LACE · CURTAINS - Cutting and draping - 10

LACE · CURTAINS

In the eyes of the housewife the lace curtains are one of the most important considerations in the furnishing of the home, and until they are properly in place the house does not seem to be settled. Considerable interest is usually exhibited in the matter of hanging them, and the discussion as to the proper method invariably hangs on the following queries:

Should they come to the window sill, a little below it, or down to the floor?

Should they hang straight, be looped back, or caught up with a rosette?

Should sash curtains, stores or panels be used next to the glass?

The answers to these and other questions will depend largely on the architectural position and style of the window, the nature of the room and the purpose for which it is to be used. The question of sash or glass curtains is usually a matter of taste, and in the majority of cases they are used for outside appearance only. The examples of different styles presented herewith cover a fair range of treatments, which can be easily added to or modified, as the occasion demands.

Sash curtains to hang straight are made as Curtain A, Figure [59], and reach from the top of the window sash to nicely clear the sill. They may be shirred on a rod or attached to rings.

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 (according to the length of the curtain), to be let down when required. Sash curtains hanging straight, as Figure [59], reduce the apparent width and increase the height of the window, and should not be used on long, narrow windows.

If made of plain or dotted material they may be edged with lace or ruffle on the sides and bottom, or finished with a deep hem, as Figure [67], with or without an insertion.

Sash curtains to loop back, as A, Figure [60], are made about six inches longer than the length of the window from top to sill, with shrinking allowance added, and produce the opposite effect to straight curtains, seeming to increase the width and reduce the height. They may be made of bordered goods or of plain or dotted material edged with lace or ruffle of itself. Looped curtains give a jaunty, cheerful appearance to the exterior of a house, but do not look well on wide, short windows, unless left widely separated at the top. Stores bonne femme, as illustrated, Figure [61], Curtain A, do not materially alter the apparent size of a window, and are very effective on large windows. They are usually made with scalloped bottom edge, trimmed with a frill eight or ten inches deep, and edged with lace.

For a wide window the body of the curtain is sometimes divided into panels by rows of insertion, instead of having a motif or lace pattern set into it, as illustrated.

The material used is usually a fine étamine, madras or fine net. They are hung on a rod fastened to the top or just inside the frame (see Rod E, Figure [78]) so that they will hang next to the glass, as sash curtains, and are usually made to just clear the sill in length and very slightly full in width.

The upper part of the window in Figure [68] is a combination of the bonne femme and Austrian shade, and makes a very effective sash or glass curtain for dining-room, library or bedroom. They are made in the same manner as the Austrian shade explained later, except that they hang stationary, and do not raise or lower. The material may be plain or colored silk, net, challie, casement cloth, or madras, with insertion of any desired style, and edged with lace to match. In colored materials good effects can be obtained by using a contrasting color for the insertion.

The curtains on the lower sash are attached to a rod placed at I, Figure [78], and are trimmed to match the curtains on the upper sash, they hang free at the bottom and just clear the sill, the insertion across the bottom placed high enough to show clearly through the glass from without. They may be used in conjunction with the upper curtain, as illustrated, or may be used alone, and are usually sewn to rings, as Figures [70] or 77.

Lace panels with motif centre, as A, Figure [62], are quite largely used for clubs, hotel or institution windows, and in many cases for dwellings also (though some think them too severe for the latter). Wherever used they should be perfectly proportioned and shaped to fit the size and shape of the window, the design so executed that it shall be entirely visible from without, and appear as a picture framed by the window sash.

They are generally made to order by applying lace insertion and motifs to net, and are attached to the sash by rods, tacks, or, what is still better, 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 net, baste the panel to the cotton and attach it to the window sash with small brads. This frame is only slightly visible through the panel on the inside and completely hidden by the sash from the outside.

To attach a panel to a door where the glass is framed by fancy moldings, the small frame is made as above to fit into the sash against the glass. It is finished to match the woodwork of the door, and has a groove on the outer edge to receive a small, soft cord, tacked or glued in place, and projecting sufficiently to permit the edge of the panel to be sewn to it (see Figure [63]). Care should be taken in measuring for panels, as the effect is completely spoiled by a misfit.

Sash curtains, stores or panels, when properly applied, add greatly to the exterior appearance of a house, but should be uniformly applied to all windows visible from the same quarter. For instance, if sash curtains are used on the front drawing-room windows, all of the front windows, from basement to attic, should be treated with some form of sash curtains adapted to each individual space and in harmony with the whole. Nearly all glass curtains are provided with a double hem at the top, Figure [64], 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 lowered. (See E B, Figure [78].)

