,cutting and ,draping                   
,a ,,practical ,,handbook ,,for         
,,upholsterers and ,,decorators         
,,over ,,two ,,hundred ,,and ,,fifty    
,,diagrams ,,and ,,illustrations        
,by ,,john ,w4 ,,stephenson             
,,clifford  ,,lawton                    
#ai ,,union ,,square1 ,,new ,,york      
,,table ,,of ,,contents4                
,french ,festoon ,drapery1              
#c        ,irregular ,festoon ,drapery1 
#g        ,flat ,valances or            
,lambrequins1                     #aa   
,pleated ,valances or ,lambrequins1     
#ae        ,piano and ,mantel           
,draperies1                       #ai   
,scarf ,draperies1                      
#bc        ,festival ,decorations1      
#bf1 #ca        ,lace ,curtains1        
#ce        ,window ,shades and ,blinds1 
#ci1 #dc        ,archways and ,alcoves1 
#dg1 #ea        ,portieres and          
,appliques1                          #ec
        ,bed ,draperies1                
#eg        ,traverse1 ,drop and ,theatre

 ,curtains1              #fe            
,interior ,grouping1 ,cosey ,corners1   
,wall ,hangings1      #fi               
,awnings and ,veranda ,curtains1        
#gc        ,the ,application of ,grille 
,work1                   #gg            
,workroom ,auxiliaries1                 
#ha                     ,copyright1     
#aije1 by ,clifford  ,lawton4           
,illustration3        ,fig ,i      ,fig 
,,ii      ,fig ,,iii      ,fig ,,iv     
,fig ,,iv ,b      ,,french ,,festoon    
,,drapery        7,,see ,,text ,,on     
,,opposite ,,page7                      
,illustration                           
,,french ,,festoon ,,drapery      ,the  
art of draping is nearly as old as is   
the manufacture of fabrics4  ,and       
artists and craftsmen of all ages have  
taxed their ingenuity to  produce ideas 
unique1 original1 out of the            
ordinary--with varied  success4 ,of the 
myriad of designs and treatments thus   
produced some of  the more pleasing have
 stood the test of time4    ,one of the 

survivors is that generally known as    
8,french festoon  drapery10 which1 by   
reason of its voluminous pleats and     
scallops1  presents a showy appearance  
in almost any class of fabrics4 ,to     
measure1  plan and cut this style of    
drapery is one of the first problems    
that  confronts the would-be decorator  
and drapery artist1 and to make plain   
the method successfully used by the     
writer is the purpose of this  article4 
,of course to the practical decorator   
such close discussion  of details is    
irksome2 but it is for the novice that  
,i write4 7,see  diagrams on opposite   
page47    ,figure ,i is an example of   
straight festoon drapery1 the right side
  in skeleton to more clearly show the  
figures4 ,to measure a door or  window  
for this style it is necessary to have  
the extreme width of the  space to be   
draped 7#e-j71 the distance from the top
 of wood trim to  floor 7#h-j7 and the  
distance from the top of trim to ceiling
 7#b-j74  ,this is to determine the     

general proportion of the various parts 
in  planning the complete treatment4    
,always measure with rule1 getting the  
width measurement at the floor line and 
the height measurements from  a ladder1 
and put them down as soon as taken4     
,don't trust anything  to memory6 ,a    
three-foot folding pocket rule is a     
splendid all-round  measure1 as it comes
 in nine-inch sections 7quarter yards7  
and the  length gives it a decided      
advantage over the old-fashioned        
two-foot  rule4    ,when these          
measurements have been secured take a   
piece of paper  sufficiently large to   
lay out the dimensions of the space to a
 scale of  say one inch to the foot1 and
 on it sketch the style of the drapery  
you  wish to produce4    ,bear in mind  
that the purpose of draperies is to     
relieve the austerity  of the straight  
wood lines1 and to dress or furnish an  
otherwise bare  space1 not to make an   
ostentatious display of fabrics4        
,moreover1  the display must be         

practical as well as decorative4 ,if a  
window is low  and a drapery carried out
 in proportion would be so low as to    
exclude  the light or interfere with the
 vision1 the usual rule must be departed
  from and the drapery raised to a      
greater height4 ,the proper elevation   
our third measurement will enable us to 
easily determine4    ,again1 if we are  
planning a door1 we must allow          
sufficient distance  from the floor to  
the lowest point of the festoons for an 
ordinary  person to pass or stand       
beneath without stooping4 ,in practice  
it is  seldom well to leave less than   
six feet six2 but of course different   
designs call for different execution4   
,in planning for styles similar to      
,figure ,i the general rule is to allow 
the lowest point of the tails to drop   
one half the distance to the  floor and 
the lowest festoon one half the length  
of the tail4 ,having  determined the    
style and size of the drapery on the    
plan1 correct  the general outline till 

it conforms nicely to your idea and the 
requirements of the space1 and measure  
it as follows3 ,take a flexible  rule 7a
 six-inch celluloid pocket rule makes a 
splendid article for  this purpose1 and 
can be obtained from celluloid novelty  
manufacturers7  and1 making it conform  
to the shape of the bottom line of the  
festoon1  note the measurement ,a to ,b 
7,figure ,i71 and record it as also the 
line  ,c to ,d2 measure all the curved  
outlines on the plan in like manner and 
record the various distances4    ,now   
measure the space covered by the pleated
 ends of the festoons and  the distances
 between1 as one to two1 two to three1  
three to four1  ,figure ,i1 and the     
distance from ,x1 the lowest point of   
the line ,c----,d  to ,x1 the lowest    
point of the line ,a----,b1 record the  
distance in feet  and inches 7two and   
one-half inches on the plan representing
 two feet  six inches71 for convenience 
in cutting later on2 for the tails      
measure  only the straight lines        

represented by the points ,e to ,f1 ,g  
to ,h1 ,e to  ,g and ,i to ,h4          
,illustration    ,you are now ready to  
cut the festoons1 and unless there is a 
likelihood  of a number of festoons     
being needed exactly the same size1 we  
can  dispense with a pattern and cut    
direct from the measurement2 but ,i     
would advise the novice to start on     
inexpensive material1 like shaker  or   
canton flannel1 until he is sure of his 
ground4    ,lay the goods on the table1 
face down1 with the end to--and even    
with--the side of the table1 in front of
 you4 ,the pattern1 if any1  should run 
from you1 and in the case of pile goods 
the nap should run  toward you4 ,smooth 
the goods out sufficiently to transfer  
the complete  measurements without      
readjusting4 ,take a piece of soft white
 crayon1  and mark off on the end of the
 goods nearest you the distance between 
the points ,a----,b on your scale plan1 
using the end of the goods as  your line
 7,figure #b74 ,if the width of the     

goods is not sufficient1 as  in this    
case1 mark the points on the table1 at  
equal distance from each  selvage4 7,see
 ,a----,b1 ,figure #b47 ,now at ,x the  
centre of the line or  end of goods1    
strike a perpendicular line ,x----,x at 
right angles to  the edge of table and  
end of goods and as long as twice the   
distance  from ,a----,b to ,c----,d in  
,figure #a4 ,this allows as much again  
for  fulness--a safe allowance for      
nearly all purposes1 but governed to    
some extent by the nature of the goods4 
,soft materials like art silks1         
silkolines and other light-weight       
drapery stuffs require a little more4   
,at the top of this perpendicular line  
,x----,x1 ,figure #b1 draw a  horizontal
 line parallel to the bottom line and   
nearly as long 7or1  if it is the last  
cut in the goods1 right across the      
goods1 leaving a  straight end71 and on 
it1 with ,x as a centre1 mark the points
 ,c----,d  equidistant4    ,with one    
point of a pair of dividers at ,a and   

one-third of the distance  from ,a to ,x
 as a radius describe a quarter circle  
from the line1  #a----a ,figure #b1 and 
repeat at ,b1 #b----b ,figure #b4 ,then 
with point  of dividers at ,x and       
,a----,b as radii strike a semi-circle  
to bisect  the two smaller circles at   
points ,e----,e1 rule from these two    
points  to ,x on the bottom line and    
also to points ,c and ,d on the top     
line4  ,this gives us the general shape 
of the festoon1 but the lines must  be  
rounded a little at the bottom and sides
 and allowance left for  straightening  
the pleated ends4 7,see dotted lines1   
,figure #b47 ,and if1  as is the case in
 ,figure #b1 the width of the goods is  
less than the  distance between the     
points ,e----,e1 the corners must be    
pieced out of  the pieces ,f----,f4     
,in cutting the sides1 as dotted lines  
,figure #b1 allow about three  inches   
extra at top and bottom and hollow at   
centre to one and one-half  inches from 
straight lines ,e----,d and ,e----,c1   

round the bottom as  curved dotted line1
 with greatest swell at about one-third 
of the  distance from ,x4 ,this gives us
 our perfect festoon pattern1 with three
  inches allowance at each side for     
trimming off after pleating4            
,illustration    ,to lay out the plan   
for the tail it is more economical to   
use a paper  pattern2 take a large piece
 of paper and lay on the table with the 
longest edge parallel with the edge of  
the table nearest you4 ,from the  end1  
as point ,f1 which should be at the     
corner of the table1 mark the  point ,e 
the same distance as on the scale       
drawing you have1 also the  point ,i    
about half way between4 ,with this as a 
basis locate the points  ,g and ,h      
according to measurement and draw the   
full sized plan of tail  as defined by  
these points1 ,figure #c1 solid lines4  
,locate the point ,j where the lines    
,e----,f and ,g----,h would intersect   
if continued 7the distance ,j is from ,e
 governs the amount of flare in  the    

bottom of the tail1 farther meaning less
 flare and closer meaning  more74 ,with 
,j as a centre1 make with cord and chalk
 circling lines to  intersect with each 
point of the raking edge1 #a----a1      
#b----b1 #c----c1  #d----d1 #e----e1 and
 #f----f1 also one at ,h and at ,e1     
making the line  longer as you go       
towards the top of the tail4    ,with   
point of dividers at ,f and ,i as a     
radius allow a couple of inches  extra  
for fold and strike to intersect line ,i
 at #a,x1 measure from #a to  #b and    
using #a,x as centre locate the point   
#b,x on line #b1 and locate the  other  
intersecting points #c,x1 #d,x1 #e,x1   
#f,x and ,,hx in like manner1 always    
allowing the two inches extra for       
folding1 rule from ,f to #a,x1 #a,x to  
#b,x1  to #c,x1 to #d,x1 to #e,x1 to    
#f,x1 to ,,hx1 as dotted line indicates1
 and also  from ,,hx to ,j to locate    
,,gx on line ,e1 and from points #a,x1  
#b,x1 #c,x1 #d,x1  #e,x and #f,x to ,j1 
to find the points #a;,a1 #b;,a1 #c;,a1 

#d;,a1 #e;,a and #f;,a on line          
,e----,e4 ,these last should be notched 
out in pattern to mark goods for        
folding4 ,cut out along the raking edge 
,f----#a,x1 #b,x1 and so on1 from ,h  to
 ,g and the sweep ,e to ,,gx1 and the   
pattern is complete4 ,as our pattern    
stands1 ,figure #c1 it is a left-handed 
pattern2 mark this side 7,left7  and    
turn face down on the table and mark the
 other side 7,right7 and  always        
remember to turn over the pattern in    
cutting a pair1 so as to  make right and
 left tails4 ,to cut out lay the pattern
 on the face side  of goods with the    
line ,,hx----,,gx parallel with the     
selvage and piece out  the point if     
necessary4 ,when all cut and pieced out 
complete1 spread  the pattern out over  
it and mark the points #a,x1 #b,x1 #c,x1
 etc41 and also  the notches on line    
,e----,e1 #a;,a1 #b;,a1 #c;,a and so on4
 ,with the edge ,e----,f  parallel with 
the edge of the table in front of you   
catch points #b,x  and #b;,a1 one in    

each hand1 and draw toward you till fold
 is made at  #a,x----#a;,a4 ,take #d;,a 
and #d,x in like manner and repeat till 
all are folded4  ,a glance at ,figure #c
 ,b will explain the method4 ,trim the  
top square1  and the tail is complete4  
,to pleat up the festoon requires a     
little  more care1 but facility is      
easily acquired with a little practice4 
,mark off on a horizontal board 7see    
,figure #d7 the dimensions of the       
completed festoon1 as indicated on the  
scale drawing1 ,figure #a1 points  one1 
two1 three1 four1 and put a large tack  
in each of these points as  a guide1    
also about six inches above each point  
place another1 which  can be seen when  
the others are covered up with the      
goods4 ,temporarily  attach corner ,d of
 the festoon to point three and corner  
,c at point  two1 allowing in each case 
about three inches to project above the 
line4 ,the centre of the goods between  
these two points lay back toward  the   
board to form the top pleat1 ,figure #d1

 and the lowest point of this  pleat    
should correspond with the top line     
,c----,d on the scale drawing1  ,figure 
#a4 ,if it is lower or higher than the  
drawing calls for it should  be properly
 adjusted until it is correct4 ,in this 
case1 ,figure #a1 there  is a distance  
of three inches from bottom of pole to  
,x on line ,c----,d4    ,in adjusting be
 careful to keep the goods perfectly    
centred1 or you  will not get nice      
pleats4 ,now divide the remaining space 
from three to  four and two to one into 
as many spaces as you intend to make    
pleats4  ,in this case 7the general     
rule7 there are six4 ,so you need six   
spaces1  the last pleat 7which is being 
put up1 ,figure #d7 covering two spaces4
  ,having divided the distance1 now with
 the left hand pinch up the goods  about
 one-fifth of the distance from fold    
already made and with the  right hand   
grasp the biased edge ,d----,b1 ,figure 
#d1 and form a pleat  toward the point  
,d1 adjust till the fold follows        

naturally around from  one hand to the  
other without drawing1 and temporarily  
tack it in  place on the line in its    
space4 ,take the left bias edge1        
,a----,c1 and  make this fold follow    
around to the point where it should     
attach in  the first space to the left  
on the line one----two4 ,these folds    
should  follow around from one end to   
the other without pulling or buckling1  
and will need to be helped at first by  
the disengaged hand until the  fold is  
complete4    ,pleat up all the remaining
 goods in this manner and tack each fold
 to  the line1 being sure that each fold
 goes around clearly without in any     
wise interfering with the hang of the   
previous one and using the same         
quantity of goods each time4    ,this   
will not come easily at first1 but      
follow the method illustrated  in       
,figure #d1 and practice will do the    
rest4    ,the last fold covers two      
spaces and completes the festoon4 ,if   
you have  too much fullness for the last

 fold go over the rest and take up a    
little more for pleating them4 ,if the  
distance from the centre of top  line to
 the centre of bottom line does not     
correspond with the distance  on the    
plan1 you will have to raise or lower   
the pleating until it  is the same4     
,leave the points ,c----,d attached and 
adjust each pleat  separately till the  
desired result is obtained4    ,now1 if 
the ends are to be joined over a pole1  
as in ,figure #a1 allow  three-quarters 
of the diameter of the pole above the   
line and trim  square4 7,see dotted     
line1 ,figure #d47 ,pin or baste pleats 
in place and  take down and bind with a 
bias piece of the same goods about one  
and  one-half inches wide1 turning in   
the raw edges4 ,bind tail in same way   
and sew together with baseball stitch   
that is illustrated in ,figure #d  ,b4  
,this stitch allows the greatest        
flexibility1 and the tail can be on  top
 or be turned back and the festoon on   
top without re-sewing1 as it  acts as a 

perfect hinge4    ,to estimate for this 
style a safe allowance roughly is one   
yard of  goods to a foot of the width of
 space1 and three yards more fringe     
than goods2 thus1 this drapery on that  
basis would take five yards of  goods   
and eight of fringe2 but for a close    
estimate make your scale  drawing first 
and measure from that1 thus1 add        
together the depths of  the various     
festoons with as much again for fullness
 and add to this  the length of the     
tails on their longest side4 ,this      
drapery measured  in this manner would  
require two and one-third yards for the 
festoons  and three and five-sixths     
yards for the tails1 or five and        
one-sixth  yards1 six inches more than  
the other way4 ,this last method1 of    
course1  is absolutely safe1 while the  
other will vary according to the depth  
of  the festoons4 ,the practical man    
will1 with the rough-estimate system1   
usually be correct1 but the novice had  
better measure his plan before  giving a

 positive quantity4 ,another thing1 too1
 will be noticed between  the two       
systems1 for spaces under five feet wide
 the yard to the foot  will be scant1   
while for spaces over five feet1 unless 
you try to make  too many festoons1 the 
calculation on this basis will          
invariably be  over the mark4    ,when  
using a striped goods that would admit  
of any number of  seams1 a              
seventeen-foot bay window has been      
effectively dressed  with twelve yards  
of goods1 including in the treatment two
 double  tails1 and presented such an   
elaborate appearance that a disgruntled 
representative of a rival house offered 
to alter it and save enough  from it to 
drape an eight-foot window at the back  
of a room4    ,this is mentioned only to
 show to what extent economy can be     
practiced  without skimping the         
appearance4 ,the eight-foot window in   
question1  with all possible economy1   
required six and three-quarters yards   
when  the order was completed4    ,it is

 a good plan for the beginner to take   
the rules here set forth and  sketch out
 a number of draperies with festoons of 
various depths and  measure4 ,cut and   
make up in some inexpensive material1   
such as cotton  or cheap flannel1 until 
you get the method thoroughly memorized4
    ,a little practice will make the    
veriest novice master of this method1   
which has been evolved from practical   
experience1 and is thus  independent of 
the various sketches and patterns       
offered for sale4    ,if any material   
advantage would be gained1 several other
 methods that  are used could be given1 
but the foregoing will be found         
thoroughly  practical and economical1 a 
great item in present workroom problems4
      ,illustration    ,to estimate the 
fringe add together the measures of the 
bottom line  of each festoon and the    
length of each tail and add ten per     
cent4 for  taking up in sewing4         
,illustration3        ,fig #e           
,fig #e4 ,b4        ,fig #f        ,fig 

#g        ,fig #h        ,fig #i ,b     
,fig #i      ,,irregular ,,festoon      
,,drapery        7,,see ,,text ,,on     
,,opposite ,,page47                     
,illustration                           
,,irregular ,,festoon ,,drapery      ,if
 the top of the opening or space to be  
draped is not a straight line1  but is  
curved1 arching or angular1             
necessitating that the ends of the      
festoons be fastened at different       
heights to follow the shape of the      
space1 irregular festoons must be used4 
,or1 when the space to be draped        
exceeds five feet in width irregular    
festoons will present a better          
appearance1 and add character to the    
decoration4    ,by irregular festoons we
 mean those in which the two halves of a
  festoon differ in size and shape1 as  
when the lowest point of the  bottom    
line falls to one side of the centre2   
when one pleated end  covers a wider    
space than the other2 or when the ends  
are fastened at  different levels4      

,figure #e 7see diagrams on opposite    
page7 is an example of irregular        
festoon drapery1 covering a straight    
space six feet wide1 with the  middle   
festoon elevated to give the whole an   
irregular appearance4    ,having secured
 the measurements from floor to top of  
trim1 from top of  trim to ceiling1 and 
the extreme width1 make a scale drawing 
of the  space in the proportion of one  
inch to the foot1 and on it sketch the  
drapery1 as explained for straight      
festoons in last chapter4    ,unless the
 wood is unsightly it is not necessary  
to cover it  altogether1 as this style  
is of a lighter1 more airy character    
than the  last one1 and the appearance  
is sometimes improved by showing enough 
of  the trim to define the opening4     
,if the color of the wood interferes    
with the harmony of the wall and        
fabric1 then1 of course1 it must be     
hidden as far as possible2 but  dispose 
the festoons to accomplish this without 
making the purpose  apparent4           

,correct the sketch of the drapery to   
conform with the necessities of  light  
or passage1 as explained before1        
observing the proportion the  tail about
 one-half the height of the space1 and  
the deepest festoon  one-half the depth 
of the tail1 and it is ready to measure4
    ,in ,figure #e1 on the opposite     
page1 we have three different sizes and 
shapes of festoons1 so that all must be 
measured and cut separately4    ,from   
the lowest point ,x on the line ,a----,b
 draw a perpendicular line at  right    
angles to the floor line to connect with
 ,x on the line ,c----,d1  top of       
festoon4 7,festoon ,a1 ,figure #e47     
,measure the distance from ,a to ,x and 
,x to ,b on bottom line1 following  the 
curve1 also from ,c to ,x and ,x to ,d  
on top line1 and from ,x to ,x2  record 
the distances on the plan in feet and   
inches1 also the spaces  covered by the 
pleated ends #a to #b and #c to #d1 and 
the distance between  #b and #c         
horizontally 7see dotted line71 and the 

elevation from line  #a----b to line    
#c----d4 7,see dotted perpendicular line
 from top of  trim47 ,record all these  
distances and measure festoon ,b in like
 manner4    ,festoon ,c is joined to    
tail on right side to form a pipe1 but  
is  measured in the same way1 treating  
the bottom line as if it were  continued
 around to the rosette 7dotted line     
through pipe1 ,figure #e71  mark point  
,x and measure the same as festoon ,a1  
measure the length of  pipe from rosette
 to bottom and record the distances4    
,to measure the double tails draw a line
 through centre 7dotted line1  left     
tail1 ,figure #e7 and measure the       
pleated half in the same manner as  the 
single tail in last chapter4    ,lay out
 and cut pattern as for a single tail1  
and repeat from the back  edge 7dotted  
line7 to give the double tail4    ,if   
necessary to piece the tail in planning 
the goods1 make the seams  where the    
folds will conceal them when pleated up4
      ,illustration    ,if you find any 

difficulty in sketching the full size   
pleated tail  from which to lay out the 
pattern for cutting1 as explained in    
last  chapter1 ,figure #c1 the following
 method1 while not needed by many1 will 
give you correctness and certainty3     
,the pleated top should equal one-sixth 
the distance from top of tail to  bottom
 point1 and the widest part1 which      
occurs half way down1 should  be one and
 one-third times the width of the top4  
,thus a tail #f--j long would be #c--j  
on the front edge and pleat into  #a--j 
at the top1 spreading to #af inches at  
the widest part4    ,lay out your paper 
with the longest edge even with the side
 of the  table in front of you1 and from
 the right hand end point ,f1 ,figure   
#e;,b1  mark point ,e the length of the 
tail and ,i half way between4 ,draw a   
perpendicular line at ,e and on it mark 
,g the proportionate distance1  and on  
another perpendicular line at ,i locate 
,h1 ,figure #e;,b4 ,halve the  line     
,i----,h and from its centre #a,x rule  

to ,f2 divide the line #a,x----,f  into 
seven equal spaces1 and mark every      
alternate point1 commencing  with the   
first one1 #b,x1 #d,x and #f,x1 and the 
points between #c1 #e and #g4  ,at right
 angles from the line at point #c mark  
,j1 the distance from #c to  #b,x1 or   
one space1 and repeat at #e and #g1     
locating points ,k and ,l4    ,rule from
 points ,j1 ,k and ,l to #b,x1 #d,x and 
#f,x 7dotted lines1 ,figure #e;,b71  and
 from #b,x1 #d,x and #f,x draw straight 
lines to the top parallel with the  line
 ,e----,f4    ,rule also from ,j1 ,k and
 ,l to the dotted raking lines and from 
,g to ,h1  and you have a complete      
outline of the pleated tail from which  
to plan  your pattern1 as explained in  
last chapter4    ,the right tail joined 
to festoon ,c is cut in exactly the same
 manner as  if it were not joined1 but  
was complete in itself4    ,lay the     
pattern on the goods with the side to be
 joined to the festoon  even with the   
selvage4 7,see ,figure #g4 ,dotted lines

 which show festoon ,c  cut out and the 
right hand tail marked out for cutting  
lying together  for matching at the     
selvages47    ,to cut irregular festoons
 it is well at first to make a paper    
pattern2  spread out a paper            
sufficiently large to contain the full  
measurements1  with the longest side    
even with the table in front of you     
7,figure #f71  using the edge of the    
paper as the line ,a----,b1 from which  
to project  the shape of the festoon    
according to the measurements4    ,from 
the right-hand end point ,b mark ,x the 
distance recorded on  ,festoon ,a1      
,figure #e1 on your plan1 and from ,x   
mark point ,a4 ,erect a  perpendicular  
line at ,x as long as twice the distance
 from ,x to ,x1  ,figure #e1 and at     
right angles to the bottom line4        
,draw a horizontal line parallel with   
the bottom line or edge of paper1       
passing through ,x1 the top of your     
perpendicular line1 and on it mark  the 
points ,c and ,d the same distances as  

they appear on your plan4    ,from ,x on
 the bottom line1 with ,b as a radius1  
strike a quarter circle  from the line1 
and repeat on the other side with ,x as 
centre and ,a as a  radius4    ,with ,a 
as a centre1 and one-third the distance 
from ,a to ,x as radius1  strike an arc 
to intersect with quarter circle ,a at  
point ,a#a2 and from  point ,b1 with    
one-third the distance from ,b to ,x as 
radius1 locate  point ,b#a in the same  
way4    ,rule from ,b#a to ,x and from  
,a#a to ,x on the bottom line1 and from 
,c to ,a#a  and ,d to ,b#a1 which gives 
us the general outline4    ,the bottom  
lines must be rounded as dotted lines   
indicate1 with  greatest swell one-third
 of the distance from point ,x on each  
side2 and  the raking lines at the side 
must have the allowance added for       
trimming  off three inches at top and   
bottom1 hollowed to one and a half      
inches  at centre1 dotted lines1 ,figure
 #f4    ,cut out along curved lines on  
sides and bottom1 and straight line at  

top1 and the pattern is complete4       
,spread out the goods on the table face 
up1 the pattern1 if any1  running from  
you1 and the nap1 if pile goods1 running
 toward you1 with  the end of the goods1
 which must be square1 even with the    
side of the  table1 in front of you4    
,lay the pattern on it with the         
perpendicular line ,x----,x positively  
at  right angles to the straight end of 
the goods and parallel with the         
selvage4    ,if the width of the goods  
is not sufficient to cut the festoon    
without  piecing1 lay the pattern so as 
to leave an equal projection beyond the 
selvage at each side4    ,if the amount 
to be pieced out does not exceed six    
inches1 make the  join at one side only1
 and piece out with the pieces left from
 the  raking sides1 ,f----,f1 ,figure   
#f4    ,pleat festoons ,a and ,b in the 
same manner as straight festoons in last
  chapter1 the lines on the board       
corresponding with the lines on the     
plan1 the elevation at #c----d exactly  

as the plan calls for1 and adjust  the  
goods until it conforms to the size and 
shape on the plan4 ,when  one end of a  
festoon is attached at a higher level   
than the other1  attach the elevated end
 of the pleat first1 and then the lower 
end1 for  greater ease in forming the   
pleats nice and round4    ,irregular    
festoons are not interchangeable any    
more than clothes1 and  will only fit   
the size and shape for which they are   
made2 for this  reason be careful in    
laying out the measurements on the      
board1 as once  pleated they will hang  
that way only1 and a change in elevation
 or  distance1 unless very slight1 will 
destroy the neatness of the pleats4     
,if1 in a drapery design1 a festoon with
 the heavy fall point ,x to the  left of
 the centre is repeated in another place
 with the heavy fall to  the right of   
the centre1 and the sizes are exact1 the
 pattern cut for  one will do for the   
other by turning the other side of the  
paper up2  but be careful to mark each  

side and the festoons to correspond1 so 
as  not to duplicate4    ,it is a good  
plan to number or letter each festoon   
and tail on the  plan1 and the patterns 
to correspond2 then1 if the goods is cut
 with  the face side up1 the completed  
drapery must be the same as the plan4   
,if for any reason it is advisable to   
cut the goods with the face side  down1 
you must be careful to turn your        
patterns all face down1 or your  drapery
 will be transposed1 with the right tail
 at the left side1 and  vice versa1 and 
errors of this kind are1 to say the     
least1  vexatious4    ,to lay out       
festoon ,c for cutting is a little more 
difficult1 but can be  easily mastered  
with care4 ,lay out the paper for       
pattern on the table1  as explained for 
festoons ,a and ,b1 and draw the bottom 
line ,a----,b  parallel with the edge of
 table1 and about half the length of the
 pipe  above it 7,figure #h74 ,erect the
 perpendicular line ,x----,x1 and find  
all  the points on the pattern in       

exactly the same manner as for festoon  
,a2  round out the line from ,a#a to ,x 
7dotted line1 ,figure #h7 and the raking
  line ,a#a to ,c4    ,from point ,b#a  
as a centre1 with the length of the pipe
 as a radius1  strike a quarter circle  
from the line ,a----,b down to a point  
below ,b#a  7line #a----;,b#a71 round   
the line right side from ,x to a little 
above the  line1 and gracefully sweep to
 break the sharp corner where the circle
  intersects1 as dotted line1 ,figure   
#h1 and rule from ,b#a to ,d1 adding    
afterwards the allowance for trimming   
off after pleating4    ,if you have a   
small festoon to cut1 and one of this   
kind1 mark out the  small one first1    
letting the pattern lie to the opposite 
side from the  side on which you want   
the piece for the pipe1 and the         
allowance for  the pipe can usually be  
cut out of the corner1 ,f4 7,see broken 
line1  ,figure #h1 which outlines the   
top of a festoon beneath the line       
,a----,b47    ,in irregular festoons the

 line ,x----,x must be at right angles  
to the end of the goods1 or chalk line  
representing bottom of festoon  where no
 pattern is used4    ,cut festoon ,c out
 complete and match the pattern of the  
goods to the  piece before cutting out  
the tail4 7,see ,figure #g47    ,join   
the straight side #a----;,b#a on festoon
 ,c to the left side of tail  and press 
the seam out so that it lies flat as one
 piece4    ,spread out on the table1 and
 with the paper pattern mark the top and
  bottom points of the folds in the     
tail1 and commencing at the middle      
7dotted line ,e----,f1 ,figure #g7 pleat
 the outside in the way explained  in   
last chapter4 ,pleat the other side     
toward the centre also1 forming  all but
 the last fold or pipe1 and pin or baste
 the folds in place4  ,tack the top of  
tail on the board1 which you have       
already chalked out  to the sizes of the
 pleated festoon and tail on the plan1  
and pleat up  the festoon by the method 
explained in last chapter1 forming the  

last  pleat of the festoon and the last 
fold of the tail into a pipe 7,figure   
#i71 concealing the seam in the fold    
under the pipe4 ,the rosette is made  of
 a circular piece of goods1 usually     
joined up from the waste1 as the  pleats
 will conceal the seams4    ,if the     
completed rosette is to be six inches in
 diameter1 take a  circular piece of    
goods seventeen inches in diameter1 and 
in the centre  cut out a three-inch     
circle2 shirr the outside edge from the 
wrong  side1 using long stitches on the 
right side and short stitches on the    
wrong side 7,figure #i;,a71 dotted and  
unbroken lines 7dotted lines on  face   
side of goods71 use a strong linen      
thread or twine and draw the  shirring  
up close1 wrong side out1 and fasten    
securely4 7,figure #i;,b47    ,turn back
 the small circle over this to bring the
 right side out1 and  shirr it into the 
other shirring1 fastening both together 
securely4  ,this method gives very      
little fulness on the back of rosette1  

and  plenty in front2 pick out the      
pleats to distribute the fulness evenly 
around the rosette1 keeping the outer   
edge square and thicker than the        
centre4    ,the fulness is governed by  
the size of the hole in the centre1 and 
the  distance from it to the outer      
circle must equal the desired diameter  
of  the finished rosette1 with one inch 
allowance for shirring4    ,sew the     
rosette to the finished festoon tail1   
and if it is to be  suspended from a    
loop1 as ,figure #e1 sew a couple of    
lambrequin hooks  beneath the rosette to
 take the weight4 7,,xx1 ,figure #i47   
,figure #e illustrates a straight top   
opening1 but this style is  particularly
 adapted to spaces where the top is     
curving or angular1 or  in the case of a
 low door or window1 where it is desired
 to give an  effect of greater height   
without elevating the entire drapery    
scheme4    ,sketch out and plan a number
 of irregular festoon draperies to your 
scale1 complying with different         

requirements in the way of curves and   
angles1 and cut out of some soft and    
inexpensive material1 as advised  in    
last chapter1 until you have thoroughly 
mastered the rules and  acquired the    
knack of forming nice round pleats from 
end to end4 ,be  careful in sketching an
 irregular drapery not to get the       
festoons too  thin from ,x to ,x1 which 
you will be apt to do4    ,except in    
some special case where a shallow       
festoon is required1 a  pleated festoon 
that is less than eighteen inches from  
,x to ,x will  not look well on this    
size space1 and should be as much deeper
 in  proportion as the size of the space
 requires4    ,double tails are used in 
,figure #e to explain the method of     
cutting  them1 and where the quantity of
 goods will not permit the use of double
  tails1 single tails may be used with  
very good effect4    ,double tails are  
frequently joined in the centre 7dotted 
line ,e----,f1  ,figure #g71 and except 
in goods of a striped or pronounced     

design may be  joined even more by      
calculating for the seams to be in the  
under folds4      ,illustration3 ,,flat 
,,valances ,,or ,,lambrequins4          
7,,see ,,text ,,on ,,opposite ,,page7   
,illustration3 ,,six ,,ways ,,to ,,head 
,,and ,,hang ,,draperies4               
,,flat ,,valances ,,or ,,lambrequins    
,the flat valance or lambrequin was     
originally designed as a body or        
background on which were embroidered the
 most elaborate patterns4 ,it  has      
passed through various forms and        
modifications1 and at present is  used  
for almost every purpose in the way of  
drapery treatments4 ,we  illustrate a   
few styles which will explain its       
versatility4    ,figure #aj is one of   
the simpler forms1 surmounted by a      
moulding  cornice1 and is frequently    
used where it is desired to give the    
windows  the appearance of greater      
height by raising the cornice the       
desired  distance above the top of the  
frame1 the valance concealing the real  

height of the window4    ,this style is 
provided with a piece at each end that  
returns to the  frame 7at right angles  
to the face7 and confines the curtains  
as well  as concealing the pole or rod  
to which the curtains are attached4 ,it 
can be made very simple and inexpensive1
 and is suitable for bedrooms1          
dining-rooms or libraries when the      
nature of the window and the general    
architecture of the room requires simple
 treatment4    ,figure #aa is a         
combination of the flat valance and     
festoon drapery4 ,its  use is not       
confined to any particular room1 and it 
can be made simple  and inexpensive1 or 
elaborated with appliqus1 as ,figures   
#ab and #ad1  until it is rich enough   
for any purpose4 ,its main              
characteristics are  the small quantity 
of goods required and the ease with     
which it can be  made4 ,nearly all flat 
valances are made on buckram to give    
them the  required stiffness to hang    
flat and smooth4      ,illustration3    

