UBRARY

UNiVERS/U
HANDBOOK OF DRAPERY PATXERNS
Handbook of Drapery Patterns

INA M. CTRMAINE

Dfdwings by Susan Gabriel

ROBERT M. McBRIDE & COMPANY

I x6 East x6tE
J
 HANDBOOK OF DRAPERY PATXERNS
COPYRIGHT, Z 944 >
ROBERT Iwf. K<C BRIDE 6c COKIPANY
PRINTED IN THE UNITED STATES
OF AMERICA

THIRD PRINTING, OCTOBER X945

AKCmUCAN iBOOK—STRATFORD PRESS, INC. NEW YORK

JEx-jcmtor
 INTRODUCTION
During the years that I have conducted the Arts & Decoration Home Study Course in

Decoration, I have received hundreds of letters from people all over the world requesting
information on how to make draperies for all types of houses. This book is the composite
answer to those letters.

The Handbook of Drapery Patterns is designed especially for those who want to learn

the art and also for the small decorating shop. Not only are the directions clear and concise,
but the patterns are all reproduced in large dimensions, with every step carefully indicated
for cutting, folding the material and making, so that there can be no possibility of error or

misunderstanding.
Originally draperies were used for practical reasons only. They served as shutters offering

privacy and shutting out wintry blasts of air in inadequately heated rooms. From these con-

siderations, curtains gradually took on beauty and character until they became the most im-
portant decorative clement In the house.

An important consideration in planning draperies is to have them full enough to draw

across the entire window, even though you intend to leave them in a permanent position at

the sides. Skimpy draperies lose their meaning entirely. Use less expensive material if you
must, but do not skimp on the amount, for draperies depend far more for their beauty upon
the grace of their lines than upon costly weaves.

One of the chief things to remember in designing draperies is that they harmonize with

the architectural plan of the windows and are suitable for the room itself. They should not
overpower the window. Tortuous designs arc not suitable for the simplicity of present-day
living. When the trim is beautiful, they arc set generally inside the frame so as not to
obscure it. Arched top windows, for instance, have exceeding grace and beauty, and curtains
should always conform to their lines. These draperies arc as easy to make as those for any
ordinary type of window as you will note from the patterns and simple directions given in

this book. They are no longer a difficult task requiring professional knowledge.
 You will find patterns and directions for making French headings, traverse curtains,

various types of valances and jabots, and many other styles of draperies suitable for every

room of the house.

All the descriptions in the text and the directions for making the patterns are the result

of actual practice and experience, and h^ve been checked carefully. The greatest care in the

beginning is to be absolutely accurate in all the work of computation. One of the essential

things in preparing to make draperies is measuring. In measuring material and windows for

the patterns, always use a steel or a wood rule — ^a tape measure stretches and is unreliable.

In addition, read the text slowly so you will have a perfect picture of the process and the

finished article. Lastly, familiarize yourself with the Hints and Short Cuts, as they contain

valuable information gained from wide practical experience.

The Handbook of Drapery Patterns is the first step toward making and hanging the kind
of draperies you would like in your own home.
 CONTENTS
PAGE
INTRODUCTION 7
PARTS
1. SWAG VALANCE 13

2. TAILORED JABOT 17

3. FRENCH HEADING OR PINCH PLEATS 31

4. TRAVERSE CURTAINS 25

5. HOW TO LINE DRAPERIES 30

6. ARCHED TOP WINDOWS 32

7. CURTAINS DRAPED THROUGH PLASTIC RINGS 41

8. CONTINUOUS VALANCE WITH DOUBLE OR PIPE JABOTS 43

9. CHANGING THE PROPORTIONS OF A WINDOW 48
10. FRAME OF MATERIAL OUTLINING A WINDOW 50
11. FRENCH DOORS WITH ARCHED TRANSOM 52
12. CORNICE BOARD FOR HOLDING VALANCE ^ 55
13. DOUBLE AND SINGLE DRAPERY FOR SINGLE WINDOW 57
14. HOW TO DRAFT PATTERN AND MAKE SHAPED VALANCE 59
15. SCARF DRAPERY 63
16. METHOD OF ATTACHING RINGS OR PINS TO DRAPERIES 67

17. HINTS AND SHORT CUTS FOR AMATEURS 69

MAlSrOBOOKl OF ORAFERY EATTTERlSrS
 SWAG VALANCE
A SINGLE SWAG VALANCE is used frequently for formal draperies. It is always better to cut
the pattern from unbleached muslin to insure against errors. If this is used for an inner
lining, it will give the material more stability and graceful draping qualities.

The top line of the swag will be the same width as the entire window from outside edges

of the frame, allowance being made for hems, of course.

The depth of the finished swag at center is approximately one-sixth the depth of the
drapery, although this may be deeper for extremely high windows, or less deep for low
rooms.
There arc two methods of pleating and attaching the swag. If it is to have straight sides

which are to be tacked to a comice board having extended side pieces, Figure 3, the pattern

is cut and pleated in accordance with Figure 2 and illustrated in the completed swag,
Figure 4.
If it is to be pleated up to a point and attached to the top of a cornice board having no
extended side pieces, the pattern will be extended out at the sides in accordance with 2-A,
Figure 2, extension to the swag. It is then pleated up so that it appears as Figure 5.

The material may be folded in half for easy cutting, one-half of the pattern being laid

on the material, the fold on the straight of the goods. Be sure that the designs of the pattern
are in alignment. Allowance should be made for hems.

How to Make the Pleats

Lines for pleating are indicated on the pattern. Figure 2. Starting at the top, fold line A
on B to A; then proceed in the same manner, being sure that each side is folded in exactly

the same way so that the pleats will fall gracefully and evenly.
mion xS.
-A V

Figure 2.

Pattern for swag valance.

Cornice hoard
for bolding swag
 As each pleat is folded over, pin it down on both sides and when the pleats arc all set in,

they are basted and a tape stitched on so that it will be simple to attach the swag to the sides

of the cornice board.

When the swag is drawn up to a point as in Figure 5, the pleats are stitched over each

other as indicated in the illustration. The ends are attached to the top of the board.

In measuring for pleats, the distance between each pleat and fold is equal, as you will

note from the pattern.

Lining the S'wag

The lining should be slightly smaller than the outside. This is placed right side next to

right side of the material and the swag sewn around the sides and bottom. After it has been

turned right side out and pressed, the pleats are placed as directed above.

Comice Board for Holding Swag Valance

A BOAKD approximately four to five inches deep is attached to the top of the window casing
by corner brackets or angle irons. Straight side pieces to the depth necessary to accommodate
the finished swag arc attached to the sides. Figure 3.

