Cutting and Draping

A PRACTICAL HANDBOOK FOR
UPHOLSTERERS and DECORATORS

OVER TWO HUNDRED AND FIFTY DIAGRAMS AND ILLUSTRATIONS

By JOHN W. STEPHENSON

CLIFFORD & LAWTON

19 UNION SQUARE, NEW YORK

TABLE OF CONTENTS.

Copyright, 1905, by Clifford & Lawton.

Fig I

Fig II

Fig III

Fig III B

Fig IV

FRENCH FESTOON DRAPERY

(SEE TEXT ON OPPOSITE PAGE)

FRENCH FESTOON DRAPERY

The art of draping is nearly as old as is the manufacture of fabrics. And artists and craftsmen of all ages have taxed their ingenuity to produce ideas unique, original, out of the ordinary—with varied success. Of the myriad of designs and treatments thus produced some of the more pleasing have stood the test of time.

One of the survivors is that generally known as “French festoon drapery,” which, by reason of its voluminous pleats and scallops, presents a showy appearance in almost any class of fabrics. To measure, plan and cut this style of drapery is one of the first problems that confronts the would-be decorator and drapery artist, and to make plain the method successfully used by the writer is the purpose of this article. Of course to the practical decorator such close discussion of details is irksome; but it is for the novice that I write. (See diagrams on opposite page.)

Figure [I] is an example of straight festoon drapery, the right side in skeleton to more clearly show the figures. To measure a door or window for this style it is necessary to have the extreme width of the space to be draped (5-0), the distance from the top of wood trim to floor (8-0) and the distance from the top of trim to ceiling (2-0). This is to determine the general proportion of the various parts in planning the complete treatment. Always measure with rule, getting the width measurement at the floor line and the height measurements from a ladder, and put them down as soon as taken. Don’t trust anything to memory! A three-foot folding pocket rule is a splendid all-round measure, as it comes in nine-inch sections (quarter yards) and the length gives it a decided advantage over the old-fashioned two-foot rule.

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 foot, and on it sketch the style of the drapery you wish to produce.

Bear in mind that the purpose of draperies is to relieve the austerity of the straight wood lines, and to dress or furnish an otherwise bare space, not to make an ostentatious display of fabrics. Moreover, the display must be practical as well as decorative. 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 vision, the usual rule must be departed from and the drapery raised to a greater height. The proper elevation our third measurement will enable us to easily determine.

Again, if we are planning a door, 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 stooping. In practice it is seldom well to leave less than six feet six; but of course different designs call for different execution.

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 tail. Having determined the style and size of the drapery on the plan, correct the general outline till it conforms nicely to your idea and the requirements of the space, and measure it as follows: Take a flexible rule (a six-inch celluloid pocket rule makes a splendid article for this purpose, and can be obtained from celluloid novelty manufacturers) and, making it conform to the shape of the bottom line of the festoon, note the measurement A to B (Figure [I]), and record it as also the line C to D; measure all the curved outlines on the plan in like manner and record the various distances.

Now measure the space covered by the pleated ends of the festoons and the distances between, as one to two, two to three, three to four, Figure [I], and the distance from X, the lowest point of the line C—— D to X, the lowest point of the line A—— B, record the distance in feet and inches (two and one-half inches on the plan representing two feet six inches), for convenience in cutting later on; for the tails measure only the straight lines represented by the points E to F, G to H, E to G and I to H.

You are now ready to cut the festoons, and unless there is a likelihood of a number of festoons being needed exactly the same size, we can dispense with a pattern and cut direct from the measurement; but I would advise the novice to start on inexpensive material, like shaker or canton flannel, until he is sure of his ground.

Lay the goods on the table, face down, with the end to—and even with—the side of the table, in front of you. The pattern, if any, should run from you, and in the case of pile goods the nap should run toward you. Smooth the goods out sufficiently to transfer the complete measurements without readjusting. Take a piece of soft white crayon, and mark off on the end of the goods nearest you the distance between the points A—— B on your scale plan, using the end of the goods as your line (Figure [2]). If the width of the goods is not sufficient, as in this case, mark the points on the table, at equal distance from each selvage. (See A—— B, Figure [2].) Now at X the centre of the line or end of goods, 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 [1]. This allows as much again for fulness—a safe allowance for nearly all purposes, but governed to some extent by the nature of the goods. Soft materials like art silks, silkolines and other light-weight drapery stuffs require a little more.

At the top of this perpendicular line X—— X, Figure [2], draw a horizontal line parallel to the bottom line and nearly as long (or, if it is the last cut in the goods, right across the goods, leaving a straight end), and on it, with X as a centre, mark the points C—— D equidistant.

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 line, 1—— 1 Figure [2], and repeat at B, 2—— 2 Figure [2]. 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—— E, rule from these two points to X on the bottom line and also to points C and D on the top line. This gives us the general shape of the festoon, but the lines must be rounded a little at the bottom and sides and allowance left for straightening the pleated ends. (See dotted lines, Figure [2].) And if, as is the case in Figure [2], the width of the goods is less than the distance between the points E—— E, the corners must be pieced out of the pieces F——F.