,,louis ,,xiii4    ,make a scale drawing
 of the space and sketch the style of   
the valance  upon it4 ,then lay out the 
full size on a piece of paper and cut   
out  the pattern of the flat body or    
background4 ,spread out the buckram and 
transfer the outline to it1 joining it1 
if necessary1 to get the size  by       
lapping the edges one upon the other and
 sewing them together flat4    ,if the  
buckram is sufficiently large without   
joining you can draw the  design upon it
 without making a pattern4    ,do not   
try to make too many scallops2 allow the
 outside scallops to be  a little wider 
than the others1 so that they will      
appear about the same  size when the    
tails are put over them4 ,the outline of
 the end scallops  can be made a little 
more straight where the tail covers it1 
as dotted  line1 ,figure #aa4    ,the   
illustrations show these two styles     
trimmed with a galloon or gimp1  which1 
on a plain material1 is an effective    
trimming4    ,figure #aa;,a illustrates 

the method of finding the radius of     
three given  points--as the two ends and
 the centre of a scallop4 ,having       
determined  the width of the scallop1   
draw perpendicular lines at its         
extremities1  ,a----,a and ,b----,b1    
,figure #aa;,a1 and on these lines mark 
,x the distance  you wish to raise the  
ends of the scallop from the line4 ,with
 point of  dividers at ,c on the bottom 
line strike an arc at a little more than
  half the distance to ,x on line ,a2   
then with point of dividers at ,x on    
line ,a strike an arc with the same     
radius as before to cross the other  arc
 at the two ends4 ,repeat this on the   
other side of the centre point  ,c      
toward line ,b1 and by ruling straight  
lines through the intersecting          
extremities of each arc to where they   
meet in the centre you find the  radius 
from which all three points would be    
touched by a sweep of the  dividers4    
,the pipes which are attached at the top
 of each scallop are cut in the         

following manner3 ,measure the length of
 space the pipe is to cover and  draw a 
line on your pattern paper its          
equivalent in length2 from one  end1    
with half its length as a radius1 draw a
 quarter circle on each  side of the    
line marking point ,d where it crosses  
the line4 ,with point  at ,d and the end
 of the line as a radius sweep to       
intersect the curved  line at each side1
 which will give you points ,c----,c2   
rule straight  lines from points        
,c----,c to ,b and to ,a4 ,the bottom   
line following the  circle is too round 
for a nice pipe1 and should be modified 
to midway  between the curved and       
straight lines1 as dotted lines1 ,figure
 #aa;,b4    ,this pattern can be used to
 good advantage by utilizing half of it 
only1 repeating from the line ,a----,b  
for the buckram pattern and the  lining1
 as ,figure #aa;,b1 and repeating from  
the line ,a----,c for the  pattern for  
the outer covering1 ,figure #aa;,c4     
,after being covered with  the lining1  

as ,figure #aa;,b1 it is bent round and 
the two edges joined  together with fine
 thread and baseball stitch1 as ,figure 
#aa;,d4 ,cut  the covering as ,figure   
#aa;,c1 allowing a half inch all around 
for hem2  fold together wrong side out  
and stitch the edges ,a----,a and       
,b----,b  together2 press the seam out  
flat1 turn right side out1 and pull over
  the buckram form1 turning in the edge 
around the bottom and sewing it  down4  
,the tails are cut just as for festoon  
draperies1 and the tops are  turned over
 the top edge of the buckram body and   
sewn to the wrong side  or back of it4  
,a valance of this kind is provided with
 lambrequin hooks on the wrong  side to 
hook into the curtain rings1 and can be 
put upon the same rings  with the lace  
curtains or on extra rings1 as you      
desire4 ,the hooks  should be placed to 
support it at the points where will be  
the greatest  weight--one on each side  
of the tail1 one at the top of each     
pipe1 and  about every six inches       

between4 ,the tip of the pipe is sewn   
over the  top like the tails and the    
bottom is fastened securely at the end  
of  the scallop4 ,a nice effect is given
 to the pipe by suspending a large  pair
 of tassels from its interior1 falling  
about six to twelve inches  from its    
base1 according to size4                
,illustration3 ,,gothic4    ,figure #ab 
is a similar treatment1 with the lower  
third composed of  a shirred skirt2 the 
buckram form is made first and covered1 
and  the skirt is sewn to the under side
 before the lining is put on4 ,in       
addition to the fringe at the bottom of 
the skirt this style is further         
embellished with an edging or lace      
around each scallop and an appliqu      
ornament centreing each scallop4 ,the   
top edge is sometimes finished as       
illustrated with a heavy silk cord with 
knots or double loops at the  prominent 
points4    ,figure #ac is a combination 
of pelmet and overdrapery1 used where   
the decoration is desired to be very    

deep without the appearance of          
excessive weight4 ,the flat back or     
pelmet is made perfectly straight  and  
flat1 trimmed with a gimp or galloon1   
and appliqud1 the long end  being       
provided with a deep fringe4 ,the       
overdrapery is cut as per rule  for     
irregular festoons1 and while it has the
 appearance of passing over  and down   
behind the pelmet1 it is joined behind  
just out of sight1  using no more goods 
than is necessary for the appearance on 
the face  side4 ,this can be made very  
effective by using a plain material for 
the  pelmet covering and a striped or   
figured fabric for the overdrapery4 ,it 
can be used for dining-rooms1 libraries 
and offices where the windows  are high 
and not very wide4 ,repeated from the   
left side with double  tail in centre it
 is a nice treatment for a double or    
mullioned window4    ,figure #ad        
illustrates another style and the method
 of applying it to a  double window4    
,the top is further embellished with a  

garniture of heavy  silk cords and      
tassels1 which1 on very deep valances1  
is sometimes  replaced with a           
light-weight silk festoon drapery in    
harmonizing shades4    ,a bow or bay    
window is treated in like manner by     
suspending a double  tail between each  
window4    ,to make up flat valances lay
 the cut out buckram form upon the goods
  with which it is to be covered and cut
 the goods an inch larger all  around4  
,if there is a pattern that is          
conspicuous1 plan it so that it will    
centre in each scallop1 joining the     
goods if necessary where the pipes  will
 conceal the seams4 ,pin the goods to   
the buckram to prevent from  slipping   
and draw the edges over and baste them  
to the back of the  buckram4 ,this must 
be done smoothly and without puckering4 
,illustration3 ,,illustrating ,,four    
,,positions ,,of ,,the ,,drapery        
,,relative      ,,to ,,the ,,woodwork4  
,it will be necessary to notch the goods
 to allow it to go up into the  points  

of the scallops1 as ,x1 ,figure #ae4    
,after the covering is all basted down  
lay the face side down and spread  the  
lining out over it1 allowing an inch to 
project all round4 ,turn  in the edge   
and tack it with shoe tacks or pins1    
then the bottom edge  and the two ends1 
taking care to keep the thread or grain 
of the goods  straight and square to    
avoid puckering4    ,when all properly  
basted it is either slip-stitched       
together1 as shown  in ,figure #ae;,a1  
or machine stitched1 keeping the edge of
 the lining  about a sixteenth of an    
inch back from the edge4 ,the tails also
 are  lined2 lay the cut tail on the    
table face down and turn over on top    
about half an inch on the two sides and 
bottom1 and with shoe tacks  tack it to 
the table nice and even all round the   
edge2 lay the lining  over it face side 
up and tack it over the other1 turning  
in the edge  the same distance that the 
goods is turned over1 and with edges    
lying  even1 removing the first round of

 tacks as you put in the others1 baste  
the two together with basting stitch and
 slip-stitch1 or machine stitch  it     
together1 according to the nature of the
 goods4 ,in making the pipe  cover the  
buckram form with the lining before     
forming it into the cone  shape1        
bringing all the edges over and sewing  
them to the wrong side1  so that they   
will not be visible in the cone when    
made4      ,illustration3 ,a ,,modern   
,,version4    ,for the skirt in ,figure 
#ab allow about as much again for       
fullness for  light-weight goods1 and   
half as much again for medium weight4   
,do not make it on heavy goods unless   
very deep1 and then some other  styles  
would be better4    ,all appliqus should
 be put on and sewn before the lining is
 put on4    ,in estimating for these    
styles calculate how many widths of     
goods are  required to cover the form   
from end to end1 and take that many     
times  the depth of the valance1 with   
two inches allowance each time for      

turning in1 and add to that the length  
of the two tails4    ,thus a valance    
like ,figure #aa would take for a       
four-foot window two and  five-eighths  
yards of fifty-inch goods1 the same of  
lining1 and about  one yard of          
thirty-six-inch buckram4    ,the fringe 
you can measure from the drawing1 but   
three yards more  fringe than goods is  
near enough for an approximate estimate4
      ,illustration                     
,illustration                           
,,pleated ,,valances ,,or ,,lambrequins 
,for places where a flat valance seems  
too stiff and severe1 a number of       
simple1 but dainty and graceful1        
treatments have been evolved4    ,one of
 these is the plain box pleat surmounted
 by a ,french ruffle4 7,see  ,figure #af
 on opposite page47 ,the box pleat is   
made with various degrees  of fullness  
and in many different ways4 ,the usual  
method is to allow  each pleat to be as 
wide as the spaces between them--as     
illustrated4  ,for a valance pleated in 

this way allow about three feet of      
material to  one foot of finished       
pleating4 ,after the goods are hemmed   
the proper  width for the valance1 they 
are pleated on the table1 the pleats are
  tacked top and bottom to keep them in 
place temporarily1 and the folds  are   
pressed4    ,the tops are pinned while  
still in this position and the whole is 
then  turned face down1 each pleat being
 tacked to the next one with stout      
thread 7see ,figure #af;,a7 to keep them
 from becoming disarranged in use4  ,the
 top is either attached to a pole or is 
nailed flat to a board  cornice and the 
top edge finished with a moulding or    
,french ruffle4  7,see ,figure #af47    
,when the pole is used sew a flat tape  
to the back of the heading1 and  sew    
lambrequin hooks to the tape4    ,the   
,french ruffle illustrated in ,figure   
#af is made of a strip of goods  about  
four inches wide1 lined with window     
holland wiggin or fine canvas  to give  
it stiffness4    ,hem both edges1       

allowing about two and one-third times  
as much strip  as the finished ruffle is
 desired2 turn on its face and mark     
every two  inches on the back on or     
slightly below the centre 7,a to ,b in  
,figure  #af;,b74 ,then take a needle   
and stout thread or twine and draw      
together  every alternate mark and knot 
them securely 7,b to ,c74 ,at the top   
and  bottom of these alternate spaces   
pinch them together and knot them  about
 one-half of an inch from the pinched   
point1 which should be in  line with the
 centre of the space 7,c to ,d74 ,then  
turn face side up1 and  a slight pulling
 or stretching from end to end will     
start the pleats  into shape1 when a    
little manipulation will make them take 
the desired  shape1 as sketch ,figure   
#af;,c1 showing the face side2 the back 
should  appear as ,d to ,e1 ,figure     
#af;,b4    ,the double box pleat is a   
little more decorative than the ordinary
  pleat1 and is made as illustrated by  
,figure #ag4 ,the top is turned  forward

 and pressed flat1 as shown in          
successive stages by drawings  #ag;,a1  
#ag;,b and #ag;,c4 ,and another style by
 drawings #ag;,d1 #ag;,e and #ag;,f1    
which  can be quite easily followed4    
,figure #ah illustrates another style   
with ,french heading1 which requires  a 
little more care in calculation and in  
making4 ,if you have determined  the    
length and depth of the valance1 divide 
the distance into the  number of        
scallops you desire to make1 and proceed
 to mark out the full  size of one      
festoon upon your pattern paper4 ,use   
the bottom of your  pleats 7dotted line 
,a----,a in ,figure #ah7 as a temporary 
top line1 and  the distance from centre 
of pipe to centre of pipe1 with about   
four  inches extra as a temporary width1
 the depth the same as plan calls  for1 
with no allowance extra4    ,lay out the
 bottom line according to the           
measurement of bottom of  scallop1 and  
draw perpendicular lines at ,a and ,b to
 about nine or  twelve inches above the 

line ,a----,a in ,figure #ah;,a4 ,on    
these mark off  the distance from bottom
 pleat 7line ,a----,a7 to the top of    
heading1  with as much again for        
fullness1 and rule line ,e----,e1 which 
is the  true top of the festoon4        
,half way between ,e and ,e make a      
perpendicular cut1 ,c----,c1 from the   
top  to the line ,a----,a1 and from the 
bottom ,c draw a horizontal line the    
length of the measurement of the bottom 
pleat 7in this case #a foot #b  inches72
 divide it in the centre and erect a    
perpendicular line through  ,e----,e as 
a centre guide4    ,on the line         
,e----,e1 with ,f----,f as a centre1    
mark the points of the top  of the      
heading1 ,h and ,e in ,figure #ah;,a1   
the distance apart that lies  between ,x
 and ,x on your sketch 7in this case1   
,figure #ah1 one foot7 and  repeat this 
measurement at ,d----,g one-third the   
distance from line  ,e----,e to line    
,a----,a in ,figure #ah;,a4    ,rule    
from ,d to ,h1 ,g to ,e1 ,d to ,c on    

dotted line1 and ,g to ,a1 as           
illustrated1 and from ,a to ,b1 fold    
pattern over on centre line ,c----,c    
and cut out the other side4 ,lay pattern
 on the goods so as to centre  the      
pattern of fabric nicely in the scallop1
 and cut out as many as  required for   
the valance4    ,in order to get the    
pleating shirr or pleat the raking lines
 ,g to ,a and  ,d to ,c as tightly as   
possible1 so that ,h ,h and ,d ,d meet  
together just  above the lower ,c4 ,the 
pipes between the festoons are cut in a 
manner  similar to the plain pipes in   
last chapter4    ,when the pattern is   
planned out and ruled off for cutting1  
as there  explained1 measure down from  
top point of pattern on centre line one 
and one-half times the distance         
represented between the lines ,h----,e  
and ,d----,g on ,figure #ah;,a1 and with
 point of dividers at this point 7,k1   
,figure #ah;,b71 and point ,i1 the top  
of pipe1 as a radius1 strike an arc     
equal in length to one and one-half     

times the radius4 ,rule from each  end  
of the arc1 ,j----,j1 toward middle ,k1 
till you meet the raking line  of each  
side4    ,this gives the outline of the 
pipe1 which is joined flat to the       
festoons on either side1 as illustrated1
 ,figure #ah;,c1 and formed into a  pipe
 by pinching together the two back edges
 at ,l and ,l4    ,should the pleated   
pipe seem too wide at this point double 
pleats on  each side will obviate any   
difficulty4 ,the pattern included       
between the  points ,j ,j and ,m on pipe
 pattern is the size and shape required 
for the  little heading at ,c----,c1    
,figure #ah1 and is simply formed into a
 pipe  inverted and sewn in place4 ,this
 particular style is very effective  for
 bedrooms1 made in art ticking1 denim1  
cretonne or taffeta1 having  a prominent
 pattern4 ,the sketch shows a slight    
ripple in the bottom of  the scallop1   
which is not sufficient to interfere    
with the pattern1  and will be greater  
or less1 according to the sag of the    

pleats1 and  consequent distance between
 ,h and ,h1 ,figure #ah4    ,the pipe on
 the outside is joined to the tail and  
festoon1 as ,figure  #ah;,c1 and is     
pleated up with the tail to the shape   
illustrated4      ,illustration3        
,,simple ,,drapery ,,scheme4    ,figure 
#ai is similar in style1 with a pleated 
scallop1 and is made  after much the    
same plan4 ,make a scale or full-size   
drawing of the  festoon and pipe1 and   
measure the bottom of the festoon1 as a 
regular  or straight festoon4 ,lay the  
measurement out on your pattern paper1  
as  per rule for straight festoon1      
chapter ,i1 except that points ,e ,e are
  raised one-quarter the distance from  
,a to ,b1 instead of one-sixth1 as      
formerly explained4    ,the depth for   
cutting is twice the depth of the       
finished festoon1  and the top          
measurement and centre cut are found and
 determined as  explained for plain     
scallop in ,figure #ah;,a4    ,mark out 
the full pattern as illustrated in      

,figure #ai;,a1 measure the             
circumference of bottom of pipe1 and lay
 out the distance horizontally  from ,e 
to ,e parallel with the bottom line4    
,from the centre of line  ,e----,e erect
 a perpendicular line as a centre guide1
 and on it mark the  length of the pipe 
from ,f to ,g and ,g to ,h4 7,see dotted
 outline of pipe  pattern in ,figure    
#ai;,a47    ,the circumference of the   
small part of the pipe is laid out      
horizontally at ,g1 and also the upper  
sweep at ,h1 as explained for  pipe in  
,figure #ah;,b4 ,then rule from the     
extremities of dotted line ,g1  dropping
 slightly to raking edge of festoon1 add
 pleating allowance as  dotted line from
 ,d to pipe1 and the pattern is         
complete4    ,this festoon and pipe can 
be repeated indefinitely1 as in ,figure 
#ai;,a1  and make a very pretty effect  
as a valance4 ,if necessary stiffen the 
top edge with wiggin or fine canvas4    
,the festoon is pleated up as  hereafter
 explained for ,figure #bb4 ,the design 

can also be made with  separate pipes1  
if so desired1 by following the         
instructions for ,figure  #bb and using 
pipes instead of tails4    ,another     
simple valance is that illustrated in   
,figure #bj4 ,it is very  easily        
constructed4 ,the goods are cut to the  
required length to allow  for top and   
bottom hems and as many widths as are   
necessary to give  double fullness      
across the space4 ,starting at one end  
make three  or four pleats about one and
 one-half inches wide1 and fasten them  
temporarily together at a distance of   
six or nine inches or more1  according  
to the design of the goods and width of 
the space1 repeat  pleating1 and so on  
to the end of the goods4    ,if you have
 correctly spaced and estimated your    
goods so that they come  out even to the
 desired length1 fasten the pleats      
permanently together  about two and     
one-half inches down from the top and   
through the centre  of the pleat4 7,see 
,x in ,figure #bj47 ,draw down the top  

of each outside  pleat behind and stitch
 them in fan shape1 as shown in back    
view1  ,figure #bj ,a1 the top edge     
turns over to the back between each     
bunch of  pleats and is sewn flat4      
,figure #ba is another form of          
lambrequin in which the corners to form 
the festoons are obtained by piecing    
out4 ,draw out on paper the  full-size  
sketch of complete lambrequin1 as in    
,figure #ba ,a1 and from  the pleated   
ends of festoons represented by the     
letters ,o1 ,a1 ,d and ,i1  mark out on 
the sketch each festoon pattern1        
allowing them to overlap  each other as 
they will1 taking double the depth of   
the pleated parts  for the depth of the 
festoon from dotted line to bottom      
7,figure #ba ,a74    ,after each pattern
 is lined out on the paper in full1 take
 a small  nail1 and laying the pattern  
over a piece of soft wood1 punch the    
extreme points of the outline of each   
part by driving the head of the  nail   
through the paper1 as also the points   

where any part crosses the              
perpendicular double lines4 ,the paper  
is then cut up the double lines  and    
around the extreme outline of the parts1
 as from outside bottom  corner of right
 hand tail to ,n1 ,n to ,i1 ,k to ,h1 ,h
 to ,d and ,f to ,c2 the  pattern can   
then be folded over on ,x----,x1 the    
centre line1 and the  left side cut out4
    ,by laying the pattern over another 
paper1 and with a soft pencil  marking  
through the punched holes1 as well as   
the corners where the  perpendicular    
lines cut through the outline1 you      
easily get the  dimensions of the pieces
 to be joined on to complete the        
pattern4    ,thus the triangular piece  
represented by the points ,a1 ,b and ,c 
is that  required to piece out the left 
side of festoon ,no4 #b2 ,d1 ,e and ,f  
the  right side of festoon ,no4 #b2 ,d1 
,g and ,h the left side of festoon ,no4 
#c2 ,i1 ,j and ,k the right side of     
festoon ,no4 #c1 and ,i1 ,l1 ,m and ,n  
the  balance of the tail4    ,after the 

different pieces are all joined on and  
the whole lined the  parts are pleated  
up in the usual way1 with the top of    
valance tacked  flat on the board1 and  
the ends of the pleating sewn nicely and
 covered  with a knot of large cord     
which appears to support each raised    
part4    ,when cutting the goods add the
 trimming allowance of three inches     
beyond the raking sides of the patterns 
and trim the surplus to as  small a     
compass as possible when pleated4       
,figure #bb represents a style of narrow
 festoon drapery which presents a       
fairly elaborate appearance with a small
 quantity of goods4 ,the tails  are     
planned as explained in the chapter on  
,french ,festoon ,drapery4    ,the      
festoons are measured from the sketch1  
allowing the straight lines  between the
 heads of pipes and tails to represent  
the top measurement1  the curved line at
 bottom of festoon the bottom           
measurement1 and twice  the distance    
between for depth and fullness4    ,to  

plan festoon ,a1 which is a regular     
festoon1 lay out the bottom  line1      
,figure #bb ,a1 and from its centre     
erect the perpendicular line  ,x----,x1 
and on the horizontal line at the upper 
end mark off the top of  festoon4 ,find 
all the points of the festoon1 as       
explained for straight  festoons in the 
chapter on ,french ,festoon ,drapery1   
and round out the  bottom and sides as  
for regular festoons4    ,follow also   
the instructions already given in       
cutting the goods1  keeping the         
perpendicular line parallel with the    
selvage1 and in regard  to nap and      
pattern4    ,to pleat up the festoon    
fasten the top edge to the board with   
temporary  tacks1 pinch up a pleat about
 one-fifth the distance from top to     
bottom1 and with the disengaged hand    
form a pleat at the edge of the  goods1 
the point of which is attached on the   
line of the top edge4  7,points         
,a----,a1 ,figure #bb ,b47    ,the      
remaining goods are equally divided and 

pleated in like manner into  four full  
pleats of equal size and depth4    ,when
 all tacked in place a line is drawn    
from ,a to ,b on each side1 the  pleats 
pinned or basted and taken down1 then   
the edges trimmed off  square to the    
line and bound4    ,the centre pipe or  
tail is treated as a single tail by     
drawing a line  through its centre to   
divide it for measuring4 7,e----,f1     
,figure #bb1  dotted line47    ,the half
 is sketched out full size1 as explained
 in ,figure #c1 ,chapter  on ,festoon   
,drapery1 allowing one more return fold 
at back to meet  the other side at      
centre line 7,point ,f1 ,figure #bb71   
and the pattern  repeated at ,g----,h ,x
 in ,figure #c to make the full double  
tail1 which  is lined and joined        
together at the edges ,e----,f1 ,figure 
#bb1 and then  pleated4    ,it is well  
to cut a double pattern all in one piece
 and pleat it so  that you can tell by  
the folds of the pattern where seams    
will be  permissible in the fabric4     

,a great many combinations such as these
 can be made by the exercise of  a      
little ingenuity and patience1 which    
will depend for their appearance  on the
 neatness of the work and the           
disposition of the stripe or  pattern of
 the fabric4      ,illustration3        
,fig #bc        ,fig #be        ,fig #bd
        ,fig #bd ,a        ,fig #bg     
,fig #be ,a        ,fig #bh        ,fig 
#bi        ,fig #cj        ,fig #bi ,a  
,fig #ca        ,fig #cb        ,fig #cb
 ,a        ,fig #cb ,b        ,fig #bf  
,,piano ,,and ,,mantel ,,draperies      
,the fabric decoration of pianos        
presents difficulties peculiar to       
itself1 and the effort to combine beauty
 with common-sense utility  has resulted
 in many pretty treatments1 a few of    
which we illustrate4  ,one of the first 
problems in the treatment of an upright 
piano is to  securely and neatly attach 
the drapery to the instrument without in
  anywise interfering with its use or   
marring its finish4    ,for most        

treatments a board the shape of the top 
of the instrument1  covered with a      
neutral-tinted fabric and lined beneath 
with felt or  canton flannel1 will be   
found to be an easy and practical method
 of  protecting the top of the          
instrument1 at the same time affording a
  solid place for the attachment of the 
drapery4    ,when covering the under    
side be careful not to leave any tack   
heads  projecting2 either sink them into
 the fabric below the surface1 or at    
the four corners1 and centre tack a     
small wad of felt about an inch  in     
diameter1 and drive the tack in so that 
the felt is forced upward  around the   
head of the tack4    ,if the board      
should be inclined to teeter or rock1   
thicken the wads at  the loose corners  
until it lies perfectly flat and solid4 
,the drapery can be attached to the     
board in a number of different ways4    
,for light festoon draperies in which   
the top of the festoon falls below  the 
edge of the board a good method is to   

attach a small metal rod  to the edge of
 the board1 turning the corners nicely  
with elbows1 or  bending it sharply at  
right angles1 and loop the drapery over 
this4 ,for  flat or straight top        
festoons attach directly to the board   
and cover  the edge with a ruffle or    
large cord4    ,figure #bc illustrates a
 valance or lambrequin treatment made   
with a  plain scalloped centre and      
narrow festoons on the sides and ends1  
with  pipes at the intersections of the 
scallops4 ,the festoons are fastened    
along the edge of the board and covered 
by a large cord4 ,the plain  scallop in 
centre does not interfere with the use  
of the music rest and  is sufficiently  
decorated with an appliqu pattern4      
,the pipes may either be made           
separately1 as explained in chapter on  
flat valances1 or cut together with     
festoons1 as in chapter on pleated      
valances or lambrequins4 ,where appliqus
 are used1 whether of leather1  tinsel  
or lace1 the best effect is obtained by 

using a self-color  fabric without      
pattern or design4 ,sew the appliqus    
down flat either by  hand or machine    
before the lining is put in4    ,figure 
#bd is a flat appliqu valance on which  
the appliqu is allowed  to project      
beyond the edge of the scallops1 making 
an irregular lace  edge effect4 ,this   
makes a very neat and simple            
arrangement1 and is cut  as ,figure #bd 
,a1 to allow an overhang on the face and
 two ends of the  instrument4    ,the   
overhang ,x at the end is made the width
 of the top1 so that the  front overhang
 falls close to its front edge and meets
 the appliqu to  conceal the opening at 
the corner4    ,this style usually      
requires two breadths of fifty-inch     
goods1 and is  made with an overhang of 
six or nine inches in front and eighteen
 to  twenty-four inches at each end4    
,after the edging is sewn on it is lined
  7sometimes interlined7 and laid on the
 piano1 where its weight is  usually    
sufficient to keep it in place4         

,figure #be is a festoon drapery looped 
over the metal rod on the edge  of the  
board or attached to the edge of piano  
top1 as illustrated by  small cords and 
tassels1 which are attached to the back 
of the piano4  7,see dotted lines       
,figure #be ,a47 ,they may be either    
straight loops1 as  left side of        
illustration1 or crossed1 as right side 
of illustration4  ,this style is cut and
 made up with due consideration of the  
size and  requirements of the space1 as 
explained in chapter on ,french festoon 
drapery4    ,a pretty scheme is         
sometimes made in soft fabrics by using 
a drapery  that is a composite of the   
last two1 a flat top cover with a       
pleated  festoon effect on the front and
 end1 as outlined by scalloped broken   
lines on ,figure #bf4 ,it is made as    
explained for ,figure #ba in chapter on 
pleated valances or lambrequins4        
,after the festoons are drawn out full  
size and marked for cutting1 the  pipe  
for the corner may be added and cut out 

with the festoon4 7,see  explanation for
 ,figure #ai ,a in chapter on pleated   
valances47    ,the tail in ,figure #bf  
is planned the reverse way to the method
  mentioned in a former chapter1 but a  
study of this illustration will  show   
that the principle is the same4    ,the 
tail and pipe may be cut separate from  
the rest or cut attached by  allowing   
for the little connecting pieces ,x and 
,x1 which fold beneath  and do not show4
 ,in cutting the tail for this design   
there is nothing  to be gained by       
cutting it attached to the festoon1 but 
the method is  given here to explain the
 principle4    ,the plain tied scarf1   
,figure #bg1 is usually a piece of soft 
unlined  fabric twenty-seven inches wide
 by about two and two-thirds yards long1
  and is caught up as illustrated by    
tying a small shirring cord which  is   
run through the fabric and divides the  
front overhang into three  festoons4    
,in large rooms there is sometimes an   
advantage in turning the keyboard  to   

the wall and decorating the back of the 
instrument1 which is then  the most     
prominent part4    ,the nature of this  
treatment is to disguise the piano and  
give it the  effect and usefulness of   
another piece of furniture4    ,figure  
#bh illustrates a popular treatment1 the
 back covered with a  curtain of soft   
fabric shirred on a rod1 and attached to
 the back of  the instrument so that the
 heading or shirring projects slightly  
above  the top4 ,in making the curtain  
allow about as much again for fullness  
7or twice the length of the space to be 
covered71 letting the bottom  edge of   
the curtain hang free or shirr it on a  
rod similar to the top4  ,to this is    
added an upholstered seat or bench and a
 few pillows4    ,if desired a festoon  
drapery can be added at the top of the  
curtain  with good effect4    ,a        
decorative panel may be used instead of 
a curtain1 as illustrated  in ,figure   
#bi1 either with or without a seat1 and 
the drapery made to  conform to the     

style of the panel4    ,the drapery may 
be made as a part of the panel1 as      
,figure #bi ,a1 or  attached separately 
after the panel is in place4    ,a      
square or grand piano is prettily       
treated with a flat cover1 the size  and
 shape of the top trimmed with an       
overhanging fringe or appliqud  edge of 
a depth to suit the individual taste4   
,the cover may be made of any           
medium-weight material of self or       
composite colorings1 but preference     
should be given to a fabric not  easily 
marked by the ornaments or bric--brac4  
,in many cases the designs suitable for 
an upright piano can be used  with good 
effect on a mantel1 ,figures #bc1 #bd1  
#be and #bg of our  illustrations       
possessing this feature to a certain    
degree4    ,the decoration of a mantel1 
however1 does not present the same      
difficulties as the decoration of a     
piano1 because there are fewer          
restrictions to bear in mind1 and there 
is perhaps more danger of  overdoing    

mantel decoration on this account4      
,from the appearance of some of the     
old-fashioned fireplaces still in       
existence we would infer that in those  
days utility and capacity were  the     
first1 last and only considerations4    
,the open grate1 though popular for a   
long time after its introduction  into  
this country1 gradually became less and 
less frequently used1  and as its       
usefulness decreased its artistic       
insufficiencies became  more and more   
apparent1 draperies being used to       
relieve and ornament  it where it was   
thought unwise to remove it altogether4 
,succeeding  the period of disguised    
homeliness we have a period of more     
elaborate  designs1 and with the return 
of the overmantel architectural art has 
lavished upon this piece of furniture   
carvings and mouldings until it  is     
usually a thing of beauty1 and the      
decorator has sometimes to advise       
against what would be a superfluity of  
decoration in the employment of  fabric4

    ,a little judicious advice along the
 line of superabundant decoration  is   
sometimes profitably and kindly         
received1 but the man who presumes  to  
so advise must do so only upon          
invitation and with the utmost  tact4   
,in a great many cases1 however1 the    
mantel drapery is still an  artistic    
necessity1 and we give herewith a few   
styles and methods  of modern           
treatments4 ,figure #cj is a            
flat-covered buckram pelmet1  having a  
scalloped bottom1 and a series of       
apertures through which a  light-weight 
drapery is arranged in regular festoons4
    ,this style is frequently employed  
to obtain depth without the  appearance 
of weight4 ,the top edge of the pelmet  
may be finished with a  cord1 fringe1   
moulding1 antique nails or any simple   
form of trimming4  ,for method of making
 this class of drapery see chapter on   
flat valances  and lambrequins4 ,it is  
sometimes necessary to provide an open  
grate  with draught curtains1 as ,figure

 #ca4    ,these are hung on a small rod 
close up to the top of the opening1     
using  rings large enough to allow them 
to traverse easily1 and are provided    
with a tassel loop at each side to      
retain curtains1 as dotted lines1       
,figure #ca1 when the grate contains    
fire4    ,it is necessary1 unless the   
goods are very heavy1 to weight the     
bottoms  of the curtains to prevent the 
draught from drawing them inward4 ,this 
is accomplished by a small roll of shot1
 about the thickness of a lead  pencil1 
cased in cotton and inserted between the
 lining and the goods  along the bottom 
of the curtain4 ,do not fill the roll so
 tightly that  it will not retain its   
flexibility4    ,this will be found a   
good method to employ where a draught of
 any kind  interferes with the proper   
appearance of a light-weight curtain1   
and  the roll can be kept almost        
invisible in the lightest materials by  
covering it with a piece of material the
 same shade as the curtains4            