The swag, to which a tape has been stitched along the top, is tacked over the top of the
board and drawn around the side pieces.

The Jabot is then attached to the top of the cornice over the swag and drawn around the
return of the cornice, so that it falls as illustrated in Figure 4.
 2 .

TAILORED JABOT
For Use with. Swag Valance
A TAILORED, pleated jabot is the usual finish for a swag valance. This is shown in Figure 7.

Figure 6 illustrates the pattern and lines on which the folds will occur. This does not

allow for hems. Therefore, when cutting, sufficient hem allowance should be left all around.

The pair of jabots may be cut at the same time so that they will be exactly alike. It is better

to make first a sample from unbleached muslin to insure against error and so that you can
tty the size at the window. This may be used for an inner lining.

Place the goods on the table, folded on the straight of the material, right side of each

piece together; then cut. The lining is the same size and cut in the same manner.
The lining may be of contrasting color or of same material. As it will show when the
jabots are hung, it should be harmonious. In folding die jabot, the top space is measured

evenly in accordance with lines indicated on Figure 6. Fold line X on Y over to X for the
first pleat and then fold X on Y over to X for the second. The extreme outside edge of the

jabot at 3 is tacked around the board so diat it covers it from side view.

To line the jabot, place the lining right side against right side of the material, baste and

stitch aroimd the sides and bottom, then turn inside out and press. The folds are set in and

pressed with a warm iron (not hot). The jabot is now ready for attaching to the cornice

board. The top is folded over the top of this and around the remm and tacked.
If a tape is stitched along the top of the jabot when it is completed, it will be a simple

matter to tack it to the board and remove when necessary for cleaning.

The jabot may be any length desired; some extend two-thirds the length of the drapery,

and others average about the depth of that illustrated in Figure i (frontispiece).

This finished drapery. Figure i, shows a slightly different style of jabot which we call

the “scarf” jabot, because it is not pleated in tailored effect but hangs informally.

[ 17]
 XT X X T X

The lines shown on this pattern

indicate the points at which the
pleats are to be folded over.
When the jabot is completely
folded and pressed it will appear
as illustrated in Figure
j. A
con-
trasting lining is interesting or it
may be of the same material as
the jabot itself.

Figure 6.

Pattern for tailored jabot.

i /

Figure j.

Tailored jabot
completed.

[(part a)

[i8]
 Figure 8.

The scarf jabot has a slightly different shape from

the tailored type, one side being curved. The lines
on the pattern indicate the points at which the
pleats are to be folded. The pleats are not pressed
down, hut hang informally.

(part 2 )

[X9I
 Scarf Jabot — For Use with Swag Valance
This pattern, Figure 8, shows a slightly difEeient style of jabot from that described on
page ly. This is illustrated on the finished drapeiy. Figure i.

Directions for making and linin

g are exactly the same as those for the tailored jabot. The
pattern is slightly difEerent, however. The straight edge at the outside is drawn around the
comice board so that it hides it at side view. The curved side faces the drapeiy.

The jabot may be any length best suited to dhe s^le of the draperies or room.
If a pattern is first made from imbleached muslin, you can judge better the correct length

and width to harmonize with the window treatment.

The pleats are not pressed down as they ate in the tailored jabot, but fall informally.

[20]
 HOW
TO MAKE FRENCH
HEADING OR PINCH PLEATS
Neakly all draperies ate iinished with a Ftench heading or pinch pleats at the top. They
ate simple to make.

HOW TO MEASURE

First, measure the width of the window from the outside edge of the casing on one side

to the outside edge on the other, together with the length of material required for draperies

to teach the floor. An allowance in length of about q inches is generally sufficient for hem
and for turning over at the top.

Usually, double the width of the window measurement will be enough fullness so that

the draperies will hang gracefully. If the material is extremely heavy and bulky, sometimes

a width and a half is used, although ioo% is more satisfaaory.

A simple way to measure the amount of material required for pleats and spaces between
is to allow 5 inches for each, which makes .100% fullness. When a width and a half is used,
or 50% fullness, we allow 5 inches for pleats and 10 inches for spaces between.

Having m^ured die window, and using 100% fullness, half of this for each drapery,

we divide this atnount by five to ascertain the number of pleats there will be on each side.

Any amount left over, is used for. hjcms at both sides and center. Or, if the measurement

comes out exactly even for the pleats, we will omit one pleat on each side for allowance for

hffn.s at sides and center. However, a better way is to add sufficient material in width to

complete the pleats and allow a slight margin beyond them.

For example, if the window is 70 inefi^ xiwde and we are using 100% fullness (double

the width of the window) we ,

shall require 140 inches in width for the entire width of the
 Figure^.

This pattern shows the method of measuring the fabric and

dividing for each pleat. The space between pleats is the
same as allotted for the pleats themselves when Jf oo% full-
ness is used, line I is folded to I on line X for each pleat.
Stiffening is attached between the lining and the material.

}1

[»]
 Figure xo.
Shotving the various steps in making pinch pleats, A illus--
trates the first step, I being folded to I on X; B indicates the
pleats divided into three folds; C, the point at tvhich the
pleat is gathered and D, completed.

(part 3)
window, plus allowance for hems at sides and center. If the material is 50 inches wide, it

would require three strips or one-and-a-half strips of desired length for each side drapery. As
the material measures 150 inches (three full strips) and we require only 140 inches for

100% fullness to cover the window, we have 10 inches left over to utilize for side hems.

As we have 35 inches for each drapery, finished size, this divided by five, the amount of

space required for each pleat, gives seven pleats on each side.

HOW TO MAKE PLEATS

As we do not want two pleats together at the center of die window when the drapenes

are closed, we use a space at this point. The first pleat, therefore, will start 2*4 inches in

(which is one-half the allowance for the usual space between pleats). At this point, we
mark the space where the first pleat will occur. Now measure 5 inches, the amount re-

quired for the first pleat. Fold line No. i in half on line X to No. i, then baste down about

5 inches, or to the depth decided for each pleat. From this point, measure off a 5-inch space

between the next pleat and then proceed as illustrated in Figure 9, and sewing in accord-

ance with Figure 10.

HOW TO FINISH THE TOP AND LINE

Before making the pleats, the drapery is lined, if a lining is necessary. A piece of stiffen-
ing or buckram is stitched along the top of the drapery between the lining and fabric; the

width of this to be the depth of the pleats. This buckram will keep the pleats upright and
sriff so that they will lie in tailored folds. See Figure 10.

The top hem is then folded over twice, the buckram forming the line at which the folds

will come. The top of the drapery is stitched to hold this double hem in place, but the bot-

tom of the fold is left free. The rings or pins are then attached to this loose hem after the

pleats have been set in.