In cutting the sides, as dotted lines Figure [2], 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—— C, round the bottom as curved dotted line, with greatest swell at about one-third of the distance from X. This gives us our perfect festoon pattern, with three inches allowance at each side for trimming off after pleating.

To lay out the plan for the tail it is more economical to use a paper pattern; take a large piece of paper and lay on the table with the longest edge parallel with the edge of the table nearest you. From the end, as point F, which should be at the corner of the table, mark the point E the same distance as on the scale drawing you have, also the point I about half way between. 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 points, Figure [3], solid lines.

Locate the point J where the lines E——F and G——H would intersect if continued (the distance J is from E governs the amount of flare in the bottom of the tail, farther meaning less flare and closer meaning more). With J as a centre, make with cord and chalk circling lines to intersect with each point of the raking edge, 1——1, 2——2, 3——3, 4——4, 5——5, and 6——6, also one at H and at E, making the line longer as you go towards the top of the tail.

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 1X, measure from 1 to 2 and using 1X as centre locate the point 2X on line 2, and locate the other intersecting points 3X, 4X, 5X, 6X and HX in like manner, always allowing the two inches extra for folding, rule from F to 1X, 1X to 2X, to 3X, to 4X, to 5X, to 6X, to HX, as dotted line indicates, and also from HX to J to locate GX on line E, and from points 1X, 2X, 3X, 4X, 5X and 6X to J, to find the points 1A, 2A, 3A, 4A, 5A and 6A on line E——E. These last should be notched out in pattern to mark goods for folding. Cut out along the raking edge F——1X, 2X, and so on, from H to G and the sweep E to GX, and the pattern is complete. As our pattern stands, Figure [3], it is a left-handed pattern; mark this side (Left) and turn face down on the table and mark the other side (Right) and always remember to turn over the pattern in cutting a pair, so as to make right and left tails. 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 necessary. When all cut and pieced out complete, spread the pattern out over it and mark the points 1X, 2X, 3X, etc., and also the notches on line E——E, 1A, 2A, 3A and so on. With the edge E——F parallel with the edge of the table in front of you catch points 2X and 2A, one in each hand, and draw toward you till fold is made at 1X——1A. Take 4A and 4X in like manner and repeat till all are folded. A glance at Figure [3 B] will explain the method. Trim the top square, and the tail is complete. To pleat up the festoon requires a little more care, but facility is easily acquired with a little practice.

Mark off on a horizontal board (see Figure [4]) the dimensions of the completed festoon, as indicated on the scale drawing, Figure [1], points one, two, three, four, and put a large tack in each of these points as a guide, also about six inches above each point place another, which can be seen when the others are covered up with the goods. Temporarily attach corner D of the festoon to point three and corner C at point two, allowing in each case about three inches to project above the line. The centre of the goods between these two points lay back toward the board to form the top pleat, Figure [4], and the lowest point of this pleat should correspond with the top line C——D on the scale drawing, Figure [1]. If it is lower or higher than the drawing calls for it should be properly adjusted until it is correct. In this case, Figure [1], there is a distance of three inches from bottom of pole to X on line C——D.

In adjusting be careful to keep the goods perfectly centred, or you will not get nice pleats. Now divide the remaining space from three to four and two to one into as many spaces as you intend to make pleats. In this case (the general rule) there are six. So you need six spaces, the last pleat (which is being put up, Figure [4]) covering two spaces. Having divided the distance, 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——B, Figure [4], and form a pleat toward the point D, adjust till the fold follows naturally around from one hand to the other without drawing, and temporarily tack it in place on the line in its space. Take the left bias edge, A——C, and make this fold follow around to the point where it should attach in the first space to the left on the line one——two. These folds should follow around from one end to the other without pulling or buckling, and will need to be helped at first by the disengaged hand until the fold is complete.

Pleat up all the remaining goods in this manner and tack each fold to the line, 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 time.

This will not come easily at first, but follow the method illustrated in Figure [4], and practice will do the rest.

The last fold covers two spaces and completes the festoon. If you have too much fullness for the last fold go over the rest and take up a little more for pleating them. If the distance from the centre of top line to the centre of bottom line does not correspond with the distance on the plan, you will have to raise or lower the pleating until it is the same. Leave the points C——D attached and adjust each pleat separately till the desired result is obtained.

Now, if the ends are to be joined over a pole, as in Figure [1], allow three-quarters of the diameter of the pole above the line and trim square. (See dotted line, Figure [4].) 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 wide, turning in the raw edges. Bind tail in same way and sew together with baseball stitch that is illustrated in Figure [4] B. This stitch allows the greatest flexibility, and the tail can be on top or be turned back and the festoon on top without re-sewing, as it acts as a perfect hinge.

To estimate for this style a safe allowance roughly is one yard of goods to a foot of the width of space, and three yards more fringe than goods; thus, this drapery on that basis would take five yards of goods and eight of fringe; but for a close estimate make your scale drawing first and measure from that, thus, 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 side. This drapery measured in this manner would require two and one-third yards for the festoons and three and five-sixths yards for the tails, or five and one-sixth yards, six inches more than the other way. This last method, of course, is absolutely safe, while the other will vary according to the depth of the festoons. The practical man will, with the rough-estimate system, usually be correct, but the novice had better measure his plan before giving a positive quantity. Another thing, too, will be noticed between the two systems, for spaces under five feet wide the yard to the foot will be scant, while for spaces over five feet, unless you try to make too many festoons, the calculation on this basis will invariably be over the mark.