,frequently the appearance of a room may
 be enhanced by giving the  mantel      
fitment some elevation1 as1 for         
instance1 ,figure #cb1 by reason  of its
 plainness1 would in a large room       
present a squatty appearance1  were it  
not for the elevation given it by the   
panel and drapery4  ,instead of the     
panel1 a mirror may be used1 and the    
drapery added to  relieve the bare top  
line4 ,the drapery may be attached to a 
pole1 cords  or ornaments1 as your      
design may require1 taking care only to 
give it  sufficient extension to clear  
the panel nicely and not lie flat       
against  the face of it4    ,this style1
 with ,figure #cb ,a1 gives another     
method of combining a  festoon and a    
tail1 the join being made after both are
 pleated up and  the seam concealed by a
 cord which appears to loop it back4    
,measure and cut festoon ,a1 ,figure #cb
 ,a1 as per rule for irregular  festoons
 in the chapter pertaining to that      
subject1 which will give  you the       

pattern ,figure #cb ,b4 ,pleat this up  
on your board to the  dimensions and    
shape of your plan and make a paper     
pattern of an  ordinary single tail the 
size you require4 ,pleat this up and    
trim the  corner ,c1 ,figure #cb ,d1 to 
fit the angle covered by the cord in    
,figure  #cb ,a4 ,cut1 line1 and pleat  
up the tail in the usual way1 and join  
it to  the pleated festoon as neatly as 
possible4      ,illustration    ,the    
decorator with an eye for ensemble will 
sometimes be able to  suggest the       
breaking up of a too flat boudoir or    
dressing-room  side-wall with a mantel  
shelf or hanging book-shelf1 which can  
be  tastefully decorated in keeping with
 the surroundings4 ,the treatment of    
high upright steam rediators is         
analogous to this line of furnishing    
and demands in some instances much the  
same mode of procedure4 ,a board  or    
shelf is made to fit the top of the     
radiator and so constructed  as to fit  
squarely and securely with a boxing or  

keeper beneath1 to  prevent sliding or  
slipping4 ,this is covered with a fabric
 to harmonize  with the other           
furnishings and trimmed with a deep     
fringe1 a ,japanese  reed and bead      
curtain1 a moulding1 or a very shallow  
valance4    ,the depth of any1 governed 
by the style of the radiator and the    
taste  of the decorator1 best results   
are obtained by using a board that has  
saw cuts about an inch apart1 and       
running within a few inches of from  end
 to end1 lengthwise4 ,very low upright  
radiators can be effectively  treated by
 making the top into an upholstered seat
 and trimming the  front and ends with a
 deep close fringe from seat to floor1  
which will  conceal the radiator and    
permit the escape of all the heat4    ,a
 study of the accompanying illustrations
 will suggest the application  of each  
to the requirements of a piano1 mantel  
or shelf1 and from these  a great many  
pretty combinations may be evolved4     
,in the styles presented we have tried  

to avoid anything of a cumbrous  or     
fussy nature1 on the ground that dignity
 and simplicity are more  preferable in 
the smaller furnishings4                
,illustration      ,illustration        
,fig #cc ,g      ,fig #cc ,b      ,fig  
#cc      ,fig #cd ,d      ,fig #cc ,a   
,fig #cc ,c      ,fig #cc ,e      ,fig  
#cd ,a      ,fig #cd ,b      ,fig #cd ,c
      ,fig #cc ,f      ,fig #cc ,d      
,fig #ch ,a      ,fig #cf      ,fig #cd 
,fig #cd ,e      ,fig #cg      ,fig #cg 
,a        ,face ,side of ,goods         
,back of ,goods      ,fig #ce      ,fig 
#ch      ,fig #ch ,b                    
,,scarf ,,draperies      ,,all draperies
 that are not regularly cut and made1   
according to some  design1 but depend   
for their appearance entirely on the way
 in which  the fabric is put up1 are    
classed under the heading scarf         
draperies4  ,they are at best but an    
imitation of the cut festoon drapery1   
and for  anything permanent much better 
satisfaction is obtained by the use of  

fabric properly cut and made up4        
,when the decoration is of a transient  
character1 however1 such as  show-window
 decoration1 festival decoration1 or the
 temporary adornment  of a door or      
window1 very good effects can be        
obtained by practice  and the exercise  
of a little ingenuity without cutting   
the material1  and it is not a rare     
occurrence to meet men of long          
experience in the  drapery business who 
employ this method altogether4 ,as a    
knowledge of  the methods used to obtain
 various results in this style will     
doubtless  prove useful1 we present     
herewith a number of illustrations which
 show  the versatility of this          
principle4    ,figure #cc 7see diagrams 
on the opposite page7 illustrates one   
treatment  of a pair of tapestry1 silk  
or chenille curtains to form a drapery  
over  a six or seven foot opening4      
,to accomplish this divide the width of 
the opening into three spaces1  the     
middle one slightly narrower than the   

others4 ,at point ,a1 ,figure  #cc ,a1  
temporarily attach the corner of one    
curtain and draw the other  end of it up
 and over the pole ,b1 from behind2     
without twisting the  curtain1 draw the 
top 7or dotted line7 edge ,figure #cc ,a
 over until  the sag between ,a and ,b  
is nearly correct1 then adjust the      
bottom 7or  broken line7 edge1 allowing 
it to sag considerably more than the    
upper  edge to give the necessary depth 
to festoon #b4 ,note the stripes of the 
material in ,figure #cc ,a1 which       
illustrates how a straight cross-striped
  material would look if used in this   
way4    ,fasten the goods temporarily at
 ,b with a few tacks and proceed with   
festoon #c4    ,carry the 7broken line7 
top edge1 which was the bottom edge in  
festoon  #b1 to ,c1 your left outside   
point1 ,figures #cc and #cc ,a1 allowing
 it to  sag slightly as the top of the  
festoon4    ,hold the material at point 
,c with the right hand1 and with the    
left  hand grasp the edge of the goods a

 short distance farther to the left  and
 raise it above the right hand 7at point
 ,c7 until the edge of the  goods       
between your hands is taut1 as          
illustrated by ,figure #cc ,a4    ,if   
you have allowed a sufficient distance  
between your hands1 corner ,e  of the   
curtain should be higher than corner ,f1
 as illustrated4    ,adjust the position
 of your left hand until you get the    
corners to  satisfy you1 leaving the    
corner ,f as low as you desire to have  
it4 ,with  the hands in the positions of
 ,figure #cc ,a move the left hand over 
above  the right hand1 keeping the edge 
of the material still taut between      
them1 and with the fingers and thumb of 
the right hand gather up all  the goods 
across the dotted line ,x----,x into    
small pleats and squeeze  this tightly  
with the right hand as ,figure #cc ,b4  
,half way between the  two hands bend   
this bunch back1 bringing the point held
 by the left  hand under the fingers of 
the right hand where it is tied securely

 by a  cord passed around the goods     
gathered there1 and attach it to the    
wall1  pole or door frame at point ,c1  
,figure #cc4    ,the rosette is formed  
by spreading out the loop formed by     
bending back  the point for tying4      
,spread it fan shape1 ,figure #cc ,c1   
bringing each  side around to form a    
complete circle1 ending by tucking one  
within the  other as ,figure #cc ,d4    
,pick out the most prominent folds below
 the rosette to form pleats and  form   
them as far back toward point ,b as you 
can follow them1 making as  many as are 
necessary to dispose of the fullness of 
the festoon2 form a  pipe dropping from 
the centre of the tied bunch beneath the
 rosette and  pleat the rest of the     
fullness to form a double tail as       
illustrated4    ,release the goods where
 they were temporarily tacked at ,b and 
form  folds over the pole that will be  
continuations of the pleats radiating   
from the rosette4    ,commence at the   
side nearest the rosette and tack each  

one as you form  it1 allowing the last  
one to be a nice full pleat1 as         
illustrated in  ,figure #cc ,e4 ,the    
point of the curtain which was attached 
at ,a is now  drawn up slightly to make 
a few shallow pleats in festoon #b1 and 
the  point thrown back toward the wall1 
out of sight1 where it is fastened  to  
keep the pleats in place4    ,for       
festoon #a spread the curtain out flat1 
as ,figure #cc ,f1 and with one  hand   
gather the goods into small pleats      
across the end on the bias and  slightly
 curved1 as dotted line4 ,this is       
securely tied and thrown over  the pole 
at point ,a1 the short edge uppermost   
and next to the other  curtain 7see     
,figure #cc ,g71 fasten it there and    
make a festoon rosette  and tail with   
the balance of the curtain1 as explained
 for festoon #c1  ,figure #cc ,a4       
,illustration3 ,fig #cf ,a    ,if you   
wish the single tail at ,a1 formed by   
the end of the second  curtain1 to      
cascade the reverse way 7with long side 

next to the other  curtain71 twist it   
where it is brought up behind the pole1 
but do not  turn the whole curtain over1
 as you need the longest edge for the   
bottom of the festoon4    ,a study of   
the dotted and broken line edges of each
 illustration will  explain how they are
 manipulated to secure the requisite    
length for  the bottom of the festoon1  
how the surplus from the top of one     
festoon  is used to increase the length 
of the next one1 and how1 by using      
alternate edges of the curtain1 it is   
made to cover a larger space4    ,figure
 #cd is another treatment of a pair of  
curtains for a similar  space4    ,the  
right-hand curtain is manipulated much  
the same as the left-hand  curtain in   
,figure #cc1 which has been already     
explained4 ,the left-hand  curtain is   
pleated into the space allowed for it at
 the top1 either  tacked over the pole  
as illustrated1 or attached to rings4   
,it is  allowed to hang straight from   
the pole and either caught up with a    

rosette at the side or is gathered back 
and confined by a loop4    ,to make the 
rosette1 allow the curtain to hang      
perfectly straight  either just to the  
floor or even a half yard longer 7if you
 desire the  sweep of the bottom edge   
nice and full71 and grasp the edge1     
without  stretching it1 at the point    
where you wish to make the rosette4     
,then with the disengaged hand1 ,figure 
#cd ,a1 catch the edge again lower  down
 and raise it until the longest point of
 the curtain clears the  floor or is as 
much higher as you want it to be when   
finished1 gather  across dotted line1   
,figure #cd ,a1 and form the surplus    
into a rosette1  as explained for       
,figure #cc4    ,pick out the fullness  
of the curtain into pleats1 form a pipe 
depending  from the centre of the tied  
part beneath the rosette and pleat the  
balance into a double tail4    ,to      
gather the curtain back with a loop1 as 
,figure #cd ,b1 allow it to  just nicely
 clear the floor1 and then with both    

hands gather it into  large folds       
commencing at the outside edge          
considerably below the  position of the 
loop1 and following the sweep indicated 
by dotted line  across curtain in       
,figure #cd ,b4    ,figure #cd ,c is an 
illustration of how this can be         
accomplished neatly  without the        
necessity of pulling the curtain through
 the loop after it  has been caught up2 
,figure #cd ,d is a cross section of a  
curtain while  being gathered1          
illustrating the position of the fingers
 as they form  each successive pleat1   
the thumbs remaining stationary and the 
fingers  drawing the goods toward them  
to form each pleat4    ,figure #cd ,e is
 a back view of the end of the curtain  
that is pleated  over the pole1 ,figure 
#cd1 and shows also the corner of the   
curtain  which forms the middle festoon4
 ,for ,figure #ce1 another treatment of 
a  pair of curtains1 gather the         
curtains1 one for each side1 as         
explained  for festoon #a1 ,figures #cc 

,f and #cc ,g1 and fasten the tied parts
  together to form the double tail in   
the centre1 twist each curtain  where it
 passes through the ring to bring the   
short edges to form the  outside of the 
double tail1 and form the festoons1     
rosettes and outside  tails1 as         
explained for ,figure #cc4    ,figure   
#cf is an illustration of a scarf       
drapery for a six-foot circular  top    
window or archway1 made of six yards of 
fifty-inch material1 with a  fringe sewn
 on one side and both ends4    ,divide  
the space for the number of festoons you
 wish to make1 mark the  points where   
the attachments will be fastened1 and   
put them in place1  mark ,x the centre  
of the space and ,v the middle of your  
length of goods  on the top or unfringed
 edge4    ,temporarily attach ,v at     
point ,x and carry the edge of the half 
length  to the right or left to ,a or   
,b1 the first point of attachment1      
allowing  a slight sag for the top of   
the festoon4    ,with one hand hold the 

edge of the goods at ,b1 ,figure #cf ,a1
 and move  the other hand twelve or     
eighteen inches farther along the edge1 
and  with a gathering motion of fingers 
and thumb allow the two hands to  follow
 the shape of the dotted line across the
 goods1 ,figure #cf ,a1  until they meet
 at ,e1 which you have judged to be as  
far from the  bottom edge as the length 
you wish to make the pipe ,o1 formed at 
,b----,b1 ,figure #cf4    ,as the hands 
meet gather all the goods into one and  
with the other  tie a cord tightly      
around the gathering1 the same as for   
the rosette1  ,figures #cc ,a and #cc   
,b2 the surplus above the tying may be  
formed into a  rosette or thrown back   
through a ring1 as illustrated4    ,the 
same process is repeated at ring        
,a----,a1 and the two outer festoons    
and tails formed as explained for       
festoon #c1 ,figure #cc4 ,after all is  
securely attached pick the fullness into
 pleats that follow nicely from  one    
point of attachment to the next2 form   

pipes of the surplus bottom  edge and   
fold and pick out the ends until you    
have a presentable double  tail         
surmounted by a rosette1 as illustrated4
    ,as we have already stated1 scarf   
draperies depend for their appearance   
on the way in which they are put up1 and
 a little time spent in  carefully      
adjusting the pleats and pipes so that  
they hang gracefully  without drawing or
 twisting will be amply rewarded by the 
appearance of  the finished product4    
,some materials require an infinite     
amount of coaxing1 particularly for     
scarf draperies1 but patience and       
perseverance will usually conquer the   
most contrary fabric4    ,figure #cg is 
a scarf drapery made with one reverse   
where it passes  through the ring4 ,by  
reverse we mean that the fringe instead 
of being  all sewn on one side of the   
goods is for some distance transferred  
to  the other side of the goods and sewn
 to the opposite edge4    ,if the       
material is reversible 7finished alike  

on both sides7 the fringe  can be       
reversed1 as ,figure #cg ,a1 without    
cutting the goods1 and the  fringe1     
instead of ending with the two ends     
opposite one another1 is  allowed to    
pass or overlap to about the position   
indicated by the  extremities of the    
dotted ,a----,a4    ,if the material is 
not reversible1 as is supposedly the    
case in ,figure  #cg ,a1 the goods are  
cut 7in this case one-third the distance
 from one  end7 and sewn together at    
,a#a----;,a#a1 with the long end the    
reverse side  up4 ,gather the goods     
across the broken line ,a#a----;,a#a and
 draw through  the ring until the seam  
is concealed2 draw over the hook ,b1    
leaving  the necessary sag to the bottom
 edge and allowing the top edge only a  
slight droop2 gather and tie at the     
outside corner ,d1 and then go over     
both the festoons and coax the pleats   
into shape4    ,you will find that the  
goods have become considerably biased   
where  they pass over the hook ,b1 and  

for that reason do not fasten them at ,c
  until the centre festoon is finished  
to your satisfaction4 ,when this  is    
accomplished proceed to finish the left 
festoon after the manner of  festoon #c1
 ,figure #cc ,a4    ,the top edge       
between ,b and ,c will be found quite   
full1 and the surplus  must be disposed 
of in the rosette at ,c4 ,this is one of
 the most  popular styles of small scarf
 draperies1 and if nicely carried out in
  soft fabrics can be made to look quite
 neat4 ,before cutting the goods  for   
reversing1 we would advise the temporary
 draping of the goods1 as  hereafter    
explained for ,figure #ch4    ,figure   
#ch is an elaborate festoon scarf       
drapery1 with the fringe  reversed in   
four places4    ,to accomplish this     
successfully it is almost imperative    
that we use a  reversible material that 
will permit of each side being          
alternately  presented to view in the   
festoons without perceptible difference4
    ,to calculate for reversing scarf   

draperies the best plan is to mark  off 
on your drapery board the dimensions of 
your space or opening1 and  attach to it
 at requisite points ornaments1 rings or
 poles similar to  those you intend to  
attach it to when finished4    ,cut off 
your material1 allowing one yard of     
material to each foot  in width of      
space1 and temporarily attach the centre
 of one edge of  your goods to the      
middle of your space2 then bring it     
through or over  the next attachment1   
drawing to about the desired proportion 
of the  festoon1 and repeat at the next 
point1 and so on to the end rosette2    
bring the goods over and over each time 
without twisting it1 as you  would bind 
a bandage round a limb4 ,when all       
temporarily attached go  back over each 
festoon and be sure that it is correctly
 adjusted1 and  then tie up the ends to 
form rosettes4 ,you can now readily see 
where  fringe will be needed2 mark it as
 it hangs1 using safety curtain pins1   
placing a pin at the extremities of the 

bottom line of each festoon1  the points
 toward the bottom of the festoon4 7,see
 ,figure #ch ,b1 points ,d  and ,g47    
,the bottom line of the next festoon    
runs up behind this one1  consequently  
you must reach up underneath the first  
festoon and place  the pins in the face 
side of the under festoon1 points       
downward1 as  dotted out lines1 ,e and  
,f1 ,figure #ch ,b4 ,put a pin also in  
the outside  corner of each tail1       
pointing toward the lower point of the  
tail4 ,when  all pinned take down and   
sew the fringe on the side from which   
each  pair of pins was inserted1 and    
from point to point of each pair4 ,this 
will bring the fringe alternately first 
on one side and edge and then  on the   
other side and edge1 as ,figure #ch ,a1 
which represents the fringe  between    
points ,a----,b1 ,d----,g and ,h----,j1 
as being on the top side of  the goods  
as it lies spread out1 and that between 
points ,c----,e and  ,f----,i1 on the   
under side4    ,figure #ch ,b shows a   

variation from the style of ,figure #ch1
 in that the  festoon does not form a   
wind round the pole1 but is as a loop   
dropped  over it1 both ends of the      
festoon showing in front of the pole4   
,it is  seldom employed more than once  
or twice in a large drapery1 and then in
  the centre or at equal distances on   
each side of it4    ,in scarf draperies1
 as in cut draperies1 study to produce a
 symmetrical  and well-balanced effect1 
and at the same time avoid having each  
side the exact duplicate of the other4  
,figure #ch1 for example1 is an         
illustration of this thought4    ,if for
 architectural reasons it is necessary  
that both sides be alike1  as ,figure   
#ce1 then plan to have them as exact as 
possible1 but1 as a  general rule1 a    
slight variation adds character to the  
decoration4    ,avoid1 also1 too many   
rosettes1 two being quite sufficient in 
almost  any drapery that is not of a    
temporary character4    ,we do not      
advocate the use of scarf draperies for 

permanent treatments1  but the knowledge
 and skill acquired by practice in this 
style of  decoration is a valuable      
possession4      ,illustration          
,illustration3 ,,bunting ,,decorations  
,,red   ,,white   ,,blue      ,,england 
,,netherlands      ,,paraguay           
,,white   ,,blue   ,,red      ,,russia  
,,blue   ,,white   ,,red      ,,united  
,,states      ,,france                  
,,festival  ,,decorations               
,,part ,i4        ,illustration         
,during certain seasons of the year the 
decorator is called upon to  furnish    
decorations for national demonstrations1
 society functions and  the enrichment  
of halls1 lawns1 booths1 etc4 ,these    
decorations demand  something more than 
the usual exhibition of a few flags and 
bunting1  that may signify anything from
 a national victory to the opening of a 
saloon1 and this branch of work is      
gradually becoming more important in    
the decorative business4    ,to         
successfully handle it to any extent it 

is necessary to carry on  hand a        
quantity of the different decorative    
materials1 such as flags1  bunting1     
shields1 banners1 etc41 and for quick   
and effective display a  few of the     
following suggestions might be          
profitably adopted4      ,illustration  
,the natural advantages peculiar to each
 building frequently suggest the  basis 
for a decorative scheme1 and in planning
 an exterior trim it is  best to first  
make a careful study of the building and
 jot down what  particular features     
strike you as offering advantage or     
difficulty in  their decoration4 ,note  
also the accessibility of the prominent 
places1  and plan your trim accordingly4
    ,too much stress cannot be laid on  
the importance of this preliminary      
survey1 for plans might be suggested    
which would have to be  considerably    
modified in execution1 to the           
disappointment of your  customer4       
,after notes are taken1 secure1 if      
possible1 a cut of the building from    

the stationery or advertising matter of 
the tenants or owners1 and with  these  
as a basis project your scheme of       
decoration4 ,if a sketch must be  made1 
adhere rigidly to the architectural     
proportions of the building1  and be    
careful not to show streamers or        
festoons where your workmen  would      
require wings to place them and glue to 
stick them in position4    ,the methods 
of disposing decorations for exterior   
work differ according  to taste1 and no 
hard and fast rule can be laid down as  
to what is and  is not proper4 ,we      
illustrate in ,figure #ci1 on the       
opposite page1 a few  of the different  
designs which are most frequently used4 
,illustration    ,this building         
possesses most decided natural          
advantages1 and the whole  decoration   
could be carried out completely in any  
one of the different  styles suggested  
in the illustration4    ,on the ground  
floor elevation we illustrate a number  
of columns resting  on a square base and

 surmounted by an illuminated globe4    
,the plinth  7see detail ,figure #dj7 is
 a square box covered with cotton       
stretched  smoothly and tacked on the   
back or bottom to conceal the tacks4    
,the torus is a circular piece of board 
a little less in diameter than  the top 
surface of the plinth1 covered with     
cotton1 also drawn  tightly and tacked  
underneath4      ,illustration3         
,,festival ,,decorations      ,,figure  
#ci4 ,,see ,,text ,,on ,,opposite       
,,page4    ,the framework of the shaft  
is made as ,figure #dj ,a4 ,two pieces  
of board  are nailed together ,v-shape1 
and finished at each end with a circular
  piece of board the diameter you desire
 your shaft to be2 this frame is        
covered with cotton pleated from end to 
end1 as figure #dj ,b4    ,this requires
 considerable practice to do it nicely1 
but when neatly  covered with bleached  
white cotton1 with pleats about one and 
one-half  inches wide1 it makes a very  
pleasing column4    ,the astragal1 neck1

 ovolo and abacus 7see detail7 are      
covered circles  of graduated diameters1
 all securely fastened together2 the    
globe  which surmounts the capital is a 
hollow shell made on a frame similar  to
 ,figure #da1 and covered with alternate
 colors of cotton1 the joins  tacked    
together on the ribs and concealed by   
the puffing explained a  little later4  
,when completed1 the whole forms a light
 and neat semblance of a heavy  fluted  
column1 and gives a dignified appearance
 to a trim4 ,if desired  they can be    
made half round or half square and used 
as pilasters1  made and finished in the 
same way4 ,while not quite as effective1
 they  require less time and material4  
,illustration3        ,fig4 #dj         
,fig4 #dj ,b        ,fig4 #dj ,a        
,fig4 #dc        ,fig4 #da        ,fig4 
#db        ,a        ,b        ,c       
,fig4 #dg ,a        ,fig4 #dg           
,illustration3        ,fig4 #dd         
,fig4 #di        ,fig4 #dh        ,fig4 
#de        ,fig4 #df    ,the corner     

doorway of ,figure #ci shows a round top
 shirred in with  cotton or bunting     
trimmed with a couple of flags and a    
drapery of two  alternate colors4    ,if
 the sweep of the arch is a semi-circle1
 take a piece of material a  little more
 than half the diameter in width and as 
long as twice the  diameter 7or bottom  
measurement7 and gather one edge into   
small pleats1  tie it tightly and attach
 it to the centre of the bottom frame4  
,commence in the centre of the top edge 
of the fabric and fasten it to  the     
middle of the top frame1 and1 working   
from this each way1 stretch  the        
material smoothly into pleats radiating 
from the tied edge1 and  tack it all    
around the sweep of the frame1 cover the
 bottom edge with a  couple of flags    
draped as ,figure #db ,a1 ,b and ,c1    
minus the sticks1 and  finish the       
outside of the circle with a puffing4   
,to make the puffing1 fold a width of   
material 7about #cj inch7 into  pleats  
about two inches wide1 and tack one end 

of it to the point where  the puffing is
 to finish4 ,leave a loop of the pleated
 material about  three inches high1 and 
with a single tack attach the goods     
three inches  from your first tack2     
follow this out to where the puffing    
ends1 and  then go back over it and open
 each loop out nice and round1 taking a 
selvage each way1 as illustrated in     
,figure #dc4    ,the sprays of flags    
between the columns are made as         
explained by  ,figure #dd2 the flags for
 these and the windows of the second    
story1  manipulated as ,figure #db ,a1  
,b and ,c1 to produce the full-draped   
effect4      ,illustration    ,the      
double drapery of alternate light and   
dark festoons below the  second story   
windows are gathered as ,figure #de1 the
 hands gathering  down from the top edge
 till they meet at the bottom edge1 as  
explained  for ,figure #cf ,a1 in       
chapter on scarf draperies4    ,the     
banners on the second and third stories 
may be made of bunting1  joining the    

different colors together1 or of cotton1
 with the colors  and patterns painted  
on them4 ,the draperies on the third and
 fourth  stories are gathered as ,figure
 #df1 the hands gathering the goods as  
dotted line1 and meeting about one-third
 of the distance from the top4    ,with 
an assistant to handle one piece of the 
goods1 the alternate  effect can be     
easily produced by making first a       
festoon of one color  then a festoon of 
the other color1 crossing the goods each
 time a  festoon is made4    ,if you    
desire to use three colors1 stretch one1
 preferably the lighter1  straight along
 the back as a background and drape the 
others over it4    ,the wreaths and     
festooning on the third story are made  
of tissue paper  or of cedar twigs tied 
together1 and are quite effective in    
contrast  with other decorations4    ,to
 secure the effect illustrated at the   
windows of this floor1 the end  of the  
material is tied into a bunch and       
attached at the bottom corner  of the   

window 7,figure #dg71 and then stretched
 up and spread along the  top of the    
frame and tacked2 treat the other side  
of the window the  same1 and finish the 
top with an inverted fan4    ,to make   
the fan1 allow about three times as much
 material as the width  of the space1   
and pleat one edge into small pleats2   
attach this to the  centre of the top of
 the frame1 and then carry the two      
outside bottom  corners of the material 
up to the corners of the window frame1  
and  gather each into a rosette1 as     
,figure #dg ,a4      ,illustration      
,the drapery on the top floor of the    
illustration is made as a scarf         
drapery4 ,gather the high points1       
allowing the hands to describe two      
sides of an equilateral triangle        
7,figure #dh71 and form the surplus into
  rosettes1 the lower points gather as  
,figure #df2 tie in position1 form      
rosettes and carry the goods on up to   
the next point1 as illustrated4  ,do not
 tie rosettes where the shields will be 

placed1 but allow the  goods to fall in 
a deep festoon4 ,the shields or trophies
 are a quick  and effective decoration1 
usually made of sheets of tin or heavy  
cardboard1 mounted on a frame1 as       
illustrated ,figure #di1 and painted    
with emblematic devices or coats of     
arms2 flags are inserted at the top  to 
form a spray4    ,the ,venetian masts   
shown on the top of the building are    
very largely  employed in out-door      
decorations1 usually in the form of a   
colonnade1  to line the sides of a      
street or walk1 or to flank the entrance
 and  approach of public buildings      
during a demonstration4 ,a quick way to 
erect them when they cannot be driven   
into the ground is to stand them  in    
barrels2 fasten them upright and fill   
the barrels with sand or  stones4       
,they may be any height1 and placed as  
far apart as you wish1 but do not  put  
them nearer than a mast length apart to 
obtain the best effect4    ,the small   
triangular banners are suspended from   

the mast top by ropes  attached at each 
corner of the wide end of the banner1 a 
rod being  hemmed in the banner for this
 purpose4      ,illustration            
,festoons of wreathing or small flags   
and code signal flags may be  strung    
from mast to mast with good effect4 ,the
 decorator can easily  arrange a variety
 of treatments embodying some or all of 
these ideas1  and by following out the  
architectural suggestions of each       
building  will obtain sufficient variety
 to avoid repetition4      ,illustration
    ,two things are to be carefully     
considered in decorations of this       
character4 ,the danger of fire from     
contact with electric wires1 and the    
changes which may be occasioned by the  
weather4    ,to avoid disaster and      
disappointment1 use only fast colored   
materials1  drive every nail and tie    
every knot to stay under the strongest  
wind4    ,various schemes have been used
 to keep bunting draperies from flapping
  in the wind and lodging upon ledges or

 other projections1 thereby  destroying 
the effect of the decoration4    ,we    
have discarded all methods of weighting 
or tying the bottom  edges1 because     
these methods only serve to hold the    
wind1 as does  a close-hauled sail1 and 
increase the danger of tearing away the 
decoration4    ,to prevent the drapery  
from becoming disarranged1 make short   
festoons1  and do not allow the top much
 sag4 ,use a double alternate drapery1  
and  keep it so far away from           
projections that it will drop into place
 again  after the gust has passed4      
,you will find if it hangs free with    
only its own weight to keep it in       
position that the wind will to a large  
extent blow off it1 and it will  not    
become unsightly4      ,illustration3   
,fig4 #ej4    ,under ordinary conditions
 the colors red and blue used with white
  present a most attractive combination4
 ,for special occasions1 however1  any  
desired colors may be employed1 bearing 
in mind the relation of one  color to   

the other and the harmony of the whole4 
,in different countries the relative    
position of the three colors in a       
joined red-white-and-blue bunting       
drapery is different 7,figure at head   
of page #bf74 ,in ,great ,britain1      
,netherlands and ,paraguay red has the  
place of honor at the top2 in the       
,united ,states blue2 and both observe  
the old law of heraldry that color must 
be separated from color by  one of the  
metals--in this case by white1 the      
emblem of silver4 ,where  two colors    
only are used in combination better     
balance is obtained by  having the      
darker band slightly the narrower4 ,as  
the object sought is  brightness1 sharp 
contrasts give best results1 always     
bearing in mind  the correct harmony of 
related colors4 ,mourning draperies     
should avoid  as far as possible fussy  
or frivolous tendencies1 the festoons   
taking  on the appearance of solemn     
massiveness1 and finished at each       
extremity  with a heavy cascade or tail4

