,transcriber's ,note ,italic text displayed as3 italic ,,furniture ,,upholstery ,,for ,,schools ,,by ,,emil ,a4 ,,johnson1 ,b4,s41 ,a4,m4 ,assistant ,professor of ,manual ,arts4 ,bradley ,polytechnic ,institute1 ,peoria1 ,illinois ,illustration3 ,decoration ,,the ,,manual ,,arts ,,press ,,peoria1 ,,illinois #aiai ,,copyright1 #aiai1 ,,by ,,emil ,a4 ,,johnson ,,preface ,the purpose of this book is to give information concerning the methods by which upholstery work may be successfully carried on in school shops4 ,the added beauty and comfort given to furniture by upholstery makes work of this character worth while4 ,if period furniture is to be reproduced or modified1 the worker must understand the art of upholstering4 ,the tendency to reproduce or copy good old pieces of furniture should be encouraged1 for only in this way may a student obtain a proper background1 from which may be developed a new style4 ,new ideas1 derived from the best of the old1 are likely to serve humanity in the best way4 ,the study of the art of upholstery is an interesting one4 ,it leads into many avenues of interest and profit1 such as the history and methods of weaving2 the processes of tanning and coloring2 the manufacture and history of textiles2 and the like4 ,such correlation is valuable1 and each is distinctly educational4 ,i wish to acknowledge my indebtedness to ,prof4 ,chas4 ,a4 ,bennett for valuable suggestions and inspiration2 to ,david ,h4 ,tingwall for valuable help1 and photographs2 to ,a4 ,c4 ,newell for suggestions on the outlines2 to ,wm4 ,f4 ,tuttle for the photographs of antiquarian furniture taken at the ,art ,institute of ,chicago2 to ,bessie ,bennett for certain information about the furniture2 to ,john ,r4 ,fasier for the drawing in ,fig4 #bh2 and to my former and present ,bradley students for inspiration and help4 ,the practical contents have been verified and corroborated by ,henry ,euler1 a practical upholsterer for fifty-nine years1 and by ,herman ,schwartling who has followed the trade for thirty years4 ,,emil ,a4 ,,johnson4 ,peoria1 ,illinois1 ,february1 #aiai4 ,,contents ,,part ,i ,,page ,,chapter ,i4 ,,historical #g ,,chapter ,,ii4 ,,tools ,,and ,,materials #aa ,tools #aa ,materials #aa ,,part ,,ii ,,upholstery ,,without ,,springs ,,chapter ,,iii4 ,,upholstering ,,board ,,structures #af ,a ,low ,footstool #af ,a ,cart #ag ,a ,leg ,rest #ag ,a ,footstool #ba ,materials ,required #bc ,,chapter ,,iv4 ,,upholstering ,,chair ,,seats #bd ,a ,chair ,seat #bd ,a ,set-in ,seat #bg ,,chapter ,v4 ,,upholstering ,a ,,framed ,,structure #bh ,footstool #bh ,procedure #bi ,materials #cf ,order of ,procedure #cg ,different ,methods #cg ,,part ,,iii ,,upholstery ,,with ,,springs ,,chapter ,,vi4 ,,making ,a ,,hard-,,edge ,,seat #ch ,method #ch ,process #dj ,a ,queen ,anne ,stool #dg ,,chapter ,,vii4 ,,re-,,upholstering #ej ,old ,furniture #ej ,,chapter ,,viii4 ,,spring-,,edge ,,upholstery #ec ,,outlines #fj ,,index #fd ,illustration3 ,a ,,queen ,,anne ,,stool ,,which ,,illustrates ,a ,,hard-,,edge ,,seat1 ,,see ,,chapter ,,vi4 ,,part ,i ,,chapter ,i ,,historical ,upholstering in its broadest sense means the furnishing of a house with draperies1 curtains and other hangings2 bedding2 coverings for couches1 chairs and stools2 and coverings for carriages and automobiles4 ,the word upholster1 or upholsterer1 designates the workman who hangs the draperies and attaches textiles or leather to furniture4 ,in the early days of the craft1 as well as today1 draperies had to be hung in a manner that assured retention of their shape1 and textiles required stuffing and springs underneath to give the fabric permanent form4 ,this holding up attribute led to the use of the words 8upholder10 8upholster10 8upholstering10 and 8upholsterer40 ,these applied also to furniture huxters who held up their wares for inspection when sold at auction4 8,the old time castle or baronial hall1 with its strong stone walls and stone floors1 was1 so far as comfort went1 little better than the clay hut of the feudal serf2 but when the ladies of the baronial family had excogitated1 or acquired the art of needlecraft1 and had become proficient therein1 the 8up-holder0 sprang into being1 as a necessary adjunct to an important family4 ,the ladies' needlework 7tapestry7 was obviously adapted to drape the rude stone walls of the feudal hall1 and the artisan who could drape or hang it effectively and without injury was a useful dependent1 or tradesman1 who1 as he caused the tapestry to 8hold up10 naturally became known as an 8up-holder10 or 8upholsterer40 8,the ,egyptians from the earliest times used upholstered couches1 chairs1 and footstools10 says ,richard ,bitmead4 8,it is known1 too1 that their neighbors1 the ,assyrians1 excelled in weaving and practiced the art of decorating draperies by the introduction of gold in the woof4 ,the rich carpets of ,persia and the muslins of ,india were in use for ages before the ,romans set foot in ,britain1 and there can be little doubt but that the ,oriental people raised the art to a very high standard1 and long before the trade was known in ,europe4 ,but at the present time1 much more so than formerly1 the progress of the arts1 the refinements of taste1 the caprice of fashion1 and the habits and requirements of luxurious ease1 which have extended to all classes of society1 have given a greater impetus to the trade and a far higher importance to the art of upholstery than it has ever before attained40 ,research shows that in the early seventeenth century1 at the beginning of the ,jacobean period1 stools1 chairs1 settees and sofas were upholstered4 ,both seats and backs were padded and covered with leather or textiles4 ,sometimes1 instead of tacking the goods onto the furniture itself1 loose cushions were made to fit the frame4 ,these cushions were called 8squabs40 ,with the introduction of leather in upholstering1 comfort was not the primary thought1 but in common with all structures of the period1 durability was a first consideration4 ,so the leather utilized was thick and stiff1 thus offering durability1 but little comfort4 ,the ,flanders chair shown in ,fig4 #a is done in leather4 ,it is one of two side chairs from the seventeenth century4 ,one has a plain leather back2 the other is tooled1 illustrating a decorative coat of arms4 ,the leather in this chair is made thick and rigid by the use of a stiff paper core1 on both sides of which is glued a jute-like fabric1 and over this the leather4 ,this makes a five ply composition of almost everlasting wearing qualities1 but very susceptible to checking and cracking4 ,the arm chair shown in ,fig4 #b is ,italian1 from the early seventeenth century4 ,it has carved finials4 ,webbing is used as a foundation for the seat1 over which a jute-like fabric is fastened4 ,a canvas fabric is placed over this4 ,the stuffing is placed over this and covered with leather1 which is nailed to the structure with large1 flat1 brass-headed nails4 ,the edging is a fabric gimp with fringed edge4 ,the arm chair illustrated in ,fig4 #c is ,italian1 from the sixteenth century4 ,it has carved finials but no turned work4 ,the leather back is tooled1 and gilded with an elaborate design4 ,the leather seat has been blocked up from below to maintain the original appearance1 and the leather is not the same grade as used on the back4 ,round headed nails1 of two sizes1 and the fringed gimp1 complete the ornamentation4 ,illustration3 ,,fig4 #a ,illustration3 ,,fig4 #b ,the chair shown in ,fig4 #d is an ,english ladder-back side chair from the seventeenth century4 ,here we have both comfort and practicability combined4 ,the seat is built up with webbing1 canvas and stuffing1 and covered with a needlework tapestry4 ,it is finished with a fringed gimp with brass headed nails4 ,not only does upholstery add comfort to furniture1 but it reflects the conditions in the life of a people4 ,alice ,f4 ,schmall said recently3 8,with the accession of ,james ,i to the throne of ,england the style of dress changed to trunk hose and padded doublet1 and the carven forms of furniture gave place to upholstery4 ,there is a sense of dignity and refinement about a really fine chair2 and the modern upholstered chair1 which ,chippendale developed1 shows that our ancestors were fully alive to its advantages in the way of comfort40 ,illustration3 ,,fig4 #c ,illustration3 ,,fig4 #d ,good modern