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 light. This is accomplished by using a curtain with a double hem at top and bottom and attached (as illustrated A, Figure [65]) so that it raises with the sash and does not touch the stop on either side. (Note Rods I and G, Figure [78].)

The pleats are stretched tightly from top to bottom, and the usual allowance for fullness is twice the width of the space to be covered, which may vary according to the density of the material.

It is natural that the ground floor windows should be more densely dressed than those of the upper floors, not only to impart a sense of privacy, but as following the general construction of ordinary buildings, the ground floor windows usually being larger and more heavily trimmed, 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 glass. 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 patterns.

The sizes usually carried in stock run 2, 2½, 3, 3½ and 4½ yards long, and vary in width from one to two yards.

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 furnishings. Briefly stated, these for the most part consist of plain or fancy nets, scrim or muslin with a pattern of lace or muslin appliquéd thereon or woven in with the net, and the edges finished with bound or overlock stitched scallops, a lace, or a ruffle of the same material.

The method of hanging these curtains depends to a great extent on their surroundings, and on the nature, style and use of the room in which they are used, and while it is not possible for us to give positive rules that will guide the decorator in every case, we illustrate some of the effects that may be produced by the different methods, and suggest their adaptability to various requirements.

In the absence of special reasons to the contrary, 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 fabric; thus a heavily worked border and body pattern would show best hanging straight, while plain bodied goods with a small pattern would look well either way.

Setting aside for the moment all thought of the size and shape of the window, long curtains hanging straight to the floor, as Figures B [60] and B and C [67], appear to curtail the floor space, while curtains looped back or caught up with rosettes, as 61, 62, 65 and 66, apparently increase it, therefore in small rooms it is usually an advantage to tie up the curtains, and in extra large rooms to allow them to hang straight to the floor, subject, of course, to other considerations equally desirable.

If sash curtains are used it is usually a good plan to hang the long curtains to be the opposite of the sash curtains; that is, if the sash curtains hang straight loop the long curtains, and vice versa. In this way the treatment will balance, and a neutral effect be obtained, as Figures [59] and 60. Bear in mind also in this connection our former statement that long curtains hanging straight reduce the width and increase the height of the window, while curtains looped or caught up with a rosette reduce the height and increase the width.

Curtains reaching only to the sill, or just below it, as Figure [68], have a tendency to shorten the window, and if looped or draped this effect is increased.

Sash curtains, stores, panels, or any other style of glass curtains, are hung with the right side of the goods to the glass, unless the windows are so far removed from ordinary vision that it is impossible to discern the difference. Long lace curtains are hung with the right side to the room where sash curtains are used, or the reverse way when hung alone, subject to the above proviso in reference to the difference being perceptible from without.

We illustrated in Figures [34A] and [34B], chapter on scarf draping, the method of gathering back a curtain for looping and for draping with a rosette, and lace goods are manipulated in the same way. To obtain the effect illustrated in Figure [61], Curtain B, attach the curtain at the top, allowing it to be from six to eighteen inches longer than to the floor, hold the edges of the curtain in each hand and pleat it forward and back from the bottom, as illustrated in Figure [69], until it is pleated up to where you desire to fasten the loop; hold the outside side edge there and release the inside edge and it will fall in a fan shape, as illustrated; the loop is then passed around, the pleats still retained, and the surplus of about six inches above the tying pushed back and down behind the edge of the curtain, as shown.

Lace curtains may be shirred on to the pole or rod by making a double hem at the top, as illustrated in Figure [64], the distance between the two stitchings A and B a little less than twice the diameter of the pole, to allow for shrinkage. Thus, for a one-inch pole, which would measure loosely three and one-eighth inches in circumference, you would require to allow about one and seven-eighths inches between A and B, making three and three-quarter inches of a pocket for the pole to pass through.

A pretty effect is produced (Figure [70]) by running a tape into a small double hem (leaving one inch for the heading and half an inch between A and B for the tape) and shirring the curtain to the width of the space it is to cover, after which rings or hooks are sewn to the back in the position indicated by letter A above Figure [70].

Curtains made of soft net or muslin, with a very small border or soft ruffled edge, look well shirred, but those having heavy pattern borders look best pleated.