    ,black1 the accepted emblem of      
mourning1 is either used alone or mixed 
with a small percentage of white in     
unobtrusive places4    ,deep purple1    
symbolical of extreme grief1 is used in 
conjunction with  black as the official 
emblem of royal mourning4    ,the weight
 of the materials used for exterior     
decorations differs  according to the   
taste of the decorator4 ,we have found  
our purpose best  served by using       
unbleached factory cotton of a fairly   
heavy weight1  having it specially dyed 
to the colors in demand1 and for white  
using a  soft-finished bleached cotton  
or a shaker flannel4                    
,illustration3 ,fig4 #ec4               
,,festival  ,,de  ,,corations    ,,part 
,,ii      ,when the nation is called on 
to do honor to one high in the world's  
esteem1 and ,state1 corporation or      
society coffers contribute to the       
erection of a triumphal arch1 the       
experienced decorator1 supplementing    
his knowledge with the advice of the    

carpenter1 plasterer and painter1  will 
submit plans and specifications1 and    
will frequently secure the  contract4   
,figure #ej shows a quadruple arch      
placed at the intersection  of two      
streets4 ,the frame is built of heavy   
timbers and lathed into  the shape of   
the arches and moldings4 ,then two or   
three heavy coats of  plaster1 and a    
smoothing last coat1 which is colored   
dead-white4    ,the same effect can be  
produced with bleached cotton stretched 
tight  over wooden frames1 the molding  
being covered separately and attached   
afterwards4    ,electricity is an       
important decorative feature in nearly  
all  present-day treatments of any size1
 and serves the two-fold purpose  of    
decoration and illumination4 ,its       
unquestioned supremacy after dark  is a 
temptation to place the entire          
decoration in the hands of the          
electrician4 ,the result of that is a   
building pleasing by night1 but by      
daylight exhibiting nothing more        

attractive than a temporary wiring and  
stripping4    ,to produce a satisfactory
 result the electrical and fabric       
decorations  should be planned together1
 so that one will aid the other4        
,ball and banquet decorations are       
usually planned in keeping with the     
nature of the function1 and suggest by  
the symbols and emblems used  the nature
 of the organization under whose        
auspices it is held4 ,figure  #ec       
represents a large hall decorated for a 
yacht club ball4 ,this hall  is         
fortunate in possessing a stage and     
gallery1 which facilitates its          
decorative arrangement4 ,the stage is   
planned to represent the upper  deck and
 pilot house of a large yacht1 and is   
arranged for the use of  the orchestra4 
,everything in the yacht's furnishings  
is represented1  and the effect is of a 
vessel moored bow on1 at the end of the 
hall4    ,flanking this1 on each side1  
are miniature lighthouses1 made of wood 
covered with cotton1 and fitted in the  

upper chamber with electric  lights4    
,the roof of the hall is covered in the 
club colors of blue and  white1 so      
interwoven as to form four complete club
 burgees radiating  from the            
centrepiece1 which is a ,st4 ,andrew's  
cross1 made on a frame  and drawn up    
into position4      ,illustration3      
,fig #ef      ,fig #ee ,a      ,fig #ee 
,fig #eh        shirring thread         
shirring thread      ,fig #ed      ,the 
cotton forming the ceiling is first     
attached to the centrepiece and         
stretched to the outer edges1 one or two
 men handling each end of the  goods so 
that it can be stretched without showing
 gaps between4 ,where  there is much    
overhead work1 time is saved by         
constructing an upright  trestle after  
the manner of ,figure #ed1 which is     
mounted on large  casters1 and can be   
moved about from place to place in the  
room without  the workmen descending4   
,we have used trestles of this kind     
thirty-five  feet high1 eight feet      

square at the base and three feet square
 at the  top1 which could be moved about
 quite easily4    ,immediately below the
 ceiling is a painted frieze1           
representing  primitive and modern      
methods of navigation1 the figures      
sketched on  white cotton and heavily   
shadowed to give a relief effect4       
,separating  the figures are shields    
bearing the principal dates and events  
in the  club's history4    ,the space   
between the bottom of the frieze and the
 edge of the gallery  ceiling is covered
 with white1 over which are suspended   
banners bearing  the club emblem and the
 names of the different yachts1 and in  
addition  to these a double festooning  
of large white cotton rope1 with anchor 
pendants4    ,the pillars are pleated   
from floor to frieze with white cotton1 
which  spreads fan-shape above the      
electric light bracket2 a short board is
  fastened across the post1 just above  
the bracket1 and another of equal       
length at its base2 the cotton is tacked

 first to the upper block and  drawn up 
to the frieze and tacked there4 ,then   
commencing at the upper  block again it 
is drawn to the lower block and secured4
 ,it can be done  in one piece1 but is  
more easily accomplished by using one   
piece for  the fan and another for the  
straight lower part4    ,the spaces     
between the pillars above and below the 
gallery are draped  with large tri-color
 banners1 gathered as dotted lines1     
,figures #ee and  #ee ,a1 and require   
about two feet of material to each foot 
of space4 ,the  banners on the faces of 
the pillars are suspended from          
boat-hooks1 the  whole thought being to 
give things nautical particular         
prominence4    ,the drapery on the front
 of the stage platform1 with ,figure    
#ef1  illustrates another method of     
manipulating a scarf drapery to secure  
the necessary fullness for the bottom   
edge1 and take up the excess of  the top
 edge1 by forming a double pleat at the 
top and gathering the  material from the

 bottom4 ,this method is equally        
applicable to any  purpose where the    
fringe is all on one edge of the        
material1 and not  reversed1 and will be
 found particularly useful with narrow  
material4  ,the back and sides of the   
stage may either be pleated in with     
white or  covered with marine scenery4  
,illustration3 ,fig #eg    ,we          
illustrate1 ,figure #eg1 a booth for    
exhibition purposes which  embodies some
 of the main decorative ideas in use4   
,this is built  independent of any      
pillars or beams of the building in     
which it may be  used1 but frequently a 
booth is so situated that part of the   
building  proper is incorporated in its 
construction4      ,illustration3       
,,austrian ,,shades4 ,,see ,,article    
8,,window ,,shades ,,and      ,,blinds0 
,,beginning ,,on ,,page #ci4    ,in all 
cases where goods are exhibited for     
commercial purposes1 the  size1 shape   
and appearance of the materials         
exhibited should guide in  the          

construction of the booth4 ,our         
illustration shows only one exposure  of
 the booth which is repeated on all four
 sides4 ,the corners are  columns made  
like ,figures #dj ,a and #dj ,b1 capped 
with plaster crowns4  ,the roof is made 
on a shaped frame covered in the same   
manner as the  globe ,figure #da4 ,the  
arches are curved pieces of wood covered
 with  velvet1 and radiating from the   
corners to the arches are spirals of    
twisted ribbon or colored crpe tissue   
paper4 ,the drapery illustrated  is a   
simple reversed scarf drapery made as   
explained in the chapter on  scarf      
draperies4 ,the lower portion of the    
booth shows three methods of  paneling4 
,the first one on the left is made of   
one piece of material  with a circular  
piece taken out of the centre4 ,the     
piece taken out is  equal to about      
one-quarter of the width of the panel   
and the material  gathered and fastened 
in the centre as illustrated by ,figure 
#eh4 ,after  that it is stretched into  

pleats to the edges4    ,the centre     
panel is a quick and effective method of
 covering space4  ,the background is    
first covered plain1 then commencing at 
the floor or  bottom of paneling stretch
 the goods out its full width and tack  
the  end of it at ,a--,b1 ,figure #eg4  
,tie a small piece of the goods loosely 
around this at what will be about the   
middle when it is pulled up4  ,then     
proceed to stretch up the top and tack  
it along4 ,draw it out to  the same     
width as the bottom and pull out all the
 wrinkles1 so that it  pleats nicely    
each way from the tied part4 ,after it  
is tacked in place  adjust the tying to 
the exact middle and proceed the same   
with the next  one4    ,to make the     
right hand panel1 alternate colors of   
material are bunched  and tacked in the 
centre of the space and stretched to the
 outer edge1  keeping the dividing lines
 square and true4    ,the designs and   
instructions that we have given are     
sufficient when  variously combined and 

assembled for almost any decorative     
requirement4  ,the main things to bear  
in mind are balance or symmetry1        
neatness1 and  color harmony2 a proper  
consideration of these points will      
result in a  satisfactory trim4    ,for 
interior work the decorator is limited  
only by his price in his  selection of  
material2 but sometimes the best effects
 are obtained  without the use of more  
expensive fabrics than those previously 
mentioned4 ,next in the order of values 
are sateen1 cashmere1 velours1  satin   
and silk1 in plain fabrics1 and the     
endless variety of damasks1  brocades1  
etc4      ,illustration3        ,fig #ei
      ,fig #fj      ,fig #fa      ,fig  
#fb      ,fig #fd      ,fig #gj         
,fig #gg      ,fig #gd      ,fig #fi    
,fig #ga      ,fig #fc      ,fig #gf    
,fig #fe      ,fig #ff      ,fig #fh    
,fig #fg      ,fig #gh                  
,,elevation ,,detail        ,,top ,,edge
                                        
,,lace  ,,curtains      ,in the eyes of 

the housewife the lace curtains are one 
of the most  important considerations in
 the furnishing of the home1 and until  
they are properly in place the house    
does not seem to be settled4            
,considerable interest is usually       
exhibited in the matter of hanging      
them1 and the discussion as to the      
proper method invariably hangs on  the  
following queries3    ,should they come 
to the window sill1 a little below it1  
or down to the  floor8    ,should they  
hang straight1 be looped back1 or caught
 up with a rosette8    ,should sash     
curtains1 stores or panels be used next 
to the glass8    ,the answers to these  
and other questions will depend largely 
on the  architectural position and style
 of the window1 the nature of the  room 
and the purpose for which it is to be   
used4 ,the question of sash  or glass   
curtains is usually a matter of taste1  
and in the majority  of cases they are  
used for outside appearance only4 ,the  
examples of  different styles presented 

herewith cover a fair range of          
treatments1  which can be easily added  
to or modified1 as the occasion demands4
    ,sash curtains to hang straight are 
made as ,curtain ,a1 ,figure #ei1 and   
reach from the top of the window sash to
 nicely clear the sill4 ,they  may be   
shirred on a rod or attached to rings4  
,if the material is liable to shrink    
when laundered it is customary to  turn 
in an extra allowance of one or two     
inches at the top 7according  to the    
length of the curtain71 to be let down  
when required4 ,sash  curtains hanging  
straight1 as ,figure #ei1 reduce the    
apparent width and  increase the height 
of the window1 and should not be used on
 long1  narrow windows4    ,if made of  
plain or dotted material they may be    
edged with lace or  ruffle on the sides 
and bottom1 or finished with a deep hem1
 as ,figure  #fg1 with or without an    
insertion4    ,sash curtains to loop    
back1 as ,a1 ,figure #fj1 are made about
 six inches  longer than the length of  

the window from top to sill1 with       
shrinking  allowance added1 and produce 
the opposite effect to straight         
curtains1  seeming to increase the width
 and reduce the height4 ,they may be    
made  of bordered goods or of plain or  
dotted material edged with lace or      
ruffle of itself4 ,looped curtains give 
a jaunty1 cheerful appearance to  the   
exterior of a house1 but do not look    
well on wide1 short windows1  unless    
left widely separated at the top4       
,stores bonne femme1 as  illustrated1   
,figure #fa1 ,curtain ,a1 do not        
materially alter the apparent  size of a
 window1 and are very effective on large
 windows4 ,they are  usually made with  
scalloped bottom edge1 trimmed with a   
frill eight or  ten inches deep1 and    
edged with lace4    ,for a wide window  
the body of the curtain is sometimes    
divided into  panels by rows of         
insertion1 instead of having a motif or 
lace pattern  set into it1 as           
illustrated4    ,the material used is   

usually a fine tamine1 madras or fine   
net4 ,they  are hung on a rod fastened  
to the top or just inside the frame 7see
  ,rod ,e1 ,figure #gh7 so that they    
will hang next to the glass1 as sash    
curtains1 and are usually made to just  
clear the sill in length and  very      
slightly full in width4    ,the upper   
part of the window in ,figure #fh is a  
combination of the bonne  femme and     
,austrian shade1 and makes a very       
effective sash or glass  curtain for    
dining-room1 library or bedroom4 ,they  
are made in the same  manner as the     
,austrian shade explained later1 except 
that they hang  stationary1 and do not  
raise or lower4 ,the material may be    
plain or  colored silk1 net1 challie1   
casement cloth1 or madras1 with         
insertion  of any desired style1 and    
edged with lace to match4 ,in colored   
materials good effects can be obtained  
by using a contrasting color for  the   
insertion4    ,the curtains on the lower
 sash are attached to a rod placed at   

,i1  ,figure #gh1 and are trimmed to    
match the curtains on the upper sash1   
they hang free at the bottom and just   
clear the sill1 the insertion  across   
the bottom placed high enough to show   
clearly through the glass  from without4
 ,they may be used in conjunction with  
the upper curtain1  as illustrated1 or  
may be used alone1 and are usually sewn 
to rings1 as  ,figures #gj or #gg4      
,lace panels with motif centre1 as ,a1  
,figure #fb1 are quite largely  used for
 clubs1 hotel or institution windows1   
and in many cases for  dwellings also   
7though some think them too severe for  
the latter74  ,wherever used they should
 be perfectly proportioned and shaped to
 fit  the size and shape of the window1 
the design so executed that it shall  be
 entirely visible from without1 and     
appear as a picture framed by the       
window sash4    ,they are generally made
 to order by applying lace insertion and
 motifs  to net1 and are attached to the
 sash by rods1 tacks1 or1 what is  still

 better1 make a small wooden frame of   
strips one-half inch by  three-quarter  
inch and wrap it neatly with cotton the 
same color as the  net1 baste the panel 
to the cotton and attach it to the      
window sash  with small brads4 ,this    
frame is only slightly visible through  
the panel  on the inside and completely 
hidden by the sash from the outside4    
,to attach a panel to a door where the  
glass is framed by fancy  moldings1 the 
small frame is made as above to fit into
 the sash against  the glass4 ,it is    
finished to match the woodwork of the   
door1 and has a  groove on the outer    
edge to receive a small1 soft cord1     
tacked or glued  in place1 and          
projecting sufficiently to permit the   
edge of the panel  to be sewn to it 7see
 ,figure #fc74 ,care should be taken in 
measuring for  panels1 as the effect is 
completely spoiled by a misfit4    ,sash
 curtains1 stores or panels1 when       
properly applied1 add greatly to  the   
exterior appearance of a house1 but     

should be uniformly applied  to all     
windows visible from the same quarter4  
,for instance1 if sash  curtains are    
used on the front drawing-room windows1 
all of the front  windows1 from basement
 to attic1 should be treated with some  
form of  sash curtains adapted to each  
individual space and in harmony with the
  whole4 ,nearly all glass curtains are 
provided with a double hem at the  top1 
,figure #fd1 through which is passed a  
small rod fastened at each  end to the  
stops or frames of the window in such a 
manner that the sash  will work freely  
if raised or lowered4 7,see ,e ,b1      
,figure #gh47    ,in some cases it is   
desirable to apply a peek-a-boo sash    
curtain to the  lower sash to render it 
opaque from without and not exclude the 
light4  ,this is accomplished by using a
 curtain with a double hem at top and   
bottom and attached 7as illustrated ,a1 
,figure #fe7 so that it raises  with the
 sash and does not touch the stop on    
either side4 7,note ,rods ,i  and ,g1   

,figure #gh47    ,the pleats are        
stretched tightly from top to bottom1   
and the usual  allowance for fullness is
 twice the width of the space to be     
covered1  which may vary according to   
the density of the material4            
,illustration    ,it is natural that the
 ground floor windows should be more    
densely  dressed than those of the upper
 floors1 not only to impart a sense  of 
privacy1 but as following the general   
construction of ordinary  buildings1 the
 ground floor windows usually being     
larger and more  heavily trimmed1 and as
 the treatment ascends from floor to    
floor  permit the curtains to be less   
weighty in character and expose a       
larger area of uncovered glass4 ,by lace
 curtains we mean that class of         
furnishing familiarly known to the trade
 by that name and comprising  all of the
 various styles of net and patterns4    
,the sizes usually carried in stock run 
#b1 #b1 #c1 #c and #d yards long1  and  
vary in width from one to two yards4    

,where the decorator has not the        
necessary equipment for making special  
sizes and designs he is compelled to    
employ more or less of these  ready-made
 furnishings4 ,briefly stated1 these for
 the most part  consist of plain or     
fancy nets1 scrim or muslin with a      
pattern of lace  or muslin appliqud     
thereon or woven in with the net1 and   
the edges  finished with bound or       
overlock stitched scallops1 a lace1 or a
 ruffle  of the same material4    ,the  
method of hanging these curtains depends
 to a great extent on their             
surroundings1 and on the nature1 style  
and use of the room in which  they are  
used1 and while it is not possible for  
us to give positive  rules that will    
guide the decorator in every case1 we   
illustrate some  of the effects that may
 be produced by the different methods1  
and  suggest their adaptability to      
various requirements4    ,in the absence
 of special reasons to the contrary1 it 
is a safe rule to  hang any style of    

lace curtains in the way that will best 
display the  beauty of the pattern or   
fabric2 thus a heavily worked border and
 body  pattern would show best hanging  
straight1 while plain bodied goods with 
a small pattern would look well either  
way4    ,setting aside for the moment   
all thought of the size and shape of    
the window1 long curtains hanging       
straight to the floor1 as ,figures  ,b  
#fj and ,b and ,c #fg1 appear to curtail
 the floor space1 while  curtains looped
 back or caught up with rosettes1 as    
#fa1 #fb1 #fe and  #ff1 apparently      
increase it1 therefore in small rooms it
 is usually an  advantage to tie up the 
curtains1 and in extra large rooms to   
allow  them to hang straight to the     
floor1 subject1 of course1 to other     
considerations equally desirable4    ,if
 sash curtains are used it is usually a 
good plan to hang the long  curtains to 
be the opposite of the sash curtains2   
that is1 if the sash  curtains hang     
straight loop the long curtains1 and    

vice versa4 ,in this  way the treatment 
will balance1 and a neutral effect be   
obtained1 as  ,figures #ei and #fj4     
,bear in mind also in this connection   
our former  statement that long curtains
 hanging straight reduce the width and  
increase the height of the window1 while
 curtains looped or caught up  with a   
rosette reduce the height and increase  
the width4    ,curtains reaching only to
 the sill1 or just below it1 as ,figure 
#fh1  have a tendency to shorten the    
window1 and if looped or draped this    
effect is increased4    ,sash curtains1 
stores1 panels1 or any other style of   
glass curtains1  are hung with the right
 side of the goods to the glass1 unless 
the  windows are so far removed from    
ordinary vision that it is impossible   
to discern the difference4 ,long lace   
curtains are hung with the right  side  
to the room where sash curtains are     
used1 or the reverse way when  hung     
alone1 subject to the above proviso in  
reference to the difference  being      

perceptible from without4    ,we        
illustrated in ,figures #cd ,a and #cd  
,b1 chapter on scarf draping1 the       
method of gathering back a curtain for  
looping and for draping with a  rosette1
 and lace goods are manipulated in the  
same way4 ,to obtain the  effect        
illustrated in ,figure #fa1 ,curtain ,b1
 attach the curtain at the  top1        
allowing it to be from six to eighteen  
inches longer than to the  floor1 hold  
the edges of the curtain in each hand   
and pleat it forward  and back from the 
bottom1 as illustrated in ,figure #fi1  
until it is  pleated up to where you    
desire to fasten the loop2 hold the     
outside  side edge there and release the
 inside edge and it will fall in a fan  
shape1 as illustrated2 the loop is then 
passed around1 the pleats still         
retained1 and the surplus of about six  
inches above the tying pushed  back and 
down behind the edge of the curtain1 as 
shown4    ,lace curtains may be shirred 
on to the pole or rod by making a double

  hem at the top1 as illustrated in     
,figure #fd1 the distance between the   
two stitchings ,a and ,b a little less  
than twice the diameter of the  pole1 to
 allow for shrinkage4 ,thus1 for a      
one-inch pole1 which would  measure     
loosely three and one-eighth inches in  
circumference1 you would  require to    
allow about one and seven-eighths inches
 between ,a and ,b1  making three and   
three-quarter inches of a pocket for the
 pole to pass  through4    ,a pretty    
effect is produced 7,figure #gj7 by     
running a tape into a small  double hem 
7leaving one inch for the heading and   
half an inch between ,a  and ,b for the 
tape7 and shirring the curtain to the   
width of the space  it is to cover1     
after which rings or hooks are sewn to  
the back in the  position indicated by  
letter ,a above ,figure #gj4            
,curtains made of soft net or muslin1   
with a very small border or soft        
ruffled edge1 look well shirred1 but    
those having heavy pattern borders  look

 best pleated4    ,where it is possible 
to do so the top of the curtain to be   
pleated  should be turned over about two
 inches 7,figure #ga7 and a tape about  
one  inch wide sewn along the back where
 the pins will be inserted4 ,this  gives
 strength to the delicate fabric where  
repeated pinning is apt to  cause its   
destruction4    ,if this cannot be done1
 spread the curtain out upon the floor  
or other  flat surface1 face downwards1 
and turn over about six inches of the   
top1 smooth this down nicely and fold it
 again in the middle1 or three  inches  
from the top of the first fold1 press it
 flat with the hands and  pleat and pin 
it while in this position1 the pins     
being inserted about  two inches from   
the top edge 7,figure #gb74    ,curtain 
,b1 ,figure #fa1 with ,figure #gc1 shows
 a box pleat slightly  gathered on a    
safety curtain-pin1 the fullness being  
taken up equally  in the pleats4    ,in 
curtain ,b1 ,figure #ei1 with ,figure   
#gd1 the fullness of the curtain1       

instead of being pleated1 is gathered on
 to the safety pin1 but this  can only  
be done with fine curtains4 ,the        
fullness is equally divided  among the  
pins1 and the tops of the small pleats  
are spread into a  small fan shape1     
making a dainty finish beneath the pole4
    ,the pleat illustrated in ,figure   
#fg ,c and #gg1 is a straight pleat1    
held  in place by the curtain pin1 and  
is most commonly used for all purposes4 
,turn the pleat to the front edge of the
 curtain on the wrong side1  which lies 
upwards1 as you pin it1 and that will   
make the pleats turn  to the back edge  
on the under or right side1 as          
illustrated in ,figure  #gb4    ,if a   
small curtain the pleats may be formed  
and the rings sewn on as  ,figure #gg4  
,lace curtains hanging straight1 as in  
,figure #fj1 ,curtain ,b1 should just   
nicely clear the floor1 and to adjust   
this to a nicety we have found it  a    
good plan to pin them so as to clear the
 floor by about two inches  7not more71 

and then gently stretch them down this  
distance4    ,to stretch them1 place an 
outspread hand on each side of the      
curtain1  and1 pressing the two palms   
together1 stretch gently1 a little at a 
time1 working across the curtain from   
one side to the other until it  is the  
required length4 ,this must be done very
 carefully1 and if the  curtain is not  
found pliable enough to stretch the     
required distance  pin it over again1   
allowing it to be longer4    ,curtains  
having a distinct pattern1 as figure    
#gb1 are usually  pleated as there      
indicated1 without any pleats in the    
border1 the  fullness being all taken up
 by pleats in the body of the curtain1  
and  where fabric over-curtains are     
used1 as ,curtain ,c1 ,figure #fg1 the  
over-curtain should not be permitted to 
cover the border of the lace  curtain4  
,over-curtains are always better on a   
separate pole1 but may be  attached to  
the same pole as the lace curtains by   
using extra rings for  them4 ,in the    

elevation detail1 ,figure #gh1 ,rod ,b  
is for lace curtains  and ,pole ,a for  
the over-curtains1 a plan that permits  
either curtain  to be drawn without     
interfering with the other4             
,over-curtains may be  used at the      
discretion of the decorator in almost   
any room1 and are  particularly         
effective in large rooms4 ,they may hang
 straight or loop  back1 having the same
 effect on the apparent size of the     
window as  already explained4 ,they     
should be long enough to just clear the 
floor1  whether straight or looped back1
 and should cover the back edge of the  
lace curtains4    ,when gathered back1  
as in ,figure #fb1 the lace curtain and 
over-curtain  should be looped back     
separately1 the over-curtain drawn back 
far  enough to show a good border of    
lace down the front edge and across the 
bottom4    ,narrow windows in large     
rooms may be made to appear wider by    
making  the pole or cornice project at  
each side and pleating the curtain to   

cover part of the wall at each side4    
,the pole or cornice should be  placed  
high enough in this case to entirely    
conceal the top of the  wood trim1 as in
 ,figure #fg2 but in cases where it is  
advisable to show  the wood trim at the 
top it should be shown also at the      
outside1 as in  ,figure #fh1 which shows
 the trim all around4 ,over-curtains are
 pleated  to the size as illustrated by 
,figure #gb for lace curtains1 or       
shirred  on a tape1 as in figure #gj1   
and lambrequin hooks or rings sewn on4  
,a  lined over-curtain1 if to be pleated
 for pinning1 is made as the right      
corner of ,figure #ge1 the two materials
 turned in and slip stitched at  the top
 and sides and machine stitched as      
indicated1 about one and  one-half      
inches from the top of the curtain4 ,the
 curtain is spread out  right side up   
for pinning1 the pleats formed and a    
,gordon hook pin 7as  ,figure #gf7 is   
passed through the pleat between the two
 lines of machine  stitching4 ,use the  

straight pleat of ,figure #gb for this  
purpose1 making  as many as may be      
necessary to dispose of the fullness4   
,if the  over-curtain is not to be lined
 turn the top over as the left corner of
  ,figure #ge1 and stitch and pin as    
already explained4    ,soft curtains    
finished with a full ruffle usually look
 best looped  back1 as ,b1 ,figure #fe1 
or if fastened with a rosette the edge  
drawn up  near the rosette to give a    
full sweep to the ruffle1 as ,figure    
#ff4    ,if the curtain is made of very 
fine or soft net graceful effects are   
produced by using two rods at ,b1       
,figure #gh1 one a little in advance of 
the other1 and both the same height2    
shirr one curtain on each rod1 so  that 
when tied back the crossed effect is    
produced1 as illustrated4    ,a great   
variety of styles can be produced in    
either crossed or single  curtains by   
changing the position of the loop or    
rosette1 and a good  way to acquire the 
different styles is to take a pair of   

curtains  and see how many different    
effects you can obtain by tying them at 
different heights and by manipulating   
the fullness in different ways4         
,crossed curtains are not effective     
unless the curtain is lacy and soft     
enough to drape gracefully4 ,heavy      
patterned curtains treated in this  way 
do not produce good results4    ,frilled
 curtains1 as ,figure #fe and #ff1 are  
more particularly suitable  for         
bedrooms1 sewing and sitting-rooms1 but 
with proper surroundings  may be applied
 to some of the heavier down-stairs     
rooms during the  ,summer season4       
,frilled curtains made up as sash       
curtains are also very effective next   
to the glass1 but should be made of very
 soft material that will drape  easily  
and gracefully4    ,sash curtains1 lace 
curtains or over-curtains should be     
pleated to the  exact width of the space
 they are to cover1 sufficient pins     
being used  to dispose of all the       
fullness and hold the top edge of the   

curtain  from sagging between each pin4 
,this may seem a small thing1 but to    
those accustomed to neatness the  sloppy
 droop of the top edge of a curtain from
 pin to pin is extremely  distasteful   
and would spoil an otherwise neat       
arrangement4    ,in hanging lace        
curtains having a prominent pattern it  
does not always  follow that the same   
distance turned down at the top of each 
one will  bring the patterns in line1   
and it is well to spread them in pairs  
side  by side and match the pattern1 so 
that when hung the pattern will be      
perfectly true and not zig-zag all the  
way up the two middle edges4    ,we have
 given the simpler forms of pinning and 
tying1 which may  be easily mastered by 
practice4 ,numerous other forms will    
suggest  themselves1 and a proper       
consideration of the effect to be       
produced  will result in the selection  
of the style most suited to each        
requirement4      ,illustration         
,illustration3 ,,louis ,,xiv            

,illustration3 ,,louis ,,xv             
,,window ,,shades ,,and ,,blinds        
,,part ,i4      ,modern decorative      
thought has been directed to almost     
every article in  the equipment of a    
house with more or less artistic result2
 but with  few exceptions the articles  
on the market for the purpose of        
excluding  the sun or shutting out the  
vision have been plain and ordinary in  
the extreme1 despite the fact that the  
treatment of the windows as  presented  
to view from the exterior has much to do
 with the general  appearance of a      
house4    ,from the day when the        
housewife made her own shades out of    
green paper  or white cotton up to the  
present1 the chief requirements seem to 
have  been opacity and the faculty of   
being easily rolled1 folded1 or in some 
way put easily out of sight when not in 
use4 ,one of the oldest methods1  still 
recommended and manufactured for this   
purpose1 is the rolling  shade1 made of 
thin slats of wood1 laced together with 

twine to form a  flat flexible curtain  
or shade1 rolled from the bottom by     
means of a  cord passed over a pulley4  
,for public institutions1 offices or    
verandas1 where usefulness and          
efficiency may be desired more than     
decorative value1 they serve the        
purpose very well2 but it can never be  
claimed that they tend to  beautify the 
room in which they are used4    ,the    
tilting slat blind1 which gathers from  
the bottom1 and tilts with  a touch of  
the hand as a child's ,jacob's ladder1  
is also used for the  same purpose1 with
 the same limitations4    ,the sliding  
or folding inside shutter1 illustrated  
in figures #gi and  #hj1 came near to   
accomplishing the purpose1 but had such 
a knack of  getting out of order1 and   
presented such a jail-like1 uninhabited 
appearance1 that they1 too1 have been   
almost altogether discarded4    ,in rare
 cases we find them still in use1 and   
where adverse criticism  would not be   
well received it is best for the        

decorator to adjust  his schemes so as  
to include them1 and1 if possible1 hide 
their  unsightliness4    ,figures #gi   
and #hj illustrate how this may be      
accomplished by using a  lace-trimmed   
shade between them and the glass1 while 
sash curtains of  almost any kind are   
equally effective for outside           
appearance4    ,where the shutters are  
so constructed that they open into the  
room1 as  ,figure #gi1 the curtain pole 
must be projected forward from the frame
 a  sufficient distance to allow the    
shutter to swing clear of the curtain   
without interfering1 and if the curtain 
is looped or caught up with  a rosette  
at the side1 the point where it is tied 
must be projected  forward in a similar 
manner4    ,these blinds1 so far as     
their manufacture and installation are  
concerned1 rest perhaps more with the   
carpenter than with the  decorator1 and 
will1 therefore1 interest him little    
except as to their  after treatment4    
,the rolling shade1 made of painted     

cotton or glazed linen1 as  illustrated 
in ,figure #gi1 is perhaps most commonly
 known of all  expedients for seclusion 
and sun protection1 and the ease with   
which  these shades can be made to order
 in any size is so well known that      
nearly every upholstery shop is equipped
 with a cutting table and the  necessary
 material for their manufacture4    ,the
 table illustrated in ,figure #ha will  
be found to possess a  combination of   
many good points in cutting tables for  
this purpose1  although one less        
elaborately planned and constructed may 
serve for  a small shade-order business4
 ,the top is made of clear white wood1  
and is six feet wide by twelve feet     
long4 ,at one end is a half round1      
trough-like receptacle1 the bottom of it
 composed of two-inch rollers  with pin 
heads 7see ,figure #ha ,a for detail72  
these rest in iron  brackets1 and       
revolve when necessary with the action  
of rolling or  unrolling shade cloth4   
,a flat steel plate about one inch wide 

and a quarter of an inch thick  7or     
slightly thinner if more convenient7 is 
fastened to one edge of the  table to   
form a solid straight-cutting edge4 ,it 
should be all in one  piece and free    
from any irregularities1 and a similar  
plate is fastened  to the end on which  
the bracket is attached4 ,saw-cuts about
 one-eighth  of an inch deep run across 
the table1 perfectly true and at right  
angles to the side of the table1        
dividing it into feet from end to end4  
,at the bracket end1 and included in the
 first twelve inches1 a six-inch  strip 
of hardwood is let into the top1 flush  
with the rest1 and has  saw-cuts 7as    
illustrated in ,figure #ha ,a7 one-half 
inch1 two and a half  inches1 three     
inches1 three and a half1 four and four 
and a half inches  from the outside     
edges of the steel plate4    ,these are 
scoring lines for marking the hems1 and 
should be half an  inch deep and about  
one-eighth inch wide4 ,the cuts marked  
one to eleven  are filled in smoothly   

with dark putty1 and are for measuring  
purposes1  while cuts ,a to ,f are cut  
with a fine-tooth saw and left as cut4  
,in  addition to the lines every twelve 
inches it is necessary to have the      
inches between these spaces4            
,illustration3        ,fig #gi      ,fig
 #hj      ,fig #hj ,a      ,fig #ha     
,fig #ha ,a      ,,end of ,,table       
right hand of above      ,fig #ic       
#ic ,a      ,fig #hb      ,fig #hc      
,fig #hd      ,fig #he      ,fig #hc    
,fig #hf      ,fig #hg      ,fig #hh    
,fig #hi      ,,shade ,,knife      ,fig 
#if      ,fig #ij      ,fig #ib         
,fig #ia      ,fig #ih      ,fig #ii    
,fig #id      ,fig #if ,a      ,fig #if 
,b    ,a convenient way of providing    
these is a flat steel rule about        
one-eighth inch thick1 three inches wide
 and eighteen inches long1  marked with 
inches from one to twelve1 and with a   
small button at the  end for convenience
 in moving it4 ,this will be heavy      
enough to lie  where placed1 and by     

placing it at the side of the table     
between the  lines1 as in ,figure #hb1  
the measurement of a piece of cloth can 
be  accurately gauged4    ,the other    
sections of the table and their purposes
 can be readily  understood from the    
illustration1 the shelves being used for
 rollers1  drawers one1 two1 three and  
four for shade hardware and accessories1
  and drawer five for tools4    ,the    
trough at the right end of ,figure #hb  
is made so as to slide in  out of the   
way when not required1 and is used when 
cutting the ends  off rollers4 ,it is   
marked in inches along its entire       
length1 and the  cutting end is faced   
with metal1 or has a true saw-cut a     
short distance  back as a guide for the 
saw4 ,in the latter case it should be   
made of  hardwood1 and the saw-teeth    
should have very little set4    ,the    
table should be placed so that the      
operator faces the light1 and  his stock
 of materials should be as convenient as
 possible to the  cutting table4        

,having gauged the length of the shade  
with the small steel rule1 as  ,figure  
#hb1 place the roll of cloth with the   
end of the material resting  at the     
mark4 ,weight it with a small weight and
 unroll the cloth until  the roll       
reaches the receptacle at the end2 a    
touch of the hand will  tighten the     
slack by revolving the roll2 adjust it  
evenly and run the  knife along the     
steel edge1 severing the piece from the 
roll4 ,if more  than one shade of the   
same length are to be cut from the same 
roll1  allow this length to lie as cut  
and unroll over it as many more pieces  
as you need1 cutting each one as you get
 the cloth adjusted evenly4    ,when the
 lengths are all cut1 if care has been  
taken to have the cloth  running true   
with the edges of the table1 the cut    
ends will have been  trimmed square by  
the action of severing them from the    
roll4 ,adjust the  edges nearest the    
cutting side of the table so that they  
lie even and  project about a half inch 

over the edge of the table1 as ,figure  
#hb1  and the cut ends lying true and   
even with the table end1 the cloth is   
securely weighted at each end and the   
projecting edges trimmed true by        
running the knife along the cutting     
guide1 as illustrated4                  
,illustration    ,the knife should be   
held perfectly true with the flat of the
 steel  edge1 allowing no play sideways1
 and with the handle slightly slanting  
toward the shoulder of the operator     
7,figure #hb74    ,while the weights are
 still in position measure with a       
six-foot rule  the width the cloth is to
 be cut1 measuring from the trimmed     
edge1 and  mark it at each end as x x   
7,figure #hb74 ,now remove the weights1 
and  without allowing the trimmed edges 
to shift1 change the cloth end for  end 
on the table1 bringing the pencil marks 
at each end directly above  the side    
cutting edge of the table1 and with the 
ends of the cloth  projecting           
sufficiently beyond the end cutting     

edge2 weight as before1  and trim the   
surplus off end and side4    ,it is more
 difficult to trim a number of pieces   
than to trim one1 but  with a little    
practice it can be done quite easily and
 considerable  time saved thereby4      
,as the cloth now lies it should be even
 with the steel edges at end  and side1 
the left hand ends lying over the       
scoring lines1 and as they  lie one or  
more may be scored at once1 according to
 the weight of  the cloth4 ,roll back   
the rest a sufficient distance1 and     
holding the  rounded corner of the back 
of the knife in the position indicated  
by  ,figure #hc1 draw it across the     
first score line ,a2 do not bear too    
heavy  on the knife1 but make sufficient
 indentation so that it can be folded   
over without trouble4    ,if the shade  
is to have the regulation two-inch hem  
score also at the  second line ,b1 if   
for a two and a half-inch hem score ,a  
and ,c1 for  three-inch ,a and ,d1 and  
so on according to the width you desire 

to make  the hem4 ,all ordinary shades  
have a two-inch hem1 but special cases  
require a variation from the rule4      
,fold the hem over as illustrated in    
,figure #hd1 and press it flat with  the
 side of the knife2 it is then ready for
 stitching4    ,while almost any sewing 
machine will stitch a window shade1     
perfect  results are only obtained by   
using a special shade-stitching machine4
    ,care must be exercised in stitching
 the hem so that it does not slide  or  
pucker1 but lies flat and even1 with the
 line of the stitching as  straight as  
possible4    ,if lace is to be applied  
to the bottom of the shade1 as ,figure  
#gi1 the  knife is run over the bottom  
of the hem after stitching it to press  
it  flat1 and then passed through it1 as
 ,figure #he1 and the lace inserted     
between the edges and stitched1 as      
,figure #hf4      ,illustration    ,if  
insertion is used without lace1 as      
,figure #hg1 the top edge of the        
insertion is placed between the cut open

 edges of the hem1 as above  described  
for lace1 and a separate hem 7,a--,a1   
,figure #hg7 scored1 folded  and sewn   
on1 as illustrated4 ,if both lace and   
insertion are to be  applied the bottom 
of the separate hem 7,a1 ,figure #hg7 is
 split and the  lace inserted and sewn  
in1 as above4    ,this separate hem is  
made the same width as the ordinary hem 
for  shades1 but need not have the      
little turn in indicated by arrow in    
,figure #hd4    ,when cutting lace or   
insertion measure it so that the pattern
 will  balance nicely1 and if both lace 
and insertion are used be careful to    
have the pattern of the insertion in    
line with the lace4 ,after these        
trimmings have been cut the size of the 
shades1 the cut ends are  bound by      
sewing them between the edges of a piece
 of the same cloth  as the shades1 say  
half an inch wide1 folded in the middle1
 and for  convenience a number of the   
ends can be stitched into the same piece
  of binding1 as illustrated in ,figure 