upholstery is to a great extent a copy of the older forms4 ,newer goods are utilized but old methods of application are retained4 ,the cheaper forms of upholstery are1 however1 entirely modern4 ,while formerly there existed no cheap upholstery1 today wire and band iron are used in place of webbing1 and tufting is done by machine4 ,,chapter ,,ii ,,tools ,,and ,,materials ,,tools4--,the only tools needed in simple upholstery1 besides those in the average manual training shop1 are a gimp hammer1 a webbing stretcher1 a pair of scissors1 a regulator and straight and curved needles4 ,in ,fig4 #e1 from left to right are illustrated3 webbing stretcher1 regulator1 gimp hammer and a pair of scissors4 ,the webbing stretcher may be made by driving nails into a formed piece of wood as shown1 #c inches wide by #g inches long4 ,then cut or file off the heads and file each to a sharp point4 ,the regulator is a long wire sharpened at one end and used for sticking thru the muslin cover to rearrange the stuffing1 to insure evenness4 ,this tool may be made from a heavy wire bent in the form of a ring at one end1 and sharpened at the other4 ,scissors #h inches or more in length are more convenient than smaller ones4 ,two needles are required1 a straight double pointed one #ab inches long1 and a curved single pointed one #f inches long4 ,several other kinds will facilitate work1 however4 ,a straight1 double pointed #f-;inch needle is convenient for sewing springs to webbing and triangular pointed needles are best adapted for sewing leather4 ,skewers are upholstery pins1 usually #c or #c inches long4 ,they are pointed on one end and bent in a circle on the other4 ,these are used in doing welt-edged work1 or wherever it is necessary to hold goods temporarily while adjusting the work4 ,all these tools may be purchased from any firm dealing in upholstery supplies4 ,,materials4--,webbing is our first consideration in the matter of materials4 ,the two best kinds are ,l4 ,m4 ,c4 and ,b4 ,f4 ,m4 ,the former has a closer weave and is of better quality than the latter4 ,it will withstand great strain before its elasticity gives out4 ,it is good policy to purchase the better grade inasmuch as it costs but #cj cents more for a #gb-yard piece4 ,l4 ,m4 ,c4 comes in two widths1 #c inch and #d inch1 with the former width in more general use4 ,the #c inch variety may be purchased for about #a4fe per #gb-yard roll4 ,burlap is the best material to use over webbing and over springs4 ,it will not rip and tear as readily as most textiles and it is therefore a preferred material4 ,burlap comes in three weights3 light 7#h oz471 medium 7#aj oz471 and heavy 7#ab oz474 ,the medium weight is best adapted for our work4 ,this may be purchased for #i cents a yard4 ,it is #dj inches wide4 ,used burlap may ordinarily be purchased at local dry-goods stores for about #e cents per pound4 ,even considering waste1 this is much cheaper and quite as good as new burlap for the work intended4 ,illustration3 ,,fig4 #e ,several kinds of material may be employed for stuffing4 ,the very best material available is curled horse hair4 ,it is also the most expensive1 costing from #cj to #fe cents per pound depending upon quality4 ,the stuffing recommended for such work as ours is tow4 ,this may be purchased by the #ajj-pound bale at a cost of #b cents per pound4 ,there are three grades of tow3 fine1 medium and coarse4 ,the fine variety should be used1 for the coarser kinds are hard to manipulate and result in uneven surfaces after a period of use4 ,even with the medium grade of tow it is necessary to use a layer of wadding over it to prevent ridges showing thru the cover4 ,other stuffing materials are moss1 kapok1 alva1 and excelsior4 ,cork shavings are generally used for boat cushions4 ,when cloth is desired between the stuffing and cover1 unbleached muslin should be used4 ,in cheaper work this is eliminated4 ,in our work we will find it advantageous1 for it gives to the seat the proper shape1 and permits better and smoother work on the final covering4 ,after the application of the muslin1 if it is found that the seat is not of the desired shape1 more stuffing may be added or the stuffing may be distributed by the regulator4 ,muslin #cf inches wide may be obtained for #g cents a yard from any local dry-goods store4 ,wadding is a kind of stuffing arranged in sheets4 ,it is used over other stuffing4 ,its function is to give a smooth1 even appearance to the seat or cushion4 ,wadding is invariably used over curled hair to prevent the ends of the hair from penetrating the cover4 ,it may be purchased in sheets #cj #cf inches2 the one pound quality at #ce cents per dozen sheets4 ,it is generally desirable to place cloth under the seat to prevent dust from falling to the floor from the seat1 and to exclude moths from the stuffing4 ,cambric is desirable for this purpose4 ,it has a finish which makes it dust-proof1 but it tears easily and cannot supplant the muslin used over stuffing4 ,cambric comes in a #bd-;inch width and costs about #e cents per yard4 ,there are innumerable varieties of fabrics adapted for outside coverings1 and good taste and judgment must be used in selecting proper kinds for certain jobs4 ,it is obvious that office and library furniture require coverings of a different quality and kind from that of the living room2 and dining room furniture from that of the bedroom4 ,a footstool may properly be given a covering of different character from a chair seat4 ,in the selection of figured goods great discretion is necessary4 ,the figures on fabrics for a chair seat or back should manifestly be smaller and more subdued than those for a sofa or davenport4 ,a sense of good design needs to be developed here1 for proper selection is essential1 both as regards color1 figure1 and adaptability to the particular structure1 and its placement4 ,the first piece of tapestry woven in this country was completed in #ahic4 ,it was for a chair seat4 ,the second was a counterpart of the first and is now in the ,field ,museum of ,chicago4 ,tapestry may be defined as printing in colored threads4 ,the most perfect work in tapestry is produced on vertical looms1 but one-third more work may be accomplished on horizontal looms in the same length of time4 ,a ,gobelin workman on a vertical loom produces on an average1 one square yard of tapestry in #cjj working days4 ,the art in this work is the graduation of shades4 ,in the best days of tapestry weaving1 between #adej and #aeej1 but twenty to sixty shades were known1 while today we have knowledge of over #ad1jjj4 8,brocade0 is the term applied to any material having a raised pattern4 ,formerly the name referred to materials with embroidered patterns upon colored fabrics4 8,chintz0 is the term applied to cotton cloth printed with a floral or bird design4 8,denim0 is a strong1 twilled cotton fabric4 8,gunny0 is jute-cloth4 8,burlap0 is a substitute for gunny cloth4 ,there are three classes of coverings in upholstery3 genuine leather1 textiles1 and leather substitutes4 ,leather substitutes1 or so-called artificial leather1 is well adapted for beginners in upholstery1 and is inexpensive4 ,it is manufactured in #ej and #ed-;inch widths1 and costs from #fj cents to #a4ge per yard4 ,trade names of leather substitute are ,marokene1 ,chase ,leather1 ,hercules1 ,victor ,leather1 ,pantasote1 ,mole ,skin1 ,mule ,skin1 etc4 ,the better varieties are very durable and very closely resemble leather4 ,genuine leather costs from #af to #cf cents per square foot in the whole hide or full skin1 and up to #ge cents per foot cut to size4 ,cloth or textiles cost from #a4jj to #c4jj per yard in the general run of grades4 ,they may cost as high as #aj4jj per yard4 ,tapestry may run into prohibitive costs4 ,some of the best textiles are tapestries1 brocades1 velvets1 plushes1 satins and hair cloth2 cheaper ones are velours1 chintz1 reps1 and denims4 ,gimp is a narrow edging used for covering raw edges of the cover and heads of common tacks which secure the cover4 ,it comes in rolls of #be to #cf yards4 ,black imitation leather gimp costs #bj cents a roll of #be yards1 and brown or ,spanish1 #ce cents4 ,cloth gimp costs from #b to #c cents a yard4 ,three kinds of nails may be used in the work outlined3 solid leather1 ,perfection and ,metalene4 ,metalene is perhaps the most satisfactory4 ,these come in the following numbers