When using a striped goods that would admit of any number of seams, a seventeen-foot bay window has been effectively dressed with twelve yards of goods, including in the treatment two double tails, 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 room.

This is mentioned only to show to what extent economy can be practiced without skimping the appearance. The eight-foot window in question, with all possible economy, required six and three-quarters yards when the order was completed.

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 measure. Cut and make up in some inexpensive material, such as cotton or cheap flannel, until you get the method thoroughly memorized.

A little practice will make the veriest novice master of this method, which has been evolved from practical experience, and is thus independent of the various sketches and patterns offered for sale.

If any material advantage would be gained, several other methods that are used could be given, but the foregoing will be found thoroughly practical and economical, a great item in present workroom problems.

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 cent. for taking up in sewing.

Fig 5

Fig 5B

Fig 6

Fig 7

Fig 8

Fig 9

Fig 9A  Fig 9B

IRREGULAR FESTOON DRAPERY

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IRREGULAR FESTOON DRAPERY

If the top of the opening or space to be draped is not a straight line, but is curved, arching or angular, necessitating that the ends of the festoons be fastened at different heights to follow the shape of the space, irregular festoons must be used. Or, when the space to be draped exceeds five feet in width irregular festoons will present a better appearance, and add character to the decoration.

By irregular festoons we mean those in which the two halves of a festoon differ in size and shape, as when the lowest point of the bottom line falls to one side of the centre; when one pleated end covers a wider space than the other; or when the ends are fastened at different levels.

Figure [5] (see diagrams on opposite page) is an example of irregular festoon drapery, covering a straight space six feet wide, with the middle festoon elevated to give the whole an irregular appearance.

Having secured the measurements from floor to top of trim, from top of trim to ceiling, and the extreme width, make a scale drawing of the space in the proportion of one inch to the foot, and on it sketch the drapery, as explained for straight festoons in last chapter.

Unless the wood is unsightly it is not necessary to cover it altogether, as this style is of a lighter, more airy character than the last one, and the appearance is sometimes improved by showing enough of the trim to define the opening.

If the color of the wood interferes with the harmony of the wall and fabric, then, of course, it must be hidden as far as possible; but dispose the festoons to accomplish this without making the purpose apparent.

Correct the sketch of the drapery to conform with the necessities of light or passage, as explained before, observing the proportion the tail about one-half the height of the space, and the deepest festoon one-half the depth of the tail, and it is ready to measure.

In Figure [5], on the opposite page, we have three different sizes and shapes of festoons, so that all must be measured and cut separately.

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——D, top of festoon. (Festoon A, Figure [5].)

Measure the distance from A to X and X to B on bottom line, following the curve, also from C to X and X to D on top line, and from X to X; record the distances on the plan in feet and inches, also the spaces covered by the pleated ends 1 to 2 and 3 to 4, and the distance between 2 and 3 horizontally (see dotted line), and the elevation from line 1——2 to line 3——4. (See dotted perpendicular line from top of trim.) Record all these distances and measure festoon B in like manner.

Festoon C is joined to tail on right side to form a pipe, but is measured in the same way, treating the bottom line as if it were continued around to the rosette (dotted line through pipe, Figure [5]), mark point X and measure the same as festoon A, measure the length of pipe from rosette to bottom and record the distances.

To measure the double tails draw a line through centre (dotted line, left tail, Figure [5]) and measure the pleated half in the same manner as the single tail in last chapter.

Lay out and cut pattern as for a single tail, and repeat from the back edge (dotted line) to give the double tail.

If necessary to piece the tail in planning the goods, make the seams where the folds will conceal them when pleated up.

If you find any difficulty in sketching the full size pleated tail from which to lay out the pattern for cutting, as explained in last chapter, Figure [3], the following method, while not needed by many, will give you correctness and certainty:

The pleated top should equal one-sixth the distance from top of tail to bottom point, and the widest part, which occurs half way down, should be one and one-third times the width of the top.

Thus a tail 6—0 long would be 3—0 on the front edge and pleat into 1—0 at the top, spreading to 16 inches at the widest part.

Lay out your paper with the longest edge even with the side of the table in front of you, and from the right hand end point F, Figure [5B], mark point E the length of the tail and I half way between. Draw a perpendicular line at E and on it mark G the proportionate distance, and on another perpendicular line at I locate H, Figure [5B]. Halve the line I——H and from its centre 1X rule to F; divide the line 1X——F into seven equal spaces, and mark every alternate point, commencing with the first one, 2X, 4X and 6X, and the points between 3, 5 and 7. At right angles from the line at point 3 mark J, the distance from 3 to 2X, or one space, and repeat at 5 and 7, locating points K and L.

Rule from points J, K and L to 2X, 4X and 6X (dotted lines, Figure [5B]), and from 2X, 4X and 6X draw straight lines to the top parallel with the line E——F.

Rule also from J, K and L to the dotted raking lines and from G to H, and you have a complete outline of the pleated tail from which to plan your pattern, as explained in last chapter.