Where it is possible to do so the top of the curtain to be pleated should be turned over about two inches (Figure [71]) and a tape about one inch wide sewn along the back where the pins will be inserted. This gives strength to the delicate fabric where repeated pinning is apt to cause its destruction.

If this cannot be done, spread the curtain out upon the floor or other flat surface, face downwards, and turn over about six inches of the top, smooth this down nicely and fold it again in the middle, or three inches from the top of the first fold, press it flat with the hands and pleat and pin it while in this position, the pins being inserted about two inches from the top edge (Figure [72]).

Curtain B, Figure [61], with Figure 73, shows a box pleat slightly gathered on a safety curtain-pin, the fullness being taken up equally in the pleats.

In curtain B, Figure [59], with Figure [74], the fullness of the curtain, instead of being pleated, is gathered on to the safety pin, but this can only be done with fine curtains. The fullness is equally divided among the pins, and the tops of the small pleats are spread into a small fan shape, making a dainty finish beneath the pole.

The pleat illustrated in Figure [67C] and [77], is a straight pleat, held in place by the curtain pin, and is most commonly used for all purposes.

Turn the pleat to the front edge of the curtain on the wrong side, which lies upwards, as you pin it, and that will make the pleats turn to the back edge on the under or right side, as illustrated in Figure [72].

If a small curtain the pleats may be formed and the rings sewn on as Figure [77].

Lace curtains hanging straight, as in Figure [60], Curtain B, should just nicely clear the floor, 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 (not more), and then gently stretch them down this distance.

To stretch them, place an outspread hand on each side of the curtain, and, pressing the two palms together, stretch gently, a little at a time, working across the curtain from one side to the other until it is the required length. This must be done very carefully, and if the curtain is not found pliable enough to stretch the required distance pin it over again, allowing it to be longer.

Curtains having a distinct pattern, as figure 72, are usually pleated as there indicated, without any pleats in the border, the fullness being all taken up by pleats in the body of the curtain, and where fabric over-curtains are used, as Curtain C, Figure [67], the over-curtain should not be permitted to cover the border of the lace curtain.

Over-curtains are always better on a separate pole, but may be attached to the same pole as the lace curtains by using extra rings for them. In the elevation detail, Figure [78], Rod B is for lace curtains and Pole A for the over-curtains, a plan that permits either curtain to be drawn without interfering with the other. Over-curtains may be used at the discretion of the decorator in almost any room, and are particularly effective in large rooms. They may hang straight or loop back, having the same effect on the apparent size of the window as already explained. They should be long enough to just clear the floor, whether straight or looped back, and should cover the back edge of the lace curtains.

When gathered back, as in Figure [62], the lace curtain and over-curtain should be looped back separately, the over-curtain drawn back far enough to show a good border of lace down the front edge and across the bottom.

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 side. The pole or cornice should be placed high enough in this case to entirely conceal the top of the wood trim, as in Figure [67]; but in cases where it is advisable to show the wood trim at the top it should be shown also at the outside, as in Figure [68], which shows the trim all around. Over-curtains are pleated to the size as illustrated by Figure [72] for lace curtains, or shirred on a tape, as in figure 70, and lambrequin hooks or rings sewn on. A lined over-curtain, if to be pleated for pinning, is made as the right corner of Figure [75], the two materials turned in and slip stitched at the top and sides and machine stitched as indicated, about one and one-half inches from the top of the curtain. The curtain is spread out right side up for pinning, the pleats formed and a Gordon hook pin (as Figure [76]) is passed through the pleat between the two lines of machine stitching. Use the straight pleat of Figure [72] for this purpose, making as many as may be necessary to dispose of the fullness. If the over-curtain is not to be lined turn the top over as the left corner of Figure [75], and stitch and pin as already explained.

Soft curtains finished with a full ruffle usually look best looped back, as B, Figure [65], or if fastened with a rosette the edge drawn up near the rosette to give a full sweep to the ruffle, as Figure [66].

If the curtain is made of very fine or soft net graceful effects are produced by using two rods at B, Figure [78], one a little in advance of the other, and both the same height; shirr one curtain on each rod, so that when tied back the crossed effect is produced, as illustrated.

A great variety of styles can be produced in either crossed or single curtains by changing the position of the loop or rosette, 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 ways. Crossed curtains are not effective unless the curtain is lacy and soft enough to drape gracefully. Heavy patterned curtains treated in this way do not produce good results.

