A practical treatise on coach-building historical and descriptive

by James W. Burgess

The following remarks on lining and trimming are taken from “Cassell’s Technical Educator:”—

“We may with advantage say a word to our carriage lace-makers, who seem to have made but scant use of the various Schools of Design for the improvement of their taste in producing new and suitable patterns in the manufacture of their goods. For a long period we had nothing but the old scroll or flower pattern, which was handed down from father to son as if by a fixed law. At length, when it was felt that some change was required, the absence of all taste in design was shown in the production of entirely plain worked laces, which deprived carriage linings of their chief element of lightness and beauty. Thanks, however, to the taste and discernment of Messrs. Whittingham & Walker, who, perhaps, have devoted more attention to this branch of industry than any other house in London, the trade was relieved from the necessity of either adhering to the old pattern or of adopting the opposite scheme. They introduced small neat designs in laces eminently adapted to the purpose, and in 1857 they registered a pattern, now extensively known as the double diamond pattern, which has not only become general in England, but is largely patronised throughout Europe and America. This, and kindred patterns, exactly fulfil modern requirements, and give us the necessary relief without extreme.

“But with materials well and tastefully selected the trimmer has still his work to do. The lining of a carriage is divided into many different parts, all of which have to be designed. Canvas or paper patterns have to be cut to these, and properly fitted before the material is touched with which the carriage is to be lined. Wherever superiority of workmanship is to be shown in this department, the French method of trimming is adopted as being more elegant than the English. We shall therefore confine our observations to this method.

“In adopting the French method silk is mostly used in the place of morocco, and its peculiarities consist in the manner of quilting. The different squabs are made up in horizontal pipes or flutes, which are tufted in different ways. To proceed, cut a pattern in strong paper the size and shape of the space to be trimmed, and draw on it with a pencil the pipes, also mark the position of the tufts. On large pieces only mark one-half, the other half being the same. The pipes of the back are usually 12 inches high and from 3 to 5 inches wide.

“The position of the tufts is considerably varied. Next stretch a piece of strong muslin in the stretching frame, lay the paper pattern on it, and mark the position of the tufts with an awl. Mark the lines of the pipes on the muslin with red chalk or pencil. In the same manner the pattern must be transferred upon the inside of the material used for covering, making of course due allowance for the depth of the pipes; about 3 inches is a fair average for fulness at the top, 1 inch for the height of the pipes, and 1½ inches for the width. For the last pipe an extra allowance is made in a narrow strip sewed on to it.

“Next lay a quantity of hair on the frame and form it the swell desired. Keep the hair in position with a few long stitches, and lay the silk over it. Commence tufting in the middle of the lower row of pipes, and continue equally to both sides. Silk cords stretched into the channels between the pipes were at one time considered elegant, but their main merit was that they aided materially in preserving the original shape of the pipes. Backs are usually made couch-shaped, with a roll all round on the top, which at the same time form the elbow-pieces on the sides. In elegant carriages this roll is often elaborately executed in a helical or screw-like shape, and continued from the door-pillar down to the seat-frame, being made by winding silk cords around the roll. These silk cords appear as a single thread, but in reality there are three different cords which are wound at even distances. A style of trimming much used of late both in France and Germany for low backs, is a row of pipes at the lower end, which are pinched to points at the top, and above these are three rows of regular squares. Squares are preferred to diamonds as they are softer.

“Usually the back is laid on spiral springs, which are fastened as follows:—The back of the body is covered with coarse muslin, after being slightly stuffed, and on this muslin four rows of seven small springs each are set. For the lowest row, springs a little stronger may be used than for the other rows. The highest row is set about 1½ inches below the edge of the back-board, and the lowest row at 6 inches above the seat-frame. The springs having been sewn on with a bent needle, are tied first from right to left and then from top to bottom. A thin cord will answer for this purpose.

“The cord is first cut in lengths, and when the tying begins about 6 inches are allowed at the ends. The cord is wound about the third ring of the first and last spring in each row, and afterwards the first ring is brought into the right position with the piece of cord allowed over. This will make the spring stand upright, and it can be raised or lowered on one side. The springs being thus all placed in position, they are finally tied crossways.

“The squab, in this instance, is worked in coarse muslin or canvas, stiffened with a little thin paste. It is set in the frame and marked as we have described above. When the cushions press against the back and side pieces, frequently no stuffing is made, but simply a piece of fine linen is sewed reverse to the main piece, and this is called the ‘false finish.’ In fine work the stuffing extends clear to the seat-frame.

“Of course each of these variations requires a different calculation for the muslin at the back as well as for the cover. For the latter an allowance of 1½ inches is made for the pipes from the lower to the upper end, and also for the points an addition of ¾ inch. For each square in the height 1½ inch has to be calculated. The folds of squares when laid over springs being diagonal, easily draw apart when stretched out, while the folds of diamonds running up and down may be drawn tighter to a certain degree of stretching.