#hh1 and afterwards separated by        
cutting the binding4    ,motif patterns1
 as ,figure #ij1 are applied to the     
shade by a double  row of stitching1    
about one-quarter of an inch apart1 all 
around the  outside edge of the motif1  
after which the cloth is carefully cut  
away  from the back1 just below the     
stitches and following the outline4     
,should the pattern prove too large to  
work beneath the arm of the  sewing     
machine1 pin it carefully in place on   
the shade and sew it on by  hand1       
passing the needle down and back as     
neatly as possible4 ,this is  a tedious 
job1 and should only be resorted to when
 no other way seems  possible4 ,applique
 lace edges1 as ,figure #ia1 are sewn on
 in the same  manner1 and the cloth cut 
away from the scallops behind4    ,the  
shade illustrated in ,figure #hj is a   
combination of the bonne  femme and     
motif shade1 and is constructed like the
 foregoing ,figure  #ia1 having in      
addition a frill eight or ten inches    

deep1 composed of  tamine1 madras1 mull1
 muslin or net1 and trimmed with a lace4
 ,this  is applied to the scalloped edge
 of the motif1 and has usually an       
allowance of as much again for fullness 
7two feet of unshirred frilling  to one 
foot of space71 or if very fine a little
 more4    ,when applying the shirred    
frill to the scallops1 have the greatest
  fullness between the points ,b and ,c 
7,figure #hj ,a71 and decrease the      
fullness from ,b to ,a1 for as the      
material follows the curve up into the  
angle at point ,a1 it will be found that
 the bottom edge of the frill  becomes  
more full according to the elevation of 
point ,a above point ,c4    ,lace motif 
and scalloped bottom shades may be made 
with a hem and slat1  as illustrated in 
,figure #hj1 or the slat may be         
dispensed with and the  shade operated  
by a cord which passes through a screw  
eye at ,a 7,figure  #ij71 and winds     
around the roller1 which is left long   
enough for the  purpose4 ,the cord is   

wound around the roller the same number 
of times  as the shade and attached by a
 fair-sized tack4 ,the roller need not  
be  provided with a spool unless the    
shade is extra long1 as the screw eye   
at ,a will guide the winding and confine
 it to a small space4 ,figure #ij  shows
 the cord and ball pull attached to the 
left end of the roller2  but the tack   
which fastens the cord would be likely  
to penetrate to the  spring on that     
side1 and it would be best to attach it 
to the right end  of the roller4    ,the
 shade is operated by pulling the cord1 
and works the same as with  the tassel  
in the regular way1 as ,figure #ib4     
,illustration                           
,,window ,,shades ,,and ,,blinds        
,,part ,,ii4      ,all other shades     
except the previously mentioned styles  
are provided  with a slat to which is   
attached a screw-eye and tassel1 as     
illustrated4 ,always attach the tassel  
above the insertion on insertion        
shades1 as ,figure #gi and ,x1 ,figure  

#hg1 as the strain of pulling the  shade
 will stretch the insertion out of shape
 if fastened below4 7,see  diagram on   
page #dj47    ,the cloth is not hemmed  
at the sides1 but left as trimmed1 and  
the top  is tacked on to the roller in a
 straight line1 as ,figure #ic4 ,most   
shade  rollers have a line drawn the    
length of the roller as a guide for the 
shade cloth1 and one-ounce tacks are    
used to tack it to the roller4  ,several
 kinds of clips or clasps are also used1
 but the tacks are most  popular4       
,standard sizes of shade rollers in both
 wood and tin are guaranteed  by the    
makers to carry ordinary cloth up to a  
certain size for each  roller1 but it is
 safe to underestimate their assurance  
by a little  rather than work up to the 
limit4    ,the roller is cut to be one  
and a-half inches longer over all than  
the  width of the cloth1 and is mounted 
to allow the same play at each side1    
though in special cases this rule may be
 departed from1 and a smaller  allowance

 for play will sometimes work quite     
freely if hung perfectly  true4 ,it is  
customary to allow only one inch        
difference between cloth  and roller for
 inside brackets1 as they are usually   
made narrower than  those for outside   
brackets1 and1 the bracket being much   
smaller1 they  work freely with the     
smaller allowance4    ,dark-colored     
shades are most opaque1 but             
light-colored shades  give a more       
cheerful appearance to the exterior of a
 house4  ,combination-colored shades are
 frequently used2 light on the outside  
to  the glass and dark on the inside to 
the room4 ,this gives the necessary     
density and preserves the cheerful      
exterior of light-colored shades4  ,in  
making combination shades the bottom hem
 is cut off1 reversed1  and sewn on as  
illustrated by ,figure #hi4 ,the chief  
objection to  combination-colored shades
 is the fact that the dark color is     
exposed  to view in the room whenever   
the shade is pulled down1 and the window

  cannot be at all obscured without this
 feature4      ,illustration3 ,fig4 #ig 
,perhaps the best plan for correctly    
shading and obscuring a window is  to   
use double shades1 as illustrated by    
,figure #ij2 the outer shade next  to   
the glass made of a light-colored       
material1 which may be ornamented  and  
decorated in any desired manner4 ,this  
may be fastened to the window  stop as  
at ,a1 ,figure #gi1 with inside         
brackets1 or at ,c1 ,figure #ij1 with   
outside brackets4    ,if placed on the  
stop at ,a1 ,figure #gi1 a plain shade  
of dark green or  other opaque color is 
placed on the frame at ,c-,c1 ,figure   
#ij1 and is  made wide enough to        
effectually shut out all sunlight at the
 sides4    ,if the light shade is placed
 on the frame at ,c-,c1 as ,figure #ij1 
the  dark shade is placed just beneath  
it at ,d-,d1 and is made about two      
inches wider than the light shade1 so   
that the cloth of the light shade       
passes freely between the brackets at   

,d-,d and does not interfere with  the  
dark shade4    ,the advantage of this   
plan is that the light shade may be used
 all the  time and is decorative from   
both sides1 while the dark shade is only
  used when needed1 and when not in use 
is only a small dark roll at the  top of
 the window1 where it is not            
objectionable4    ,the dark shade must  
be provided with a small cord or chain  
reaching  down a convenient distance    
when the shade is completely rolled up  
at  the top4 ,roller shades are hung    
perfectly level and square1 no,fig4 #ie 
matter how much the window may be out of
 true1 as they will only work           
satisfactorily when so hung4    ,the two
 different kinds of brackets used are   
illustrated by ,figures #ic1  outside   
brackets1 and #ic ,a1 inside            
brackets--outside meaning on the  face  
or room side of the window frame and    
projecting toward the room2  inside     
meaning some portion of the woodwork    
facing to the centre of the  window 7see

 diagram #id74    ,wood rollers are made
 with two slots or notches in the       
spring-post1 in  which the pawls drop   
when slowly revolving1 and as they are  
on opposite  sides of the roller1 it is 
immaterial which side is uppermost as it
  lies in the bracket4                  
,illustration3 ,fig4 #ie    ,most tin   
rollers1 however1 have only one slot1   
and if dropped into the  bracket with   
the slot down1 the pawl1 which depends  
on its weight for  its action1 will not 
come in contact with the slot1 and the  
shade will  not remain down when        
unrolled4 ,should you accidentally place
 a shade in  the brackets thus wrong    
side up1 unroll it altogether and push a
 small  wire or stout pin through the   
hole you will find punched through the  
roller directly behind one of the pawls 
and force the pawl up into the  slot1   
when the tension of the spring will hold
 it in place so that it  can be taken   
out and put in properly4    ,it is      
sometimes necessary to run shades from  

the bottom of the window  instead of the
 top1 as in the case of a #aj ind-top   
window 7,figure #ie71  or when the      
object is obscurity without excluding   
necessary light1 as  in some office     
windows4 ,this is accomplished by       
placing the brackets at  the bottom of  
the window1 as illustrated by ,figure   
#ie1 the slot bracket  to the right1    
placed upright on the sill1 and a small 
nail inserted in  the little holes found
 near the edge of the opening1 to       
prevent the  roller from leaving the    
bracket4 ,stop the action of the pawls  
after the  shade is adjusted by a clip  
made for the purpose 7squeezing soap in 
behind them answers very well71 so that 
all the tension of the spring  is       
exerted on the cloth and on the cord1   
which passes over a pulley at  the top  
of the window4    ,this pulley may be an
 ordinary pulley and the cord attached  
to a small  cleat at the side of the    
frame to hold the shade the required    
distance1  or an eccentric stop-pulley  

may be used1 which binds the cord at the
  will of the operator1 the latter being
 the more convenient method4            
,round-top shades are provided with     
extra slats at various distances1  as   
illustrated by ,figure #ie1 which       
prevent the edges of the shade from     
flapping as they might unless so        
supported4 ,these slats are perfectly   
flat1 made of clear wood about          
one-eighth of an inch thick and one inch
  wide1 or larger1 according to the     
strength required1 and1 being flat1     
they readily roll up with the shade4    
,the slat used in the bottom of shades  
is usually made wedge shape1 as  ,figure
 #ib1 and possesses more strength than  
the perfectly flat slat4    ,as we have 
already stated1 roller shades are       
usually made of painted  cloth or glazed
 holland1 and while for years they have 
been1 with  few exceptions1 plain and   
undecorated as to the fabric itself1 we 
are pleased to note recent efforts on   
the part of manufacturers to  produce   

something more distinctive and artistic1
 shade holland now  being produced in   
delightful damask effects in a variety  
of weaves  and colors1 while the painted
 goods are also being made to order in  
beautiful hand-decorated patterns of    
artistic merit4    ,the ,austrian shade 
illustrated by ,figures #if and #if ,a  
is a very pretty  and effective method  
of diffusing and softening the glare of 
the sun  without excluding the light4   
,they may be made of a great variety of 
fabrics1 including challie1  casement   
cloth1 plain and brocaded silk1 silk or 
wool damask1 madras1  net1 or other soft
 material of sufficient strength and    
fast color to  withstand the sun1 and   
are a very effective combination of     
shade and  sash curtain4 ,they are      
simple of construction1 but must be     
accurately  and neatly made to insure   
satisfaction4    ,having secured the    
size of the window and determined the   
space the  shade is to cover1 the goods 
are joined up to the required size1     

allowing a third of the space 7four     
inches to the foot7 each way extra  for 
fullness1 with about three inches       
allowed in addition for double  hem at  
the top and also for a single hem on    
each side4 ,calculate so  that the seams
 will come on one of the shirrings each 
time when joining  for the width1 as    
they will not show there and are very   
unsightly  anywhere else4    ,the       
material1 when ready1 is spread flat on 
the table1 as ,figure #ig1  and the     
width divided into the requisite number 
of panels and marked  in straight lines 
for shirring4 ,turn the double hem at   
the top for the  rod1 and a single hem  
on each side of one or one and a-half   
inches4  ,baste these hems and sew them4
 ,then spread the material on the table 
again1 as illustrated1 and with a stout 
thread gather each shirring  line into  
the required length1 fasten each end of 
the thread to the  table with tacks as  
you gather them1 and when all gathered  
go over each  one and adjust the        

fullness until it is nicely distributed 
the length  of the curtain4 ,leave the  
lower one-third of the curtain slightly 
less  full than the upper two-thirds1   
for when in place it is generally left  
fastened about half way up the window1  
and if this is done1 the lower  end1    
which is all pleated on the strings1    
does not look so much more  full than   
the upper portion1 which is hanging as  
shirred4    ,cut strips of paper one    
inch wide and as long as the            
shirring-thread  and pin them along each
 shirring1 the pins sufficiently close  
to hold  the fullness in place4 ,when   
all pinned in place1 the tacks are drawn
  and the curtain turned paper side down
 and run through the machine  7the paper
 is used to prevent the machine feed    
from disturbing the  fullness71 using   
the thread as the line for stitching4   
,the paper is  then torn away and the   
shirrings run through the machine a     
second time  for safety if very stretchy
 material is used4    ,spread it out on 

the table once more1 face side down1 and
 on the back  of the shirrings baste a  
quarter-inch baby ribbon or tape to     
match the  goods1 and stitch this also4 
,sew small brass rings to these tapes1  
as  illustrated in ,figure #if1 about   
six inches apart1 along the full length 
of each tape or ribbon4 ,shirr the      
double hem at the top to the required   
length and stitch a tape to it also1 to 
keep the panels equally  divided1 and   
trim the bottom with a fringe4    ,the  
bottom of the shade need not be         
scalloped unless the material  is heavy1
 as the act of shirring it lengthwise   
and across forces the  fullness to take 
that shape4    ,the bottoms of the      
shirrings are weighted to keep the lines
  perpendicular4 ,this is accomplished  
either by a small rod covered with  the 
material1 as left of ,figure #if ,a1 or 
by small bags of shot covered  with the 
material and attached to the bottom of  
each shirring4    ,the rod1 while not so
 unobtrusive as the bags1 has the       

advantage  of keeping the bottom spread 
full width1 separate weights having a   
tendency to swing toward the centre4    
,the shade is drawn up and lowered by   
means of cords passed through           
screw-eyes at the top of the window1    
down through the brass rings and        
attached to the bottom weights4 ,after  
passing through the screw-eyes at  the  
top they are led to a pulley at the     
side1 as indicated by ,figure  #if1 and 
all adjusted to draw evenly1 fastened   
together and attached to  a cleat4 ,they
 may also be manipulated by attaching   
the cords to a shade  roller after they 
pass through the screw-eyes4    ,the    
roller is provided with spools either   
turned up in wood or made by  tacking a 
ridge of leather around the roller1     
allowing a spool-like  space between1   
and the cords are wound several times   
around these1  while the shade hangs    
full length2 the free bottom ends are   
then  attached to the weights1 as before
 explained1 and the whole manipulated   

by the free cord at the end 7,x1 ,figure
 #if ,b71 as explained for raising  and 
lowering the shade illustrated in       
,figure #ij4    ,if the roller is       
swelled toward the centre by wrapping   
with leather or  by using graduated     
spools1 as ,figures #ih and #if ,b1 the 
shade will draw  up in an arching shape1
 as indicated by dotted lines in ,figure
 #if ,a1  the larger spools in the      
centre consuming more cord each         
revolution  than the smaller ones at the
 ends1 and hence drawing the curtain up 
faster in the centre1 producing the     
arched effect4    ,if the cords are     
mounted on a plain roller without       
spring-winding  attachment1 as ,figure  
#ii1 the manipulating cord is wound on  
it the  reverse way1 and is all wound on
 when the shade is down1 so that        
pulling on it causes the roller to      
revolve1 winding up the other cords1    
and1 releasing it1 allows the weight of 
the shade to unwind the roller  and     
causes the shade to descend4    ,in     

measuring for shades1 some decorators   
measure for the cloth only and  have the
 rollers cut and mounted accordingly1   
either at the house or in  the shop4 ,we
 have found it best to measure for the  
rollers by selecting  the most          
convenient place for the bracket and    
making the cloth to fit  the rollers4   
,figure #id illustrates a modern window 
trim1 showing by  crosses the most      
convenient places for placing shade     
brackets1 those  enclosed in circles    
representing inside brackets and the    
plain crosses  outside brackets4    ,the
 illustration of a window's elevation1  
,figure #gh in the chapter on  sash     
curtains1 also shows the positions of   
double shades on the face of  the window
 frame--,c1 the roller of the light     
shade1 and ,h the bottom of  the shade1 
and ,d the roller of the dark shade1    
with ,f the bottom of the  shade4       
,always measure for shades with a rule1 
as tape-lines are unreliable1  and put  
down the measurement accurately in feet 

and inches1 being  careful to make a    
decided stroke or dot between the feet  
and inches1 as  #b  #b--f  #i--j means  
two shades two feet six inches wide by  
nine feet  long1 and the obliteration of
 the strokes between vastly alters the  
sizes4    ,if there is anything peculiar
 about the windows that should be noted 
in their manufacture1 jot it down also1 
leaving nothing to memory4 ,in          
measuring the length1 allow about one   
foot extra for a couple of laps  around 
the roller when the shade is all pulled 
down4 ,austrian shades  need no extra   
length1 but should just clear the sill  
when down full  length4    ,shades      
running horizontally1 as across the     
bottom of a skylight1 are  treated      
exactly the same as explained for       
,figure #ie1 and if very large1  stretch
 a number of wires lengthways beneath   
the shade to help support  it4    ,put  
up shade brackets with the slot or open 
bracket to the left side  of the window 
and the hole or closed bracket to the   

right1 leaving a  little play between   
the brackets and the roller4 ,place the 
shade in the  brackets and pull it down 
full length4 ,if the spring is too weak 
to  carry it up smartly1 take it out of 
the brackets and roll it partly up1     
replace it in the brackets and try it   
again4 ,if still too weak1 take it  out 
and roll up a little higher4    ,if the 
spring is too strong or will not allow  
the shade to come down  full length1    
take it out of the brackets when rolled 
up and unroll it a  little4    ,do this 
until the roller will carry the shade   
smartly without too much  tension1 and  
if you find the roller is not strong    
enough it is always  better to replace  
it with a heavier one before the        
customer makes a  complaint4            
,illustration      ,illustration3       
,,archways ,,and ,,alcoves        ,fig  
#ajc      ,fig #ajj      ,fig #ajj ,c   
,fig #ajj ,d      ,fig #aja      ,fig   
#ajj ,a      ,fig #ajj ,b      ,fig #ajf
 ,a      ,fig #ajb      ,fig #ajd       

,fig #aje      ,fig #ajf                
,,archways ,,and ,,alcoves      ,given a
 straight opening1 the average decorator
 will have no hesitancy  in suggesting  
numerous stock schemes of treatment1    
from the simple and  inexpensive to the 
most elaborate4 ,but if the top of the  
opening is  curved1 his difficulties are
 increased4 ,in the chapters on scarf   
and  festoon draperies1 we illustrated  
how draperies may be applied to the     
face of a round top opening when the    
object is to decorate or relieve  the   
severity of the opening by partially    
concealing the outline4 ,we  desire now 
to more particularly deal with a few    
cases which demand that  the opening be 
not concealed1 but harmoniously         
decorated within its  prescribed limits4
    ,figure #ajj illustrates an opening 
between two rooms1 presumably a         
drawing-room and dining-room1 where a   
treatment is desired that will  admit of
 the opening being either completely or 
partially closed at  will4 ,this is     

accomplished in this case by a pair of  
portires that  traverse freely on a pole
 placed at ,x1 the spring of the arch2  
or if  this is considered too high the  
pole may be placed lower and the upper  
treatment brought down to meet it4 ,it  
is not wise1 however1 to leave an       
opening less than six feet six inches in
 height beneath the pole4 ,the  upper   
part of this arch is filled with a frame
 made as illustrated in  ,figure #ajj ,a
 and covered with the same material of  
which the curtains  are made4 ,this is  
fastened beneath the arch by mirror     
plates 7see  ,figure #ajj ,b71 which are
 barely visible1 and hold the frame     
securely in  place4 ,if the curve of the
 arch is an unbroken line and the       
portire  curtains are desired to        
completely divide the rooms1 the bottom 
of the  frame will look well straight1  
as illustrated1 and the curtains are    
suspended directly beneath it1 as       
,figure #ajj ,c1 showing side detail of 
frame and curtain4    ,if the pattern of

 the fabric1 the motif appliqus1 or the 
irregular  curves of the opening suggest
 an irregular curved bottom line1 as    
,figure #aja1 and perfect division is   
desired1 two frames are used1 as        
,figure #ajj ,d1 with the curtains      
traversing between them1 and the pole   
placed high enough to be invisible1 or  
if one room is less particular  than the
 other1 the pole may be placed high     
enough on the back or least  particular 
side so as not to show from the other   
room1 and a single  frame be used to    
fill the opening from the front room4   
,for arches which  have large           
projections1 as ,figure #aja1 the frame 
is not usually made to  fit into all the
 little irregularities of the plaster1  
but these  little irregularities are    
usually included in graceful sweeping   
curves1  which follow the general       
outlines of the projections1 giving     
almost  as good effect as if it were    
made to fit closely4 ,of course we do   
not  mean that it is permissible to     

leave conspicuous openings between the  
plaster and the frame1 but as it will be
 found extremely difficult to  fit all  
the little projections in plaster       
ornamentation1 we suggest the           
advisability of including the lesser    
ornamentation in this way rather  than  
nicking out the edges so that it is     
neither square nor curving4    ,if1 as  
frequently occurs1 there is more light  
on one side of the arch  than on the    
other1 and little points of light sift  
through1 showing up  any irregularities 
from the dark side1 a little chinking   
with a strip  of the same material will 
overcome this difficulty2 but it must be
  neatly done1 and unless the frame is a
 very bad misfit it should not  require 
enough to be at all visible from either 
side4    ,in measuring curved openings  
for any purpose there is no method so   
satisfactory as an accurate full-sized  
pattern1 which may be marked1  cut1 and 
tried into the opening before leaving   
the house4 ,figure #ajb  illustrates a  

splendid way of taking the shape of a   
plaster detail  where an exact fit is   
required4 ,the pattern paper is held    
behind the  object1 and with one point  
of a pair of dividers following the     
outline  the other point will tick off  
the corresponding points on the paper by
  pressing it through the paper or      
marking with a lead pencil1 and when    
cut and fitted the detail may be        
attached to the rest of the pattern in  
the proper position4      ,illustration3
 ,fig4#abf ,b    ,the portire curtains  
may be attached to a pole as above      
mentioned to  secure complete division1 
but if the object is rather decoration1 
with  partial division1 the method      
7illustrated in ,figure #aja7 of        
suspending  the curtains from chains    
will be found pretty and effective1 the 
chains  equalizing the irregular curves 
and keeping the tops of the curtains    
straight4 ,portires can be hung in a    
shallow arched opening by using  the    
chains to equalize the sweep and        

allowing the curtains to hang  straight 
on a line with the spring of the arch4  
,the chain used should  be of a fairly  
large pattern1 and of metal and finish  
to harmonize  with its immediate        
surroundings4 ,it is attached to the    
arch or frame  by cup hooks1 and being  
in one continuous length 7as            
illustrated7 is  easily adjusted to the 
proper length before fastening          
permanently4    ,figure #ajc illustrates
 a round top opening treated with a pair
 of  shaped curtains shirred on a rod so
 as to leave a small heading all  around
 the curve1 and is a very pretty way of 
treating a window or  doorway where the 
top of the curtains may remain fastened 
and need  not be disturbed for ingress  
or egress4 ,the space left for the rod  
should be made small enough to fit quite
 snugly to the rod and prevent  the     
weight of curtain from dragging the     
fullness down to the outside  corners2  
or if the material is very heavy a      
shirring tape is sewn in  separate from 

the rod1 and stitched to the goods to   
keep the fullness  in shape1 after which
 it is run on to the rod and placed in  
position4    ,figure #ajd is another    
variation of the same principle1 showing
 a double  festooned curtain1 which is  
very effective and largely used in arch 
draperies4 ,the lace curtains shown in  
this illustration are hung on  a        
separate rod1 and so arranged that one  
does not interfere with the  other4     
,to plan the top of a shirred round-top 
curtain1 lay out the full size  of your 
arch on a blackboard 7as ,figure #aje71 
dividing it in the centre  by an upright
 line1 as ,x--,b4 ,locate the point     
where the curved top  leaves the        
straight side line1 and mark it 7as ,a  
in illustration74  ,the distance from   
this to the centre line1 ,b--,x1 is the 
width of half  the space1 and1          
therefore1 the proportion of the space  
covered by one  curtain or width of     
goods1 and the circling line from ,a to 
,b represents  the shape to which the   

curtain is to be shirred4               
,illustration    ,it will be readily    
seen that the circle of the top must be 
increased in  proportion to the amount  
of fullness desired in the shirred      
curtain4  ,for example1 say that the    
distance from ,a to line ,b--,x is      
twenty  inches and the width of the     
curtain before shirring is fifty inches4
  ,spread out the goods on your         
cutting-table1 and1 taking the line     
,e--,c  of ,figure #aje to be the top of
 the goods1 measure down on the ,e or   
left-hand selvage the distance from ,e1 
the top of the arch1 to ,a1 the  spring 
of the arch1 and mark point ,a2 now1    
with a cord fastened at  ,a1 and the    
goods spread smoothly out1 face side up1
 strike a quarter  circle1 with ,c as a 
radius 7line ,c--,d1 ,figure #aje72     
shift the cord to  ,c1 and with ,a as a 
radius strike another line to intersect 
the first  one1 thus locating point ,d1 
the point of intersection2 shift the    
cord  again to point ,d1 and with ,a as 

a radius strike another sweep toward    
the upper right-hand corner until you   
cross point ,c4    ,the line thus drawn 
from ,a to ,c will be the top line of   
the curtain  that will shirr properly   
into the space ,a--,b4 ,add sufficient  
for  heading and hem1 before cutting1   
and trim to shape4 ,if the curtain is   
to hang as ,figure #ajc1 measure down   
the ,c selvage edge of the goods the    
distance from top of arch to the floor1 
and trim squarely across for  the bottom
 of the curtain1 the gathering and      
raking edge 7,figure #ajc7  being formed
 by the looping up1 as illustrated in   
,figures #cd1 ,b1 ,c and  ,d1 chapter on
 ,scarf ,draperies4    ,if the curtain  
is to hang as a double festoon curtain1 
as ,figure #ajd1  sketch the curtain on 
your blackboard with the arch as ,figure
 #aje1 and  after defining the top of   
the curtain on your goods as above      
explained1  measure the distance from ,b
 to ,g on your blackboard1 and mark the 
same  distance on the edge of your goods

 from ,c downward4    ,this locates     
point ,f4 ,measure the distance from ,a 
to ,h 7the top of the  seam7 on your    
board and mark it on your goods exactly 
same size2 add  trimming allowance as   
dotted line three inches extra at each  
end and  one and one-half inches in     
centre1 and the piece of material       
defined  by points ,a1 ,c1 ,f and ,h    
will shirr and pleat correctly into the 
space  sketched on board1 and defined by
 ,a1 ,b1 ,g and ,h4 ,pleat this up on   
the  board and trim the line ,h--,g     
square4 ,measure the distance from ,h to
  floor and cut a length of material1   
allowing a little for trimming4  ,pleat 
this on the board also1 allowing the    
bottom to clear the floor  nicely by a  
half inch1 and not spreading beyond the 
points ,h and ,i4  ,trim this corner    
dotted line ,h--,i--,g to fit the line  
,h--,g1 and join to  the upper part1    
making as small a seam as possible1     
which is covered by  a cord1 in ,figure 
#ajd4      ,illustration    ,the back of

 the seam is bound by a piece of the    
material or lining1 as  the case        
demands4    ,the ,gothic arch           
illustrated in ,figure #ajf shows a case
 not often met  with1 but serves to     
illustrate a principle of soft valance  
cutting  equally applicable to any      
shaped opening and any desired scallop4 
,the opening in question had an arching 
exposure into one room and a  square    
exposure into the other room4 ,the      
square opening is simply  treated with a
 pair of portires1 as ,figure #ajf ,a1  
the same showing  behind the valance in 
,figure #ajf4 ,to plan the valance      
itself it is  necessary to have a       
full-size pattern of the arch1 and on   
this as a  plan 7#ajf ,b7 sketch out the
 drapery actual size4 ,be sure to allow 
more  paper than is defined by the      
outline of the arch1 as the details of  
the  pattern will probably go beyond the
 outline as in this case4 ,half  of the 
sketch only need be used1 but it should 
be fairly correct in  outline and       

proportion4 ,when satisfactorily        
sketched 7as ,figure #ajf ,b7  detail   
the individual pipes and tails as       
follows3    ,if the pipes have been     
properly sketched it will be readily    
seen that  the side outlines converge   
toward the centre at the top1 and       
diverge  from the centre at the bottom4 
,continue these lines upward until they 
intersect as at ,u and ,v1 ,figure #ajf 
,b4 ,this point will be nearer or  more 
distant according to the flare of the   
pipe at the base4 ,with one  point of a 
pair of dividers at point ,u1 and with  
the top of the pipe as  a radius1 strike
 a line across and on each side of the  
pipe1 as line  #a--b2 repeat at the     
bottom of the pipe1 cutting through the 
front sides  and back of the mouth of   
the pipe1 as dotted lines #ac and #ad2  
place  one point of dividers at ,y and  
with ,z as a radius add a half inch for 
fold1 and strike to cross line #ac on   
each side2 shift point of dividers  to  
this intersection on line #ac1 and with 

,i as a radius strike to  intersect line
 #ad1 thus locating point #h 7,figure   
#ajf ,b74 ,locate point  #g in the same 
way1 and rule from #g to ,y and from #h 
to ,y1 swinging the  line a little to   
include the intersection on line #ac a  
half inch from  point ,z2 rule also from
 all these points1 #g--h--,z and ,z to  
,u1 locating  points #a and #b where the
 outside lines cross the sweep at the   
top of  the pipe4 ,find all the points  
on the next pipe and mark and rule in   
the  same way4 ,continue the outlines of
 the first fold of the tail until  they 
meet at ,w2 attach a cord there1 and    
with chalk or pencil strike  circling   
lines at the top of the tail and at ,m1 
,n1 ,o1 ,p1 ,q1 ,r1 ,s and ,t1  the     
bottom of the tail4    ,place point of  
dividers at ,m1 and with ,n as a radius 
add an inch and  strike to cross line   
,,ni1 locating ,,nx on line ,,ni2       
measure from ,n to ,o  and lay out this 
distance1 with an inch added1 by placing
 dividers at  ,,nx and crossing line    

,,oi1 locating point ,,ox2 locate ,,px1 
,,qx1 ,,rx1 and so  on1 in the same way1
 and rule from ,,nx to ,,tx1 striking   
each intersection  on the way1 and also 
from each intersection to ,w1 as dotted 
lines4 ,when  all located the lines     
between #e--f--aa and #ab will be the   
outline of  the tail1 those between     
#c--d--i and #aj one of the pipes1 and  
#a--b--g  and #h the other pipe4        
,now1 lay the patterns over a soft      
board1 and with a nail perforate the    
outline of the arch from ,a to ,t1 the  
outline of the drapery from ,g to  ,h1  
,i to ,j and ,k to ,l1 and also the     
outlining points of the pipes and  tail1
 namely1 #a--b--g and #h1 #c--d--i and  
#aj1 #e--f--aa and #ab1 and the  points 
,,nx1 ,,ox1 ,,px1 ,,qx1 ,,rx and ,,sx4  
7,continued on page #ea47               
,illustration3        ,fig #aaa ,a      
,fig #aaa ,b      ,fig #aaa ,c      ,fig
 #ajg ,b      ,fig #ajh      ,fig #aji  
,fig #aji ,a      ,fig #aji ,b      ,fig
 #aaj ,g      ,fig #aaj ,a      ,fig    

#aaj ,e      ,fig #aaj                  
,,archways ,,and ,,alcoves              
7,continued from page #di47      ,now   
take a piece of paper about twice the   
size of your pattern paper  and lay your
 perforated pattern over it4 ,a glance  
at #ajg ,b1 showing the  detailed       
drapery pattern1 will show you how best 
to lay your pattern to  use the paper   
you have to advantage4    ,commence by  
marking ,a--,b--,g and ,h through your  
perforations as well as  any            
perforations which may be included      
between these2 shift ,no4 #a on  the    
pattern over point ,b1 as marked through
 your perforation1 and point  #g over   
point ,h1 and mark out the perforations 
from #a to #b and #g to #h2  shift ,c   
over mark #b and ,i over mark #h1 and   
mark from ,c to ,d and ,i to  ,j2 shift 
#i over mark ,j and #c over ,d2 mark the
 perforations included  between #c--d--i
 and #aj2 shift ,e over mark #d and ,k  
over #aj1 and mark ,e  to ,f and ,k to  
,l2 shift #e over ,f and #aa over ,l1   

and mark all the points  of the tail    
pattern4 ,when all complete the under   
paper should appear as  the outline of  
#ajg ,b4 ,fold the pattern by following 
the lines of this  illustration1 the    
plain parts all face the front and the  
shaded parts  all face the back of the  
drapery4 ,as this is rather an intricate
 piece  of work we have given each move 
in detail1 and would suggest that you   
make a full-size plan of the pattern    
here illustrated to familiarize  the    
details4    ,figure #ajh illustrates a  
round-top window treatment made like the
  foregoing1 or either of these effects 
may be obtained by making  scalloped    
flat valances as explained in the       
chapter on that subject4    ,the        
round-top flat valances may also be used
 in conjunction with a  festoon drapery 
by providing apertures in the valance   
through which the  drapery is passed1 as
 left side of ,figure #aji4             
,illustration3 ,fig4 #aab    ,to plan   
aperture pelmets for any purpose we     

prefer to sketch out the  full size of  
the pelmet on a blackboard and plan the 
points where the  apertures will be4    
,then lightly sketch the outlines of the
 drapery on  your board1 as right side  
of ,figure #aji1 and measure from your  
chalk  lines direct as follows3 ,take a 
small plumb line and allow it to fall   
over the deepest part of the festoon1 as
 illustrated2 attach a tape at  ,d1     
festoon ,a1 and allow it to drop down to
 ,x and around up to ,c2 note  the      
measurement at ,x and record it1 and    
also the distance from ,x to ,c1  which1
 in the case of a regular or equal-sided
 festoon1 is the same2  measure from ,b 
to ,a in the same way1 recording the    
distance on each  side of the line and  
also the distance from the top of the   
festoon to  the bottom of it1 in line   
with the plumb line4 ,measure festoon ,b
 in the  same way1 recording the        
distance on each side of the plumb line1
 and  also the depth4    ,these festoons
 are cut as explained in the chapters on