Frilled curtains, as Figure [65] and [66], are more particularly suitable for bedrooms, sewing and sitting-rooms, but with proper surroundings may be applied to some of the heavier down-stairs rooms during the Summer season.

Frilled curtains made up as sash curtains are also very effective next to the glass, but should be made of very soft material that will drape easily and gracefully.

Sash curtains, lace curtains or over-curtains should be pleated to the exact width of the space they are to cover, sufficient pins being used to dispose of all the fullness and hold the top edge of the curtain from sagging between each pin.

This may seem a small thing, 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 arrangement.

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 line, and it is well to spread them in pairs side by side and match the pattern, so that when hung the pattern will be perfectly true and not zig-zag all the way up the two middle edges.

We have given the simpler forms of pinning and tying, which may be easily mastered by practice. Numerous other forms will suggest themselves, and a proper consideration of the effect to be produced will result in the selection of the style most suited to each requirement.

LOUIS XIV

LOUIS XV

WINDOW SHADES AND BLINDS
PART I.

Modern decorative thought has been directed to almost every article in the equipment of a house with more or less artistic result; 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 extreme, 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 house.

From the day when the housewife made her own shades out of green paper or white cotton up to the present, the chief requirements seem to have been opacity and the faculty of being easily rolled, folded, or in some way put easily out of sight when not in use. One of the oldest methods, still recommended and manufactured for this purpose, is the rolling shade, made of thin slats of wood, laced together with twine to form a flat flexible curtain or shade, rolled from the bottom by means of a cord passed over a pulley.

For public institutions, offices or verandas, where usefulness and efficiency may be desired more than decorative value, they serve the purpose very well; but it can never be claimed that they tend to beautify the room in which they are used.

The tilting slat blind, which gathers from the bottom, and tilts with a touch of the hand as a child’s Jacob’s ladder, is also used for the same purpose, with the same limitations.

The sliding or folding inside shutter, illustrated in figures 79 and 80, came near to accomplishing the purpose, but had such a knack of getting out of order, and presented such a jail-like, uninhabited appearance, that they, too, have been almost altogether discarded.

In rare cases we find them still in use, and where adverse criticism would not be well received it is best for the decorator to adjust his schemes so as to include them, and, if possible, hide their unsightliness.

Figures [79] and [80] illustrate how this may be accomplished by using a lace-trimmed shade between them and the glass, while sash curtains of almost any kind are equally effective for outside appearance.

Where the shutters are so constructed that they open into the room, as Figure [79], the curtain pole must be projected forward from the frame a sufficient distance to allow the shutter to swing clear of the curtain without interfering, and if the curtain is looped or caught up with a rosette at the side, the point where it is tied must be projected forward in a similar manner.

These blinds, so far as their manufacture and installation are concerned, rest perhaps more with the carpenter than with the decorator, and will, therefore, interest him little except as to their after treatment.

The rolling shade, made of painted cotton or glazed linen, as illustrated in Figure [79], is perhaps most commonly known of all expedients for seclusion and sun protection, 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 manufacture.

The table illustrated in Figure [81] will be found to possess a combination of many good points in cutting tables for this purpose, although one less elaborately planned and constructed may serve for a small shade-order business. The top is made of clear white wood, and is six feet wide by twelve feet long. At one end is a half round, trough-like receptacle, the bottom of it composed of two-inch rollers with pin heads (see Figure [81A] for detail); these rest in iron brackets, and revolve when necessary with the action of rolling or unrolling shade cloth.

A flat steel plate about one inch wide and a quarter of an inch thick (or slightly thinner if more convenient) is fastened to one edge of the table to form a solid straight-cutting edge. It should be all in one piece and free from any irregularities, and a similar plate is fastened to the end on which the bracket is attached. Saw-cuts about one-eighth of an inch deep run across the table, perfectly true and at right angles to the side of the table, dividing it into feet from end to end. At the bracket end, and included in the first twelve inches, a six-inch strip of hardwood is let into the top, flush with the rest, and has saw-cuts (as illustrated in Figure [81A]) one-half inch, two and a half inches, three inches, three and a half, four and four and a half inches from the outside edges of the steel plate.

These are scoring lines for marking the hems, and should be half an inch deep and about one-eighth inch wide. The cuts marked one to eleven are filled in smoothly with dark putty, and are for measuring purposes, while cuts A to F are cut with a fine-tooth saw and left as cut. In addition to the lines every twelve inches it is necessary to have the inches between these spaces.