When the pleats are basted down in accordance with pleat A, Figure 10, they are

stitched, folded and sewn as illustrated by pleats B and C, and drawn together as in D. If

box pleats arc desired (which arc better for heavy or bulky material), the pleats arc flattened
down and not gathered up.
 TRAVERSE CURTAINS
Drapery hardware for traverse curtains can be obtained equipped with pulleys and rings

for opening and closing. But when it is desired to rig a traverse curtain with an ordinary
drapery rod, the directions are as follows:

After the drapery has been made and pleated in the usual way to fit the window, the

usual brass rod and rings or pins are used. The pins are attached, or the rings sewn to the

back of the drapery, one at each pleat. There arc two pulleys for the equipment, one single

and one double.

The double pulley is screwed on the rod at the right-hand side of the drapery (although

if there is something in the way to interfere with the opening and closing of the curtain

from the right side, it can be installed on the left, the procedure for rigging beir^ the

reverse).

One ring is left outside of each pulley so that the drapery will not pull away from the

outside edge of the window when the drapery is opened and closed. The single pulley is

then screwed at the left-hand side of the rod.

A strong cord is necessary, usually wire cord being preferable, as it will stand the strain

of constant pulling through rings and pulleys. Allow sufficient cord to hang down for open-

ing and closing; approximately three to four feet is ample for each cord. The rings or pins

should be of sufficient size to permit the cord to move through them easily.

Thread the cord through one wheel of the double pulley, first allowing about four feet to

hang down for pulling, F. Thread the cord through the rings to the last ring, C, of the

right-hand drapery (the ring which is at the front center of the curtain). Loop the cord
around C twice so that it will not slip through, first pulling the cord taut. Now continue on,
threading the same cord through the rings starting at D on the left-hand curtain and thread-
ing through the single pulley B, always keeping the cord tight and holding it so it does not

slip through the double pulley A and sag.

 tigure II.

Method of rigging traverse curtains. A doable and single

fulley are required with a strong cord to draw through the
rings easily for opening and closing drapery. This illustra-

tion shows the back of the curtain.

 Figure 12.
Enlargement showing the rings and -pulleys. The cord is
looped twice around the last ring at front center of each
curtain to prevent its pulling through. "Weighted balls are
attached to the end of each cord.

(part 4)
 Now tctum the cord, threading through the rings again on the left-hand curtain to D,
looping the cord through D twice to prevent slipping. Continue through C and the rings on
the right-hand curtain to the double pulley.

Puli the cord through the second wheel of this and allow sufficient to hang down, E, for

pulling.

Weighted balls are attached to the ends of each cord. By pulling one cord the drapery
will open and by pulling the other it will close together.

Rings for traverse curtains have small eyes through which the pins attached to the dra-

peries are slipped. This allows the rings and cords to remain on the rod permanently when
the draperies are removed for cleaning. It is a simple matter to detach the draperies from

these rings and to rehang without disturbing the pulley cords and their rings.

Once the cords are threaded through their rings and pulleys there is no reason for detach-

ing them from the rod and rethreading when draperies are taken down and put back.

Pins are either sewn or pinned to the drapery itself at each pleat and then attached to

the rings on the rod.

Excellent rods equipped with cords, rings and pulleys are now on the market. These

have many new and convenient features not incorporated in the old style traverse hardware.

When these rods are fastened to the window frame they are not removed again. The dra-

peries with their pins are caught into the eyes of the equipment in the same manner as

described above.

[29]
 HOW TO LINE DRAPERIES
Figure 14 shows exaggerated hems, so that it will be easy to sec how the lining is attached
to the drapery. The material is turned back all around, more being allowed for the top than

for the bottom hem. Usually 4 inches’ allowance for the hem and 5 inches for the top, or a

total of
9 inches in addition to the length of the curtain, is ample.

The side hems of the fabric are slip stitched. The lining is cut a little smaller than the

material, the side hems also basted and turned toward the wrong side.

The bottom of the drapery is hemmed and left unattached to the lining to allow for any

slack that may occur from sagging of the goods or shrinking when the draperies arc cleaned.

The lining is hemmed also separately and should extend almost to the bottom of the drapety.
The lining is now sewn to the drapety by slip stitching as indicated in Figure 14. Very

thin material which is flimsy so that it does not hang well, or goods that has an open weave
so that the light shows through, changing the colors too much, requires an inner lining be-

tween the outside and lining. This is slip stitched to the lining, no hems being necessary.

The lining itself is then attached to the fabric as indicated.

BOW TO FINISH THE TOP OF THE DRAPERY

The top of the drapery should have a stiffening between the lining and fabric. This will be
die same depth as the pleats. It wdl keep them upright so that they will stand in even folds.

The top of the curtain is folded over twice, the stiffening being the guide for folding.

The top line of this fold is stitched, but the bottom is left free. The rings or pins ate. at-

tached to this stiffened, folded hem after the pleats have been set in.

To hold the lining and material together, a loose basting is sewn down the center, just

caught through to the tight side. This prevents the curtain from bagging and drawing away

from the lining. It is also necessary to catch the side hems of the drapety and lining to-

gether so that the two will not separate.

 Figure 14 .

Diagram with exaggerated

hems showing how lining is
attached to draperies and
method of folding the hems.
 6 .

ARCHED TOP WINDOWS

There are many arched top windows, especially in banks, hotels and restaurants. Geor.

gian houses frequently have Palladian windows over the entrance door, or at the stair land-

ing, the center of the group of three being arched. See Figure 15.

There are three considerations in making a pattern for this type of window — ^the width

of the window at the spring of the arch, X-Y, Figure 16 (this represents one-half of the

window, the space to which one single drapery of the pair will be fitted) ; the width of the

material, and its weight.

Usually, double the width of X-Y, or 100% fullness, is ample, with additional allow-

ance for hems at sides, center, and top which fits over the arch.

HOW TO MAKE A PATTERN OF THE ARCH

The first step is to make a pattern of the arch by laying a heavy piece of paper over the

window and tracing around it. This will give the exact size of the arch to which the finished

drapery will be pleated, not allowing for hems, of coiurse.

Now lay the pattern on a table or the floor and draw the line Y-Z, which represents the

center of the arch, dividing it in two so that you will have a pattern for each single drapery

of the pair. Draw the line X-Y at the spring of the arch (the point at which the window
begins to curve).

To ascertain the amount of material required for the draperies, using ioo% fullness,

measure line X-Y. The amount of material will be twice the width of this line for each one

of the pair of finished draperies, plus hem allowance.

HOW TO MEASURE FOR LENGTH

We must now estimate the yardage required for the lengda of the draperies, with suffi-

[32]
 Figure z 6.