 ,french festoon  drapery and irregular 
festoon drapery1 but we give the        
diagrams here as  an additional guide4  
7,note ,figure #aji ,a and #aji ,b47    
,the drapery illustrated in ,figure #aaj
 illustrates an irregular festoon       
drapery1 made to exactly fit the arch or
 opening4 ,to plan this drapery  use the
 blackboard and full-size sketch as for 
last figure4 ,after the  outline is     
sketched in and corrected to your       
satisfaction1 flatten  the tops of the  
festoon by ruling lines from each end of
 the bottom  outline1 as ,b to ,c dotted
 line1 or from the outside extremity of 
one  bottom outline to the outside      
extremity of the next festoon1 as ,a to 
,b  and ,c to ,d dotted lines4    ,drop 
a plumb line over the deepest part of   
each festoon and measure  the outlines  
as explained for ,figure #aji1 recording
 the measurements  on the board2 measure
 the distances of the straight dotted   
lines1 tops  of festoons on each side of
 the cord1 and also on each side of the 

centre of the dotted line1 recording the
 distances each way1 and also  the      
distances from the centre of the dotted 
lines to the outline of the  arch4      
,illustration3 ,fig4 #aaa    ,when all  
measured1 take a large sheet of pattern 
paper and proceed to  mark out your     
pattern4 ,spread your paper on the      
table1 the longest edge  of the paper   
even with the side of the table next to 
you1 and on this  edge mark the         
measurement of the bottom line of       
festoon ,f1 as recorded  on your board4 
7,see ,figure #aaj ,a47 ,in this festoon
 the plumb line  crossed its centre and 
both sides measured equal1 so1 measuring
 each  way from the centre of your line1
 mark the ends ,b and ,c1 distant #a--d 
from ,x1 the centre of your line2 erect 
a perpendicular line twice the  length  
of the depth of the festoon1 from dotted
 line to bottom line1  and in line with 
the plum line 7twice #a--a  #b--c74 ,at 
the top of this  line1 or #b--c from its
 base1 draw another horizontal line     

parallel with  the bottom line1 and on  
it1 each side of the perpendicular line1
 mark  the distances recorded on your   
board each side of the plumb line2 now1 
with one end of a pair of dividers or   
cord at ,x 7#aaj ,a71 and with ,b--,c   
as radii1 strike a quarter circle upward
 from these two points2 with  one end of
 the dividers at ,c and one-third of the
 distance from ,c to ,x  as a radius    
strike an arc to intersect the first    
circle1 locating ,c #a4  ,repeat this   
arc at ,b and rule from ,b #a to ,x1 ,c 
#a to ,x1 ,b #a to ,b ,x and ,c  #a to  
,c ,x4 ,add trimming allowance at the   
sides1 as dotted lines1 three  inches   
extra at extremities and one and        
one-half inches in centre1 and  round   
out the bottom from ,c #a to ,b #a1 as  
dotted line4 ,this gives you  the shape 
of the pleated part of festoon ,f1 and  
to this you must add  the plain piece   
above the dotted line4    ,from the     
centre of the top line of the festoon   
erect a perpendicular  line to          

correspond in length with the upright   
three-inch dotted line  at the top of   
festoon ,f 7,figure #aaj72 place one end
 of dividers at  this point ,d 7,figure 
#aaj ,a71 and with a little more than   
half the  distance to ,c ,x as a radius 
strike an arc equal to a quarter circle4
  ,shift the dividers to ,c ,x with the 
same radius and strike an arc that  will
 intersect the first one at both        
extremities2 repeat these with  the same
 radius from ,d toward ,b ,x and from ,b
 ,x 7as illustrated71 and  rule lines   
that will pass through both             
intersections of both arcs  until they  
themselves intersect at ,e2 now1 with   
one point at ,e and  ,b ,x as a radius  
you can sweep the same circle from ,b ,x
 to ,c ,x as is  outlined on your board 
of ,figure #aaj4 ,festoon ,e and ,g of  
,figure #aaj1  and ,b of ,figure #aji1  
are measured and laid out in the same   
manner2 the  measurements on each side  
of the perpendicular line corresponding 
with  those recorded each side of the   

plumb line1 the points locating the end 
of bottom lines raised one-third the    
distance from the end in question  to   
the perpendicular line1 and the depth of
 the festoon doubled on the             
perpendicular line to allow for         
pleating4    ,the draperies illustrated 
in ,figures #aji and #aaj are attached  
by rings  to bent poles inside the arch1
 to a light frame similar to ,figure    
#ajj  ,a1 or may be tacked to the arch  
itself4    ,a plan employed largely by  
,french decorators is illustrated by    
,figure  #aaa1 combining the principles 
of the drapery and long curtain4 ,the   
arch  here illustrated and detailed in  
,figure #aaa ,a represents an arch #e--j
  wide by #h--j high4 ,add to these     
dimensions half as much again to the    
width 7#b--f7 and a like quantity       
7#b--f7 to the length2 join the fabric  
up to these increased dimensions 7#aaa  
,b71 #g--f x #aj--f1 and lay it  out    
flat on the table2 from the centre of   
the top edge draw a line at  right      

angles to the top and as long as the    
quantity added to the length  7#b--f71  
and on each side of this line mark on   
the top edge points equal  to half the  
quantity added 7#a--c71 thus locating   
points ,c--,d and ,e2  rule from ,c to  
,e and ,e to ,d2 add the trimming       
allowance1 as dotted  lines1 and cut    
this piece out4    ,shirr these curved  
lines from ,c to ,d tightly 7as         
illustrated #aaa ,c7 and  tack it in    
place at ,c--,d 7#aaa ,a72 raise each   
outside edge until it just  clears the  
floor and tack it at ,e1 the spring of  
the arch2 edges ,c to ,a  and ,d to ,b  
are tacked around the curve from the    
centre as far as they  will reach1 and  
the surplus between ,b and ,e is        
distributed into pleats  and the same   
repeated on the other side4    ,it is   
sometimes necessary to square the bottom
 edge if the goods  are very heavy1 but 
the bottom can usually be kept square   
with  the pleating4 ,to straighten the  
bottom tack the curtain in place        

temporarily and allowing it to hang     
naturally1 insert pins all along  the   
goods as it hangs at the floor line2    
trim off the surplus thus  marked1 and  
finish the bottom with a hem1 cord or   
fringe1 and trim the  top with a gimp or
 large cord4 ,this method is only       
suitable where the  fabric will not be  
disturbed1 but is very effective as a   
background4    ,figure #aab1 a          
combination of an embroidered flat      
valance and pair of  double festooned   
curtains1 is very effective for large   
spaces4 ,the  valance1 made on a light  
frame or on buckram and tacked to the   
arch1  the tacks covered with a gimp in 
harmony with the embroidery1 and the    
curtains attached as explained for      
,figure #ajd4    ,the method of         
employing a blackboard and full-sized   
drawings mentioned  in the foregoing1   
with the explanation of festoon ,f      
7,figures #aaj and  #aaj ,a7 gives the  
fundamental principle of the blackboard 
system of  drapery cutting1 and the     

principles therein suggested may be     
applied to  any explanation of drapery  
cutting which we have given by changing 
the  scale drawings to full-sized       
drawings and measuring the sketch with a
  tape4 ,it is not at all necessary that
 the outline of the festoons be  made up
 of accurate and true lines4 ,if the    
general size and shape is  fairly       
correct you will find that the tape will
 hang true enough to  correct any       
deficiency in sketching4                
,,porti,,res  ,,and  ,,appliqu,s        
,as early as the year #ajab ,b4,c41     
straight hanging portires for           
connecting doorways were employed in the
 temple built by ,king ,solomon4  ,in a 
modern house1 portires are almost as    
important as doors4 ,aside  from the    
ready-made portires1 which are          
manufactured in a variety of  patterns  
and materials1 the demand for portire   
curtains specially  adapted to various  
rooms has resulted in a profusion of    
made-to-order  styles1 a few of which we

 illustrate4    ,among the fabrics most 
used are tapestries1 brocatelles1       
damasks1  velvet1 plush1 plain and      
figured velours1 armures1 fancy reps and
  serges1 and for ,summer furnishings1  
the lighter-weight fabrics1 such as     
taffetas1 art tickings1 cretonnes1 denim
 and sateen1 in almost endless  variety 
of shade and pattern4    ,in many cases 
the carpets and wall coverings are      
chosen and in place  before the portires
 are considered4 ,this is unfortunate   
for the  drapery man1 as it not         
infrequently happens that the unadvised 
or  overadvised purchaser has chosen    
colorings that bear no relation to  one 
another1 so that to select a material   
for portires that will  harmonize with  
the carpet at its base and also with the
 side-wall  which it divides is a       
difficult proposition4 ,frequently the  
best that  can be done is to employ an  
unassuming neutral color that will not  
offer a very decided contrast to either 
floor or side-wall1 and then  introduce 

the colors of these other furnishings in
 a modified form in  the trimmings4     
,where walls and floor are in harmony1  
or where the furnishings are  chosen    
together1 it is a safe plan to build    
from the ground up1  allowing the       
portires to be slightly lighter in tone 
than the carpet1  and the over-draperies
 and side-wall in lighter tones still4  
,this  applies equally whether the      
scheme be one of contrast1 or analogy4  
,illustration    ,considerable care must
 also be exercised as to the general    
effect of  plain or patterned fabrics in
 relation to floor and side-wall4 ,as a 
general rule avoid upright stripes for  
long1 narrow doors1 since the  stripes  
accentuate the slimness of the portires4
 ,likewise avoid cross  stripes on short
 openings1 as they decrease the height  
and increase the  width4 ,plain         
self-colored materials look larger than 
figured materials  unless the expanse of
 color is reduced by appliqu trimmings4 
,study the  effect you wish to produce  

and plan accordingly4    ,some of the   
fabrics mentioned above are reversible1 
having a finished  surface on each side4
 ,these1 as a rule1 do not require      
lining unless  too light in weight or   
out of harmony with the colors of the   
adjoining  room4 ,other goods should be 
lined and--unless the goods are heavy   
enough without it--interlined as well4  
,figure #aac1 on the next page1         
illustrates the most common type of     
portires made of a figured material and 
trimmed with a cord on one  side and    
bottom of each curtain4    ,assuming    
that these are made of a reversible or  
double-faced material1  the goods are   
first spread on the table and the       
measurement of the  portire marked out4 
,if the curtain length as marked spoils 
the pattern  at both top and bottom it  
is better to shift it up so that the    
bottom  pattern may be perfect 7or both 
bottom and top if possible71 add about  
three inches to the net length of the   
curtain measurement and cut it2  match  

the next length to this one before      
making the second cut4 ,if  it creates  
too great a waste and there should be   
more than one pair  required of the same
 material 7the pairs not required to    
match each  other7 cut a length for one 
of the other pairs and try the first    
pair  again4 ,if this is no better and  
there are no other sizes to cut1 try    
the other end of the goods4 ,never cut  
to waste without trying every  plan you 
know for avoiding it1 as a little       
planning will often pay for  itself in  
the amount of material saved4           
,illustration3 ,,porti,,res ,,and       
,,appliqu,s        ,fig #aad        ,fig
 #aad ,a        ,fig #aac        ,fig   
#aac ,b        ,fig #aad ,a        ,fig 
#aad ,b        ,fig #aac ,a        ,fig 
#aac ,c        ,fig #aag        ,fig    
#aah        ,fig #aag ,a        ,fig    
#aag ,b        ,fig #aag ,c        ,fig 
#aai        ,fig #abj        ,fig #aaf  
,fig #aae        ,fig #aad ,c           
,fig #aad ,d        ,fig #aad ,f        

,fig #aae    ,assuming still that this  
is reversible material and the matched  
lengths  are ready for making1 spread   
each length on the table and cut off the
  selvage or part of it1 according to   
the width of it1 and turn or fold  the  
edge over as ,figure #aac ,a to make a  
felled edge about three-eighths  of an  
inch wide1 which is slip-stitched as    
illustrated4 ,be careful that  the      
stitches are taken between the threads  
of the goods and do not show  on the    
reverse side4    ,fell the curtains on  
both sides and bottom1 taking care not  
to stretch  the edge of the material in 
doing so1 and leave the top as cut4     
,when  all felled around1 lay the fabric
 on the table with the bottom of the    
curtain even with the end of it and the 
sides parallel with the table  top1 mark
 the length of the finished curtain on  
the table as ,a ,figure  #aac ,b and    
fold the top of the curtain over as     
illustrated1 making a  fold about two   
inches deep1 which is stitched at ,x the

 bottom edge of  the fold and at ,o     
one-half inch above it4    ,the cord is 
sewn on as illustrated by ,figure #aac  
,c1 holding both cord  and curtain      
loosely1 so as not to stretch either1   
and pulling the  stitches barely taut4  
,a great deal of the difficulty in the  
hang of portires is caused by  the way  
in which the cord has been put on1 and  
too much care cannot be  taken until one
 is expert enough to produce perfect    
results4    ,the right side of the      
curtain is considered to be that side   
from which  the hems were turned1 and   
the cord is sewn from the right side1   
the  ends being securely fastened and   
sufficient fullness allowed at the      
corners to turn them squarely4    ,in   
portires1 as in draperies1 cut the goods
 to be made with the  pattern running   
up1 and the nap of pile goods running   
down4 ,when not  shirred to the width of
 the space the portires are pleated to  
the  width1 the pins being inserted     
between the two stitchings ,x and ,o1   

,figure #aac ,b1 and the pleats turning 
to the back edge of the curtain1  as    
,figure #aac4    ,figure #aad is an     
illustration of how a pair of portires  
can be applied  to a narrow door to give
 it the effect of greater width4 ,hung  
in this  way and for this purpose all   
woodwork must be hidden and the pole    
projected forward far enough for the    
curtains to clear the face of the  door 
frame4    ,an appliqu lace is           
illustrated as a trimming on the        
left-hand curtain  7,figure #aad71 and  
the curtains are lined on the reverse   
side with a  fabric to harmonize with   
the surroundings in the next room4      
,illustration    ,to apply the trimming1
 the curtain is first tacked out flat on
 the  table face upward1 true and even  
with the square table edge1 and a  guide
 line ruled where the lace is desired to
 be4    ,open-work appliqu trimmings are
 usually started from the corner1  and  
the trimming so planned that where the  
mitre is made a perfect  pattern is made

 and the surplus cut away4 ,when all    
laid on in place  the trimming may be   
either basted1 pinned or cemented1 after
 which it  is taken up and sewn         
permanently4 ,for pile goods a splendid 
method of  holding the trimming in place
 is to spread some paste on a piece of  
paper and then press the wrong side of  
the trimming on to the paper  until it  
absorbs a quantity of the paste1 then   
lay it on the fabric in  position and   
weight it until dry1 after which it can 
be stitched4    ,after the trimming is  
stitched in place1 lay the curtain on   
the table  face downward and turn a half
 inch 7or more if desired7 over on sides
  and bottom1 as illustrated in ,figure 
#aad ,a and #aad ,b1 and tack it        
temporarily1 taking care not to stretch 
the material1 but keeping it  smooth and
 straight with the table2 turn the      
surplus down at the top to  make it the 
length of the finished curtain1 less    
whatever allowance is  necessary for    
cord or fringe1 which projects beyond   

the bottom edge1  and so must be        
included in the length of the curtain4  
,lay the lining over it1 as ,figure #aad
 ,b1 turning under sufficient at  sides 
and bottom to make it equal to the width
 of the tapestry or chief  fabric of the
 curtain4 ,tack only half of this1 as   
illustrated1 and  then fold the free    
half back over the tacked half and      
knot--stitch the  lining and fabric     
together1 as shown in #aad ,c4 ,pass the
 needle between  the threads of each    
material in such a manner that the      
stitch will  not show through on the    
right side of the curtain1 and knot it  
to one  fabric only4    ,when all       
knot-stitched1 using one1 two or more   
rows1 according to the  weight1 texture 
and value of the fabric1 finish tacking 
the lining1  turning under the edges as 
before and baste the fabrics together   
all  around1 using a stitch similar to  
that illustrated in ,figure #aad ,a1    
which holds the folded edge well in     
place4    ,stitch the top across twice1 

as ,x--,o1 ,figure #aad ,e1 and then pin
 the  curtains temporarily to a try-pole
 to see if either side sags down and    
looks baggy4 ,if it does so the bottom  
basting must be taken out and the       
excessive fullness allowed to hang free 
until both fabrics hang square  and flat
 together2 then pin the two fabrics     
about four inches from the  bottom1 so  
that neither can shift1 lay it on the   
table1 and1 turning in  the bottom      
evenly as at first1 baste it once more  
and test it on the  pole4    ,if flat   
and even this time without sagging1 it  
may be removed and  slip-stitched all   
around1 holding the edges as basted and 
using the  stitch illustrated in ,figure
 #aad ,d4    ,the curtain is then corded
 as explained in connection with        
illustration  ,figure #aac ,c1 and if   
the lining is a different color and     
sufficiently  important to require it1  
the cord should either be a mixture of  
the  two colors or two separate cords   
should be put on1 each sewn from and    

matching the color of its own side4     
,if the tops are to be pleated and      
pinned1 as ,figure #aac1 the pins are   
inserted between the stitches ,x and ,o1
 ,figure #aad ,e2 but if they are to  be
 shirred1 as ,figure #aad ,a1 a tape is 
run between the stitches ,x and  ,o1 and
 hooks placed in between the tops1 as   
,a1 ,figure #aad ,e1 and sewn  to the   
tape1 after which the spaces between the
 hooks are stitched at  intervals to    
keep the two fabrics up in position4    
,where price limitations do not exist a 
more satisfactory portire can  be made  
by using an interlining of sateen1      
canton1 or shaker flannel  the bottom of
 which contains small vertical pockets1 
as ,figure #aad ,f1  which are filled   
with shot and sewn up4 ,these are made  
by turning up  the bottom of the lining 
about three inches and running it       
through the  machine1 as indicated by   
the arrow4 ,it will be noticed that the 
pockets  are heavier or a little closer 
together at the corners to increase the 

weight there and correct the tendency to
 flare common to a pleated  or shirred  
curtain4 ,this weighted interlining is  
placed in position  before putting on   
the lining in ,figure #aad ,b1 and is   
included in the  knot stitching and     
basting2 the edge of it1 however1 is    
trimmed even  and lies between the      
turned-in edges of the two fabrics      
without itself  being turned in4 ,when  
weighted interlinings are used with     
extra-heavy  corners the fabrics should 
be knot-stitched together1 say four     
inches  from each outside edge and down 
the middle for ordinary fifty-inch      
material 7three rows in all74 ,there is 
a tendency on the part of a  great many 
fabrics to sag or stretch down with     
their own weight after  hanging for some
 time4 ,the best way we have found to   
correct this is  to stretch the material
 between clamps1 as ,figure #aae1       
allowing the  tension to remain on the  
material for about twelve hours1 after  
which  it is made up in the usual way4  

,illustration    ,figure #aaf           
illustrates a pair of portires with a   
leather or embroidery  appliqu corner   
which is applied as already explained   
for lace  appliqu1 making a very rich   
and effective portire4 ,when made to    
order  it is possible to have the       
embroidering done on the fabric itself1 
making thereby a better finished and    
more durable article4    ,the ,french   
heading illustrated in ,figure #aag is  
made as explained by  drawings #aag ,a  
and #aag ,b1 showing the front and back 
views of the  double box pleat which is 
opened out into the heading after having
 been  sewn to the hook4 ,this heading  
requires a special hook having upright  
arms which support the top of the       
heading and are something after the     
style of ,figure #aag ,c4    ,figure    
#aah is an illustration of a tapestry   
panel made up as a portire  by bordering
 it with a plain material1 such as      
velours or plush2 they  are made with   
very little fulness in width1 and are   

effective for den1  library or          
smoking-room curtains4    ,a great      
variety of gimps1 cords1 edgings1       
galoons and appliqus are  procurable for
 trimmings1 each applicable to specific 
requirements1  while a combination of   
two fabrics in the way of bands or      
borders1 as  ,figure #aah1 and the      
right-hand curtain of ,figure #aad1 is  
also most  effective1 and allows an     
assembling of colors and shadings not   
easily  produced in any other way4      
,figures #aai and #abj illustrate two   
kinds of portire poles for use on  a    
doorway where it is necessary to have   
the portire swing open as a  door1 or   
with a door which it covers4 ,the       
principle of each can be  readily seen  
without explanation1 and they serve a   
useful purpose where  such fixture is   
desired4    ,figure #aai is             
self-supporting1 and is independent of  
the door unless  provided with bracket  
,x4 ,figure #abj is dependent on the    
door for  support at one end1 and is    

hinged just in line with the hinge of   
the  door4 ,the small bracket at the    
left of the hinge is equipped with a    
set screw1 which holds the pole rigid1  
while the right-hand bracket is         
provided with a large opening through   
which the pole slides with the  opening 
of door4 ,portires are usually made to  
just clear the floor1  and should be    
suspended from rings which traverse     
freely on the poles4  ,appliqus look    
best on plain materials4 ,materials with
 prominent  patterns are better without 
them4                                   
,,bed  ,,draperies      ,bed draperies  
should be planned and constructed to    
carry out the style  and design of the  
bed itself1 and should never appear     
obtrusive4 ,care  should be particularly
 exercised in sleeping apartments that  
the  draperies1 furniture1 floor and    
wall coverings merge into one complete  
harmonious whole without a discordant   
note4    ,the conformation of the       
draperies has much to do in determining 

the  artistic atmosphere of a room1 and 
may suggest vivacity1 dignity1          
restfulness1 solemnity or depression1   
according to the design and the  style  
of material4 ,the application of style  
and design to particular  purposes is   
not governed by rules as fixed as the   
harmony of color1 and  doubtless every  
decorator of experience has seen scores 
of treatments  which have impressed him 
as being in bad taste and unrelated to  
their  surroundings1 yet these          
treatments must have pleased somebody4  
,the salesman who told a lady customer  
that good taste was what  she liked best
 was not far astray in his definition1  
and it  would be folly for any of us to 
say what is and is not absolutely good  
taste4 ,we would1 however1 suggest that 
the purpose for which a room is  used   
should govern to a very large extent the
 nature and character of  the           
furnishings1 and that the more exclusive
 the purpose so it should  be with the  
furnishings4    ,this was hardly the    

thought prevalent in ancient times1     
judging from  the examples extant1 but  
is more in touch with latter-day thought
 and  tendency4    ,students of period  
draperies soon reach the conclusion that
 there is  very little really new1 and  
we think this is particularly true of   
bed  draperies4 ,in bed draperies the   
,french decorators of the ,sixteenth    
and ,seventeenth ,centuries are still   
pre-eminent1 and we reproduce for       
purposes of explanation a few of the    
best examples of these periods4         
,illustration3        ,fig #aaf         
,fig #aaf ,a        ,fig #aaf ,b        
,fig #aag        ,fig #abj        ,fig  
#aba    ,figure #aac is a type of the   
elaborately upholstered bed of the      
,pompadour period and contains much that
 is graceful and applicable to          
present-day decoration1 the entire      
canopy arrangement being worthy of      
reproduction in toto4    ,while it is   
not customary at present to upholster   
beds 7head-board1  foot and side-rails71

 except for purposes of exact           
reproduction1 it  would not be amiss to 
explain in passing the steps taken in   
producing  the different styles of      
tufting shown in our illustrations4     
,the biscuit tufting of ,figure #aac is 
usually made small and shallow  as      
compared with other styles1 the squares 
composing the tuft seldom  running      
larger than two inches4 ,to mark off the
 surface of the article  for tufting    
find the centre each way and draw lines 
as dotted lines  #a----a1 #b----b1      
,figure #aac ,a1 being careful to make  
them perfectly  perpendicular and       
horizontal1 as governed by the outline  
of the space  to be tufted4 ,measuring  
from the centre lines draw other lines  
every  three inches until you reach to  
within three inches of the outline of   
the space1 thus dividing the surface    
into three-inch squares1 as dotted      
lines1 ,figure #aac ,a4 ,rule diagonal  
lines1 as ,a1 ,b1 ,c1 to cut through    
the intersections of the dotted lines1  

and make these diagonal lines           
sufficiently heavy to be legible when   
tufting1 as the smaller squares         
enclosed by the diagonal lines outline  
the size of the tufts and the           
intersection of the diagonals mark the  
points for the buttons4 7,see  ,figure  
#aac ,b47 ,when all the lines have been 
drawn the article is ready  for tufting1
 but the cover must also be marked for  
buttoning before it  can be applied with
 any degree of success4    ,to ascertain
 the size of the covering needed1 count 
the number of  squares diagonally from  
one extremity to the other1 thus from ,c
 to ,c1  ,figure #aac ,a1 numbers ten   
squares1 and ten also from ,a to ,a2 now
 take  the size of the dotted line      
squares first marked on ,figure #aac ,a 
7three  inches71 and multiply the number
 of diagonal squares by the size of the 
dotted squares1 which gives us the size 
of the covering as #cj x #cj  inches2   
add an inch all around for tacking1 and 
a piece of covering #cb  x #cb will be  

the size required4        ,illustration3
 ,fig #aac        ,fig #aad ,a          
,fig #aad ,b        ,fig #aai           
,fig #aad        ,fig #aae    ,for      
spaces such as #aac ,a1 where the       
surface is longer than wide1 it is      
possible to economize in covering by    
joining two pieces together on the      
centre line of tufting1 ,b----,b2 take  
width from the lower right hand ,c  to  
the upper ,b1 nine squares1 and the     
number from ,b----,b to ,a1 upper  right
 hand corner1 five squares1 and multiply
 each by three inches1  as before1 and  
we find that two pieces1 #bg x #ae      
inches1 with tack  allowance added1 will
 be sufficient to cover the spaces thus 
divided by  line ,b----,b4    ,the      
covering is turned face downward upon   
the table and divided into  the         
requisite number of three-inch squares1 
leaving the tacking  allowance beyond   
the outside lines and keeping the lines 
parallel with  the edges of the         
material1 similar to ,figure #aad ,b4   

,attach the centre mark of the lowest   
line on your material to ,x1 the  lowest
 button mark on your tufting surface on 
line ,a1 ,figure #aac ,a1 and           
temporarily tack the next marks on the  
bottom line at ,x----,x1 ,figure  #aac  
,b4 ,stuff the fullness thus allowed    
between your button and ,x----,x1  and  
then put in button ,b1 as ,figure #aac  
,b2 the space between ,a----,b and  ,x  
forms a triangular pocket of fabric1    
which is stuffed up plumply and  button 
pulled into place by following the marks
 on cover and tufting  surface2 the rest
 of the tufting now is a repetition of  
this procedure1  stuffing up the        
three-cornered pocket1 pulling in the   
fourth button to  complete the square1  
and forming the surplus from button to  
button into  a straight pleat4 ,when all
 filled the edges are stuffed up plumply
 and  tacked all around1 the surplus    
fullness around the edge being formed   
into pleats running outward from the    
outside row of buttons1 as ,figure  #aac

 ,b4    ,this is by no means an easy    
task for a novice1 but patience and     
perseverance will accomplish the result1
 and the method of square  marking for  
the covering and diagonals intersecting 
similar sized  squares on the article   
will give the proper allowance for      
fullness for  all sizes and nearly all  
coverings4    ,square or bun tufting1 as
 shown in ,figure #aad1 is marked as    
,figure #aad  ,a1 dividing the space    
into three-inch squares 7or larger1 if  
desired7  and the covering marked also  
into squares 7as ,figure #aad ,b7 from  
one  to one a-half inches larger than   
those on the surface of the article4    
,thus1 for three-inch squares1 rule your
 cover into four and one-half  inch     
squares and add tacking allowance4 ,the 
size of the covering can  easily be     
ascertained1 as you need the same number
 of four and one-half  inch squares of  
covering as there are three-inch squares
 marked out for  tufting4    ,put in the
 entire bottom row of buttons and the   

first one of the next  row 7,figure #aad
 ,a71 forming the triangular pockets1   
which are stuffed  as explained above   
for biscuit tufting4    ,the diamond    
tufting of ,figure #aae is made in a    
slightly different way1  but the        
principle is the same4 ,rule the cross  
lines #a----b----c----d  as ,figure #aae
 ,a1 line #c1 say three inches from the 
bottom1 line #b1 six  inches above line 
#c1 and line #a three inches higher     
again4    ,divide lines #a1 #b1 #c and  
#d into three-inch spaces1 as shown on  
line  #a1 ,a----,b----,c1 etc42 rule    
from ,b on line #b to ,a on line #c1 and
 also  to ,c on line #c2 rule from ,c on
 line #b to ,b and ,d on line #c1 and   
also  from ,a on line #b to ,b on line  
#c1 continuing this until the surface is
  all marked1 as ,figure #aae ,a4 ,this 
will give you a row of intersecting     
diagonal lines between lines #b and #c  
and marks the diamonds for buttons  by  
following the intersections4    ,to     
measure the space for covering1 measure 

from ,a to ,b1 to ,c to ,d1 and  so on  
to ,g1 adding one and a-half inches to  
the distance between each  letter for   
fullness4 ,measure from #d to #c to #b  
to #a in the same way1  adding one and  
a-half inches to each space1 so that a  
panel the size of  #aae ,a1 which       
measures #ab x #ah inches1 requires a   
piece of covering #ah  x #bg inches1    
with an allowance of another inch all   
around for tacking  7#bj x #bi74 ,mark  
the covering1 as ,figure #aae ,b1 which 
shows the one and  a-half inches added  
to the spaces between the upright lines 
and also to  the spaces between the     
cross lines4    ,put in the first row of
 buttons and draw the bottom edge of the
 goods1  which lies directly in line    
with each button1 straight down1 and    
tack  it temporarily there4 ,this will  
form a series of pipes all across the   
bottom2 stuff evenly and plumply1 and   
commencing in the centre stuff  up all  
the space between the first row of      
buttons and the second line2  pull the  

cover down over this by pulling the     
button mark on the cover  down to the   
button mark on the line1 and put in the 
button1 forming  the surplus material   
diagonally from button to button into a 
pleat1  as illustrated 7,figure #aae    
,a74 ,continue this row and the rest in 
like  manner1 folding the pleats        
downward and facing each other in pairs1
 as  indicated by arrows4 ,finish the   
top with a row of pipes similar to the  
bottom1 stuff up all the edges and tack 
them1 drawing all the surplus  fullness 
into pleats from each button of the     
outside rows1 and rounding  the edges   
down to the place where finished off by 
tacking4    ,beneath the rail of ,figure
 #aac a short piped valance fills the   
space  to the floor4 ,it is slightly    
pleated between the pipes1 so that the  
pleats fall into festoon shape1 and is  
also an effective valance for  cosey    
corners and chairs4 ,mark out on a      
paper1 ,figure #aaf1 the exact          
appearance of a portion of the valance1 

including two pipes and the  space      
between2 erect perpendicular lines ,a   
and ,b through the centre of  each pipe1
 measure the width of the pipes at      
bottom and top1 the length  from top to 
bottom1 the distance between ,d----,c at
 the top and the  distance around the   
curved bottom line between ,a----,b at  
the bottom1  recording the measurements 
as here shown4      ,illustration3      
,,colonial ,,bedroom    ,take a large   
piece of paper1 and using the longest   
edge of it as the  bottom line ,a----,b1
 ,figure #aaf ,a1 mark off the distance 
of the bottom  edge of the festoon      
7#a----i72 from the centre of this space
 erect a  perpendicular line ,e----,e at
 right angles to the bottom line1 and   
as long as twice the length of the pipe 
7#b----j72 at the top of the            
perpendicular line rule another         
horizontal line parallel with the       
bottom line or the edge of your paper1  
and with the perpendicular line  as your
 centre1 locate points ,c and ,d1       

exactly as on your drawing #aaf4        
,with ,e as your centre and ,a----,b as 
radii 7#aaf ,a71 strike a half circle   
to connect ,a and ,b2 with ,b as a      
centre and one-quarter the distance to  
,e as a radius1 strike an arc to        
intersect the half circle and locate    
point ,a----#a1 and repeat at ,b to     
locate ,b----#a2 rule from ,b----#a and 
,a----#a to ,e1 from ,a----#a to ,c and 
from ,b----#a to ,d1 defining the       
general outline of the festoon-like     
section between the pipes4              
,illustration3 ,fig #abc    ,reverting  
again to ,figure #aaf the bottom of the 
pipe measures four and  one-half inches 
across the face when pressed flat2      
double this to get  the circumference1  
which would be nine inches2 rule a      
horizontal line  from point ,a----#a    
7#aaf ,a7 parallel with the bottom line 
and nine inches  in length2 erect a     
perpendicular line1 ,x----,x1 from the  
centre of it1  and on the perpendicular 
mark the length of the pipe as shown on 