Fig 79

Fig 80

Fig 80A

Fig 81

Fig 81A

END of TABLE

right hand of above

Fig 82

Fig 83

Fig 84

Fig 85

Fig 86

Fig 87

Fig 88

Fig 89

SHADE KNIFE

Fig 90

Fig 91

Fig 92

Fig 93

Fig 94

Fig 96

Fig 96A Fig 96B

Fig 98 Fig 99

A convenient way of providing these is a flat steel rule about one-eighth inch thick, three inches wide and eighteen inches long, marked with inches from one to twelve, and with a small button at the end for convenience in moving it. This will be heavy enough to lie where placed, and by placing it at the side of the table between the lines, as in Figure [82], the measurement of a piece of cloth can be accurately gauged.

The other sections of the table and their purposes can be readily understood from the illustration, the shelves being used for rollers, drawers one, two, three and four for shade hardware and accessories, and drawer five for tools.

The trough at the right end of Figure [82] is made so as to slide in out of the way when not required, and is used when cutting the ends off rollers. It is marked in inches along its entire length, and the cutting end is faced with metal, or has a true saw-cut a short distance back as a guide for the saw. In the latter case it should be made of hardwood, and the saw-teeth should have very little set.

The table should be placed so that the operator faces the light, and his stock of materials should be as convenient as possible to the cutting table.

Having gauged the length of the shade with the small steel rule, as Figure [82], place the roll of cloth with the end of the material resting at the mark. Weight it with a small weight and unroll the cloth until the roll reaches the receptacle at the end; a touch of the hand will tighten the slack by revolving the roll; adjust it evenly and run the knife along the steel edge, severing the piece from the roll. If more than one shade of the same length are to be cut from the same roll, allow this length to lie as cut and unroll over it as many more pieces as you need, cutting each one as you get the cloth adjusted evenly.

When the lengths are all cut, if care has been taken to have the cloth running true with the edges of the table, the cut ends will have been trimmed square by the action of severing them from the roll. 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 table, as Figure [82], and the cut ends lying true and even with the table end, the cloth is securely weighted at each end and the projecting edges trimmed true by running the knife along the cutting guide, as illustrated.

The knife should be held perfectly true with the flat of the steel edge, allowing no play sideways, and with the handle slightly slanting toward the shoulder of the operator (Figure [82]).

While the weights are still in position measure with a six-foot rule the width the cloth is to be cut, measuring from the trimmed edge, and mark it at each end as x x (Figure [82]). Now remove the weights, and without allowing the trimmed edges to shift, change the cloth end for end on the table, bringing the pencil marks at each end directly above the side cutting edge of the table, and with the ends of the cloth projecting sufficiently beyond the end cutting edge; weight as before, and trim the surplus off end and side.

It is more difficult to trim a number of pieces than to trim one, but with a little practice it can be done quite easily and considerable time saved thereby.

As the cloth now lies it should be even with the steel edges at end and side, the left hand ends lying over the scoring lines, and as they lie one or more may be scored at once, according to the weight of the cloth. Roll back the rest a sufficient distance, and holding the rounded corner of the back of the knife in the position indicated by Figure [83], draw it across the first score line A; do not bear too heavy on the knife, but make sufficient indentation so that it can be folded over without trouble.

If the shade is to have the regulation two-inch hem score also at the second line B, if for a two and a half-inch hem score A and C, for three-inch A and D, and so on according to the width you desire to make the hem. All ordinary shades have a two-inch hem, but special cases require a variation from the rule.

Fold the hem over as illustrated in Figure [84], and press it flat with the side of the knife; it is then ready for stitching.

While almost any sewing machine will stitch a window shade, perfect results are only obtained by using a special shade-stitching machine.

Care must be exercised in stitching the hem so that it does not slide or pucker, but lies flat and even, with the line of the stitching as straight as possible.

If lace is to be applied to the bottom of the shade, as Figure [79], the knife is run over the bottom of the hem after stitching it to press it flat, and then passed through it, as Figure [85], and the lace inserted between the edges and stitched, as Figure [86].

If insertion is used without lace, as Figure [87], the top edge of the insertion is placed between the cut open edges of the hem, as above described for lace, and a separate hem (A—A, Figure [87]) scored, folded and sewn on, as illustrated. If both lace and insertion are to be applied the bottom of the separate hem (A, Figure [87]) is split and the lace inserted and sewn in, as above.

This separate hem is made the same width as the ordinary hem for shades, but need not have the little turn in indicated by arrow in Figure [84].