The right tail joined to festoon C is cut in exactly the same manner as if it were not joined, but was complete in itself.

Lay the pattern on the goods with the side to be joined to the festoon even with the selvage. (See Figure [7]. Dotted lines which show festoon C cut out and the right hand tail marked out for cutting lying together for matching at the selvages.)

To cut irregular festoons it is well at first to make a paper pattern; spread out a paper sufficiently large to contain the full measurements, with the longest side even with the table in front of you (Figure [6]), using the edge of the paper as the line A——B, from which to project the shape of the festoon according to the measurements.

From the right-hand end point B mark X the distance recorded on Festoon A, Figure [5], on your plan, and from X mark point A. Erect a perpendicular line at X as long as twice the distance from X to X, Figure [5], and at right angles to the bottom line.

Draw a horizontal line parallel with the bottom line or edge of paper, passing through X, the top of your perpendicular line, and on it mark the points C and D the same distances as they appear on your plan.

From X on the bottom line, with B as a radius, strike a quarter circle from the line, and repeat on the other side with X as centre and A as a radius.

With A as a centre, and one-third the distance from A to X as radius, strike an arc to intersect with quarter circle A at point A1; and from point B, with one-third the distance from B to X as radius, locate point B1 in the same way.

Rule from B1 to X and from A1 to X on the bottom line, and from C to A1 and D to B1, which gives us the general outline.

The bottom lines must be rounded as dotted lines indicate, with greatest swell one-third of the distance from point X on each side; and the raking lines at the side must have the allowance added for trimming off three inches at top and bottom, hollowed to one and a half inches at centre, dotted lines, Figure [6].

Cut out along curved lines on sides and bottom, and straight line at top, and the pattern is complete.

Spread out the goods on the table face up, the pattern, if any, running from you, and the nap, if pile goods, running toward you, with the end of the goods, which must be square, even with the side of the table, in front of you.

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 selvage.

If the width of the goods is not sufficient to cut the festoon without piecing, lay the pattern so as to leave an equal projection beyond the selvage at each side.

If the amount to be pieced out does not exceed six inches, make the join at one side only, and piece out with the pieces left from the raking sides, F——F, Figure [6].

Pleat festoons A and B in the same manner as straight festoons in last chapter, the lines on the board corresponding with the lines on the plan, the elevation at 3——4 exactly as the plan calls for, and adjust the goods until it conforms to the size and shape on the plan. When one end of a festoon is attached at a higher level than the other, attach the elevated end of the pleat first, and then the lower end, for greater ease in forming the pleats nice and round.

Irregular festoons are not interchangeable any more than clothes, and will only fit the size and shape for which they are made; for this reason be careful in laying out the measurements on the board, as once pleated they will hang that way only, and a change in elevation or distance, unless very slight, will destroy the neatness of the pleats. If, in a drapery design, 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 centre, and the sizes are exact, the pattern cut for one will do for the other by turning the other side of the paper up; but be careful to mark each side and the festoons to correspond, so as not to duplicate.

It is a good plan to number or letter each festoon and tail on the plan, and the patterns to correspond; then, if the goods is cut with the face side up, the completed drapery must be the same as the plan.

If for any reason it is advisable to cut the goods with the face side down, you must be careful to turn your patterns all face down, or your drapery will be transposed, with the right tail at the left side, and vice versa, and errors of this kind are, to say the least, vexatious.

To lay out festoon C for cutting is a little more difficult, but can be easily mastered with care. Lay out the paper for pattern on the table, as explained for festoons A and B, and draw the bottom line A——B parallel with the edge of table, and about half the length of the pipe above it (Figure [8]). Erect the perpendicular line X——X, and find all the points on the pattern in exactly the same manner as for festoon A; round out the line from A1 to X (dotted line, Figure [8]) and the raking line A1 to C.

From point B1 as a centre, with the length of the pipe as a radius, strike a quarter circle from the line A——B down to a point below B1 (line 1——B1), round the line right side from X to a little above the line, and gracefully sweep to break the sharp corner where the circle intersects, as dotted line, Figure [8], and rule from B1 to D, adding afterwards the allowance for trimming off after pleating.

If you have a small festoon to cut, and one of this kind, mark out the small one first, letting the pattern lie to the opposite side from the side on which you want the piece for the pipe, and the allowance for the pipe can usually be cut out of the corner, F. (See broken line, Figure [8], which outlines the top of a festoon beneath the line A——B.)

In irregular festoons the line X——X must be at right angles to the end of the goods, or chalk line representing bottom of festoon where no pattern is used.

Cut festoon C out complete and match the pattern of the goods to the piece before cutting out the tail. (See Figure [7].)

Join the straight side 1——B1 on festoon C to the left side of tail and press the seam out so that it lies flat as one piece.

Spread out on the table, and with the paper pattern mark the top and bottom points of the folds in the tail, and commencing at the middle (dotted line E——F, Figure [7]) pleat the outside in the way explained in last chapter. Pleat the other side toward the centre also, forming all but the last fold or pipe, and pin or baste the folds in place. Tack the top of tail on the board, which you have already chalked out to the sizes of the pleated festoon and tail on the plan, and pleat up the festoon by the method explained in last chapter, forming the last pleat of the festoon and the last fold of the tail into a pipe (Figure [9]), concealing the seam in the fold under the pipe. The rosette is made of a circular piece of goods, usually joined up from the waste, as the pleats will conceal the seams.