Pattern of the arch showing spaces marked off and

points at which the pleats will occur on the arc.
The additional portion at P indicates the amount
which may he added to the width of the drapery
when necessary additional material is required to
form a complete pleat at X. This would he added
to hoth sides^ of course.
(part 6)
[341
cient allowance for looping up so that they will hang properly. First, measure the distance

from the center of the arch C to the floor at E, Figure i8.

To obtain the extra amount required for looping the curtains up, measure the distance

from the spring of the arch at A to B (which is the highest point of the arch if a line were

extended from C to B).

The distance between A and B is added to the length of the curtain at E. Draw a line

representing this extra amount required, E to F, and then draw a connecting line F to D.
Usually 6 inches is sufiicient for looping up; but by measuring in this manner, you will

obtain the extra amount required beyond the hem allowance. We now have the exact

yardage required for each window in length and width.

HOW TO LINE THE DRAPERIES

The lining is cut slightly smaller than the material. Stiffening to the depth of the finished

pleats is sewn to the top of the drapery. The side hems and bottom of the drapery are fin-

ished in the usu^ manner; the drapery being completed with the exception of the top

portion which is to fit the arch.

It is always better to make i pattern first of the complete drapery in unbleached muslin.

This can be used for inner lining. Also, it will insure against errors and waste of material.

HOW TO MEASURE THE SPACES BETWEEN THE PLEATS

A simple ratio to use in making pleats is
5 inches for pleats and 5 inches for each space
between pleats. This gives 100% fullness (twice the distance of line X-Y).
As the pleats are to be equal distances all around the arch and we do not want two pleats

together at the center of the window, we will use a space at that point. The spaces being

5 inches wide, this space will be divided into 2j4 inches for each side, plus hem allowance.

The first pleat of each side drapery, therefore, starts 2j4 inches in from the center of the
arch, Figure 16.

Measure off on line X-Y, 2 inches, the point at which the first pleat is to appear. Draw
a line upward at this point, bisecting the arc at A. From this point on line X-Y, measure to
I

Diagram showing bow much ma-

terial is required for draping the

curtain up as in Figure i^. The

distance A-B is added to the bot-

tom of the drapery at E-F, after

allowance is made for hems.

(part 6)

[37]
IFattcrn sho-wing^ the -pleats set in
and depth to xxjhich they are u^st*~
ally sextan doxvn on the ctsrtain.
The pleats are then gathered in ac-
cordance xjuith directions for mak-
ing French pleats given elsezvhere
in this book, or they may he
formed into box pleats by flatten-
ing them doxjun and pressing with
a warm iron.

(part 6)

[38]
the left,
5 inches, the distance for the next space. Draw a line upward bisecting the arc at B,

the point at which the second pleat will occur. Now continue in the same manner until you
have marked off the number of spaces there are to be. The right-hand pattern will be

marked in the same way.

HOW TO ESTIMATE THE NUMBER OF PLEATS

The number of pleats can be estimated by measuring the line X-Y and dividing by five,

the amount of space allotted for each pleat. If the line is 24 inches, for instance, this would
give four pleats, plus
4 inches over for side hem allowance. There may be a certain amount
left over at the far left of the left-hand curtain and the far right of the right-hand curtain,

which will not be sufHcIent for another pleat. This may be greater or less, depending upon
the width of the line X-Y and how it can be divided by five. This unevenness will not make
any difference when the space is not large, as you will note by referring to the finished

drapery, Figure 15. It merely brings the last pleat nearer or farther away from the spring of

the arch, X. However, if the space left over after the pleats have been allotted is nearly

enough for another pleat, the space will be too great to leave, as it will bring the last pleat

too far up from the spring of the arch. An addition to the full length of the drapery should

be made so that another full pleat can be set in. See addition P, Figure 16. The amount
added should be enough to complete the pleat and leave a slight margin over.
If it is necessary to make the pleats nearer together because the material is very thin, the

pleats themselves will still be 5 inches; but the spaces may be 3 inches, the first pleat start-

ing in I inches, of course. The width of line X-Y is then increased three times to take

care of this extra fullness.

HOW TO MEASURE THE PLEATS

We now have the spaces marked off and we must make allowance for the pleats. This

necessitates another pattern. Draw a line representing twice the length of X-Y if you arc

using 100% fullness, Figure 17. Also, draw line Y-Z, which is the radius of the arc and is

the same as in Figure 16.

[39]
 Now draw the arc connecting X to 2 . This represents the exact pattern for cutting the
material to be pleated up to fit Figure i6. Allowance fbr hems should be made as indicated

by the dotted lines.

Lay the drapery, which has already been hemmed and completed, on the pattern Figure
i6, the finished hem Z-Y in alignment with Z-Y on the pattern. Pin this securely to prevent

slipping.

Now at A on the arch, the point at which the first pleat is to occur, fold up 5 inches and

baste together in accordance with directions for the first step in making pleats, Figure 10.

Lay the material flat to cover the space between the pleats and continue to the second point,

B. Fold up 5 inches and baste for the second pleat. Continue until you have folded up all

the pleats around the arch at each point indicated on the pattern.

The top hem is now turned over and finished, and the drapery is ready to tack to the

frame.

FRAME TO HOLD THE DRAPERIES

A wood frame is made to fit the arch. The drapery, when completed and finished at the

top, is tacked around this arch at necessary intervals. The back of the frame facing the street

should be painted to match the window casing.

 CURTAINS DRAPED THROUGH
PLASTIC RINGS
Draperies are effective when drawn through rings attached to the top of the window

frame, with pole or rod omitted.

A swag to fit the top of the window is cut in accordance with pattern illustrated in Fig-

ure 2. When the drapery is finished, the ends of the swag are drawn together and stitched

over as in Figure 5.

Before the ends are stitched together, of course the side pieces are attached. These are cut

and finished in accordance with the pattern. Figure 34. The tops of the side pieces are sewn

to the sides of the swag and the whole pleated up together in a narrow fold so that they will
pass through the rings easily.

The swag is tacked loosely by a thread to the side pieces so it will not slip down.
 —^ tigure zo, ^

Finished drapery showing swag valance drawn through

plastic rings which are attached to the top of the window
frame. Rods are omitted. See directions for scarf drapery.
Page 6^.
(part 7)
CONTINUOUS VALANCE WITH
DOUBLE OR PIPE JABOT TRIM
This type of valance is sometimes used for restaurants, hotels, or formal rooms, where

there are two or more connecting windows. The valance may have as many swags with

accompanymg double jabots as neccssaty to cover the windows, or die windows and the

connecting wall-spaces when desired.