your  drawing 7#a----j72 at the top of  
this line lay out the size of the top   
circumference of the pipe1 which is     
double the face measurement1 and  locate
 points ,g and ,g four and one-half     
inches apart2 rule from ,g to  ,a----#a1
 round out the bottom line from ,a----#a
 to ,b----#a as dotted line1  add the   
trimming allowance between ,c and ,g1   
dropping about two inches  to ,f1 midway
 between lines ,c and ,g as dotted line2
 fold the paper on  line ,x----,x and   
cut out the festoon and half the pipe1  
as outlined  by                         
,x----,a#a----;,e----,b#a----;,d----,c--
--,f----,g and ,x1 together with the    
paper folded underneath1 which will give
 you when opened the pattern  of two    
festoons and one pipe1 as ,figure #aaf  
,a1 which may be repeated  indefinitely 
by joining the pieces at ,f so that the 
seams are hidden  behind the pipe4      
,to pleat the festoons shirr from ,c to 
,f and ,d to ,f tightly on a stout      
thread1 fasten ,f----,f together1       

drawing the pipe together at the back1  
and fold the top of the pipe down behind
 to finish even with the top  of the    
festoons4 ,tack the whole to a slat or  
to the bottom of the bed  itself and    
straighten out the pipes and pleats to  
hang nicely and  uniformly4    ,by      
increasing the depth of the festoon to  
7#b----h7 twice the depth of  the       
festoon drawn in ,figure #aaf 7#a----d7 
and adding rosettes1 made  as explained 
in chapter on pleated valances and      
lambrequins1 a more  elaborate effect is
 obtained1 as ,figure #aaf ,b1 suitable 
for other  purposes where a simple      
valance is required4 ,the canopy is made
 on a  frame shaped like ,figure #aag1  
suspended by brass chains or wire from  
the ceiling or wall1 and supports the   
curtains at sides and back1 in  addition
 to the drapery which completes the     
canopy4 ,the side curtains  are made    
about a foot longer than the distance   
from floor to canopy1  and caught up    
with rosettes or loops1 as explained in 

chapter on scarf  draperies4    ,the    
festoon-like pleats in the top of the   
curtain are obtained by  cutting out    
sections of the top of the curtain1     
similar to the piece  defined by points 
,e----#a1 ,e----#a1 and ,f1 in ,figure  
#aah1 the total  amounts cut out        
consuming the fullness allowance1 as1   
for instance1 a  piece of forty-eight   
inch material pleated to twenty-four    
inches would  have two triangles of     
eight inches removed1 as ,figure #aai1  
and a half  triangle of the same size   
taken off each corner2 by shirring the  
raking  edges the pleats are obtained   
and the fullness consumed4    ,the      
drapery of ,figure #aac is made up of   
triple-pleated festoons1 made  as       
follows3 ,sketch out the festoon as you 
desire to pleat it1 either  full size on
 your blackboard or to a reduced scale  
on paper1 the large  lower pleats       
occupying two-thirds of the depth1 and  
the small upper  pleats the remaining   
one-third1 as ,figure #abj2 measure the 

distance  around the bottom of the      
festoon from ,a to ,b1 the depth from ,e
 to ,x1  and also from ,c to ,e and ,d  
to ,e1 recording the distance on your   
drawing4    ,the bottom line and the    
depth of the festoon pattern1 ,figure   
#aah1  are planned as a regular festoon1
 so draw the bottom line1 ,a to ,b1     
locate the points ,a#a----;,b#a         
one-sixth of and above the bottom line1 
as  explained for straight festoons2    
rule the perpendicular centre line      
,e----,x as long as twice the depth     
recorded on ,figure #abj1 and rule the  
top line parallel to and almost as long 
as the bottom line4      ,illustration3 
,fig #abd      ,illustration3 ,fig #abe 
,now take one-quarter of the measurement
 between ,c----,d1 ,figure #abj1 and    
mark it on your top line1 so that half  
of it lies on each side of your  centre 
line ,e1 thus the distance between      
,c----,d is eighteen inches1            
one-quarter of it is four and one-half  
inches1 and two and one-quarter  inches 

on each side of the centre line locates 
,e#a and ,e#a four and  one-half inches 
apart4    ,now take the distances       
recorded between ,c and ,e and ,e and ,d
 on your  sketch1 and mark these        
distances outward on the top line from  
,e#a  and ,e#a1 which will give you the 
size of the top of the festoon and      
locate points ,c and ,d on your pattern4
 ,mark ,f about one-quarter of the      
distance from ,e to ,x on your pattern  
7,figure #aah72 rule from ,f to ,e#a on 
each side1 ,a#a to ,c and ,b#a to ,d1   
add pleating allowance1 as dotted lines 
on raking sides of festoon1 hollow out  
the ,u-shaped marked at ,e1 as  dotted  
line1 round out the bottom of festoon1  
and cut out the pattern1  shirr the     
edges from ,e----#a around to ,e----#a  
on a stout thread1 and  pleat the raking
 outside edges up as an ordinary        
straight festoon4  7,see explanation in 
chapter on ,french festoons47    ,the   
ruffle which surmounts the drapery and  
forms a trimming at the edge  of the    

canopy 7,figure #aac7 consists of a     
piece of material pleated in  such a    
manner that the pleats are smaller at   
the bottom than at the  top4 ,it is made
 separately1 and either joined to the   
drapery or put on  over it4 ,the size   
and number of the little cone-like      
pleats are matters  of personal taste1  
and the principle of making is the same 
for all  sizes and shapes4    ,on a     
fair-sized piece of paper draw out      
exactly two pipes and the  space between
 as you desire it to look when finished 
7see ,figure #aba74  ,continue the side 
outlines of the pipes downward until    
they meet1 as  ,a----,a4 ,this1 of      
course1 will be nearer or more distant  
according to  the flare of the top of   
the pipe4 ,place point of dividers at   
,a1 and  using the length of the pipe as
 a radius1 strike a quarter circle      
through and on each side of the top of  
the pipe1 as line ,b----,b2 now  draw   
perpendicular lines passing up through  
the centre of each pipe and  at right   

angles to the straight bottom line of   
the ruffle4    ,place one point of      
dividers at ,c1 where upright line      
intercepts the  circling line1 ,b----,b1
 and with a little more than ,d----,d as
 radii1  sweep to cross the line        
,b----,b on each side2 place dividers at
 the  point where your sweep crossed    
,b----,b1 with the same radius1 and     
strike  another line to cross ,b----,b  
and locate ,e1 and rule from ,e and ,d  
to  ,a on each side of the pipe2 with   
dividers at ,a1 and with the bottom  of 
the pipe as a radius strike another     
quarter circle as ,h----,h1 the  points 
where dotted lines ,d and ,d cross      
,h----,h locate ,g----,g1 and where     
dotted lines ,e and ,e cross ,h----,h1  
,f----,f are located2 mark the place    
where the perpendicular line crosses    
,h----,h as ,x1 which is shown on the   
middle pipe1 and the pattern is ready   
for punching4    ,note instructions for 
punching pattern of ,figure #ajg ,a in  
chapter on  archways1 and follow the    

same procedure with this pattern1       
punching  points                        
,e----,d----,c----,d----,e at the top1  
and ,f----,g----,x----,g----,f at  the  
bottom4 ,you will notice that letters   
,e----,d----,d----,e----,f1 ,g----,g    
and ,f outline the pipe and show the    
lines for folding1 while the space      
enclosed between ,c----,c----,x----,x is
 the pattern of the plain piece  between
 the pipes2 now by shifting the pattern 
as explained for ,figure  #ajg ,b1 in   
above mentioned chapter1 and marking    
through the perforations  you will have 
a pattern outlined by the same letters  
as ,figure #abb2  rule from point to    
point and you have the complete pattern 
of one pipe  and the space between it   
and the next one1 by repeating this1 as 
shown  in ,figure #abb ,a1 you may make 
the ruffle any required length1 stiffen 
with wiggin holland or buckram and pleat
 as indicated by lines in  pipes1 the   
shaded portions of ,figure #abb ,a going
 to the back of the  pipe1 and the      

points ,c ,e----,c ,e and ,x ,f----,x ,f
 meeting and fastened  together4 ,the   
completed ruffle is now sewn to the top 
of the festoons  and the seam finished  
with a cord1 as ,figure #aac4    ,figure
 #aad illustrates the application of    
straight top festoons to  a molded      
canopy frame1 the roof of which is      
shirred to a centre in  sunburst effect4
    ,figure #aae shows a ruffle or piped
 heading similar to ,figure #aac with   
larger spaces between the pipes1 and the
 method of detailing the  pattern is the
 same as already explained4    ,figure  
#abc illustrates a dome shaped canopy   
supported by a molded  cornice1 and is  
more simple of construction than at     
first appears2 the  molded cornice needs
 no further explanation than the front  
view1 ,figure  #abc1 and the side view1 
,figure #abc ,a4    ,the construction of
 the dome can easily be followed by     
,figures #abc ,b  and #abc ,c2 a light  
hardwood circular frame is first marked 
at intervals  around the outer edge     

where the ribs are desired to be1 and a 
number  of straight iron wires about    
one-eighth of an inch in diameter are   
inserted by boring holes in the edge of 
the frame1 driving in the  wires as ,c1 
in #abc ,d1 after which tacks are driven
 in beside the  holes to swell the      
fibres of the wood against the wire1 and
 the wires  bent upright as ,a and ,b of
 this illustration4 ,each separate wire 
is  bent to take the shape of the rib1  
and all are fastened at the centre      
temporarily2 when all are thus fastened1
 commence winding the three  wires      
composing each rib1 binding them solidly
 together with soft twine  continuing to
 the centre1 then turn the wires sharply
 aside1 in line  with the next rib1 to  
which the ends are then bound1 and the  
winding  repeated on each rib4          
,illustration3        ,fig #abc ,a      
,fig #abc ,b      ,fig #abc ,c      ,fig
 #abc ,d      ,fig #abb      ,fig #abb  
,a      ,fig #aah    ,it is desirable   
that no wires be permitted to continue  

across the  centre1 but that all should 
turn back1 leaving the centre free from 
the  thickness that would be occasioned 
by the crossing and recrossing of  the  
wires4      ,illustration3 ,,embroidered
 ,,lace ,,curtains ,,and ,,bonne        
,,femmes--,,irish      ,,point1         
,,renaissance ,,and ,,marie             
,,antoinette4    ,by crossing twines on 
the frame and dropping a plumb line over
 the  intersections1 the centre of the  
dome may be kept in line with the       
centre of the open frame 7see ,figure   
#abc ,c74    ,when the ribs are all in  
position wire loops are run around the  
ribbed  circle inside1 at different     
heights1 to strengthen them and preserve
  the globular shape4 ,the framework is 
then covered with canvas1 and each      
panel 7the space between two ribs7 is   
padded with some soft material  evenly  
distributed and covered with cotton1    
after which the covering  material is   
put on1 a row of stitching holding all  
firmly to each rib  and a cord covering 

the stitching4    ,the drapery beneath  
the cornice of ,figure #abc combines the
 festoon  and straight valance          
principles which have been already      
explained in  former chapters1 and the  
small drapery above the embroidery is   
put on  separately4    ,the four-poster 
of ,figure #abd shows the application of
 a straight box  pleat in keeping with  
the architectural lines of the bed1 and 
any of  the draperies shown herewith may
 be applied to four-post beds if the    
general outline and style of the        
draperies conforms to the general       
construction of the bed itself4    ,in  
,figure #abe we illustrate a ,french    
canopy which adapts itself  very readily
 to the decoration of brass beds4 ,the  
dome is formed of  panels of buckram or 
cardboard1 cut to shape1 and covered    
with the  fabric1 plain or pleated2 the 
panels are then sewn together with the  
baseball stitch1 previously illustrated1
 and a hoop fastened inside  the bottom 
to preserve the shape4 ,if heavy fabrics

 are desired for  curtains1 drapery and 
covering1 the dome should be more       
substantially  constructed1 as described
 for ,figure #abc1 dispensing with the  
molded  cornice if desired4    ,bed     
canopies1 no matter how light1 must be  
carefully put up and  securely fastened 
to avoid accident4    ,the back         
curtains1 which appear in almost all of 
the illustrations  presented herewith1  
are in some cases attached to the side  
curtains1 so  that the fabric is        
continuous from fringe to fringe1 those 
of ,figures  #abc and #abe being so     
planned4    ,the back curtain of ,figure
 #abd is shirred on a rod top and       
bottom1  and stretched into pleats1     
while those shown in ,figures #aac1 #aad
 and  #aae may be treated similarly1 or1
 as illustrated1 pleated into long1     
sweeping pleats4 ,the material is joined
 up1 allowing nearly half as  much again
 to the width1 say a piece #f--- #i for 
a #d--- #f bed1 and allow  a like       
quantity 7#b--- #c7 in addition to the  

required length4    ,spread the material
 out on the table1 find the centre of   
the top1  and measure each way on the   
top edge a distance of eighteen inches2 
measure down each side from the top     
corner the distance you have  allowed   
7#b----c71 and rule from these marks to 
the extremities of your  eighteen-inch  
marks2 add outside of this the allowance
 for tacking and  trimming and trim off 
the corner1 which means that you remove 
from  each corner a piece of material   
measuring about #bj x #bd inches1 and   
triangular in shape4 ,tack the straight 
top to the back of the canopy1          
centering the goods 7#c----j7 in the    
space 7#d----f7 and pleat up the  biased
 corners into the remaining spaces at   
each side4                              
,,traverse1  ,,drop  ,,and  ,,theatre   
,,curtains      ,where curtains1 while  
possessing decorative properties1 are   
also to  form a complete or partial     
screen at will1 it is essential that    
their  manipulation be simple and easy4 

,for curtains which travel to and fro   
on a straight pole while hanging at full
 length traverse cords are  effective4  
,this is accomplished by means of two   
pulleys1 as ,figure #abf1  the pulley   
marked ,a being a double pulley and ,b a
 single pulley4 ,the  curtains are      
pleated up to the required width so that
 they just nicely  fill the space1 and  
are hooked1 pinned or sewn to the rings4
 ,place  the pulleys in position even   
with the outer edges of the curtains and
  thread a small braided sash cord 7well
 stretched7 through the single  pulley  
,b2 carry the doubled cord over to ,a   
and measure the distance1  the ends will
 have to fall below ,a to bring them    
within easy reach2  allow a couple of   
feet extra on one of the cords1 and cut4
 ,without  allowing the cords to shift  
in the single pulley fasten the short   
cord  to ,d1 the right hand corner of   
the left curtain1 and thread the end    
through the double pulley4    ,fasten   
the longer cord to the corresponding    

ring at ,c on the right-hand  curtain   
and thread it through the other groove  
of the double pulley4 ,by  pulling ,e   
7,figure #abf71 the shorter cord1 the   
curtains will separate  each way from   
the centre1 and as this cord descends   
the ,f cord ascends1  the cords         
traveling in the direction of the       
arrows1 and by pulling ,f  the curtains 
draw together again4    ,adjust the     
cords so that when ,f1 the closing cord1
 is taut the curtains  will meet exactly
 in the centre of the pole1 and also so 
that ,e1 the  opening cord1 is a foot   
higher than ,f when the curtains are    
closed4    ,finish the cord ends with a 
weighted tassel1 and1 as will readily be
  seen1 it is only necessary to pull the
 higher tassel at any time to  alter the
 position of the curtains4    ,to insure
 easy manipulation1 it is necessary to  
have the rings large  enough to travel  
freely upon the pole1 and if the        
curtains are heavy  the rings should be 
provided with small wheels or rollers   

which run  upon the pole4 ,the rings    
should also be free from any projections
 that  would catch the cord1 and the    
hooks or pins should have the points    
bent  back into the fabric so that the  
cord cannot get caught thereon4         
,illustration3 ,fig #abi                
,illustration3 ,fig #abg                
,illustration3 ,fig #abf    ,this method
 is employed for sun or draught         
curtains1 and sometimes for  small      
concert curtains4 ,another method of    
curtain manipulation in which  the      
curtains draw up in drapery form is     
illustrated by ,figure #abg4  ,to       
accomplish this effect the pair of      
curtains are pleated to size1  as back  
view ,figure #abg ,a4 ,spread flat on   
the floor1 and with a cord  attached at 
,a1 the inside corner of the curtain1 a 
quarter circle is  struck from the      
outside corner to a corresponding       
position on the front  edge of the      
curtain4      ,illustration3 ,,fig4 #abi
 ,a4      ,illustration3 ,,fig4 #abg ,a4

    ,rings are sewn to this line1 and a 
cord which is attached to ,b is         
threaded through the rings1 passed over 
a pulley at ,c1 and across and  over a  
large pulley at ,d1 and brought down to 
the floor1 as ,e4    ,a pull on the cord
 at ,e now causes the cord to draw up   
through the  rings on the curtain1 the  
material gathering into folds because of
 its  weight1 and the release of the    
cord allows the curtain to swing back   
again into place4 ,by arranging both    
curtains in this manner and drawing     
them simultaneously a pretty draped     
opening is produced1 as ,figure #abg4   
,for a heavy pair of curtains1 attach   
the cords1 after passing over  pulley   
,d1 to a counter weight1 and either     
attach a separate cord to the  ,b cord  
immediately above ,a1 the centre of the 
curtains1 and bring it  over ,d and down
 to ,f1 so that a pull at ,f sets the   
pulley and weight in  motion2 or arrange
 as explained later for ,figure #abi ,a4
    ,if it is desired that the front    

edges may draw completely up to the     
pulley1 forming two festoons1 as ,figure
 #abh1 more sweep must be allowed  on   
the front edge than on the top1 and can 
be easily calculated by  moving the     
stationary end of the marking cord out  
beyond ,a the distance  desired to give 
the required sag to the bottom edge when
 drawn up 7see  ,x1 ,figure #abg ,a1 and
 the dotted sweep74    ,figure #abi     
illustrates a drop curtain made after   
the style of ,austrian  shades1 as      
explained in the chapter on blinds and  
shades4 ,the back  view 7,figure #abi   
,a7 shows the method of running the     
lines to a counter  weight1 which       
balances the weight of the curtain and  
is controlled by  two lines--,j1 leading
 from the weight to the small pulley ,f1
 and down  to the floor pulley ,i2 ,h1  
the other line1 leading from the weight 
down4    ,as will be readily seen1 this 
line is continuous from the top of the  
weight around to the bottom of it1 and  
the curtain is raised by pulling  line  

,h1 which lowers the weight and is      
lowered by pulling line ,j4             
,illustration3        ,fig #abh         
,fig #acb        ,fig #aca        ,fig  
#acj        ,fig #acj ,a    ,we have    
used the plans outlined by ,figures #abg
 and #abi for temporary  drop curtains  
forty feet high by eighty feet wide with
 complete  success4 ,the back view of   
,figure #abi ,a illustrates the method  
employed  for swinging a temporary drop 
curtain of these dimensions across a    
hall  that had no curtain facilities1   
bare walls and rounded ceiling1 it      
being accomplished by three groups of   
stay lines 7,b7 drawn up through  the   
ceiling1 each line adjusted to the      
proper tension while slightly  hoisted1 
and the curtain itself attached to      
batten ,d1 which is built up  of #a x   
#d-;inch stuff to aggregate #b x #d     
inches4 ,the top of the curtain  remains
 stationary1 the bottom shirring to the 
desired height1 the deep  flounce       
forming a decoration to the bottom edge 

when in either position4                
,illustration3 ,,brise-,,bises          
,,suspended ,,from ,,curved ,,rods ,,and
 ,,austrian      ,,shades ,,that ,,curve
 ,,to ,,meet ,,them4    ,the drawn lines
 ,k are attached to the bottom batten   
,c1 and are adjusted  evenly over the   
individual pulleys ,l1 and all carried  
over ,e and  attached to ,g1 the counter
 weight4 ,to prevent the draught from   
blowing  the curtain out small loops of 
stiff wire1 as ,m1 ,figure #abi ,a1 are 
attached to the sides of the curtain1   
and traverse freely up and down  the    
guide wires ,a--,a4    ,should a curtain
 of this sort be desired as a permanent 
theatre  curtain1 it may be prettily    
made as ,figure #acj1 which is drawn up 
by  means of strips of webbing or       
leather1 which pass through covered     
metal  keepers on the face of the       
curtain and are attached to the bottom  
batten4    ,these pass over pulley      
wheels at the top1 as ,figure #acj ,a1  
and are  fastened to a bar counter      

weight which balances the weight of the 
movable portion of the curtain1 and is  
put in motion by causing the  shaft to  
revolve in the desired direction4 ,the  
theatre curtain which  rolls from the   
bottom1 as ,figure #aca1 is fastened to 
a batten at the  top and a roller       
attached to the bottom4 ,the method of  
constructing the  roller is shown in    
,figure #acb4 ,a sufficient number of   
six-inch circles  of clear pine are     
procured to allow of one being placed   
every twelve  inches1 and these are     
sheeted round with   #b-;inch strips of 
clear1  straight pine1 kiln dried1 each 
piece securely fastened with screws to  
every circle it touches1 and the joins  
all made where supported by a  circle4  
,the whole roll is then wrapped with a  
strip of coarse canvas  plentifully     
supplied with a solution of hot glue1   
care being exercised  to keep the       
wrapping uniform and tight4    ,the     
roller is made long enough to contain a 
large spool at each end1  and works     

equally well at the bottom of the       
curtain1 where it rolls  up with it1 or 
at the top1 where it revolves in        
brackets and winds  the curtain up4 ,the
 rope which causes the roller to revolve
 is first  wound around the spool a     
couple of times when the curtain is     
altogether  rolled up1 and as the       
curtain is unrolled1 the spools take up 
a  sufficient quantity of rope1 so that 
pulling the rope causes the spool  to   
revolve and the curtain to roll up4     
,some of the more recent theatre        
curtains are stretched on a frame like  
a picture and rise flat1 like the lower 
sash of a window4 ,they are not         
difficult of manufacture1 but require   
that the proscenium and fly loft  be as 
high again as the stage opening1 and the
 curtain is arranged with  counter      
weights and side guides1 as ,figure #abi
 ,a4    ,if you consider the batten ,d  
of ,figure #abi ,a as the top of the fly
  loft1 and batten ,c as the top of the 
curtain1 the lines ,k are correctly     

placed to raise the curtain until ,c    
comes in contact with the pulleys  ,l4  
,the whole frame will have then been    
drawn up this distance1 and it  is only 
necessary to have batten ,d high enough 
to permit of the curtain  being drawn   
out of sight4    ,we show the hand line 
,e on ,figures #aca and #abg ,a to      
illustrate its  position if the curtains
 should be manipulated by hand without a
  counter weight1 but for permanent     
curtains the plan of #abi ,a1 with the  
continuous operating line1 will be found
 much better4      ,illustration3       
,,louis ,,xvi      ,illustration3       
,,louis ,,xiv                           
,,interior  ,,grouping4 ,,cosey         
,,corners4 ,,wall-,,hangings      ,that 
there is a knack in the selection and   
disposition of furniture  beyond the    
haphazard placing of odd pieces inside  
four walls is a fact  admitted by       
housekeepers generally4 ,that this knack
 is possessed in a  very limited degree 
by the average housekeeper is impressed 

again and  again on the mind of the     
observant decorator4    ,we have heard  
the statement that houses decorated and 
furnished by  the professional decorator
 lack that something--that indefinable  
charm--which can only be imparted by the
 touch of the homemaker woman4  ,in     
other words1 that man can make houses   
but woman makes homes4  ,this is        
beautiful as a theory1 but as a matter  
of fact the average                     
drawing-room--woman's particular        
care--contains enough incongruities to  
shock the artistic sense of the most    
liberal-minded of decorators4    ,the   
writer does not lay claim to any special
 dispensation of taste nor  any         
extraordinary degree of artistic        
training1 but he has seen scores  of    
rooms which by their furniture selection
 and arrangement were a  jumble of      
inarticulate profanity and defeated the 
purpose for which  they were intended4  
,i have in mind the drawing-room of a   
wealthy dry goods merchant 7who  is     

something of a curio hunter71 that is1  
considering the individual  pieces1 rich
 and sumptuous1 but the assembled whole 
is such a  conglomeration of style1     
design and color that it gives one the  
impression of a bazaar4    ,another     
expensively furnished drawing-room which
 occurs to my mind  imparts to the      
observer a feeling of strangeness4 ,the 
various pieces  are not only unrelated1 
but are so conspicuously separate in    
style and  purpose that they are not    
even acquainted4    ,then there are     
drawing-rooms that are so repellent     
because of their  military austerity    
that the back of the visitor            
unconsciously stiffens  and he feels    
that his entrance is presumptuous4      
,we have purposely drawn these          
descriptions in an exaggerated sense    
that we might in some measure give point
 to our statement that every  room of a 
house should have as the fundamental    
purpose of its creation  the comfort of 
mankind4 ,and as man is many sided in   

his nature1 having  many moods and      
needs1 these different moods create the 
necessity for a  varying environment    
suited to the complexity of the hour4   
,thus we have a sleeping-room1 a        
dining-room1 a reception-room1 an       
entertaining-room1 a cooking-room1 and  
so on1 each designed and  furnished to  
create the atmosphere and stimulate the 
spirits of the  occupant to the mood    
which the environment best serves4      
,the man who told his friend in         
confidence that the architect  wanted to
 put a drawing-room in his new house1   
and he supposed he  wpurposeould have to
 have it1 though it was no earthly use  
to him1  for he couldn't draw a straight
 line1 was in his way thinking pretty   
close to the line of purpose in home    
making1 which should be the  dominant   
factor in the furnishing of every room4 
,a sleeping-room should be not only     
provided with a bed and its  complement 
of clothing1 but in its location1       
furnishings and color  theory should    

suggest restfulness1 simplicity and     
repose4 ,that this  might be more easily
 produced1 we would suggest the use of  
modified  color and slight gradations of
 tone throughout1 using a monotone or   
duotone carpet of a modified shade 7a   
normal color is modified by  the        
addition of white and intensified by the
 addition of black71 a  lighter shade of
 the same color introduced in the       
movable furnishings1  as furniture and  
hangings1 lighter shades still in the   
side-wall and  frieze1 and modified to  
the barest suggestion of a tint in the  
ceiling4    ,avoid stimulating contrasts
 and keep to the same balance or        
modification of color where the slight  
contrasts are introduced4    ,for the   
living-room heavier colors and sharper  
contrasts may be  introduced4 ,but the  
same strength of color should be present
 in all  contrasts1 that the sense of   
balance be maintained4 ,in the          
living-room  will be assembled those    
with varied interests and purposes4 ,so 

there  will be present more or less of a
 jumble of different things which for   
the moment interest the various members 
of the circle4 ,consequently  more      
license is permitted in the furnishings4
 ,but those things which  by their      
design or construction suggest austerity
 or dignity should be  forever banished 
from this room4 ,in fact1 we know of no 
room in the  modern house where there is
 space to waste on furnishings which    
suggest  or actually impart discomfort4 
,the dining-room should be cozily1 even 
joyously1 furnished with those  colors  
and designs which suggest strength and  
satisfaction4 ,no half-way  colors or   
designs will answer here4 ,the tones    
used must be full1  rich1 satisfying1   
and the furniture should complete the   
suggestion4  ,the prevailing styles of  
dining-room furniture--particularly of  
the chairs--seem to have been purposely 
planned utterly devoid of  comfort1 that
 the occupant might not even for a      
moment be lulled into  forgetfulness of 

the business at hand1 but be urged to   
prosecute it  with dispatch and seek    
comfort elsewhere4      ,illustration   
,much the same thought seems to have    
established the prevailing styles  of   
hall chairs and seats4 ,truly1 if the   
chance guest who must needs  occupy one 
of them until his identity is           
established should judge of  the        
hospitality of the host by the comfort  
of these furnishings1 he  would make    
haste to depart while his wearied limbs 
could still perform  their office4      
,the reception-hall and drawing-room    
are1 perhaps1 the two places most       
anxiously considered in the planning of 
the house4 ,there seems to be  a        
mistaken idea that these places1 which  
are most seen by strangers1  should be  
furnished as an advertisement of the    
financial standing  of the owner4 ,no   
matter how much the rest of the house   
may suffer1  these places must be       
lavishly1 even extravagantly1 replete   
with  everything that custom ordains as 

necessary to a stylish house4 ,against  
extravagance as to value we have no     
quarrel1 provided all things are in     
keeping1 but we do oppose the garish    
assembling of costly goods which  do not
 make for comfort or beauty or utility4 
,have extravagance if you  will1 but not
 riot2 luxury1 but not profusion2       
comfort1 but not stock  display4    ,as 
to the arrangement of the various pieces
 of furniture we would  strongly advise 
a study of nature's scheme4 ,note the   
variety of  shapes and sizes of the     
trees of the forest2 the broken1        
sympathetic1  undulating surfaces of    
undisturbed mother earth4 ,note how well
  acquainted and even familiar the      
various parts of the landscape seem to  
be2 how the tall tree nods and reaches  
down to the short one and the  low one  
reaches up to the high one2 how the     
knoll sweeps gracefully  down to the    
level glade and how the glade runs up to
 the knoll4    ,everywhere is the charm 
of related variety and harmonious       

grouping of  equalized differences4     
,illustration3 ,fig #ace                
,illustration3 ,fig #acc                
,illustration3 ,fig #acd    ,everything 
in nature is formed and placed for      
purpose1 and here  is the keynote of    
harmonious interior arrangement4 ,for   
instance1 here  is a drawing-room with  
appropriate and well-chosen pieces of   
furniture4  ,how then shall we arrange  
them8    ,imagine the room peopled with 
a chattering gathering of average       
people4  ,this stout                    
all-over-upholstered armchair would be  
occupied by one of  the portly members  
of the group1 and as these persons would
 by contrast  appear larger and more    
portly in contact with those of lighter 
build 7a  chance of comparison which    
they studiously avoid71 we will dispose 
the  heavier pieces of furniture1 if not
 altogether removed from the lighter    
and more frail1 at least with           
intermediaries between in the shape of  
pieces which possess1 in a measure1 the 

characteristics of both4    ,preserve   
the balance of the room by distributing 
the weight much as  you would if it were
 a disk revolving on a central point4   
,if there is  a mantel here on the left1
 over there somewhere on the right would
  be a good place for the upright piano4
 ,if the cosey corner is in the         
southeast corner1 then the eye          
instinctively seeks a corresponding     
piece of capacious seat room in the     
vicinity of the northwest  corner4      
,continue this thought4 ,seat your      
imaginary guests in nglig               
conversational groups1 drawing some of  
the pieces confidentially near  to each 
other1 and you will in a great measure  
have solved the knack of  pleasing      
furniture arrangement4    ,to reach this
 consummation we said that the articles 
were in the first  place appropriate and
 well chosen1 and this1 of course1 must 
be the  basis of the furnishing scheme4 
,if we might1 we would plead for greater
 simplicity in furniture  selection1    

less of the garishness and more of the  
subpurposestantiality  of goods built to
 satisfy and to last2 not necessarily   
the  cumbersomeness of ,mission1 but the
 pleasing styles of ,sheraton's  work1  
where strength was clothed with grace of
 outline and disguised  with unobtrusive
 ornamentation4 ,we look for a style    
somewhat similar  in character and      
purpose to grow out of the present ,arts
 and ,crafts  and ,mission1 which have  
appealed so strongly to                 
ornament-satiated  appetites2 that grace
 will be added to strength1 and chaste  
ornament to  simplicity of construction4
      ,,cosey ,,corners4    ,all that   
has been said in regard to              
appropriateness in general  furnishings 
is true in a concentrated sense of the  
cosey corner4  ,applicable and suitable 
in almost every room of the house1 it   
should  be all that the name implies4   
,the simple desire for its possession   
should be no excuse for its introduction
 in a location where coziness  or even  

comfort would be an impossibility4 ,a   
cosey seat should never be  placed in a 
position where its presence would       
constitute a nuisance1 as  before a     
window or in a doorway4 ,it usually     
appears lonesome away from  the wall1   
and as its atmosphere is retiring it    
should occupy the least  conspicuous    
position4 ,it is not intended as a      
single seat1 and should  therefore be   
fairly commodious but not oppressively  
large4 ,and1 above  all1 it should be   
comfortable4    ,as to color1 the cosey 
seat and all other large upholstered    
pieces  should follow the dominant color
 tone of the room1 the contrasts being  
introduced in the smaller pieces4    ,we
 illustrate a few of the treatments     
which serve this useful purpose  and    
conform to the prevailing thought in    
regard to style1 shape and  general     
utility4    ,figure #acc1 one of the    
common types1 is constructed of a bench 
seat1  loose cushion1 box pleated       
valance1 and curtain back4 ,in suitable 

covering this style could be introduced 
in almost any room of the  house1 but is
 most used for den1 sitting and bedroom 
corners4    ,figure #ace illustrates    
apurposen all-over-upholstered seat and 
back  with bric--brac shelf4 ,this style
 is capable of a great deal of          
elaboration and is much used for        
reception and drawing-rooms4 ,made with 
a polished wood frame instead of the    
stuff-over1 it is much more dainty  in  
rooms where the other furniture is      
delicate and of the show wood  variety4 
,figure #acd is a heavier type and more 
after the style of ,arts and  ,crafts4  
,built to conform with the other        
furnishings1 this style is very         
appropriate for dining-room1 library1   
hall1 club or den corners and  lends an 
air of solidity to the room it occupies4
      ,illustration3 ,fig #acf          
,figure #acf illustrates a den seat with
 over canopy--the seat is  provided with
 a loose couch throw or cover and the   
canopy is made up  of two scarf         

draperies and a pair of curtains with a 
shirred roof of a  plain color to match 
the draperies4    ,there is opportunity 
for a great deal of ingenuity in the    
construction  of these fitments1 and by 
following the motif or theme of the     
general  furnishing scheme of a room you
 will have little difficulty in evolving
  fitments that will not only suit their
 environment1 but will be an  artistic  
addition to the furniture of the room4  
,,wall-,,hangings4    ,if the walls of a
 room are covered with a fabric there is
 usually less  difficulty in working out
 a complete scheme of color harmony1 and
 for  that reason the use of fabric wall
 coverings is usually recommended by    
the decorator who undertakes the        
complete furnishing of a room or suite4 
,although there are little tricks and   
wrinkles for the application of  special
 fabrics to special places which are    
acquired by practice1 in  the main wall 
covering is quite simple4    ,in ,figure
 #acg we show the plan of a room        

measured for covering4 ,the  walls are  
drawn as if they had been pushed out    
flat like the sides of a  cardboard box4
 ,each wall is measured separately1 and 
the positions of  doors1 windows1       
recesses and projections accurately     
indicated on the  plan by the proper    
measurements4    ,to cut the sections   
for a wall such as we illustrate        
commence with  section #a and each      
separate section is cut and matched to  
the preceding  one1 so that the pattern 
will be continuous around the room2 this
  requires nice calculation to allow for
 the quantities of pattern that  are    
consumed by the tacking and back tacking
 in the angles1 but an  allowance of two
 or three inches extra each way will    
usually be found  sufficient to allow of
 the pattern being matched1 provided the
 lengths  have been cut at the same     
pattern4    ,upright seams only are     
permissible in wall fabrics1 and these  
should be  as few as possible and       
perfectly plumb4      ,illustration     