If the completed rosette is to be six inches in diameter, take a circular piece of goods seventeen inches in diameter, and in the centre cut out a three-inch circle; shirr the outside edge from the wrong side, using long stitches on the right side and short stitches on the wrong side (Figure [9A]), dotted and unbroken lines (dotted lines on face side of goods), use a strong linen thread or twine and draw the shirring up close, wrong side out, and fasten securely. (Figure [9B].)

Turn back the small circle over this to bring the right side out, and shirr it into the other shirring, fastening both together securely. This method gives very little fulness on the back of rosette, and plenty in front; pick out the pleats to distribute the fulness evenly around the rosette, keeping the outer edge square and thicker than the centre.

The fulness is governed by the size of the hole in the centre, and the distance from it to the outer circle must equal the desired diameter of the finished rosette, with one inch allowance for shirring.

Sew the rosette to the finished festoon tail, and if it is to be suspended from a loop, as Figure [5], sew a couple of lambrequin hooks beneath the rosette to take the weight. (XX, Figure [9].)

Figure [5] illustrates a straight top opening, but this style is particularly adapted to spaces where the top is curving or angular, or in the case of a low door or window, where it is desired to give an effect of greater height without elevating the entire drapery scheme.

Sketch out and plan a number of irregular festoon draperies to your scale, complying with different requirements in the way of curves and angles, and cut out of some soft and inexpensive material, as advised in last chapter, until you have thoroughly mastered the rules and acquired the knack of forming nice round pleats from end to end. Be careful in sketching an irregular drapery not to get the festoons too thin from X to X, which you will be apt to do.

Except in some special case where a shallow festoon is required, a pleated festoon that is less than eighteen inches from X to X will not look well on this size space, and should be as much deeper in proportion as the size of the space requires.

Double tails are used in Figure [5] to explain the method of cutting them, and where the quantity of goods will not permit the use of double tails, single tails may be used with very good effect.

Double tails are frequently joined in the centre (dotted line E——F, Figure [7]), 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 folds.

Fig 10

Fig 11

Fig 11A

Fig 11B

Fig 11C

Fig 11D

Fig 12

Fig 13

Fig 14

Fig 15

FLAT VALANCES OR LAMBREQUINS.

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SIX WAYS TO HEAD AND HANG DRAPERIES.

FLAT VALANCES OR LAMBREQUINS

The flat valance or lambrequin was originally designed as a body or background on which were embroidered the most elaborate patterns. It has passed through various forms and modifications, and at present is used for almost every purpose in the way of drapery treatments. We illustrate a few styles which will explain its versatility.

Figure [10] is one of the simpler forms, surmounted by a moulding cornice, 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 frame, the valance concealing the real height of the window.

This style is provided with a piece at each end that returns to the frame (at right angles to the face) and confines the curtains as well as concealing the pole or rod to which the curtains are attached. It can be made very simple and inexpensive, and is suitable for bedrooms, dining-rooms or libraries when the nature of the window and the general architecture of the room requires simple treatment.

Figure [11] is a combination of the flat valance and festoon drapery. Its use is not confined to any particular room, and it can be made simple and inexpensive, or elaborated with appliqués, as Figures [12] and [14], until it is rich enough for any purpose. Its main characteristics are the small quantity of goods required and the ease with which it can be made. Nearly all flat valances are made on buckram to give them the required stiffness to hang flat and smooth.

LOUIS XIII.

Make a scale drawing of the space and sketch the style of the valance upon it. Then lay out the full size on a piece of paper and cut out the pattern of the flat body or background. Spread out the buckram and transfer the outline to it, joining it, if necessary, to get the size by lapping the edges one upon the other and sewing them together flat.

If the buckram is sufficiently large without joining you can draw the design upon it without making a pattern.

Do not try to make too many scallops; allow the outside scallops to be a little wider than the others, so that they will appear about the same size when the tails are put over them. The outline of the end scallops can be made a little more straight where the tail covers it, as dotted line, Figure [11].

The illustrations show these two styles trimmed with a galloon or gimp, which, on a plain material, is an effective trimming.

Figure [11A] illustrates the method of finding the radius of three given points—as the two ends and the centre of a scallop. Having determined the width of the scallop, draw perpendicular lines at its extremities, A——A and B——B, Figure [11A], and on these lines mark X the distance you wish to raise the ends of the scallop from the line. 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 A; 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 ends. Repeat this on the other side of the centre point C toward line B, 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 dividers.

The pipes which are attached at the top of each scallop are cut in the following manner: Measure the length of space the pipe is to cover and draw a line on your pattern paper its equivalent in length; from one end, with half its length as a radius, draw a quarter circle on each side of the line marking point D where it crosses the line. With point at D and the end of the line as a radius sweep to intersect the curved line at each side, which will give you points C——C; rule straight lines from points C——C to B and to A. The bottom line following the circle is too round for a nice pipe, and should be modified to midway between the curved and straight lines, as dotted lines, Figure [11B].