A backing of lining is necessary on which to attach die swags and jabots. This may be

of buckram lined with sateen, or sateen with same material for lining. A sateen backing

makes a more graceful valance, as buckram is apt to be rather stiff. This lining extends

across the entire space to be covered and should be deep enough to accommodate die bottom

pleat of each swag.

The otdinaty type of single tailored jabot is the usual finish at each end of the valance.

Figure 7, or a pair of double jabots s%hdy longer than used between the swags may be
used in place of these.

HOW TO MAKE A PIPE JABOT

The double, or pipe, jabot is simple ro make. Figure 22 illustrates the pattern. This is cut

to die desired depdi and lined in the same manner as described for Figure 7, “Tailored

Jabot”
When the jabot and lining have been completed and pressed, line A-B is sewn to A-B
on die opposite side and finished widi die seam on the inside of the jabot at the center bade
The middle pleat, C, is a box pleat — alines X being folded to Y on both sides and caug^
down. The second pleat is then placed at each side of the center pleat Figure 22 indicates

the lines on which the folds will come.

[43]
 ttgure 21.

Two windows have been given the appearance of the canti-

lever type by the use of draperies covering both windows and

wall-spaces and a continuous swag vdance with pipe jabots.

Larger jabots of same tj/pe are used for finish.

Pattern for the pipe jabot and lines show-
ing points at which the pleats will be
folded. Line A-B sewn to A-B on the
is

opposite side, the seam coming at the

center back at C.

Pattern for the swag and points at which

the folds will be set in. This type of
swag differs in shape from that shown
in Figure 2.

Figure 23.
(part 8)

[45]
 Figure 2 ^.

A continuous swag valance with pipe jabots and tailored

jabots as a finish at the sides. There may be as many swags
and jabots as necessary to cover the group of windows and
wall-spaces between when it is desired to have a connecting
line around the walls and windows to form an unbroken
line.

(part 8)

[46]
 These jabots hide the joining of the swags to the lining. On corner windows this style

of valance may extend around the entire group, with a double jabot placed at the comer

for finish, Figure 21.

The jabots may be lined with contrasting color or the same material.

HOW TO MAKE THE SWAGS

The swags are somewhat diflEerent in shape from the usual swag illustrated in Figure 2,

but are made and lined in the same manner. These are rather long and narrow, as you will

note by referring to the pattern, Figure 23. The bottom line of the finished swag may be
approximately two-thirds the depth of the jabots or nearly the same length, as preferred.

Figure 23 illustrates the pattern of the swag with indicated points at which the pleats will

be folded. These folds arc made in accordance with directions given for Figure 2.
 HOW
TO CHANGE THE
PROPORTIONS OF A WINDOW
Frequently a window is too small for the room, or there is too much space between its

top and the comice, which is awkward. It is quite simple to change the proportions of the

window so that it will be in keeping with the decorative scheme.

To make the window appear taller, add a flat board, as A, Figure 25, to the top of the

window casing. This is attached to the frame by braces screwed into the board and win-

dow. Fixtures for drapery rods are set on the outside, upper edge of the extension.

In order that the board does not show, draperies are generally drawn together at the top

and looped back. Figure 13. The extended board should be painted to match the window

frame.

When it is necessary to make the window wider, but the same height, two flat boards of

equal thickness of the window casing are attached to the sides of the window, in accordance

with B. The rod fixtures are placed on the upper, outside edge of these additions.

It is often desirable to make the windows wider when there is some obstmetion in front

to prevent the draperies from falling to the floor. This attachment will extend the rods and

allow the draperies to escape the projection.

Should it be necessary to make the window both taller and wider, the board A to the

flesired height is attached to the top of the window by braces and extended out on each side

as far as necessary, in accordance with C.

If valances are used, a projecting board to accommodate them is placed above the exten-

sion board, attached by angle irons or corner braces. A valance board generally projects four
to five inches.

A valance board is illustrated in Figure 28.

 Vigjure^
Diagram shozuirzg haw a window may bo made
to appear wider or taller by the u^se of boards at^
tached with iron braces to the tap ar sides af the
window.
C 49 ]
 FRAME OF MATERIAL
OUTLINING A WINDOW
A WINDOW may have a frame of fabric outlining it. Figure 26 illustrates two methods of
framing: one side indicates the frame stopping below the sill and the other extends to the

floor. Either design is a convenient and pleasing arrangement when there is not suflScicnt

material for full draperies.

A frame of buckram is cut to fit all around the window. It may be set inside the trim or

cover it as desired. Quilted or plain fabric is placed over this frame and turned over the

buckram and caught along the back securely to make a finished edge. A lining is not neces-

sary unless the frame shows from the street. If so, a regular lining of sateen may be placed
over the buckram, hiding it and the turned-over portion of the drapery material. The frame
is now tacked to the window frame at necessary intervals.

Glass curtains arc attached to rods set underneath the frame. These are more pleasing
when they extend to the floor. The frame may be finished with narrow box pleating, moss
fringe, folds of contrasting colors, or left plain.

Double windows set together are especially interesting when treated in this manner. The
glass curtains should fall to the floor in this case for greater effectiveness.
 Figure
Shows two methods of attaching a frame to a window to
take the place of ooer^draperies^ The frame may extend just
below the sill or to the floor and is set over glass curtains
which as a general rule should reach the floor,
(part I o)
[ 5 <]
 FRENCH DOORS
WITH ARCHED TRANSOM
A FKAME OF WOOD is built to fit thc arched transom. The material is laid on the pattern of

diis arch and gathered loosely around the top so that it covers the entire arc. A loose g;adier-
ing string outlining the top edge of the frame will shape the curtain.

The material is now cut and the top finished with a double hem, about 2 inches being

sufficient for this heading. This is shirred with a double shirring and the threads fastened

The shirred edge is now tacked to the frame and the material drawn down tightly to the

bottom of the frame and turned under and fastened. When pulling the fabric down over

the bottom of the firame, the gathers should be spread out a little so that th^ will not bunch

together at the center. If the usual rosette is omitted and the fullness distributed somewhat,

the curtain will have a tailored effect.

HOW TO ESTIMATE THE AMOUNT OF MATERIAL REQUIRED

FOR THE TRANSOM

The amount of goods required for the transom will be about

5 to 6 inches longer
than

the radius of the arch. This will allow for the double hem of i inch at; top and for tumit^

over the bottom of the frame.