,after having cut the first length with 
about three inches extra for  handling1 
if the next length when matched would   
cut to waste1 try one  of the shorter   
lengths or two of the short ones        
together--if this still  causes waste   
try the other end of the goods--never   
cut goods to waste  until you have      
exhausted every expedient you know to   
avoid it4      ,illustration3 ,fig #acg 
,beveled wall strips1 as ,figure #ach   
,a1 are placed at top1 bottom and  both 
sides of every separate space as well as
 around all projecting  frames1 as      
windows and doors2 these are securely   
fastened to the  studding by nails or   
screws1 and all holes in the plaster    
covered with  pasted paper to prevent   
dust sifting out4    ,the double lines  
of ,figure #acg illustrate where beveled
 strips are  necessary and provide for  
two in every angle corner and two also  
on the  face of each projecting corner4 
,one of those1 however1 used in each    
angle1 as number #b of ,figure #ach ,b1 

is only temporarily fastened at first4  
,commencing with section #a cover  the  
walls first with shaker or canton       
flannel lining tacked smoothly  and     
evenly on the strips1 as ,figure #ach2  
next spread the covering out1  attaching
 it temporarily to the top strip until  
you get it in place1  then commencing in
 the centre at ,x tack each way1 keeping
 the edge  straight and tight1 but not  
stretched4 ,drop a plumb line from the  
top  over the centre seam and stretch   
the seam down as the line indicates1    
tack it temporarily1 and do this with   
all the seams2 now pull down half  way  
between the seams and tack permanently1 
halve the two spaces thus  made and tack
 again and continue halving and tacking 
until the bottom  is all tacked in      
place1 taking care to stretch the goods 
so that the  pattern is perfectly       
straight at the bottom4    ,now stretch 
each side and tack it closely into the  
angles1 as the tacks  on strip number #a
 must be covered by the thick edge of   

strip number #b1  ,figure #ach ,b2 now  
take the loose strip number #b which was
 removed to  allow the tacks to drive   
close up into the corner4    ,after     
matching the exact part of the pattern  
which is to turn in of the  next        
section1 tack the marked edge of goods  
to the back edge of strip  #b1 nail the 
strip in place so that there is no gap  
between the two  angle strips4 ,cover   
the wall with lining and stretch the    
cover across  from the tacked side1     
fasten it temporarily and then          
commencing at the  side which is        
fastened permanently tack across the    
top1 keeping the top  tight1 but not    
stretched1 stretch down and plumb the   
seams and finish  as before4    ,the    
detail of procedure for ,figure #acg    
would be as follows3 ,section #a  tacked
 all around4 ,section #b back tacked at 
,b stretched around ,c and  to tack at  
,e4 ,section #c back tacked at ,e and   
stretched to ,f4 ,section  #d backed    
tacked at ,f and stretched around ,g to 

,h4 ,back tack ,section #e  at ,h1      
stretch to ,i4 ,back tack #f at ,i1     
stretch to ,j4 ,back tack #g at ,j1     
stretch around ,k and ,l to ,m4 ,back   
tack #h at ,m1 stretch to ,n4 ,back tack
  #i at ,n1 stretch around ,o to angle  
,p4 ,back tack #aj at ,a1 stretch around
  ,s to ,r4 ,back tack half of #aa at ,r
 and half at ,p1 and stretch each to    
join at ,l1 which has been chosen as the
 smallest place for a join to be  made  
by hand4      ,illustration3        ,fig
 #ach        ,fig #ach ,a        ,fig   
#ach ,b    ,finish at top and bottom and
 around windows and doors with a gimp or
  molding1 and the room is complete with
 continuous pattern and every  tack     
concealed4                              
,,awnings  ,,and  ,,veranda  ,,curtains 
,awnings are naturally divided into two 
classes--house awnings and store        
awnings4 ,of the first1 ,figures #aci1  
#adj and #ada illustrate the kinds of   
windows most frequently met with4       
,figure #aci is an ordinary square top  

window1 of which ,figure #adb ,a is a   
side view in skeleton1 showing the      
method of attaching the frame to the    
window1 and also the relative size  of  
the awning to the window4    ,to measure
 this window for an awning1 measure the 
width of frame from  centre to centre   
7,a--,a71 and half the distance from the
 top of the  frame to the sill1 with    
three inches added 7,a--,b74 ,these     
measures are  simple1 but should be     
carefully taken to ensure a good fit4   
,take note  also of any projections of  
stone or brick which would prevent the  
awning fitting closely to the frame all 
around1 and be sure to allow  for these 
when making the awning4    ,figure #ada 
is measured in like manner1 and a record
 also made of the  depth from the top of
 the centre to the top of the straight  
side of  the frame 7,c--,b74 ,the round 
top 7,figure #adj7 is measured for width
 and  height as the foregoing1 but the  
height of the circular sweep must also  
be taken4 ,stretch a tape or cord across

 at ,b--,b1 the spring of the  arch1 and
 then measure the distance from this to 
the top of the frame  7,b--,c74 ,if the 
windows are so constructed or are in    
such a position  that a projection of   
three inches more than half the height  
would not  be permissible1 a measurement
 must be taken for projection also2 but 
if  there is nothing to interfere with  
this amount of projection the height    
measurement will be sufficient to       
determine the amount of projection4     
,when ready to cut the goods1 mark out  
on your awning table 7which  should have
 a top measurement of at least #e4j     
#h4j1 and larger if  possible7 the      
measurements as follows3 ,on one end of 
your table 7,figure  #adc7 draw a line  
across it parallel with the end and     
eleven inches from  it4 ,now1 attaching 
a tape at ,a1 one end of your line1     
measure across  to ,b1 the projection of
 your awning 7,a--,b1 ,figure #aci71    
which is half  the height of the window 
and three inches extra4 ,place a tack at

 ,b1 the  point thus determined1 and    
then measure up the table the height of 
the  awning 7in this case the same as   
the projection74 ,place a tack at this  
measurement 7,d7 also1 and chalk a line 
across the table2 fasten the  tape at   
tack ,d1 draw it across to tack ,b and  
down to ,c1 the end of the  table1 as   
indicated by the heavy line2 add a      
couple of inches for hems1  and this    
measurement represents the length of the
 top of the awning4    ,plate #aee is a 
ready-reckoner for quantities required  
for the sizes  therein contained when   
the projection and height are the same4 
,to find  the height required for the   
top of a given size1 take1 for instance1
  #c4j projection by #c4j high 7#c4,o   
#c4j71 the top measurement is #d4c2 add 
#a4j for curtain and the total #e4c is  
reached4    ,to determine the number of 
widths required to make the width of the
  awning1 refer to the width table1     
which gives the finished measurement  of
 different numbers of widths when joined

 together4 ,cut a sufficient  number of 
lengths the size needed as measured from
 ,d to ,c and join them  up to aggregate
 the width of the top of the awning4 ,to
 cut the ends  draw another chalk line  
eleven inches beyond point ,d on your   
table and  mark the projection on it    
7,f1 ,figure #adc7 and rule from ,f to  
,c1 the  end of the table1 cutting      
through ,b2 snap a chalk line from ,b to
 ,d 7as  heavy line1 ,figure #adc74     
,take a flexible slat1 and placing it   
against  the tacks at ,d and ,b1 bend it
 an inch beyond the chalk line at ,g2   
mark  the curve thus described as dotted
 line and repeat on the other side  of  
the line4 ,cut out along the two curved 
lines and across at ,f1 which  will give
 you two complete ends1 and if the goods
 are reversible 7i4  e41 the same on    
both surfaces71 by turning one end over 
these two  form a pair4    ,should the  
goods not be reversible1 and there are  
two awnings to make  which are the same 
size1 mark one set 7as ,figure #adc71   

and the next set  biased from ,a to ,h1 
and this will give you two pairs of     
ends4 ,or1 if  only one awning is to be 
made1 and the goods are not reversible1 
each  end is planned out separately by  
ruling the pattern 7as ,figure #adc7 and
  piecing the goods out to fill the     
space outlined by ,d--,b--,c and ,i4    
,to assemble the pieces the ends are    
joined to the top1 as indicated by      
figure #add1 the edge of the top forming
 a binding over the biased edge  of the 
end 7see ,figure #add ,a1 a cross       
section of the seam74 ,scallop the      
bottom edge as indicated by dotted      
lines1 so that each stripe centres  in  
the scallop 7as ,figure #add7 and sew a 
two-inch strip or band of the  duck on  
the inside of the awning to receive the 
iron1 as indicated by  dotted lines1    
,figures #add and #ade4 ,figure #ade    
also indicates where  patches of the    
same material1 about four inches square1
 are sewn to the  top 7inside7 to       
reinforce the rings through which the   

ropes pass1 and  the method of attaching
 the rope to the iron1 small openings   
being left  in the band for this        
purpose4      ,illustration    ,awning  
rings are sewn along the top edge at    
intervals of six inches1  and also one  
at each end of the band1 as ,x1 ,figures
 #add and #ade4 ,mount  the awning by   
sliding the iron through the pocket     
between the band and  the awning proper2
 thread the ropes through the rings so  
as to lead  to the right side of the    
awning from inside the room1 as ,figure 
#ade1  and as ,figures #adb ,a and ,b1  
which show an awning iron in position1  
but  uncovered to show the roping4      
,illustration3        ,fig #aci         
,fig #adj        ,fig #ada        ,fig  
#adb        ,fig #adb ,a        ,fig    
#adb ,b        ,fig #adc        ,fig    
#add        ,fig #add ,a        ,fig    
#ade        ,fig #adf        ,fig #adf  
,a        ,fig #adg        ,fig #adh    
,fig #adh ,a        ,fig #adh ,b        
,fig #adi        ,fig #adi ,b           

,fig #aej        ,fig #aej ,a           
,fig #aej ,b        ,fig #aej ,c    ,to 
put up the awning1 fasten the cleat ,b  
7,figure #adb ,a7 in position1  then1 by
 measuring the positions of the ropes on
 the front of the iron1  determine where
 pulleys or screw-eyes will have to be  
placed to be in  line with the ropes2   
put these in and pass the ropes through 
them1 pull  up the awning and fasten the
 ropes to the cleat4 ,the weight of the 
awning is now held in position1 and it  
is a simple matter to put in the  hooks 
at the top1 one for each ring4 ,lower   
the awning until it hangs  in position  
7as ,figure #adb71 the iron supported by
 the cover4 ,adjust  the feet at ,a     
7,figure #adb ,a71 so that the iron     
hangs square and true1  and fasten them 
in place4 ,test the ropes to see that   
the awning raises  properly and easily1 
and the job is complete4    ,for round  
elliptic or shaped tops1 as ,figures    
#adj and #ada1 we prefer  to cut the    
awning from the iron itself4 ,fasten the

 iron to the floor  7as ,figure #adf7   
and then let it lie flat1 as dotted     
line1 while you  mark out its shape and 
dimensions on the floor4 ,raise it again
 to the  perpendicular and fasten it    
with a cord1 as indicated1 so that it   
will  stay in an upright position4      
,measure the distance from ,a on the    
dotted  line to ,b on the iron2 allow a 
couple of inches at each end for hems1  
and cut a length this size4    ,try this
 on the iron and dotted line1 and       
measure the length for the  next piece  
to join to this one4 ,repeat this until 
enough are joined to  reach around the  
iron1 and commencing in the centre of   
the iron and  dotted line pin and tack  
the goods smoothly to the shape thus    
outlined1  working all the fullness out 
to the corners 7as ,figure #adf ,a74    
,mark  the line described by your tacks1
 which have followed the dotted line  on
 your floor1 and mark the goods on the  
edge of the iron all around2  allow for 
seams beyond these marks and cut the    

surplus away4 ,turn a  half-inch hem    
around the edge marked on the floor and 
sew rings to it  for the top edge4 ,cut 
and scallop a piece long enough to go   
around  the length of the iron and sew  
this to the edge of the cover where     
marked on the iron4 ,lay the scallop and
 cover face to face and take an         
ordinary seam1 so that when the seam is 
opened out the raw edges will  be on the
 under side2 sew a two-inch band beneath
 this seam for the  iron and patch and  
rope it as before4    ,this is the      
simplest and most certain plan of       
getting any shape other  than square to 
fit the iron properly4    ,the foregoing
 methods apply to all iron-frame awnings
 where the height  equals the           
projection4 ,it is sometimes required1  
however1 that the  projection4 be       
greater than the height1 that the       
necessary shade be  obtained and not    
have the frame so low that it would     
interfere with  ordinary traffic beneath
 it4    ,to overcome this difference    

slides may be used1 like ,figure #adg1  
which  permit the iron to drop to their 
lower ends1 as ,x--,x1 dotted bar1 when 
drawing up the awning1 and the irons are
 pushed up and pinned1 as  illustrated1 
when the awning is fully extended4      
,awning covers for irons  with slides   
have a band on the front edge only1 as  
side-bands would  prevent the iron from 
descending the slides4 ,the bottom      
corner of the  awning is held in place  
by a ring and hook at the top of the    
slide4      ,illustration3 ,,view       
,,inside ,,of ,,veranda        ,fig #aea
        ,fig #aeb        ,fig #aec      
,illustration3 ,plate #aed              
----------------------------------------
--------------------      ,,width       
,feet of  ,yds of            ,feet of   
,yds of             ,projection   ,iron 
,duck  ,projection   ,iron    ,duck     
----------------------------------------
--------------------       #b-j     #b-f
        #g       #c      #c-j        #h 
#e                  #c-f        #i      

#e      #d-j       #aj       #f         
#d-f       #aa       #g      #e-j       
#ab       #h                            
----------------------------------------
--------------------       #b-f     #b-f
        #g      #c      #c-j        #h  
#e                  #c-f        #i      
#e      #d-j       #aj      #f          
#d-f       #aa      #g      #e-j        
#ab      #h                             
----------------------------------------
--------------------       #c-j     #b-f
        #h       #d      #c-j        #i 
#e                  #c-f       #aj      
#f       #d-j       #aa       #f        
#d-f       #ab       #g      #e-j       
#ac      #aj                            
----------------------------------------
--------------------       #c-f     #b-f
        #h      #d      #c-j        #i  
#e                  #c-f       #aj      
#f      #d-j       #aa      #f          
#d-f       #ab      #i      #e-j        
#ac     #aj                             
----------------------------------------

--------------------       #d-j     #b-f
        #i       #d      #c-j       #aj 
#e                  #c-f       #aa      
#f      #d-j       #ab       #h         
#d-f       #ac       #i      #e-j       
#ad      #aj                            
----------------------------------------
--------------------       #d-f     #b-f
        #i      #d      #c-j       #aj  
#e                  #c-f       #aa      
#g      #d-j       #ab      #h          
#d-f       #ac      #i      #e-j        
#ad     #aj                             
----------------------------------------
--------------------       #e-j     #b-f
       #aj       #d      #c-j       #aa 
#f                  #c-f       #ab      
#g      #d-j       #ac       #h         
#d-f       #ad       #i      #e-j       
#ae      #aj                            
----------------------------------------
--------------------      ,figure #adh  
illustrates another method of obtaining 
a greater  projection than the height by
 using an extended bracket1 the iron    

throwing up as dotted bar ,x--,x2 while 
dotted bar1 ,figure #adh ,a1 would  give
 greater projection1 still on the same  
bracket1 by increasing the  length of   
the bar and lowering the bracket till   
the straight part of  the bar is on a   
level with the front of the awning4     
,illustration    ,for awnings wider than
 #f4j1 with a projection of #d4j or     
over1 the iron  is usually made in three
 sections 7as ,figure #adi71 and if more
 than #i4j  wide a centre support is put
 in like ,figure #adi ,a4 ,small store  
awnings  may be made as above1 but for  
large sizes roller awnings 7as ,figure  
#aej7 will be found much more           
substantial and easy of manipulation4   
,the roller is either made of iron      
tubing wrapped with canvas and the  duck
 sewn to it1 or it can be built up of   
wood 7as ,figure #aej ,c71 the  laps or 
joints wound with band iron and the     
whole securely nailed  together4        
,illustration3 ,plate #aee    ,put an   
iron hoop on each end to keep the pin   

from spreading it1 and  provide one end 
with a spool 7as ,x1 ,figure #aej ,b74  
,the rope is attached  to and wound upon
 the spool and the roller put in the    
brackets4 ,if  the roller is long enough
 to require a centre support1 ,figure   
#adi ,b  provides an excellent bracket4 
,the side arms are placed in position as
  indicated in ,figure #aej1 so that    
they will throw up straight with the    
edge of the bar in line with the roller 
7,figure #aej ,b74 ,the bar is made  of 
clear straight pine #b  #d inches1 and  
the duck is first tacked to  the roller 
and then to the bar1 as ,figure #aej4   
,the ends are made and attached1 as     
illustrated by ,figure #aej ,a1 and     
need not be further explained4 ,the     
awning is manipulated by pulling the    
rope which unwinds1 causing the roller  
to revolve and releasing the  rope      
allows the weight of the awning to make 
the roller revolve the  reverse way1    
winding up the rope4    ,veranda awnings
 are constructed as are other awnings1  

and increase  the comfort and shade of a
 veranda1 the same rule of proportion as
  given above being used in the         
measuring and the feet of the iron      
attached to the posts of the veranda4   
,in many cases veranda awnings are      
impracticable1 and veranda curtains are 
used as a substitute4 ,these are        
constructed to work horizontally 7as    
,figure #aea71 or mounted on rollers    
7as ,figures #aeb and #aec74 ,of the two
 styles those of ,figures #aeb and  #aec
 are more preferable1 because when not  
in use they may be drawn up  completely1
 while the other is more or less exposed
 to the elements at  all times4    ,the 
rollers may be a spring shade roller    
mounted in the ordinary way1  or a      
roller with a spool and cord1 identical 
in principle with the  roller shown in  
,figure #aej1 and the bottom of the     
curtain is provided  with snaps to hold 
it in place when down4    ,in ,plate    
#aed we give a table of the ordinary    
sized awnings1 giving the  quantities of

 iron and duck required in their making4
 ,we have figured  on thirty-one-inch   
reversible duck1 cutting the ends as    
marked out in  ,figure #adc4    ,the    
awning trade is essentially a ,summer   
trade and the season  necessarily short1
 and as customers usually postpone the  
purchase of  these things until they are
 really needed1 this work must be       
handled  quickly to be successful4 ,we  
have found it a good plan where possible
  to arrange for recovering and renewing
 this work for regular customers  during
 the late ,winter months1 when the      
workroom is apt to be a little  slack4  
,illustration                           
,,the  ,,application  ,,of  ,,grille    
,,work      ,grille work1 fret work or  
lattice work1 as it is variously termed1
 may1  when properly applied1 serve a   
very useful and decorative purpose4     
,like many other decorative articles1   
however1 its uses are not always        
governed by its limitations1 and it is  
frequently misapplied4    ,as an aid to 

decorative fabrics in the artistic      
reduction of large  openings1 or as a   
partial screen or division that will not
 altogether  obstruct either the vision 
or the light1 it is unequalled by any   
other upholstery adjunct4 ,setting aside
 its uses for office railings1          
partitions1 etc41 in which we are not   
particularly interested1 we  consider it
 solely as a household fitment4         
,unlike other furnishings1 such as      
draperies1 chairs1 tables1 etc41 the    
grille is essentially a part of the room
 itself1 and should conform to  the     
style1 color and composition of the wood
 trimmings of the room1  which          
practically means that the fitment must 
be made to order4    ,there are scores  
of ready-made stock grilles and patterns
 on the  market1 some of which can be   
applied with comparatively little       
trouble  to different purposes1 but     
their greatest drawback as a general    
decorative stock is their set style and 
finish1 and consequent lack of  sympathy

 or relation to other furnishings4      
,we have been continuously advocating   
uniformity or conformity as the         
foundation of decorative thought1 and in
 no branch of the trade is this  more   
necessary than in the application of    
grille work4 ,few people would  have the
 courage to advocate the use of         
quartered-oak polished doors  in a room 
with white enameled wood trims1 and yet 
grille work made  and finished in       
natural oak is confidently shown by some
 salesmen as  equally suitable for      
weathered oak dining-rooms1 ,oriental   
dens or ,louis  ,,xvi drawing-rooms4    
,this1 of course1 is the salesman or    
check-book holder's end of the          
business1 and with incentives in the way
 of tally sheets and selling            
percentage1 small wonder if he considers
 the amount of the sale rather  than the
 suitability of the article4 ,it would  
be better for the  trade generally if   
every salesman could have expert        
training in the  application of the     

goods he sells1 and we believe this is  
possible  to the man who studies and    
profits by experience4 8,there is always
  information for the man who is willing
 to dig10 but until this is  considered 
possible the decision as to fitness     
rests with the decorator4    ,we        
illustrate suggestively a few designs in
 which the practical element  is as much
 considered as the decorative4          
,illustration      ,illustration3       
,fig #aeg        ,fig #aef        ,fig  
#aeh        ,fig #aei    ,in ,figure    
#aef grille work is used to break the   
length of a room and  form a partial    
division4 ,the weight of the whole      
treatment should be  carried out in     
keeping with the woodwork of the room1  
and also with due  consideration of the 
size of the room itself1 a large room   
requiring  the use of heavier woodwork  
than a small one1 and the columns       
properly  proportioned to the amount of 
woodwork in the upper portion of the    
grille which they support4              

,illustration3        ,fig #afj         
,fig #afa    ,this treatment can be     
effectually employed to divide a large  
bay window  from the room proper1 to    
divide a hallway1 or to reduce the size 
of a  large opening between two rooms4  
,figure #aeg illustrates another        
application of the same idea1 with  one 
side only supported from the floor4     
,while it is not absolutely  necessary  
that the pattern in grill work should be
 exactly duplicated  on each side of the
 centre1 the balance or symmetry must be
 retained by  having the same body or   
expanse of woodwork on each side of the 
centre1  or when a drapery is used1 as  
in this case1 it should be so disposed  
as  to equalize the appearance of the   
grille by having the heaviest part of   
the drapery opposite to the heaviest    
side of the grille work4    ,figure #aeh
 illustrates an archway treated with a  
grille and drapery  forming an entrance 
to a bow window4 ,both sides of this    
treatment  balance1 and the depth of the

 whole is determined by the height of   
the  room1 sufficient room being        
provided for a comfortable passage      
beneath4    ,high doorways may be       
reduced in height by using a straight   
panel of  grille work1 as ,figure #aei1 
and when used in conjunction with a pair
 of  portires the slim appearance       
imparted to an opening by long1 straight
  portires may be avoided4    ,rope     
portires1 as shown in ,figure #aei1     
serve much the same purpose of          
transparent decoration as grille work1  
and may be effectively employed  for    
doorways1 archways1 alcoves1 etc41 and  
as they can be so easily  procured in   
special colors to match their           
surroundings1 they have  become quite   
popular4      ,illustration3 ,fig #afb  
,in ,figure #afj we illustrate a        
combination of scarf drapery and grille 
corners4 ,this idea can be employed in a
 great many ways1 and with  different   
designs of corners 7which can be        
finished to match the  desired          

woodwork71 some very effective trims can
 be produced4      ,illustration    ,the
 metal grille shown in ,figure #afa is  
made of strap iron or brass1  bent to   
shape and riveted together in a frame4  
,it is provided with two  incandescent  
lights1 serving for illumination as well
 as decoration1  and squaring the arch  
for straight portires4    ,this idea of 
doorway illumination has recently been  
elaborately  introduced by the ,parisian
 decorators in the form of festoons of  
electric jewels1 which scintillate and  
glow with beautiful prismatic  colors4  
,a door treatment after the style of    
,figure #afb would form an attractive   
treatment for club1 hotel or ballrooms1 
and the idea admits of almost  endless  
variation4      ,illustration           
,grilles are also made of rattan1 the   
patterns made up in the scrolls  and    
spindles common to rattan furniture1 and
 ordinary manila rope1  stiffened with  
glue1 while bent into circles and       
scrolls1 can be  assembled into very    

attractive grilles1 which are shellacked
 and  varnished in natural or tinted    
colors4    ,some of the mistakes most   
frequently made in the application of   
grille  work are characterized as       
follows3    8,using a design foreign to 
the style of the room40    8,using too  
much grille for the size of the space40 
8,using diminutive designs for large    
spaces1 and vice versa40                
8,poorly-balanced1 top-heavy or         
lop-sided designs40    8,inharmonious   
coloring40    ,always use a rule or rod 
when measuring for grille work2 never a 
tape4  ,take a pattern of all irregular 
spaces and fit the pattern into the     
space to insure its correctness before  
making the grille4    ,the prettiest    
design may be hopelessly spoiled by a   
poor fit1 and  measurements should be   
absolutely accurate4      ,illustration 
,,workroom  ,,auxiliaries      ,the     
workroom should be cheerful and well    
lighted2 roomy and  well-equipped4 ,some
 upholstery managers1 evidently         

considering the  workroom a disagreeable
 though necessary part of the           
department1 do not  give sufficient     
attention to its location and           
furnishing4 ,perhaps one  of the reasons
 why the average upholstery buyer does  
not think more  highly of the workroom  
is because of the unsatisfactory        
comparison  it presents to the strictly 
merchandise end of the business4 ,he has
  comparatively little difficulty in    
figuring the percentage of gain on      
twenty-five or fifty yards of material  
cut off the piece and delivered1  and   
can easily determine whether the        
transaction was profitable or           
otherwise4 ,but send that twenty-five or
 fifty yards of material  through the   
workroom1 and unless he is a practical  
man1 thoroughly  understanding the      
nature and value of the work performed1 
he is apt to  feel that the ratio of    
profit is uncertain4    ,we know of but 
one way to offset this feeling1 and that
 is by a  carefully thought-out system  

of tallying1 so that each item that     
passes  through the workroom will be    
accompanied by a voucher that shows     
correctly all details of the work       
performed4    ,briefly enumerated1 the  
points to be covered in a system are    
about as  follows3    #a4 ,a careful    
check on every item of material directly
 or indirectly  supplied to the         
workroom4    #b4 ,a careful charging-up 
in the workroom of every item consumed  
in the  completion of the work4    #c4  
,a serial numbered sheet for each       
workroom order1 which is filed and      
indexed on the completion of the work4  
,illustration3 ,fig4 #afd4    #d4 ,all  
goods taken from the department for use 
in the workroom should  be duly         
accepted1 measured1 checked and         
receipted for by the head of  the       
workroom and the receipt immediately    
deposited in the office4    #e4 ,all    
goods received from the workroom should 
be examined by the  salesman whose order
 they are1 and all surplus goods checked

 and  receipted for by him4    #f4 ,all 
goods taken to the workroom should be   
accompanied by fullest  written         
instructions1 and work should not be    
commenced until the  instructions are   
accepted by the head of the workroom4   
#g4 ,all disputes relative to the amount
 of goods used should be referred  to   
the manager1 and on no account should a 
salesman be permitted to  alter the     
workroom report on any order4    #h4 ,on
 receipt of the finished work the       
salesman should fill out on  workroom   
voucher his sales number1 the amount    
charged the customer for  the completed 
work as covered by the workroom report1 
the date and the  number of his sales   
check4    ,the head of the workroom     
shall1 after having receipted for an    
order1 be  held responsible for its     
execution within the time stated1 and   
should  return with the completed order 
all surplus goods1 requiring a receipt  
for same and depositing the receipt in  
the office4 ,by having all  receipts    

from department and workroom numbered   
with the serial numbers  of the         
work-sheet to which the order belongs1  
it will be possible at  any time to     
verify the quantities reported as having
 been consumed in  the workroom1 and a  
check can be kept on every order4       
,there is1 however1 no plan which human 
ingenuity can devise which will  not    
depend on the honesty and carefulness of
 those who operate it for  its          
effectiveness1 and there is every       
necessity for carefulness and  certainty
 in connection with workroom management4
      ,illustration3 ,fig #afc4    ,the 
work performed by outside men should be 
just as carefully  recorded--a proper   
sheet should be made out for each order 
showing  the nature of the work and the 
amount paid for it4 ,the workman should 
record his time and the materials used1 
and the sheet should be  returned to the
 office for filing4    ,with a system   
such as we suggest the manager has but  
to compare these  reports with his      

salary and expense list to ascertain the
 amount earned  by the workroom staff4  
,the equipment of the workroom should at
 all times be fully adequate to  the    
demands upon it1 and the very smallest  
of workrooms should have  at least3 ,a  
good sewing machine1 capable of         
performing fine or coarse  work2 a      
cutting table approximately #e--j by    
#ab--j2 a work table #e--j by  #i--j2 a 
pressing table #c--j by #f--j2 a draping
 board1 a test pole1 a  steamer and a   
cupboard for finished work4    ,as to   
the sewing machine1 almost any reliable 
make of machine will do  the necessary  
sewing for ordinary drapery work4 ,there
 are1 however1  special machines for    
special kinds of work1 such as window   
shades1  awnings1 bobbinet curtains1    
etc41 which greatly facilitate their    
manufacture4 ,poor machines of any kind 
7human or mechanical7 are false         
economy4    ,the cutting table should   
have a level1 smooth top1 and should be 
so  situated that the operator can walk 

all around it4 ,if covered with  white  
table oil-cloth the measuring lines     
placed upon it from time to  time can be
 washed off1 and the top is always      
smooth and free from  slivers4    ,the  
work table should have a good1 clear1   
soft wood top1 and should  be           
permanently marked in feet1 the first   
foot at one end being again  divided and
 marked in inches4 ,this is the table to
 which portires are  tacked in making1  
as illustrated in the chapter on        
portires4      ,illustration3 ,fig #afe 
,the pressing table should be of a      
convenient height for pressing1 and     
should be padded to about the thickness 
that two layers of an ordinary  blanket 
would give it1 and then covered with    
clean white unsized cotton4    ,the     
drapery blackboard should be about #e--j
 by #ae--j1 or larger1 if  convenient1  
so placed that the top of it can be     
easily reached4 ,the use  of this board 
has been referred to in the preceding   
chapters1 and the  illustration1 ,figure

 #afc1 gives further explanation of its 
purpose4    ,the test pole1 which is    
also shown in ,figure #afd1 is used to  
test the  hang of portires before and   
after cording4    ,the opening can be   
set at any desired height1 and the      
portires can be  thoroughly examined    
before leaving the workroom4    ,the    
steamer shown in ,figure #afe is used   
for steaming the nap of pile  goods     
which have become crushed1 the cross    
partitions ,a--,a are tightly  stretched
 pieces of heavy cotton which absorb the
 moisture1 and the  open top of the box 
is covered with several thicknesses of  
the same  fabric4 ,the steam enters the 
intake at ,x1 and follows the direction 
of the arrows until it finally emerges  
through the top4 ,the goods  are drawn  
across the top of the box beneath the   
roller nap side up1  and the brush      
roller is made to revolve so as to lay  
the nap in the  proper direction while  
it is softened by the steam4 ,the motion
 of both  roller and goods should be    

steady and continuous from beginning to 
end1  and should be slow or quick       
according to the amount of steam passing
  through the fabric4    ,the quantity  
of steam should be regulated so that it 
will just soften  the fabric without    
making it wet4 ,the hair of the brush   
should be  short1 even1 and fairly      
stiff4 ,the brushes used in carpet      
sweepers  when joined end to end make   
good steamer brushes1 or the roller can 
be  covered with mohair plush1 so that  
the nap forms a brush4    ,while it may 
not be always convenient to construct a 
steamer large  enough to take the width 
of the goods with one operation1 and as 
complete as the one herein described1   
the quality of the work performed  by   
one of this kind will repay the effort  
of building it4    ,drapery work that is
 not worth doing well is not worth doing
 at all1  and it is far better to turn  
out a perfect job at cost1 or even at an
  occasional loss1 than to turn out poor
 work that pays a big profit4 ,the      

customer who receives firstclass work   
will usually return and will be  willing
 to pay you a fair price for your work1 
so that in the end you  may be recouped2
 but the customer who pays a big price  
for a poor and  unsatisfactory article  
seldom returns to give you another      
chance4    ,it would be a magnificent   
achievement to make a workroom pay      
thirty-three and one-third per cent4    
profit1 but the chief value  of a       
workroom lies not in its earning power  
from a per cent4  standpoint1 but rather
 in its power to hold and satisfy       
critical custom  and in the educational 
suggestiveness finished work produces1  
and which  accounts for a large amount  
of the yard goods which are sold without
  passing through the workroom4         
,transcriber's ,notes3    ,obvious      
printers'1 punctuation and spelling     
errors have been corrected  silently4