with attendant sizes2 ,no4 #bcj---;inch head2 ,no4 #bdj---;inch head2 ,no4 #bej--g_/af-;inch head2 ,no4 #bfj--i_/af-;inch head1 and ,no4 #bgj---;inch head4 ,no4 #bej is used in our work4 ,they cost #hj cents per thousand in the plain1 and #ij cents in ,spanish effect4 ,upholstery springs may be purchased from #c to #af inches in height4 ,they cost #f cents a pound and weigh from #bb to #ajj pounds per gross4 ,on this basis the cost of the large ones approximates #d cents apiece4 ,the #i-;inch springs are most frequently used1 and their cost is a trifle over #b cents apiece4 ,it is better to purchase springs longer than necessary than to obtain them too short1 for they may easily be tied down4 ,they should be twice as long as the width of the rails into which they are placed4 ,spring twine is needed for tying the springs4 ,no4 #fj four-ply ,italian hemp serves this purpose very well4 ,this can be purchased for #bg cents a pound in one-pound balls4 ,stitching twine is also needed for spring and stitched edge work4 ,for this purpose ,no4 #beb elm flax stitching is used4 ,this costs #cj cents per half-pound ball4 ,the prices quoted are wholesale4 ,retail prices vary so much in different communities1 and even in different places in the same community that they cannot be given with any fair degree of accuracy4 ,the wholesale prices quoted will1 however1 give some idea of the cost of materials to the workman4 ,at present1 however1 even wholesale prices are very unstable4 ,all prices above are pre-war prices4 ,,part ,,ii ,,upholstery ,,without ,,springs ,,chapter ,,iii ,,upholstering ,a ,,board ,,structure ,a ,,low ,,footstool4--,this project is chosen for the first work in upholstery for the reason that it involves the simplest processes possible4 ,nailing a piece of leather or strips of leather across a frame cannot be dignified by the term upholstery4 ,therefore1 such work is not to be considered under this head4 ,the structure1 in addition to the simple upholstery processes involved1 requires but elementary bench work in wood in its construction4 ,after staining the stool take a small amount of tow1 pull it out thoroly with the hands until all uneven bunches are eliminated2 then spread it out evenly on the top of the stool as illustrated in ,fig4 #f4 ,then place a piece of muslin over this1 tacking it with #d-oz4 tacks inch from the edges of the board4 ,the muslin should be folded over on itself at the edges1 and stretched very taut4 ,tack each side first1 then work toward corners4 ,this method of tacking insures a smooth1 taut surface1 and should be followed always4 ,use the regulator1 ,fig4 #g1 to even out any irregularities and to force the tow well out toward the outer edges of the muslin4 ,then lay a piece of wadding over this to make a smooth surface2 see ,fig4 #g4 ,next stretch a piece of ,marokene leather of the color desired over the previous layers and secure it with #b-oz4 tacks4 ,these should be placed about #b inches apart1 inch from the edges of the stool1 and surplus fabric trimmed to inch from edges4 ,finally1 cut a piece of gimp and secure with ,metalene nails as shown in ,fig4 #h4 ,fold the gimp at the corners and splice at the last corner4 ,place the nails equal distances apart on parallel edges4 ,be sure that the leather1 gimp and nails harmonize with each other and these with the final color of the stool4 ,a ,,cart4--,the different processes for upholstering a cart1 illustrated in ,fig4 #i1 are identical to those just described1 with the exception that a margin is left at the edges of the seat4 ,the cart suggests a very practical application of simple upholstery1 either in covering a wood seat or in replacing a worn upholstered seat4 ,illustration3 ,,fig4 #f ,a ,,leg ,,rest4--,the processes of upholstering the leg rest shown in ,fig4 #aj vary substantially from those already discussed4 ,here is the first introduction to a hard edge4 ,reference to ,fig4 #aj will show how this edge is made4 ,chamfer the upper arris of the seat as wide as the tack head and drive the tacks in at right angles to the chamfer4 ,this method avoids splitting the corners4 ,the near side of the illustration shows a piece of burlap tacked with two-thirds of its width overhanging4 ,use #d-oz4 tacks for this purpose1 and tack in such a way that the heads of the tacks are even with the edge of the seat4 ,after the burlap has been secured in this way insert a small roll of tow or a strand or two of welt cord under the burlap at the edge of the seat4 ,the diameter of this roll may vary from to inch as desired4 ,bring the burlap over and around the firmly packed tow or cord1 and tack down extremely close to the roll1 keeping the roll round4 ,special effort should be made to keep the roll smooth and even1 for its form determines the final form4 ,the rear side of the illustration1 ,fig4 #aj1 shows the completed roll4 ,illustration3 ,,fig4 #g ,strips of webbing may be employed in place of burlap4 ,webbing is a closer woven fabric than burlap1 and in consequence produces a more even roll4 ,and webbing cord is preferable to tow for it requires less time to place and results in a smooth edging4 ,the strip of soft wood shown in the illustration is called an upholstery block4 ,gimp and muslin are secured to this block4 ,without these blocks1 one at each end1 the cover could not be placed without much labor and resulting unsightly folds at the corners4 ,after the corner strips are placed and the rolls formed1 place sufficient tow on the seat to produce a slightly rounded top when the tow is pressed down firmly with the hands4 ,the tow must be picked1 that is1 pulled out thoroly to make it even and fluffy4 ,place over this a piece of muslin1 tacking it temporarily at the center of each side with several #b-oz4 tacks4 ,these should be only partly driven1 a process called slip-tacking or loose-tacking4 ,stretch it tightly1 and bring the threads of the muslin in line with the edges of the seat4 ,next pull out the tacks from one side and re-stretch the muslin by stroking it several times with the left hand1 always holding it with the right4 ,do this on each side in succession4 ,an expert workman will hold the tacks in his mouth and the hammer in the right hand during the whole process4 ,after the muslin has been placed use the regulator and re-distribute the tow should any unevenness exist4 ,this process is called regulating4 ,illustration3 ,,fig4 #h ,illustration3 ,,fig4 #i ,next place the cover4 ,whether it be genuine leather1 leather substitute or textile fabric1 proceed as with the muslin omitting folding the edges4 ,stretch the cover tightly and tack with #b-oz4 tacks4 ,place the tacks a small fraction of an inch from the lower edge of the board so the trimming of the cover may be easily done4 ,apply the gimp4 ,this covers the raw edges of the materials and tack heads4 ,start at the right-hand corner1 fastening it with a #b-oz4 tack4 ,carry it across to the left-hand corner and fasten with another tack4 ,fold it upon itself so as to form a definite crease then twist it over and carry it up and along the soft wood strip to the next corner4 ,repeat this process to the starting point2 then cut the gimp off flush with the bottom of the board and secure with a tack4 ,as the forty-five degree folds are made1 the gimp nails should also be driven in place4 ,fig4 #aa shows the steps in making the folds at the corners4 ,space distances equally and place all gimp nails4 ,a desirable distance is from #a to #b inches--depending on the cover material4 ,a quick way to place these nails is to drive a nail in the middle of an edge1 then one in the half way points between this and each corner1 and so on4 ,this process gives good eye training4 ,fig4 #ab shows completed leg rest4 ,illustration3 ,,fig4 #aj ,illustration3 ,,fig4 #aa ,a ,,footstool4--,the upholstery operations on the stool shown in ,fig4 #ac are very similar to those on the leg rest4 ,the rolls are formed identically but are placed on four sides4 ,special care must be exercised to keep the corners firm and even1 and in line with other parts of the rolls4 ,the cover needs folding at the corners to make it smooth4 ,the gimp runs continuously around the edge without folds4 ,this form of stool requires a greater amount of upholstery material than the first form1 and is not as pleasing in structural design1 but is a more comfortable structure4 ,illustration3 ,,fig4 #ab ,illustration3 ,,fig4 #ac ,,materials ,,required4--,this stool1 with top #iad inches requires the following materials for upholstering3 ,,quantity ,,material ,,size #b pieces ,burlap #cad inches #b pieces ,burlap #ch inches #gj ,tacks #d ounce #aj ounces ,tow #a piece ,muslin #aaah inches #fj ,tacks #b ounce 7,for muslin and cover7 #a piece ,marokene #abag inches #df inches ,gimp #ad ,metalene ,nails ,,chapter ,,iv ,,upholstering ,,chair ,,seats ,illustration3 ,,fig4 #ad ,illustration3 ,,fig4 #ae ,a ,,chair ,,seat4--,the typical upholstered seat is undoubtedly that of the dining chair4 ,the processes involved are very simple4 ,a shallow rabbet should be run along the inside edges of the seat frame1 say about inch deep and inch wide4 ,this will permit the gimp to run flush with the top of the seat frame when all work is completed4 ,first decide on the number of lengths of webbing that will be required for the given area4 ,then1 using the best of webbing1 take one end and tack with #aj-oz4 tacks4 ,if hard wood is used in the structure and it tends to split1 use smaller tacks1 say #h-oz4 or #f-oz4 ,stretch the strand of webbing with the webbing stretcher1 and tack as illustrated in ,fig4 #bc4 ,when four tacks have been driven in cut the webbing off #a inch beyond the row of tacks2 fold over1 and tack down with three tacks placed between the four previous ones4 ,folding the ends over rather than under is better practice1 for the fold protects the webbing at the points of greatest strain4 ,use as many tacks as the wood will permit1 for many tacks distribute the strain over all threads of the webbing4 ,after the lengths of webbing have been attached from front to back weave lengths thru these from side to side as shown in ,fig4 #ad1 and secure in the same manner4 ,the illustration shows the underside of the seat4 ,illustration3 ,,fig4 #af ,next tack burlap over the webbing with #d-oz4 tacks4 ,cut the burlap slightly larger than the opening1 including the rabbet1 and fold the edges over in tacking4 ,stretch the burlap slightly to prevent sagging in the opening1 but not so tight that the webbing will not support practically all the weight4 ,illustration3 ,,fig4 #ag ,illustration3 ,,fig4 #ah ,now place the stuffing1 tow1 picking it and working it into shape4 ,over this secure muslin and then lay a sheet or two of blue-sheet wadding over all4 ,place the leather substitute1 and the gimp and nails4 ,the gimp is nailed against the rabbet edge1 ,fig4 #ae4 ,these processes have been described and need no repetition here4 ,the finished seat frame is shown on a dining chair in ,fig4 #af4 ,the back of the chair is also upholstered1 practically in a manner identical to the seat4 ,on the rear of this back a piece of leather substitute of same color and finish as the front is tacked and the edges covered with gimp4 ,it is a good practice to tack a piece of cambric under the seat frame for sanitary reasons indicated in a previous chapter4 ,a ,,set-,,in ,,seat4--,this form of seat is very convenient for any chair or stool where a set-in seat is desired4 ,cleats on which the seat rests may be screwed or nailed to the rails1 or the rails may be rabbetted to receive them4 ,corner blocks may also be utilized for the purpose4 ,in addition the seat may be fastened to these rests with screws4 ,this usually prevents the chair from squeaking1 due to a loose seat4 ,in constructing the wood frame for this kind of seat allow at least #c_/af inch for the thickness of materials4 ,more allowance should be made for thick material and genuine leather4 ,illustration3 ,,fig4 #ai ,attach webbing and burlap in the usual manner2 then form the hard edge as described previously4 ,the hard edge is shown in ,fig4 #ag together with tow1 wadding1 and muslin1 and ,fig4 #ah shows the seat ready for the covering after the trimming of the raw edges4 ,the finished seat placed in a rocker is illustrated in ,fig4 #ai4 ,,chapter ,v ,,upholstering ,a ,,framed ,,structure ,,footstool4--,a stool which makes a very interesting problem for simple upholstery is shown in ,fig4 #bj4 ,this is typical of that class of structures on which the coverings completely hide the rails1 leaving only the legs exposed4 ,the rails should be placed inch below the rounded part of the legs1 and be at least inch thick4 ,inside arrises of the rails should be rounded with a rasp to prevent the webbing from eventually being cut thru4 ,the framework of such a structure is shown in ,fig4 #ba4 ,attach the corner blocks as shown in ,fig4 #bb2 then properly stretch the webbing and tack it in place4 ,the webbing is the ground work of upholstering1 and the durability of the work depends to a considerable degree upon its quality and proper application4 ,use the original roll of webbing4 ,this enables the worker to use the webbing stretcher without waste4 ,both ends should be used4 ,this permits the utilization of the two free ends1 and allows freer work4 ,fig4 #bc illustrates the method of using the webbing stretcher4 ,illustration3 ,,fig4 #bj ,,procedure4--,fold the end of the webbing over about #a inch and tack with five #aj-oz4 tacks as near the middle of the rail as possible4 ,this is illustrated in ,fig4 #bd4 ,the ends of the webbing should be folded over and not under1 as suggested before4 ,the tacks will hold better4 ,the middle length of webbing should be placed first to facilitate equal spacing between strands4 ,the other free end of the bolt of webbing should be tacked on the opposite side in like manner to assure proper spacing4 ,fig4 #bd shows the ends tacked and stretched from the same side1 but in tacking them from the opposite sides it tends to prevent splitting1 for the last ends are to be secured with seven tacks4 ,after the first end is secured with five tacks use the webbing stretcher and pull the webbing across1 extremely taut1 and fasten with four tacks while thus stretched4 ,do likewise with the second strand4 ,cut each piece about an inch from the tacks2 then fold over and tack with three tacks4 ,before tacking the two long strands they should be woven thru the shorter strands as illustrated in ,fig4 #bd4 ,the openings between strands should not exceed #b inches4 ,illustration3 ,,fig4 #ba ,cover the webbing with burlap4 ,the edges of this should project slightly beyond the ends of the webbing1 as illustrated in ,fig4 #be4 ,it is desirable1 in fact essential1 in all upholstery to keep the cover away from the wood as much as possible4 ,this prevents the cover from becoming worn or cut1 and avoids a hard1 uncomfortable edge for the occupant of the upholstered structure4 ,illustration3 ,,fig4 #bb ,illustration3 ,,fig4 #bc ,a simple expedient to avoid this contact with wood is to attach a hard edge all around the top of the rail4 ,this edge is made by tacking strips of burlap on in such a manner that tow may be rolled in them4 ,they are then retacked behind the roll4 ,the first row of tacks should be placed so that the heads run flush with the outer edge of the rail4 ,the strip of burlap on the farther side of the stool shown in ,fig4 #bf is fastened in this way4 ,the roll on the near side is complete4 ,on the left end the burlap is shown partly rolled back to reveal the tow in place4 ,the tow must be thoroly worked in with the finger to produce an even1 smooth edge1 and the burlap drawn tight to make it firm4 ,illustration3 ,,fig4 #bd ,fig4 #bg shows all four rolls in place ready for the corner or upholstery blocks1 providing the first form of corner blocks illustrated in ,fig4 #bb have not been attached4 ,the first form of block is preferred by most workmen4 ,in ,fig4 #bf is shown the second form of corner block in place4 ,this is fitted behind the rolls1 and is cut in a manner to avoid short grain1 which has a tendency to split4 ,corner blocks are required when gimp is run continuous around the edge of the cover4 ,these are secured with several brads1 against both posts and rails4 ,take tow and pick it over thoroly2 then place it upon the stool making a rounded heap from the top edges of the rolls4 ,pack and work into place very thoroly to secure an even seat4 ,the hands easily detect uneven areas1 and may be more readily depended upon than the eyes4 ,illustration3 ,,fig4 #be ,illustration3 ,,fig4 #bf ,illustration3 ,,fig4 #bg ,now stretch and tack the muslin in place4 ,fig4 #bh shows the processes completed4 ,slip-tack it in the centers of four sides with two or three tacks to a side4 ,slit the muslin diagonally from the corners to a point immediately inside the legs4 ,fold the edges under2 work from the center toward the corners1 and tack the muslin permanently4 ,keep the muslin smooth and drawn tightly4 ,illustration3 ,,fig4 #bh ,the covering is placed practically in the same manner as the muslin4 ,great care must be exercised to avoid cutting too far at the corners1 to have the material fit snugly1 and to have the whole job firm and smooth4 ,if1 after the gimp has been placed1 portions of the covering show below1 these may be trimmed easily with a sharp knife or chisel4 ,the method of fastening gimp has been explained4 ,fig4 #bi illustrates the scheme of tacking1 folding and nailing4 ,in ,fig4 #cj are shown different treatments in the placing of gimp4 ,the right-hand stool requires no roll1 inasmuch as the gimp is fastened on the top of the rails4 ,illustration3 ,,fig4 #bi ,illustration3 ,,fig4 #cj ,,materials4--,the following materials are required for upholstering a stool such as illustrated in ,fig4 #bj3 ,,quantity ,,material ,,size #b yards ,webbing ,l4 ,m4 ,c4 #c inches #e dozen ,tacks #aj ounces4 #a piece ,burlap #abah inches #b pieces ,burlap #ch inches #b pieces ,burlap #cac inches pounds ,tow1 fine #a piece ,muslin #adbj inches #a piece ,wadding #ajaf inches #a piece ,marokene #aibe inches #a piece ,gimp #b yards #e dozen ,metalene ,nails ,illustration3 ,,fig4 #ca ,,order ,,of ,,procedure4--,the following order of processes in upholstering may be considered standard3 #a4 ,rasp inside arrises of rails4 #b4 ,apply webbing4 #c4 ,fasten burlap4 #d4 ,secure rolls on top edges4 #e4 ,fasten corner blocks4 #f4 ,pack with tow4 #g4 ,place muslin4 #h4 ,place the covering4 #i4 ,tack gimp in place4 #aj4 ,place nails4 ,,different ,,methods4--,this type of footstool may be treated in a variety of ways4 ,webbing may be omitted as a base for the upholstery and a board substituted1 preferably some thin stock4 ,instead of bringing the cover down to the lower edge of the rails as in ,fig4 #bj1 a shallow rabbet may be run and the upholstery brought to the edge of this as shown in ,fig4 #ca4 ,or it may be treated in the manner shown on the footstool illustrated in ,fig4 #cj4 ,in this instance it would be similar to a pad seat4 ,the rails of the stool should here be placed even with the chamfer on the legs4 ,the stool may also be upholstered with a welt edge4 ,this method is very desirable when the worker is limited to small pieces of tapestry or leather4 ,welt-edged work will be described in a chapter on spring-edge work4 ,,part ,,iii ,,upholstery ,,with ,,springs ,,chapter ,,vi ,,making ,a ,,hard-,,edge ,,seat ,the hard-edge seat as it is technically termed is relatively simple when compared with other kinds of upholstering1 but it is probably the most important of the group4 ,the edge of the seat needs to be stuffed and sewed in a manner that makes it hard and firm1 while the center is springy4 ,with a working knowledge of this class of upholstery one may make some of the finest pieces of furniture without difficulty4 ,the directions to be given may be modified to suit any particular piece of work in this group4 ,,method4--,construct a frame #ah #bd inches outside dimensions1 and #c inches deep4 ,employ a simple butt joint1 secured with nails and reinforced with corner blocks as shown in ,fig4 #cb4 ,a light1 close-grained wood1 as poplar1 basswood or pine is preferred to hard1 open-grained wood4 ,the webbing is fastened in place as described in ,chapter ,v1 using but three strands crosswise and two the lengthwise of the frame4 ,this is a different type of work1 and the suggestions as to spacing do not apply here as in the footstool just described4 ,the webbing is placed so that the springs1 six in number1 stand over the laps4 ,a distance of about #c inches should be left between the outer edge of the frame and the springs4 ,the webbing is #c inches wide1 and the ,no4 #c springs used are #e inches across4 ,these dimensions determine that the strands of webbing should be #c inches from the outer edge of the frame4 ,place springs in position turning the bent ends up4 ,sew these to the webbing with stitching twine using a #f or #ab inch double-pointed needle4 ,make at least three loops around the bottom coil1 fastening it securely to the webbing4 ,pull the twine taut and tie the final end to a nearby stitch4 ,fig4 #cc illustrates the method of sewing4 ,illustration3 ,,fig4 #cb ,next the springs are tied with spring twine to keep them in an upright position1 and to prevent breaking down and bending4 ,the twine also supports the burlap and stuffing above it4 ,after the springs are tied down the twine should receive all the pull from the reaction4 ,upon the permanency of the webbing and spring twine depend the lasting qualities of the seat4 ,the twine generally deteriorates or breaks first1 and then the webbing4 ,to insure a relatively permanent seat tie the springs eight times1 that is1 place four strands across each spring1 one from front to back1 one from side to side1 and two diagonals4 ,multiply the dimension of the frame by one and two-thirds to determine the lengths of twine required4 ,illustration3 ,,fig4 #cc ,illustration3 ,,fig4 #cd ,,the ,,process4--,tie a simple knot in one end of a length of twine4 ,drive a #aj-oz4 tack thru this into the top edge of the frame and in line with the centre of the spring4 ,then stretch the twine across the top of the springs to the opposite side of the frame2 pull the springs down with it until the outer side of the coil is about #f inches from the bottom and the inner side about #g inches4 ,adjust the springs to stand vertical4 ,grasp the twine and spring nearest the fastened end with the thumb and forefinger of the left hand2 hold them1 while with the right hand pass the free end of the twine down inside the coil1 up on the left hand side of the fastened end1 down inside the coil again1 up on the right hand side of the fastened end1 and thru loop thus formed4 ,pull it tight4 ,this is called a clove hitch knot4 ,its advantage is that it does not loosen even after the twine over the top of the wire wears off4 ,with the easier knot the entire twine loosens immediately after the top wears4 ,a careful examination of ,fig4 #cd1 and a little practice will clarify the method just described4 ,pull the twine taut to the other side of the coil and form another knot4 ,this time1 however1 the twine is passed down on the outside of the coil first and up on the inside4 ,before tying the second spring space it at the top a distance equal to that at the bottom4 ,when the second end is to be tied1 drive a tack part way into the edge of the frame and wind the twine once and a quarter around it1 pull it tight enough to bring the springs down properly1 and drive tack securely4 ,drive a second tack close to the one at the end4 ,the twine should be fastened in just this way so that in moving up and down with the springs it will not wear away against the head of the tack4 ,illustration3 ,,fig4 #ce ,all other twines are fastened and tied in practically the same manner4 ,however1 care must be exercised that the springs are not drawn down lower with successive strands of twine1 or an uneven strain and wear will result4 ,the last twine should be tied to all others crossing at the spring centers1 to prevent twine wearing at these points4 ,a study of ,fig4 #cd should make clear any doubtful point4 ,tack a piece of #aj or #ab-oz4 burlap on the top edge of the frame with #d-oz4 tacks1 folding the edges over as they are being tacked4 ,fasten it just tight enough to insure smoothness1 avoiding pulling the springs down lower4 ,as previously stated all spring reaction strain should fall on the twine exclusively4 ,sew the burlap to the springs with a curved needle and stitching twine4 ,this keeps the burlap in position1 prevents wearing1 and helps to unify the seat4 ,place the stuffing4 ,work over about #e pounds of tow1 and work it down and out over the seat until it extends about #c inches beyond the frame as shown to the left of ,fig4 #ce4 ,be careful to keep the tow even at all times1 especially at the edges4 ,illustration3 ,,fig4 #cf ,place a piece of light burlap1 #f or #h-oz4 weight over the tow4 ,it should be large enough to be slip-tacked on the sides of