The width will be about twice the length of the bottom of the frame for 100% fullness,

which is sufficient for material, such as pongee, casement cloth, silk gauze, etc. Very fine

nets, ninon, Celanese, georgette and materials of this character will require 150% fullness,

or diree times the width of thc lower frame.

 figure 2y.
P , ,
door, h^ing
(part I i)
C53]
 FRENCH DOORS
To obtain the amount of material required for French doors, or any glass cuitains as a

matter of fact, an additional 8 inches over the actual length of the windows is needed for

hems and bottom, 4 inches being allowed for each.

at top

The top hem is folded over twice and stitched. An additional stitching is run above this

with space allowed for inserting the rod on which the curtain is to he shirred.

The bottom hem may be finished in the same manner if a second rod is to be used. If the

curtain is to hang free, however, a regular single hem is all that is necessary.

The rods arc set on the doors just above and below the glass panes.

[54]
 PART 12.

CORNICE BOARD
FOR HOLDING VALANCE
When a valance is used, this necessitates a board widi a 4 to
5 inch return attached to
the top of the window frame by angle irons. Figure 3 illustrates the manner in which the

board is attached directly to the top of the window.

However, if it is desired to make the window appear longer, the cornice board is fastened

to an addition set above the window frame. This addition may be any depth required, as

the valance will hide it.

The window may be made both higher and wider by extending the board out at the sides

as far as necessary, as explained on page 48. The cornice board for accommodating the

valance is then set on top of this, in accordance with Figure 28.

 Figure 28.

A. cornice board for holding a valance xvhich has been added

to a tuindozv that has been made to appear both higher and
voider by an additional board attached to the top of the voin-
dovo frame.

(part 12 )

[56J
 PART 13.

DOUBLE AND SINGLE DRAPERY

FOR A SINGLE WINDOW
A FORMAL DRAPERY of this type, Figure 29, is very simple to make. The top drapery is

made in the usual manner with a French heading. This is attached to a tod extending from

the outside edges of the window casing.

A second tod sec about 2 inches below the upper rod and approximately i inch in

from die outside edge of the window frame, accommodates the lower drapery which covers

one-half of the window. This has also a French heading.

In order that the top drapery will fall to the floor evenly when looped up, about 12

inches in addition to the hem allowance is added to the right-hand side of the drapery. The

bottom line is then slanted up from the extended edge to floor length at the other side in

the same manner as described in Figure 18 for arched top windows. This method is reversed

for draperies looped up on right-hand side.

This additional material will allow the top drapery to fall to the floor in a line even with

the hem of the lower curtain.

[57]
 Figure
^ formal arrangement made zuith a curtain and a half, the
full width being set ooer the half drapery and looped up
high at the side- the other hanging straight.
<PART 13)
 HOW
TO DRAFT A PATTERN
AND MAKE A SHAPED VALANCE
To MAKE A SHAPED, flat valance, it is better to draft the pattern first in small scale on
regular scale paper, Figure 32, to obtain the desired effect. This is then enlarged to actual
size of the window for cutting the pattern. One-half of the pattern is all that is necessary.

The material is folded on the straight of the goods, the pattern pinned on and the fabric

cut. This insures both sides being alike.

Such valances extend from the outside edges of the window casing and arc tacked to a

wooden cornice board with 4- to 5-inch return, Figure 28.

The valance at its lowest point may be approximately one-fifth the depth of the entire
curtain, although it may be less than this if the room is small and the windows low; or

deeper for extremely high windows.

Figure 31 shows the reverse, or back, of the valance and how the lining and inner lining,
or stiffening of buckram, are attached to the fabric.

In cutting the lining and material, suflBcient allowance for hems should be made all

around.

First cut the fabric with allowance for hems. Next cut the inner lining of buckram, no
hems being necessary for this. The hem of the fabric is turned over the buckram and
caught securely all around — ^the hem, of course, being on the Inside of the valance.

The lining is cut slighdy smaller than the fabric. The hems are turned in all around and
basted. The lining is attached by slip stitching to the fabric and inner lining in the manner
illustrated, Figure 31.

The valance may be finished with fringe, braid, folds of contrasting material, or left

plain as desired.

The top of the valance is turned over the top edge of the comice board and tacked down.

The sides are drawn around the returns and also tacked.

The valance forms a complete box, making a finish for the draperies and hiding the
machinery of the rods and rings. It is useful also to cut the height of too high windows.

A complete drapery with this type of valance is illustrated in Figure 30.

[59]
 4

Figure 30.
^ shaped ualance is often used to cut the height of too high
toindotxfs and to hide the machinery of the rods and rings.
It is made on a buckram frame to hold its shape.
(part 1 )
C60]
 4

Figure j I .

Illustratesmethod of attaching the lining and buckram

stiffening to the material and how the hems are set in.

(part 1 )

[61]
 4

Figure 32 .

The pattern for the valance is first drafted on scale paper to

obtain the desired shape and then enlarged to the vjindow
size for cutting the material and lining.

(part 1 )
 PART 15.

SCARF DRAPERY
A SIMPLE DRAPERY TREATMENT which does not require much fabric is made by placing a

length of material over a pole and pinning to form pleats in a swag effect. This requires that
the material be alike on both sides, and unlined. However, the pleats may be a little bulky
at the pole where they are pinned.

A more graceful effect is accomplished when the material is cut to form a swag, with

long jabot sides and lined with contrasting or like material.

First cut a swag pattern in accordance with directions for making that in Figure 2 — the

top line of this being the same width as the window casing from outside edges.

Next cut two side pieces the desired length; usually these are better when the outside

edge reaches the floor. Allow for hems, of course, Figure 34.
The two sides may be cut at the same time by laying the material face to face on a
straight fold. The pattern cut to size is laid on and pinned to prevent slipping. This will
insure against error when the bottom lines are cut. These hem lines are cut on a slant, the

more slanting, the higher up the first fold will come.

The lining is cut approximately the same size. When the swag and side pieces are lined

and completed, lay the swag on a table right side up. Attach the top of the side pieces made
from pattern, Figure 34, to the sides of the swag, the wrong side of each side piece being

attached to the right side of the swag. These are then sewn together and finished.

The curtain is now pleated in accordance with directions for pleating swag valance. Fig-

ure 2. The drapery is placed over the pole or rod and caught together on the underside to

prevent its slipping down.

Material of satin with contrasting satin or taffeta lining is excellent for a Directoire or

any formal room.

The same treatment may be used when draperies are drawn through plastic rings attached

to the outer edge of the window casing and the pole omitted. See Figure 20.

[63]
 3 5

Figure 33 .

Scarf drapery to be thrown over a pole or rod.