This pattern can be used to good advantage by utilizing half of it only, repeating from the line A——B for the buckram pattern and the lining, as Figure [11B], and repeating from the line A——C for the pattern for the outer covering, Figure [11C]. After being covered with the lining, as Figure [11B], it is bent round and the two edges joined together with fine thread and baseball stitch, as Figure [11D]. Cut the covering as Figure [11C], allowing a half inch all around for hem; fold together wrong side out and stitch the edges A——A and B——B together; press the seam out flat, turn right side out, and pull over the buckram form, turning in the edge around the bottom and sewing it down.

The tails are cut just as for festoon draperies, and the tops are turned over the top edge of the buckram body and sewn to the wrong side or back of it.

A valance of this kind is provided with lambrequin hooks on the wrong side to hook into the curtain rings, and can be put upon the same rings with the lace curtains or on extra rings, as you desire. The hooks should be placed to support it at the points where will be the greatest weight—one on each side of the tail, one at the top of each pipe, and about every six inches between. The tip of the pipe is sewn over the top like the tails and the bottom is fastened securely at the end of the scallop. A nice effect is given to the pipe by suspending a large pair of tassels from its interior, falling about six to twelve inches from its base, according to size.

GOTHIC.

Figure [12] is a similar treatment, with the lower third composed of a shirred skirt; the buckram form is made first and covered, and the skirt is sewn to the under side before the lining is put on. 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 appliqué ornament centreing each scallop. The top edge is sometimes finished as illustrated with a heavy silk cord with knots or double loops at the prominent points.

Figure [13] is a combination of pelmet and overdrapery, used where the decoration is desired to be very deep without the appearance of excessive weight. The flat back or pelmet is made perfectly straight and flat, trimmed with a gimp or galloon, and appliquéd, the long end being provided with a deep fringe. The overdrapery is cut as per rule for irregular festoons, and while it has the appearance of passing over and down behind the pelmet, it is joined behind just out of sight, using no more goods than is necessary for the appearance on the face side. This can be made very effective by using a plain material for the pelmet covering and a striped or figured fabric for the overdrapery. It can be used for dining-rooms, libraries and offices where the windows are high and not very wide. Repeated from the left side with double tail in centre it is a nice treatment for a double or mullioned window.

Figure [14] illustrates another style and the method of applying it to a double window. The top is further embellished with a garniture of heavy silk cords and tassels, which, on very deep valances, is sometimes replaced with a light-weight silk festoon drapery in harmonizing shades.

A bow or bay window is treated in like manner by suspending a double tail between each window.

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 around.

If there is a pattern that is conspicuous, plan it so that it will centre in each scallop, joining the goods if necessary where the pipes will conceal the seams. Pin the goods to the buckram to prevent from slipping and draw the edges over and baste them to the back of the buckram. This must be done smoothly and without puckering.

ILLUSTRATING FOUR POSITIONS OF THE DRAPERY RELATIVE TO THE WOODWORK.

It will be necessary to notch the goods to allow it to go up into the points of the scallops, as X, Figure [15].

After the covering is all basted down lay the face side down and spread the lining out over it, allowing an inch to project all round. Turn in the edge and tack it with shoe tacks or pins, then the bottom edge and the two ends, taking care to keep the thread or grain of the goods straight and square to avoid puckering.

When all properly basted it is either slip-stitched together, as shown in Figure [15A], or machine stitched, keeping the edge of the lining about a sixteenth of an inch back from the edge. The tails also are lined; lay the cut tail on the table face down and turn over on top about half an inch on the two sides and bottom, and with shoe tacks tack it to the table nice and even all round the edge; lay the lining over it face side up and tack it over the other, turning in the edge the same distance that the goods is turned over, and with edges lying even, removing the first round of tacks as you put in the others, baste the two together with basting stitch and slip-stitch, or machine stitch it together, according to the nature of the goods. In making the pipe cover the buckram form with the lining before forming it into the cone shape, bringing all the edges over and sewing them to the wrong side, so that they will not be visible in the cone when made.

A MODERN VERSION.

For the skirt in Figure [12] allow about as much again for fullness for light-weight goods, and half as much again for medium weight.

Do not make it on heavy goods unless very deep, and then some other styles would be better.

All appliqués should be put on and sewn before the lining is put on.

In estimating for these styles calculate how many widths of goods are required to cover the form from end to end, and take that many times the depth of the valance, with two inches allowance each time for turning in, and add to that the length of the two tails.

Thus a valance like Figure [11] would take for a four-foot window two and five-eighths yards of fifty-inch goods, the same of lining, and about one yard of thirty-six-inch buckram.

The fringe you can measure from the drawing, but three yards more fringe than goods is near enough for an approximate estimate.

Fig 16

Fig 16A

Fig 16B

Fig 16C

Fig 17

Fig 17A

Fig 17B

Fig 17C

Fig 17D E F

Fig 18

Fig 18A

Fig 18B

Fig 18C

Fig 19

Fig 19A

Fig 20  Fig 20A

Fig 21

Fig 21A

Fig 22 Fig 22A Fig 22B

PLEATED VALANCES OR LAMBREQUINS

For places where a flat valance seems too stiff and severe, a number of simple, but dainty and graceful, treatments have been evolved.

