper or cotton out on the table, both being previously wet through, and with a stiff brush lay on an even coat of clear paste, stiff enough not to wet through the mate- rial. Lay the material on, smooth it out and press it, and if it should wrinkle, lift it off and lay it on again, smoothing out and putting in a few tacks until quite dry. When dry, cut out the figures required. Apply the paste to the back of them by spreading it thickly on a board and laying them. On it, pressing slightly so the paste will adhere to the back, when the figures can be transferred to their places on the curtain while spread on the table, and kept in place with pins until dry. Finish round the edge of figures with a small silk cord if desired. The description of cutting border carpet may have left the reader desirous of more light on the subject, therefore we add:— after fitting the border all round the lined-out plans, mitre CONCLUDING REMARATS. 319 together the square corners. To border round the swell or curves, follow the form with the outside edge of the border, tacking temporarily as you proceed, and joining the border at the other side with a mitre. The surplus border on the inside edge is to be tacked down at regular intervals, running the cross threads so they will radiate from a common centre and on a line with the radius of the swell. The border is now to be sliced into between the tacks as far as required to keep it smooth, and the surplus turned away or cut flat, according to the nature of the carpet as before advised. The border being completed, the breadths for the body are now to be fitted in, and if the figure is large and conspicuous it should “centre * with the swell and also with the hearth if there be one. Any liberty should be allowed to accomplish the object, such as splitting the first breadth if the figure permitted, etc., and often the inge- nuity of the cutter will be severely taxed. - Cut all the body breadths and tack them temporarily in place, matching all and fitting nicely to the border all round, cutting flat or turning under as required by the nature of the goods. It is now to be “tacked ” or basted together by stitches knotted in, about three to each mitre and breadth ends, putting in more around the swell, and at long intervals along the breadths. Fit on the pieces of filling required for the recesses outside the border. The carpet is now ready for the sewing- room. There are other ways, though less reliable, for cutting border carpets, but we consider a description of the best Way sufficient. A word as to moth preventives is here in order. Every 320 PRA CTI CA. J. DE CORA 7"I WE UPHOLSTER Y. house contains the very best of all, viz., old newspapers. Every thing packed in them is secure against their ravages, provided there were no moths packed away in them. Lay the papers in the carpets or rugs, roll them up and cover them all over with newspapers pasted together; always roll a rug right side out, and it will lie better when unrolled. Heavily wrought or trimmed curtains should be rolled in the same manner to avoid wrinkles. In conclusion, we add that one cannot anticipate and advise for all ideas that may be projected; they might perhaps be be- yond the scope of positive rule, but with the general knowledge herein obtained, and one's own ingenuity, the object could be accomplished. We have, no doubt, left the door wide open to criticism, but “with all its imperfections on its head,” we are sure that very much knowledge of this special business has been offered in this book, to those who have carefully followed it to Shepard, Norzve/& Co. UPHOLS7 ERY DEPARTME/WT. E have one of the most complete Drapery and Upholstery Departments to be found in the country. We not Only exhibit superb goods imported exclusively for us, but we employ men of practical experi- ence and thorough knowledge of the business to design and execute all work. We shall be pleased to visit houses, and advise with owners in regard to the proper combinations of colors tending to produce harmony with carpets and wall papers, furnishing estimates and drawings when desired. t % X X X: ANY interiors can be arranged Charmingly at a moderate cost, if the proper thought is given to it, hence the value of consultation with men of taste and experience. We invite an examination of our fabrics, and cheerfully offer our services and advice to the house furnisher, even though they may not intend to purchase. Correspondence solicited. WINTER ST., / ##, MASS, SHEPARD, WORWELL & CO. WALL PAPERS. A LARGE stock of NEW DESIGNS OF FINE, MEDIUM, AND LOW COST WALL PAPERS, I O PER CENT LOWER THAN ANY OTHER STORE IN BOSTON, CORNHILL, F - \ W ) - t FIRST DOOR FROM WASHINGTON ST. Q O * . BURR, BROWN & CO. "gº" BOSTON. | Manufacturers and VVholesale Dealers in UPHOLSTERY TRIMMINGS FRINGES, GIMPS, CORDS, TASSELS, ETC. PARTACULAR A TTE WT/0/W PA/D TO SPEC/AL ORDERS. PECIALTIES < * * * * * * * in Scotch Axminster, r English Wilton, and Brussels Carpetings. Also, some very Rare and choice Oriental Carpets and Rugs, which are well worth inspection, are on exhibition at the Carpet Warehouse of Joel Goldthwait & Co. 169 Washington Street, Boston. NELSON. H. BROWN, IMPORTER AND DEALER IN Foreign and American CLOCKS, go FRANKLIN STREET, BOSTON, MASS. G & BRO - evº #º. IN EVERY STYLE . aKS- ſºvirushed, * gº we MAKE A SPECIALTY OF BANK and OFFICE METAL WORK OF ALL, KINDS. s McFarlin’s 4 × 2 39 e Franklin Street, hina Parlor. BOSTON. ==== Haviland’s Decorated a COVERED BOUILLON TEA “ISIS.”" e DECOR. 873.I. Dinner Sets SPECIALTY. Cut Glass, Silverware, and Cutlery. CHINA NOVELTIES O O SUITABLE FOR WEDDING AND BIRTHDAY GIFTS. INS PIECTION INTVITE D. � *** --， -.- *******...*****************-->&~~,~~~~::.