Patterns 3^*3 show how it is made.
(part 1 )
[ 64 ]
 Figure
Pattern for side pieces or long jabot ends which may be cut
any length suitable for the raoTn or type of window Gen-- .

erally these draperies are more e'ffecti'ue when the jabots

touch the floor, Phe bottom line is slanted; the more slant-
ing the higher the first fold will come, The curued top fits
the side of the swag^ both being pleated up together when
attached,
(r»ART 15)
[65]
 Sip E Pisces

SWA e
PAttSi; /V

AA AteRIAL
ftiftht SI tie

Method of attaching the side pieces to the swag valance. The wrong side,

or lining, of the jabots is attached to the right side of the valance. Both are

then pleated up.

 METHOD OF ATTACHING
RINGS OR PINS TO DRAPERIES
Either rings or pins may be used to attach draperies to curtain rods.

The rings are sewn on the back of the drapery at each pleat and are set in a vertical

position so that the rod will run through them easily.

Pins, which are merely stuck into the material, may be used instead of rings. These are

also fastened to the back of each pleat. The pins loop over the rod and allow the curtain to

traverse back and forth.

Figure 36 shows the method of attaching both rings and pins to the drapery.

[^7l
 6

l\dethod of attaching pins or rings to back of draperies.

(part 1
)
[€8 ]
 HINTS AND SHORT CUTS
FOR AMATEURS
PLEATERS FOR FRENCH HEADING
There k a simple contrivance for making a French heading or pinch pleats, which obvi-
ates the necessity of measuring and pleating in the tuual way.

This strip of buckram has a scries of slots and may be purchased for a few cents a foot

at department stores.

The pleater is attached to tfie back of the drapery and stitched along the top and bottom.

A stitching is necessary also just above and below the slots, so diat it is stitched to the

drapery four times.

When entirely fjutened, the rod is slipped through the slots and the drapery drawn up,
forming even groups of pleats. These arc creased by hand to make sharp edges.

When draperies are cleaned, they are pulled out to full width again, which allows them
to lie flat without pleats. They are regathered in the same manner when they ate tehung.

SIMPLE WAY TO UNE DRAPERIES

An easy way to line draperies is to cut the lining about 2 inches smaller all around

than the fabric. The goods and lining are turned wrong side out and basted and stitched

along the sides and top just as if you were making a bag. Now turn the drapery tight side
out and press. The outside edge of the material at the center of each curtain should extend

I inch beyond the lining, forming a double hem of the material. The lining is now caught
along the outside edge of the hem to prevent its pulling away h:om the material.

The top of the drapery may have a pfecc' bf 'buckram stitched between the lining and

fabric. This is then pleated and rings attached.

 yf :k
J7.
Pattern of the arch shoxving how the box frame is made to
which the pleated drapery is fitted. A. simple way to make
draperies for arched top windows. Figure i

(part J7^j

[70]
 Figure 38 .

Two arrangements for draping small windows

set up high at each side of a fireplace.

(part 17)

[71]
 Or, the drapery may be finished at the top in the usual tailored way by folding the hem
over twice as explained on page 30.

The bottom of the drapery and lining are finished separately, the hems being kept loose

from each other to prevent sagging,

A loose basting is run down the center of the curtain just caught through to the right

side. This will keep the material from drawing away from the lining when the draperies are

SIMPLE WAY TO MAKE DRAPERIES FOR ARCHED TOP WINDOWS

A simple way to make draperies for arched top windows, although not used by profes-
sionals, is to draw lines boxing in the pattern of the arch. Figure 16. The pattern is made
from the actual arch exactly as described on page 32. When lines are drawn up from the
sides at the spring of the arch and a connecting line across the top, you will have a box
framing the arch.

Now cut and make draperies with a French heading to fit this box. You will have

straight-topped curtains, pleated exactly as if for a straight window. An additional amount,

however, will be added to the center of each side drapery beyond the hem line to allow for

looping up, see directions, Figure 18,

The curtains are lined and the pleats stitched down to desired depth, Figure 19.

Lay the completed straight drapeiy on the floor or table and place the pattern of the arch
over it. Pin it securely (one-half of the arch being used for each side drapery). Baste around

the top of arch to keep the pleats from pulling apart when cut and fasten the ends at desired

depth. Allow for hem at top. You will now have a drapery finished with pleats with allow-

ance at top for turning over and tacking to the wood frame, and an additional allowance at

the bottom for looping up.

METAL WINDOW FRAMES

To attach fixtures for draperies to metal window frames, holes are drilled in the proper

positions in the frame. Screws, called “Parker ’

metal screws, which fit into the drilled holes,

will hold the drapeiy fixtures or angle irons for cornice boards.
 If it is desired to increase the height or width of such windows, the extension boards arc

fastened to the metal frames by braces screwed into the holes with Parker metal screws.

Cornice boards are fastened in the same manner by corner braces or angle irons screwed

in with the same screws.

SETTING DRAPERY FIXTURES INTO PLASTER WALLS

When it is necessary to set drapery fixtures, or extended cornice boards, into plaster walls,
they can be held firmly by the use of special plugs. Holes are first drilled into the plaster to

desired depth, the longer the plug inserted, the firmer the fixtures will be. This is necessary

for heavy draperies and cornices. A special plug called a ‘‘Raw” plug, is inserted into the

holes which have been drilled. This is a hollow tube, usually of fiber. Screws for attaching
the fixtures or cornices are then inserted into these tubes, or Raw plugs.

DRAPING SMALL WINDOWS BY A FIREPLACE

The customary manner of draping small windows set up high at each side of a fireplace

is to use short draperies extending just below the trim. A valance or cornice may be added
if desired.

A more unusual treatment is also shown in Figure 38. This is a wooden frame cut from
plywood outlining the window. Glass curtains may be added, the rods set under the frame.

This frame may be made also of buckram and covered with plain or quilted fabric or

wallpaper.

Or, if curtains are not required to temper the light, small glass shelves may be set inside

the trim for display of glass or plants.

Sometimes, they are blocked out entirely and bookcases are built to the ceiling flush with

the fireplace. This adds more dignity to the room.

DUTCH CURTAINS
Dutch curtains, or curtains in two tiers, arc good for simple cottage rooms, kitchens

or dinettes. They cut the height of the window when it is too high for the room.

[73]
 They are simple to make, being merely glass curtains with a casing at the top through
which the rod is run. The material should be 2^ times the width of the window depend-
mg upon its thickness. Usually these curtains are of dotted Swiss, organdy, marquisette,

pongee, casement cloth, nets, etc. They may be also of calico or chintz.

The top rod is set on the window frame Just outside of the window and the rod for the
lower curtains is placed inside the reveal. The upper curtains will fall an inch or two over
the bottom curtains, Figure 39.

PROTER LENGTH AND FULLNESS FOR DRAPERIES

Draperies should always be full enough to draw together, even when they are left in a

permanent position at the sides of the window. Skimpy draperies have no meaning. Origi-
nally they were intended to draw for privacy and nothing adds so much beauty to a room
as draperies drawn at night.