When cutting lace or insertion measure it so that the pattern will balance nicely, and if both lace and insertion are used be careful to have the pattern of the insertion in line with the lace. After these trimmings have been cut the size of the shades, the cut ends are bound by sewing them between the edges of a piece of the same cloth as the shades, say half an inch wide, folded in the middle, and for convenience a number of the ends can be stitched into the same piece of binding, as illustrated in Figure [88], and afterwards separated by cutting the binding.

Motif patterns, as Figure [90], are applied to the shade by a double row of stitching, about one-quarter of an inch apart, all around the outside edge of the motif, after which the cloth is carefully cut away from the back, just below the stitches and following the outline. Should the pattern prove too large to work beneath the arm of the sewing machine, pin it carefully in place on the shade and sew it on by hand, passing the needle down and back as neatly as possible. This is a tedious job, and should only be resorted to when no other way seems possible. Applique lace edges, as Figure [91], are sewn on in the same manner, and the cloth cut away from the scallops behind.

The shade illustrated in Figure [80] is a combination of the bonne femme and motif shade, and is constructed like the foregoing Figure [91], having in addition a frill eight or ten inches deep, composed of étamine, madras, mull, muslin or net, and trimmed with a lace. This is applied to the scalloped edge of the motif, and has usually an allowance of as much again for fullness (two feet of unshirred frilling to one foot of space), or if very fine a little more.

When applying the shirred frill to the scallops, have the greatest fullness between the points B and C (Figure [80A]), and decrease the fullness from B to A, for as the material follows the curve up into the angle at point A, it will be found that the bottom edge of the frill becomes more full according to the elevation of point A above point C.

Lace motif and scalloped bottom shades may be made with a hem and slat, as illustrated in Figure [80], or the slat may be dispensed with and the shade operated by a cord which passes through a screw eye at A (Figure [90]), and winds around the roller, which is left long enough for the purpose. The cord is wound around the roller the same number of times as the shade and attached by a fair-sized tack. The roller need not be provided with a spool unless the shade is extra long, as the screw eye at A will guide the winding and confine it to a small space. Figure [90] shows the cord and ball pull attached to the left end of the roller; but the tack which fastens the cord would be likely to penetrate to the spring on that side, and it would be best to attach it to the right end of the roller.

The shade is operated by pulling the cord, and works the same as with the tassel in the regular way, as Figure [92].

WINDOW SHADES AND BLINDS
PART II.

All other shades except the previously mentioned styles are provided with a slat to which is attached a screw-eye and tassel, as illustrated. Always attach the tassel above the insertion on insertion shades, as Figure [79] and X, Figure [87], as the strain of pulling the shade will stretch the insertion out of shape if fastened below. (See diagram on page 40.)

The cloth is not hemmed at the sides, but left as trimmed, and the top is tacked on to the roller in a straight line, as Figure [93]. Most shade rollers have a line drawn the length of the roller as a guide for the shade cloth, and one-ounce tacks are used to tack it to the roller. Several kinds of clips or clasps are also used, but the tacks are most popular.

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 roller, but it is safe to underestimate their assurance by a little rather than work up to the limit.

The roller is cut to be one and a-half inches longer over all than the width of the cloth, and is mounted to allow the same play at each side, though in special cases this rule may be departed from, and a smaller allowance for play will sometimes work quite freely if hung perfectly true. It is customary to allow only one inch difference between cloth and roller for inside brackets, as they are usually made narrower than those for outside brackets, and, the bracket being much smaller, they work freely with the smaller allowance.

Dark-colored shades are most opaque, but light-colored shades give a more cheerful appearance to the exterior of a house. Combination-colored shades are frequently used; light on the outside to the glass and dark on the inside to the room. This gives the necessary density and preserves the cheerful exterior of light-colored shades. In making combination shades the bottom hem is cut off, reversed, and sewn on as illustrated by Figure [89]. 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 down, and the window cannot be at all obscured without this feature.

Fig. 97

Perhaps the best plan for correctly shading and obscuring a window is to use double shades, as illustrated by Figure [90]; the outer shade next to the glass made of a light-colored material, which may be ornamented and decorated in any desired manner. This may be fastened to the window stop as at A, Figure [79], with inside brackets, or at C, Figure [90], with outside brackets.

If placed on the stop at A, Figure [79], a plain shade of dark green or other opaque color is placed on the frame at C-C, Figure [90], and is made wide enough to effectually shut out all sunlight at the sides.