One of these is the plain box pleat surmounted by a French ruffle. (See Figure [16] on opposite page.) The box pleat is made with various degrees of fullness and in many different ways. The usual method is to allow each pleat to be as wide as the spaces between them—as illustrated. For a valance pleated in this way allow about three feet of material to one foot of finished pleating. After the goods are hemmed the proper width for the valance, they are pleated on the table, the pleats are tacked top and bottom to keep them in place temporarily, and the folds are pressed.

The tops are pinned while still in this position and the whole is then turned face down, each pleat being tacked to the next one with stout thread (see Figure [16A]) to keep them from becoming disarranged in use. 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 ruffle. (See Figure [16].)

When the pole is used sew a flat tape to the back of the heading, and sew lambrequin hooks to the tape.

The French ruffle illustrated in Figure [16] is made of a strip of goods about four inches wide, lined with window holland wiggin or fine canvas to give it stiffness.

Hem both edges, allowing about two and one-third times as much strip as the finished ruffle is desired; turn on its face and mark every two inches on the back on or slightly below the centre (A to B in Figure [16B]). Then take a needle and stout thread or twine and draw together every alternate mark and knot them securely (B to C). At the top and bottom of these alternate spaces pinch them together and knot them about one-half of an inch from the pinched point, which should be in line with the centre of the space (C to D). Then turn face side up, and a slight pulling or stretching from end to end will start the pleats into shape, when a little manipulation will make them take the desired shape, as sketch Figure [16C], showing the face side; the back should appear as D to E, Figure [16B].

The double box pleat is a little more decorative than the ordinary pleat, and is made as illustrated by Figure [17]. The top is turned forward and pressed flat, as shown in successive stages by drawings 17A, 17B and 17C. And another style by drawings 17D, 17E and 17F, which can be quite easily followed.

Figure [18] illustrates another style with French heading, which requires a little more care in calculation and in making. If you have determined the length and depth of the valance, divide the distance into the number of scallops you desire to make, and proceed to mark out the full size of one festoon upon your pattern paper. Use the bottom of your pleats (dotted line A——A in Figure [18]) as a temporary top line, and the distance from centre of pipe to centre of pipe, with about four inches extra as a temporary width, the depth the same as plan calls for, with no allowance extra.

Lay out the bottom line according to the measurement of bottom of scallop, and draw perpendicular lines at A and B to about nine or twelve inches above the line A——A in Figure [18A]. On these mark off the distance from bottom pleat (line A——A) to the top of heading, with as much again for fullness, and rule line E——E, which is the true top of the festoon.

Half way between E and E make a perpendicular cut, C——C, from the top to the line A——A, and from the bottom C draw a horizontal line the length of the measurement of the bottom pleat (in this case 1 foot 2 inches); divide it in the centre and erect a perpendicular line through E——E as a centre guide.

On the line E——E, with F——F as a centre, mark the points of the top of the heading, H and E in Figure [18A], the distance apart that lies between X and X on your sketch (in this case, Figure [18], one foot) and repeat this measurement at D——G one-third the distance from line E——E to line A——A in Figure [18A].

Rule from D to H, G to E, D to C on dotted line, and G to A, as illustrated, and from A to B, fold pattern over on centre line C——C and cut out the other side. Lay pattern on the goods so as to centre the pattern of fabric nicely in the scallop, and cut out as many as required for the valance.

In order to get the pleating shirr or pleat the raking lines G to A and D to C as tightly as possible, so that H H and D D meet together just above the lower C. The pipes between the festoons are cut in a manner similar to the plain pipes in last chapter.

When the pattern is planned out and ruled off for cutting, as there explained, 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 [18A], and with point of dividers at this point (K, Figure [18B]), and point I, the top of pipe, as a radius, strike an arc equal in length to one and one-half times the radius. Rule from each end of the arc, J——J, toward middle K, till you meet the raking line of each side.

This gives the outline of the pipe, which is joined flat to the festoons on either side, as illustrated, Figure [18C], and formed into a pipe by pinching together the two back edges at L and L.

Should the pleated pipe seem too wide at this point double pleats on each side will obviate any difficulty. 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——C, Figure [18], and is simply formed into a pipe inverted and sewn in place. This particular style is very effective for bedrooms, made in art ticking, denim, cretonne or taffeta, having a prominent pattern. The sketch shows a slight ripple in the bottom of the scallop, which is not sufficient to interfere with the pattern, and will be greater or less, according to the sag of the pleats, and consequent distance between H and H, Figure [18].

The pipe on the outside is joined to the tail and festoon, as Figure [18C], and is pleated up with the tail to the shape illustrated.

SIMPLE DRAPERY SCHEME.

Figure [19] is similar in style, with a pleated scallop, and is made after much the same plan. Make a scale or full-size drawing of the festoon and pipe, and measure the bottom of the festoon, as a regular or straight festoon. Lay the measurement out on your pattern paper, as per rule for straight festoon, chapter I, except that points E E are raised one-quarter the distance from A to B, instead of one-sixth, as formerly explained.

The depth for cutting is twice the depth of the finished festoon, and the top measurement and centre cut are found and determined as explained for plain scallop in Figure [18A].