In practically every case, they should extend to the floor. The exception being the cottage
type of window where simple criss-cross curtains are used without over-draperies; or, in

modern rooms where there is a wide bank of small casement windows set up high from the
floor. Such windows generally have connecting draw curtains of opaque material when it is

necessary to temper the light or insure privacy. These fall an inch or two below the trim.
Side draperies extending slightly below the glass curtains may be set at each end of the
bank of windows.

DRAPERIES, NEVER DRAPES

In speaking of window curtains, we should always use the word “Draperies,*’ never
drapes. The latter is a verb incorrectly used as a noun.

AMOUNT OF MATERIAL NECESSARY FOR GLASS CURTAINS

The usual allowance of material for glass curtains to give suflScient fullness is about twice
to three times the width of the window.
Materials which arc apt to shrink in cleaning arc frequently made with a double hem, or

[74]
 Figure 3p.

TDutch curtains txfhioh are suitable for kitchens,

dinettes and small cottages. IDra-peries are omitted.

(jPAxnc X 7)

1:753
Slip stitching is an easy way of hemming {iraperies.

(part r7)

[ 7^3
a tuck may be set Just below the casing which accommodates the rod. This can be let out if

it is necessary to lengthen the curtains.

An additional 8 inches should be added to the necessary length of the curtains for hems
at top and bottom, 4 inches being allotted to each. The top hem is turned over twice and
finished. A space is left in this double hem for the rod.

SUP STITCHING
Figure 40 shows the simple method of slip stitching, which is a quick way of hemming.
A running stitch just caught through the right side of the material so that
is it is practically

invisible. A long stitch then drawn through the hem on the wrong side.
is

ARCHED TOP WINDOWS WITH SHIRRED CURTAINS

When arched top windows are to be curtained with a shirred top instead of French pleats,

as described previously in this book, they are attached to a frame built to fit the arch. Rods

bent to fit the arch may be used also, although the frame is more convenient and usually
results in a more tailored effect.

The length of the material is estimated in the same manner as described for making the
pleated draperies, an additional amount being added to the center of each side drapery to

allow for looping up.

If the material is very sheer, 150% to 200% fullness is necessary; but with slightly

heavier fabrics, such as taffeta, satin, etc., 100% to 150% is sufficient. You can judge the

width necessary by draping the material together to obtain the effect of various fullnesses.

The width of the material required will be three to four times the width of the line at the

spring of the arch, X-Y, Fig. 16, depending upon the fullness desired.

After the drapery is lined, if a lining is to be used, the side hems are completed in the

usual manner. The curtain is laid on a pattern made to fit the arch. It is gathered around

k)Osely and a gathering string run through tx> shape the top and to hold the shirrir^ to-

gether. The top is cut with allowance for top hem which is to have a double shirring around

the arch.

The drapery is now tacked to the wood frame at necessary intervals.

[77]
 The material is drawn to the floor and hemmed, the additional allowance beyond the
hem line having been allotted to the center of each side drapery for looping up.

UNDER CURTAINS
Sometimes a third set of curtains is used. These are called “under curtains” and are

placed between the glass curtains and draperies. They are generally the same length as the

draperies and may be drawn at night when the draperies remain in a permanent position at

the sides of the windows.

These are useful in tempering the light and giving privacy at night. They take the place

of window shades when they are of opaque material such as taffeta, satin, etc.

A pleasing combination is chintz or cretonne draperies with taffeta under curtains and

net or ninon glass curtains. Velvet draperies may have taffeta or chintz under curtains; or

when the glass curtains are of ninon or Celanese, the under curtains may be of the same
material in a contrasting color.

TIE^BACKS

When draperies are looped back, they require cords or de-backs of the same matenal
attached to a hook or ornamental knob set in the window frame.

Ornamental metal arms or hooks fastened to the side of the frame also hold draperies

gracefully. Wide taffeta or moire ribbon make simple tie-backs, the ends finished with

tasseb or bows.

For summer curtains of sheer materials, de-backs of ribbon with a large bunch of arti-

ficial flowers are gay and charming.

When draperies have valances, the de-backs may be made to match them in shape and
are usually finished with a narrow ribbon or plearing of harmonizing color. These de-backs
are lined and sriffened so that they will hold the draperies properly.

Tie-backs should be long enough to hold the draperies gracefully and should never

squeeze them together so that they hang awkwardly.

Many glass or brass knobs for fastening de-backs arc in the form of rosettes, and there
arc glass lilies which are delightful.

[78]
 —

SUGGESTED COLORS AND FABRIC COMBINATIONS FOR VARIOUS ROOMS

GLASS OVER UNDER
ROOM WALLS FLOOR
CURTAINS DRAPERIES CURTAINS
Living room Chinese yellow amethyst oyster white hand-blocked linen, yellow taffeta
ninon design in yellow,
green, violets

living room Georgian green jade cream net yellow chintz none
design in white,
green, yellow with

jade moss fringe

trimming

Living room Powder blue deeper blue white Celanese rose taffeta, silk none
fringe to match

Modern Venetian rose brown Venetian blinds roughly woven none

living room cotton In brown
and terra cotta

stripes

Dining room Salmon golden brown Venetian blinds brown satin, none
cream fringe

Dining room Off-white paneling green and dull oyster white printed faille off- yellow gauze

rose all-over gauze white, design In

design rose, yellow, green

Dining room Wallpaper

— gray maroon gray ninon linen

as
same design
wallpaper
none

with geranium
design

brown cream net cream and brown fuchsia gauze

Bedroom Light fuchsia
striped taffeta,

cream fringe

brown peach ninon turquoise rayon gold gauze

Bedroom Peach
taffeta with
peach trimming

Bedroom Silver wallpaper gray yellow Celanese cliintz

— yellow none

design in yellow gray

r *1

[79]
 TYPES OF WINDOWS
Casement Windows — Small windows of metal or wood which swing in or out.

Cantilever Windows—^Two or more connecting windows adjoining at the corner of a build-

ing with no wall-space between.

Double Sash Windows — ^The ordinary type of window with two sashes, which push up
and down; the lower half over the upper when open.

Dormer Windows —Small windows set in a sloping roof extending beyond it in a form
of gable.

French Doors — ^The same as French windows, but usually the bottom stile is wider than
the surrounding frame.

French Windows —^Windows extending to the floor, or nearly so, opening in or out like a

door. These may be single or double.

Palladian Windows —Group of three windows, the’ center of the group being arched and
higher than the two side windows, A feature of Georgian architecture.

Window Trim or Frame — ^Thc mouldings around the window in which the glass panes arc
inset.

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