If the light shade is placed on the frame at C-C, as Figure [90], the dark shade is placed just beneath it at D-D, and is made about two inches wider than the light shade, so that the cloth of the light shade passes freely between the brackets at D-D and does not interfere with the dark shade.

The advantage of this plan is that the light shade may be used all the time and is decorative from both sides, while the dark shade is only used when needed, and when not in use is only a small dark roll at the top of the window, where it is not objectionable.

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 top. Roller shades are hung perfectly level and square, noFig. 95 matter how much the window may be out of true, as they will only work satisfactorily when so hung.

The two different kinds of brackets used are illustrated by Figures [93], outside brackets, and 93 A, inside brackets—outside meaning on the face or room side of the window frame and projecting toward the room; inside meaning some portion of the woodwork facing to the centre of the window (see diagram 94).

Wood rollers are made with two slots or notches in the spring-post, in which the pawls drop when slowly revolving, and as they are on opposite sides of the roller, it is immaterial which side is uppermost as it lies in the bracket.

Fig. 95

Most tin rollers, however, have only one slot, and if dropped into the bracket with the slot down, the pawl, which depends on its weight for its action, will not come in contact with the slot, and the shade will not remain down when unrolled. Should you accidentally place a shade in the brackets thus wrong side up, 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 slot, when the tension of the spring will hold it in place so that it can be taken out and put in properly.

It is sometimes necessary to run shades from the bottom of the window instead of the top, as in the case of a 10 ind-top window (Figure [95]), or when the object is obscurity without excluding necessary light, as in some office windows. This is accomplished by placing the brackets at the bottom of the window, as illustrated by Figure [95], the slot bracket to the right, placed upright on the sill, and a small nail inserted in the little holes found near the edge of the opening, to prevent the roller from leaving the bracket. Stop the action of the pawls after the shade is adjusted by a clip made for the purpose (squeezing soap in behind them answers very well), so that all the tension of the spring is exerted on the cloth and on the cord, which passes over a pulley at the top of the window.

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 distance, or an eccentric stop-pulley may be used, which binds the cord at the will of the operator, the latter being the more convenient method.

Round-top shades are provided with extra slats at various distances, as illustrated by Figure [95], which prevent the edges of the shade from flapping as they might unless so supported. These slats are perfectly flat, made of clear wood about one-eighth of an inch thick and one inch wide, or larger, according to the strength required, and, being flat, they readily roll up with the shade.

The slat used in the bottom of shades is usually made wedge shape, as Figure [92], and possesses more strength than the perfectly flat slat.

As we have already stated, roller shades are usually made of painted cloth or glazed holland, and while for years they have been, with few exceptions, plain and undecorated as to the fabric itself, we are pleased to note recent efforts on the part of manufacturers to produce something more distinctive and artistic, shade holland now being produced in delightful damask effects in a variety of weaves and colors, while the painted goods are also being made to order in beautiful hand-decorated patterns of artistic merit.

The Austrian shade illustrated by Figures [96] and [96A] is a very pretty and effective method of diffusing and softening the glare of the sun without excluding the light.

They may be made of a great variety of fabrics, including challie, casement cloth, plain and brocaded silk, silk or wool damask, madras, net, or other soft material of sufficient strength and fast color to withstand the sun, and are a very effective combination of shade and sash curtain. They are simple of construction, but must be accurately and neatly made to insure satisfaction.

Having secured the size of the window and determined the space the shade is to cover, the goods are joined up to the required size, allowing a third of the space (four inches to the foot) each way extra for fullness, with about three inches allowed in addition for double hem at the top and also for a single hem on each side. Calculate so that the seams will come on one of the shirrings each time when joining for the width, as they will not show there and are very unsightly anywhere else.

The material, when ready, is spread flat on the table, as Figure [97], and the width divided into the requisite number of panels and marked in straight lines for shirring. Turn the double hem at the top for the rod, and a single hem on each side of one or one and a-half inches. Baste these hems and sew them. Then spread the material on the table again, as illustrated, and with a stout thread gather each shirring line into the required length, fasten each end of the thread to the table with tacks as you gather them, and when all gathered go over each one and adjust the fullness until it is nicely distributed the length of the curtain. Leave the lower one-third of the curtain slightly less full than the upper two-thirds, for when in place it is generally left fastened about half way up the window, and if this is done, the lower end, which is all pleated on the strings, does not look so much more full than the upper portion, which is hanging as shirred.