the frame4 ,stitch thru the two layers of burlap and the tow with a #ab-;inch double-pointed needle4 ,the row of stitching should come just outside the edge of the springs4 ,each stitch should be about #c inches long1 and it is formed by passing the needle up and down thru the burlap4 ,after all four sides have been stitched pull the twine tight4 ,begin at the first stitch and pull each taut in succession4 ,finally take a few stitches thru the center of the seat at irregular intervals1 thus making the seat firm and compact4 ,do not stitch around the loose coils of the springs4 ,illustration3 ,,fig4 #cg ,illustration3 ,,fig4 #ch ,now release the slip tacking and roll the loose edges of the burlap under the tow4 ,drive tacks thru that part of the burlap which comes in contact with the top edge of the frame1 beginning at the center of each of the four sides and working toward the corners4 ,use precaution to make all sides equal4 ,tack the corners last4 ,should they be too full1 due to the overlapping of the burlap1 cut away some burlap and remove the necessary amount of tow to keep the corner even with the sides4 ,we now arrive at that process in the development of the seat from which this class of upholstery derives its name4 ,the stitching of the rolled edge already formed is rather difficult1 and care must be exercised to assure a neat appearing seat4 ,stitch the edge around to the number of two or three rows4 ,use a #f-;inch curved needle1 and beginning at the left-hand end of one of the rolls1 start the needle about #a inches from the row of tacks1 and allow it to emerge about #a inches from the row of stitching4 ,about #a inches to the right insert the needle into the roll again about inch from the row of stitching1 and allow it to emerge about inch from the row of tacks4 ,tie the end of the twine around the other with a double slip knot4 ,insert the needle again about #a inches to the right1 up thru the roll1 and down as before4 ,repeat this operation around the four sides of the seat1 regulating as the stitching progresses4 ,the right-hand needle in ,fig4 #cf shows the first row of stitching4 ,always insert the needle at a right angle to the roll1 for the arc of the needle gathers in considerable tow which is forced into the roll as the twine is pulled taut4 ,the second row of stitching is also illustrated in ,fig4 #cf4 ,the stitches in this operation are not made in a zig-zag manner as in the first row4 ,the needle is inserted about inch above the first row of stitching and allowed to emerge at the same distance on top4 ,work to the left at an interval of inch and use the double slip knot as previously4 ,pass the needle to the right about #b inches and insert it as at first1 then carry it back again about inch and push it thru the roll allowing the end to project2 then loop the twine around the point4 ,see left-hand needle in ,fig4 #cf4 ,repeat on all four sides4 ,after the second row of stitching is completed a third row of stitching may be made4 ,then place more stuffing on the top of the seat1 rounding out all irregularities4 ,this is called double stuffing1 and work of this kind is termed double stuffed work4 ,hair is extremely resilient1 and used for this purpose adds life to the seat4 ,moss will answer the purpose4 ,place a layer of cotton batting over this4 ,then a piece of muslin is finally tacked over all4 ,fig4 #cg shows the muslin partly tacked1 and the two layers of material rolled back4 ,keep the muslin smooth1 especially at the corners1 cutting away all surplus material4 ,illustration3 ,,fig4 #ci ,use a cover of soft material rather than one of leather or substitutes4 ,secure it in place like the muslin1 only tack it under the lower edges of the frame and fold it carefully at the corners as illustrated in ,fig4 #ch4 ,the process of blind stitching is plainly shown4 ,when the seat has been covered tack a piece of cambric underneath4 ,the hard-edge seat is then finished4 ,fig4 #ci shows the completed cricket4 ,figs4 #dj and #da illustrate double stuffed hard-edge seats utilized in chairs4 ,the rocker in its entirety is the product of a young woman1 a student in the author's class4 ,a ,,queen ,,anne ,,stool4--,this stool also has a hard-edge seat but the method followed is a modification of the one just described4 ,in the former the upholstered seat was built over a box or frame1 and fitted snugly into the cricket base4 ,in this project the upholstery is fastened permanently to the rails2 it becomes an integral part of the structure4 ,the edge is blind stitched4 ,the webbing cannot be tacked directly to the rails2 they are too weak to withstand the strain1 and in this instance are curved or formed1 which precludes tacking webbing underneath4 ,in such instances the webbing is folded several times and tacked thru the folds against the inner sides of the rail4 ,if the rails are not sufficiently strong strips may be screwed on as reinforcement4 ,this has been done in this instance as shown in ,fig4 #db4 ,frequently on such structures a brace or two is placed across between the long rails4 ,illustration3 ,,fig4 #dj ,illustration3 ,,fig4 #da ,the identical method of upholstering is followed from this point on as in the cricket1 up to the point of stuffing4 ,this seat is shallow requiring considerably less tow4 ,place just a sufficient amount to prevent the springs from being felt under pressure from the hand2 then place and secure the burlap in the usual manner4 ,illustration3 ,,fig4 #db ,next sew the hard edge with a #ab-;inch straight double-pointed needle4 ,begin about inch above the rail1 and permit the needle to emerge above about #d inches from the edge4 ,the left-hand needle in ,fig4 #dc shows the method4 ,pull the needle up to its eye as shown in the middle needle2 then bend the point toward the lower edge4 ,as it emerges toward the right loop the twine around the needle and pull it thru4 ,this brings the twine around the tow1 pulls it down firmly toward the lower edge and holds it there4 ,this operation is frequently called blind hard-edge stitching4 ,the ,frontispiece shows the finished stool1 and ,fig4 #dd another stool employing the same form of seat4 ,illustration3 ,,fig4 #dc ,illustration3 ,,fig4 #dd ,,chapter ,,vii ,,re-,,upholstering ,the first evidence of deterioration in much old spring upholstered furniture is a sagging seat4 ,if attended to at the first indication of sag the fault may be remedied by simply retacking the webbing which most likely has pulled away from the rails4 ,if the sag is not remedied shortly the stuffing begins to shift1 and the exposed springs will soon cut or wear a hole thru the cover4 ,then the seat is practically beyond repair1 with the exception of the utilization of the springs4 ,should the springs show evidence of rust1 or if they have lost their temper and resiliency1 new ones are required4 ,the best policy is to repair a seat at the first indications of sag1 providing the materials generally are worthy of repair4 ,illustration3 ,,fig4 #de ,in ,fig4 #de is shown a small rocker with webbing and springs placed1 and springs properly tied4 ,this seat is a reconstruction job4 ,note that the cords are secured inside the rails1 and that the webbing is tacked underneath the rails excepting on the front rail where it is fastened inside4 ,this is necessary because of the curve on the bottom of the front rail4 ,it shows the base for a hard-edge seat1 and is treated in the same manner as the ,queen ,anne stool previously described4 ,the one exception is that the goods are to be stretched over the faces of the rails and tacked underneath4 ,,old ,,furniture4--,many heirlooms and other pieces of old furniture may be repaired by reglueing and replacing parts1 or by re-upholstering1 and the whole refinished so that it will compare favorably with fine pieces of furniture4 ,a piece of furniture of this kind is illustrated in ,fig4 #df4 ,the treatment of the seat is somewhat different from that described before4 ,the front edge has a hard edge1 identical to that described in ,chapter ,,vi4 ,the edges at the sides and back need no sewing2 at least1 they require very little stitching4 ,illustration3 ,,fig4 #df ,illustration3 ,,fig4 #dg ,the webbing is tacked on the inner edges of the back1 otherwise the rabbet would prove too shallow to permit the gimp to run flush with the wood surface4 ,the stuffing should be stitched