Mark out the full pattern as illustrated in Figure [19A], measure the circumference of bottom of pipe, and lay out the distance horizontally from E to E parallel with the bottom line. From the centre of line E——E erect a perpendicular line as a centre guide, and on it mark the length of the pipe from F to G and G to H. (See dotted outline of pipe pattern in Figure [19A].)

The circumference of the small part of the pipe is laid out horizontally at G, and also the upper sweep at H, as explained for pipe in Figure [18B]. Then rule from the extremities of dotted line G, dropping slightly to raking edge of festoon, add pleating allowance as dotted line from D to pipe, and the pattern is complete.

This festoon and pipe can be repeated indefinitely, as in Figure [19A], and make a very pretty effect as a valance. If necessary stiffen the top edge with wiggin or fine canvas. The festoon is pleated up as hereafter explained for Figure [22]. The design can also be made with separate pipes, if so desired, by following the instructions for Figure [22] and using pipes instead of tails.

Another simple valance is that illustrated in Figure [20]. It is very easily constructed. 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 space. Starting at one end make three or four pleats about one and one-half inches wide, and fasten them temporarily together at a distance of six or nine inches or more, according to the design of the goods and width of the space, repeat pleating, and so on to the end of the goods.

If you have correctly spaced and estimated your goods so that they come out even to the desired length, fasten the pleats permanently together about two and one-half inches down from the top and through the centre of the pleat. (See X in Figure [20].) Draw down the top of each outside pleat behind and stitch them in fan shape, as shown in back view, Figure [20A], the top edge turns over to the back between each bunch of pleats and is sewn flat.

Figure [21] is another form of lambrequin in which the corners to form the festoons are obtained by piecing out. Draw out on paper the full-size sketch of complete lambrequin, as in Figure [21A], and from the pleated ends of festoons represented by the letters O, A, D and I, mark out on the sketch each festoon pattern, allowing them to overlap each other as they will, taking double the depth of the pleated parts for the depth of the festoon from dotted line to bottom (Figure [21A]).

After each pattern is lined out on the paper in full, take a small nail, and laying the pattern over a piece of soft wood, punch the extreme points of the outline of each part by driving the head of the nail through the paper, as also the points where any part crosses the perpendicular double lines. The paper is then cut up the double lines and around the extreme outline of the parts, as from outside bottom corner of right hand tail to N, N to I, K to H, H to D and F to C; the pattern can then be folded over on X——X, the centre line, and the left side cut out.

By laying the pattern over another paper, and with a soft pencil marking through the punched holes, as well as the corners where the perpendicular lines cut through the outline, you easily get the dimensions of the pieces to be joined on to complete the pattern.

Thus the triangular piece represented by the points A, B and C is that required to piece out the left side of festoon No. 2; D, E and F the right side of festoon No. 2; D, G and H the left side of festoon No. 3; I, J and K the right side of festoon No. 3, and I, L, M and N the balance of the tail.

After the different pieces are all joined on and the whole lined the parts are pleated up in the usual way, with the top of valance tacked flat on the board, and the ends of the pleating sewn nicely and covered with a knot of large cord which appears to support each raised part.

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 pleated.

Figure [22] represents a style of narrow festoon drapery which presents a fairly elaborate appearance with a small quantity of goods. The tails are planned as explained in the chapter on French Festoon Drapery.

The festoons are measured from the sketch, allowing the straight lines between the heads of pipes and tails to represent the top measurement, the curved line at bottom of festoon the bottom measurement, and twice the distance between for depth and fullness.

To plan festoon A, which is a regular festoon, lay out the bottom line, Figure [22A], and from its centre erect the perpendicular line X——X, and on the horizontal line at the upper end mark off the top of festoon. Find all the points of the festoon, as explained for straight festoons in the chapter on French Festoon Drapery, and round out the bottom and sides as for regular festoons.

Follow also the instructions already given in cutting the goods, keeping the perpendicular line parallel with the selvage, and in regard to nap and pattern.

To pleat up the festoon fasten the top edge to the board with temporary tacks, pinch up a pleat about one-fifth the distance from top to bottom, and with the disengaged hand form a pleat at the edge of the goods, the point of which is attached on the line of the top edge. (Points A——A, Figure [22B].)

The remaining goods are equally divided and pleated in like manner into four full pleats of equal size and depth.

When all tacked in place a line is drawn from A to B on each side, the pleats pinned or basted and taken down, then the edges trimmed off square to the line and bound.

The centre pipe or tail is treated as a single tail by drawing a line through its centre to divide it for measuring. (E——F, Figure [22], dotted line.)

The half is sketched out full size, as explained in Figure [3], Chapter on Festoon Drapery, allowing one more return fold at back to meet the other side at centre line (Point F, Figure [22]), and the pattern repeated at G——H X in Figure [3] to make the full double tail, which is lined and joined together at the edges E——F, Figure [22], and then pleated.

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 fabric.

A great many combinations such as these can be made by the exercise of a little ingenuity and patience, which will depend for their appearance on the neatness of the work and the disposition of the stripe or pattern of the fabric.

Fig 23

Fig 24

Fig 24A

Fig 25

Fig 25A

Fig 26

Fig 27

Fig 28

Fig 29

Fig 29A

Fig 30

Fig 31