Cut strips of paper one inch wide and as long as the shirring-thread and pin them along each shirring, the pins sufficiently close to hold the fullness in place. When all pinned in place, the tacks are drawn and the curtain turned paper side down and run through the machine (the paper is used to prevent the machine feed from disturbing the fullness), using the thread as the line for stitching. The paper is then torn away and the shirrings run through the machine a second time for safety if very stretchy material is used.

Spread it out on the table once more, face side down, and on the back of the shirrings baste a quarter-inch baby ribbon or tape to match the goods, and stitch this also. Sew small brass rings to these tapes, as illustrated in Figure [96], about six inches apart, along the full length of each tape or ribbon. Shirr the double hem at the top to the required length and stitch a tape to it also, to keep the panels equally divided, and trim the bottom with a fringe.

The bottom of the shade need not be scalloped unless the material is heavy, as the act of shirring it lengthwise and across forces the fullness to take that shape.

The bottoms of the shirrings are weighted to keep the lines perpendicular. This is accomplished either by a small rod covered with the material, as left of Figure [96A], or by small bags of shot covered with the material and attached to the bottom of each shirring.

The rod, while not so unobtrusive as the bags, has the advantage of keeping the bottom spread full width, separate weights having a tendency to swing toward the centre.

The shade is drawn up and lowered by means of cords passed through screw-eyes at the top of the window, down through the brass rings and attached to the bottom weights. After passing through the screw-eyes at the top they are led to a pulley at the side, as indicated by Figure [96], and all adjusted to draw evenly, fastened together and attached to a cleat. They may also be manipulated by attaching the cords to a shade roller after they pass through the screw-eyes.

The roller is provided with spools either turned up in wood or made by tacking a ridge of leather around the roller, allowing a spool-like space between, and the cords are wound several times around these, while the shade hangs full length; the free bottom ends are then attached to the weights, as before explained, and the whole manipulated by the free cord at the end (X, Figure [96B]), as explained for raising and lowering the shade illustrated in Figure [90].

If the roller is swelled toward the centre by wrapping with leather or by using graduated spools, as Figures [98] and [96B], the shade will draw up in an arching shape, as indicated by dotted lines in Figure [96A], the larger spools in the centre consuming more cord each revolution than the smaller ones at the ends, and hence drawing the curtain up faster in the centre, producing the arched effect.

If the cords are mounted on a plain roller without spring-winding attachment, as Figure [99], the manipulating cord is wound on it the reverse way, and is all wound on when the shade is down, so that pulling on it causes the roller to revolve, winding up the other cords, and, releasing it, allows the weight of the shade to unwind the roller and causes the shade to descend.

In measuring for shades, some decorators measure for the cloth only and have the rollers cut and mounted accordingly, either at the house or in the shop. 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 rollers. Figure [94] illustrates a modern window trim, showing by crosses the most convenient places for placing shade brackets, those enclosed in circles representing inside brackets and the plain crosses outside brackets.

The illustration of a window’s elevation, Figure [78] in the chapter on sash curtains, also shows the positions of double shades on the face of the window frame—C, the roller of the light shade, and H the bottom of the shade, and D the roller of the dark shade, with F the bottom of the shade.

Always measure for shades with a rule, as tape-lines are unreliable, and put down the measurement accurately in feet and inches, being careful to make a decided stroke or dot between the feet and inches, as 2 = 2—6 × 9—0 means two shades two feet six inches wide by nine feet long, and the obliteration of the strokes between vastly alters the sizes.

If there is anything peculiar about the windows that should be noted in their manufacture, jot it down also, leaving nothing to memory. In measuring the length, allow about one foot extra for a couple of laps around the roller when the shade is all pulled down. Austrian shades need no extra length, but should just clear the sill when down full length.

Shades running horizontally, as across the bottom of a skylight, are treated exactly the same as explained for Figure [95], and if very large, stretch a number of wires lengthways beneath the shade to help support it.

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 right, leaving a little play between the brackets and the roller. Place the shade in the brackets and pull it down full length. If the spring is too weak to carry it up smartly, take it out of the brackets and roll it partly up, replace it in the brackets and try it again. If still too weak, take it out and roll up a little higher.

If the spring is too strong or will not allow the shade to come down full length, take it out of the brackets when rolled up and unroll it a little.

Do this until the roller will carry the shade smartly without too much tension, 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 complaint.