to the burlap and webbing4 ,this holds all firmly together4 ,to upholster the arms tack twine over the edges1 forming loose loops into which stuffing may be placed4 ,this twine holds the stuffing in place while the muslin is being tacked and the proper shape or form given to the arms4 ,then place the cover over this1 carefully folding and drawing at the corners4 ,tack firmly in place and attach the gimp4 ,fig4 #dg illustrates an overstuffed chair4 ,the processes described for making a hard-edge seat are followed on a chair of this kind4 ,it requires patience to upholster1 but when covered with a good piece of tapestry results in a very valuable and comfortable piece of furniture4 ,in ,fig4 #dh is illustrated a rocker which shows examples of both loose and attached pads on a single structure4 ,the seat is a hard-edge loose pad1 made in a manner identical to the cricket1 but with a curved front which increases the difficulty of the work4 ,the arms are loose pads held by means of dowels4 ,the back pad is fastened to the frame by means of screws1 secured before the back part of the cover is attached4 ,with substantial upholstery work this type of chair is both serviceable and comfortable4 ,illustration3 ,,fig4 #dh ,,chapter ,,viii ,,spring-,,edge ,,upholstery ,the two examples of furniture illustrated in ,fig4 #di are two types which are upholstered in a very different manner from any of the processes described thus far4 ,this is spring-edge work1 and is very generally employed on sofas1 lounges and settees4 ,in upholstery of this kind the springs must be placed flush with the outside of the frame4 ,this necessitates bending the springs out somewhat4 ,fig4 #ej shows a chair of this type with webbing attached and the method of stitching the springs to the webbing4 ,note the spacing of the webbing4 ,fig4 #ea shows a top view of the same seat4 ,notice that the springs are flush with the outside surface of the rail4 ,the spring wire is shown attached and formed4 ,this form must be accurately made for it determines the final outline of the seat4 ,the wire is fastened near the ends to the upholstery blocks1 with staples1 and to the springs by means of stitching twine coiled and tied4 ,there is on the market a certain metal clip for fastening the coil and wire together4 ,these clips are attached by means of a pair of special pliers4 ,fig4 #eb shows the seat in a natural view4 ,note the method of tying the springs4 ,this is different from the method previously described4 ,the twine is brought down inside of a spring and tied to a second or third coil instead of over the outside top coil4 ,this permits the top coil to lie horizontal1 and braces the spring so it remains vertical4 ,fig4 #ea also illustrates this method4 ,a twine is also tacked to the top of the frame and carried up to the spring wire and down to the frame again4 ,it is clearly shown in ,fig4 #eb4 ,this twine braces the springs and prevents sagging1 and results in a vertical motion rather than partially horizontal when the seat is used4 ,over this spring work a piece of burlap is then placed and tacked with #d-oz4 tacks on the top edge of the frame1 as illustrated in ,fig4 #ec4 ,this burlap must fit tight enough to be smooth1 but care must be exercised that it does not fit so tight as to result in the pulling down of the springs4 ,next place a layer of tow over the burlap4 ,follow with another piece of burlap1 and sew onto the spring wire instead of tacking to the frame as in a hard-edge seat4 ,next form the hard edge1 and finish off with tow or moss as described previously4 ,illustration3 ,,fig4 #di ,fig4 #ed shows the various steps in the building up of a seat4 ,after the tow has been placed lay on a piece of blue sheet wadding or a layer of cotton batting4 ,lay the cover over this and tack it loosely upon the frame and upholstery blocks at the back2 stretch toward the front and fasten underneath the spring wire with skewers1 and secure it in a similar manner at the sides4 ,then adjust it carefully2 tack permanently at the back1 and then sew just under the spring wire4 ,these stitches may be seen at the left in ,fig4 #ed4 ,illustration3 ,,fig4 #ej ,illustration3 ,,fig4 #ea ,illustration3 ,,fig4 #eb ,illustration3 ,,fig4 #ec ,illustration3 ,,fig4 #ed ,the next step is the placing of the welt edge4 ,this edge is clearly shown in ,fig4 #ee4 ,just below the turn of the top piece a beading may be seen4 ,this is the welt edge1 and immediately below is the band4 ,in ,fig4 #ed is shown a close view of the welt edge4 ,the process of making it is as follows3 ,fold a narrow strip of cloth around a soft cord4 ,hold it against the seat with the edges down2 turn the band inside out and sew its lower edge4 ,run the curved needle thru it and the welting so that the seam comes immediately above the seam which fastens the top cover to the seat4 ,sew from right to left1 for then the piece may be handled conveniently with the left hand while sewing is done with the right4 ,three pieces are manipulated in this work2 the cord1 the narrow band of cloth folded around the cord1 and the front band4 ,this process may be simplified if a sewing machine is employed4 ,then the welting cord may be sewed into the top edge of the front band4 ,when this is sewed to the chair seat but one piece remains to be managed4 ,the front band should be draped or folded at the corners4 ,this fold may be noticed at the corners of the chair seat in ,fig4 #ee1 and it allows the band to run about the corner full and smooth4 ,this is all the more necessary because some stuffing is placed behind the band to keep the band from falling in when the edge of the seat is pressed down4 ,illustration3 ,,fig4 #ee ,illustration3 ,,fig4 #ef ,in ,fig4 #ef is shown the gimp4 ,it is generally fastened with gimp tacks1 but in very fine work it is glued in place4 ,glueing has a distinct advantage where the gimp must be placed around curves for then it may run continuously rather than in a series of straight lines between tacks1 as is necessary when tacks are employed4 ,in ,fig4 #eg are shown a series of problems in upholstery2 in ,fig4 #eh1 the application of such type problems to structures of a distinctly useful nature4 ,illustration3 ,,fig4 #eg ,illustration3 ,,fig4 #eh ,,outlines ,,group ,i4--,,first ,,method--,,upholstering ,a ,,plain ,,board ,,surface4 ,,tool ,,processes ,,topics ,,for ,,class ,,problems ,,discussion ---------------------------------------- ---------------------------------------- ---------------------------------------- ------------ ,shaping stuffing3 moss1 ,preliminary talks on ,footstool4 tow1 kapok1 alva1 cork upholstering tools4 ,cart4 shavings or excelsior4 ,preparation of ,chest cover4 stuffing4 ,shirtwaist box4 ---------------------------------------- ---------------------------------------- -------------------- ,box lid4 ,stretching and tacking ,advantage of tacking muslin or burlap and stretching cover4 goods from center toward corners4 ---------------------------------------- ---------------------------------------- -------------------- ,covering with wadding or ,the need of wadding cotton batting4 or cotton4 ---------------------------------------- ---------------------------------------- -------------------- ,attaching cover1 ,different classes of imitation leather1 covers appropriate genuine leather or for different uses4 textiles4 ,cost1 durability1 appearance and comfort4 ---------------------------------------- ---------------------------------------- -------------------- ,gimping4 ,appropriate gimps for different covers4 ,nails3 ,metalene1 ,perfection and ,leather4 ,spacing of nails4 ,method of folding gimp at corners4 ---------------------------------------- ---------------------------------------- ---------------------------------------- ------------ ,,group ,i4--,,second ,,method ---------------------------------------- ---------------------------------------- ---------------------------------------- ------------ ,attaching burlap or ,advantages of hard ,leg rest4 webbing strips4 edges4 ,footstool4 ,forming hard edges4 ---------------------------------------- ---------------------------------------- -------------------- ,placing of stuffing4 ,desirable form to seat4 ---------------------------------------- ---------------------------------------- -------------------- ,adjusting muslin4 ,reason for use of muslin under cover4 ---------------------------------------- ---------------------------------------- -------------------- ,placing of wadding4 ,gimp or no gimp4 ,placing of cover4 ,folding at corners4 ---------------------------------------- ---------------------------------------- -------------------- ,placing and nailing of gimp4 ---------------------------------------- ---------------------------------------- ---------------------------------------- ------------ ,,group ,,ii4--,,upholstering ,a ,,framed ,,structure4 ,,tool ,,processes ,,topics ,,for ,,class ,,problems ,,discussion ---------------------------------------- ---------------------------------------- ---------------------------------------- ------------ ,rounding inside edges of ,advantages of rounding ,footstool4 rails4 or chamfering arrises4 ,chair seat and ---------------------------------------- ---------------------------------------- -------------------- back4 ,tacking on webbing1 or ,comparison of webbing ,slip seats4 ,attaching board bottom4 with board bottom4 ---------------------------------------- ---------------------------------------- -------------------- ,attaching burlap4 ,size of burlap to permit making of hard edge4 ---------------------------------------- ---------------------------------------- -------------------- ,making hard edge4 ---------------------------------------- ---------------------------------------- -------------------- ,stuffing4 ---------------------------------------- ---------------------------------------- -------------------- ,tacking muslin over ,reasons for loose or stuffing4 slip tacking4 ---------------------------------------- ---------------------------------------- -------------------- ,regulating4 ---------------------------------------- ---------------------------------------- -------------------- ,covering with wadding or cotton batting4 ---------------------------------------- ---------------------------------------- -------------------- ,stretching and tacking ,all-over upholstery4 outside cover4 ,show wood upholstery4 ,welt edge work4 ---------------------------------------- ---------------------------------------- -------------------- ,tacking on cambric4 ,need for cambric4 ---------------------------------------- ---------------------------------------- ---------------------------------------- ------------ ,,group ,,iii4--,,hard-,,edge ,,upholstery4 ,,tool ,,processes ,,topics ,,for ,,class ,,problems ,,discussion ---------------------------------------- ---------------------------------------- ---------------------------------------- ------------ ,tacking webbing in ,preventing the clicking ,easy chair4 place1 or ,attaching of springs4 ,settee seats4 slats4 ,cricket seats4 ---------------------------------------- ---------------------------------------- -------------------- ,placing springs4 ,different sizes and shapes of springs for different uses4 ---------------------------------------- ---------------------------------------- -------------------- ,sewing springs4 ---------------------------------------- ---------------------------------------- -------------------- ,tying springs4 ,importance of well tied springs4 ---------------------------------------- ---------------------------------------- -------------------- ,tacking on burlap4 ---------------------------------------- ---------------------------------------- -------------------- ,placing stuffing for ,over-hang of stuffing4 hard edge4 ---------------------------------------- ---------------------------------------- -------------------- ,tacking on light burlap4 ,different methods of ,sewing hard edge4 sewing4 ,constant regulating4 ---------------------------------------- ---------------------------------------- -------------------- ,evening seat with double stuffing and cotton4 ---------------------------------------- ---------------------------------------- -------------------- ,tacking on muslin4 ---------------------------------------- ---------------------------------------- -------------------- ,placing outside cover4 ,blind sewing4 ---------------------------------------- ---------------------------------------- -------------------- ,tacking on cambric4 ---------------------------------------- ---------------------------------------- ---------------------------------------- ------------ ,,group ,,iv4--,,spring-,,edge ,,upholstery4 ,,tool ,,processes ,,topics ,,for ,,class ,,problems ,,discussion ---------------------------------------- ---------------------------------------- ---------------------------------------- ------------ ,attaching webbing1 or ,difference when ,side chair4 ,attaching slats4 compared with ,arm chair4 hard-edge work4 ,sofas and ---------------------------------------- ---------------------------------------- -------------------- lounges4 ,placing springs4 ,difference in placement of springs when compared with hard-edge work4 ---------------------------------------- ---------------------------------------- -------------------- ,attaching spring-wire edge4 ---------------------------------------- ---------------------------------------- -------------------- ,tying springs4 ,difference between this and former work4 ---------------------------------------- ---------------------------------------- -------------------- ,placing burlap4 ---------------------------------------- ---------------------------------------- -------------------- ,stuffing4 ---------------------------------------- ---------------------------------------- -------------------- ,placing burlap over stuffing4 ---------------------------------------- ---------------------------------------- -------------------- ,stitching edge4 ---------------------------------------- ---------------------------------------- -------------------- ,placing muslin4 ,need of layer of cotton batting when hair is used for stuffing4 ---------------------------------------- ---------------------------------------- -------------------- ,attaching outside cover4 ---------------------------------------- ---------------------------------------- -------------------- ,sewing welt edge4 ,advantages of welt edge4 ---------------------------------------- ---------------------------------------- -------------------- ,gimping4 ,different methods of attaching gimp4 ---------------------------------------- ---------------------------------------- ---------------------------------------- ------------ ,,index 7,,numbers ,,refer ,,to ,,pages7 ,brocades1 #ad ,burlap1 #ab1 #af1 #bc ,cambric1 #ac1 #bg1 #df1 #fa1 #fb ,chase ,leather1 #ad ,chintz1 #ad1 #ae ,cricket1 #df1 #fb ,denim1 #ad1 #ae ,fabric1 #g1 #h1 #ac1 #ah1 #bj ,footstool1 #ac1 #af1 #bh1 #ce ,gimp1 #ae1 #af1 #bj1 #bc1 #cb ,hammer1 #aa ,tacks1 #eh ,gunny1 #ac ,hair1 #df ,cloth1 #ae ,hammer1 ,gimp1 #aa ,hard-edge1 #ag1 #bg1 #ca1 #ch ,italian ,hemp1 #ae ,knot1 ,clove ,hitch1 #da ,double ,slip1 #de ,leather1 ,artificial1 #ad1 #df1 #fj ,genuine1 #ad ,leg ,rest1 #ag1 #ba1 #fj ,loose ,cushions1 #h ,marokene1 #ad1 #af1 #bc1 #cf ,metalene1 #ae1 #bc ,mole ,skin1 #ad ,moss1 #ac1 #df1 #ed1 #fj ,mule ,skin1 #ad ,muslin1 #ac1 #af1 #bc ,nails1 #i1 #ae1 #af1 #cg ,leather1 #ae ,metalene1 #ae1 #cf ,perfection1 #ae ,needles1 ,curved1 #aa1 #de1 #eg ,double ,pointed1 #aa1 #ci1 #dh ,triangular ,pointed1 #aa ,overstuffed1 #eb ,pad ,seat1 #eb ,pantasote ,leather1 #ad ,plush1 #ae ,queen ,anne ,stool1 #f1 #dg1 #ej ,regulator1 #aa1 #ac1 #af1 #ai ,reps1 #ae ,re-upholstery1 #ej1 #ea ,satin1 #ae ,scissors1 #aa ,seat1 #ag1 #bd1 #bg ,frame1 #be1 #bf ,skewers1 #aa ,slip-,tack1 #cd1 #dc1 #de1 #fa ,springs1 #ab1 #ae1 #ch1 #ec ,spring ,edge ,twine1 #ae1 #ci ,wire1 #ec1 #ed1 #eg1 #fc ,squabs1 #h ,stitching1 #ae1 #dc1 #de ,blind1 #df1 #dg1 #dh1 #fb ,twine1 #ae1 #ch ,stools1 #af1 #ba1 #bc1 #bh ,stuffed-,double1 #df ,stuffing1 #aa1 #ab ,alva1 #ac1 #fj ,cotton ,batting1 #df1 #fj ,cork ,shavings1 #ac1 #fj ,excelsior1 #ac1 #fj ,curled ,horse ,hair1 #ab1 #df ,kapok1 #ac1 #fj ,moss1 #ac1 #df1 #fj ,tow1 #ab1 #af1 #bc1 #cb ,tacks1 #af1 #ag1 #bc ,tapestry1 #g1 #ad ,textiles1 #g1 #ad1 #fj ,tools1 #aa ,tow1 #ab1 #af1 #bc1 #cb ,tufting1 #aj ,twine1 #ae1 #dj ,tying ,springs1 #ae1 #ec1 #fb1 #fc ,upholstery1 #aa1 #ba ,blocks1 #ah1 #bh1 #ca1 #ec1 #ed ,velours1 #ae ,velvet1 #ae ,wadding1 #ac1 #af1 #bf1 #bg1 #cf1 #fj ,webbing1 #aa1 #ah ,b4 ,f4 ,m41 #aa ,l4 ,m4 ,c41 #aa1 #ab ,stretcher1 #aa1 #be1 #bh ,welt ,cord1 #ah1 #eg1 #eh ,edge1 #aa1 #cg1 #eg1 #fc