BED · DRAPERIES

Bed draperies should be planned and constructed to carry out the style and design of the bed itself, and should never appear obtrusive. Care should be particularly exercised in sleeping apartments that the draperies, furniture, floor and wall coverings merge into one complete harmonious whole without a discordant note.

The conformation of the draperies has much to do in determining the artistic atmosphere of a room, and may suggest vivacity, dignity, restfulness, solemnity or depression, according to the design and the style of material. The application of style and design to particular purposes is not governed by rules as fixed as the harmony of color, and doubtless every decorator of experience has seen scores of treatments which have impressed him as being in bad taste and unrelated to their surroundings, yet these treatments must have pleased somebody.

The salesman who told a lady customer thatgood tastewas whatsheliked best was not far astray in his definition, and it would be folly for any of us to say what is and is not absolutely good taste. We would, however, suggest that the purpose for which a room is used should govern to a very large extent the nature and character of the furnishings, and that the more exclusive the purpose so it should be with the furnishings.

This was hardly the thought prevalent in ancient times, judging from the examples extant, but is more in touch with latter-day thought and tendency.

Students of period draperies soon reach the conclusion that there is very little really new, and we think this is particularly true of bed draperies. In bed draperies the French decorators of the Sixteenth and Seventeenth Centuries are still pre-eminent, and we reproduce for purposes of explanation a few of the best examples of these periods.

Fig 116

Fig 116A

Fig 116B

Fig 117

Fig 120

Fig 121

Figure113is a type of the elaborately upholstered bed of the Pompadour period and contains much that is graceful and applicable to present-day decoration, the entire canopy arrangement being worthy of reproduction in toto.

While it is not customary at present to upholster beds (head-board, foot and side-rails), except for purposes of exact reproduction, it would not be amiss to explain in passing the steps taken in producing the different styles of tufting shown in our illustrations.

The biscuit tufting of Figure113is usually made small and shallow as compared with other styles, the squares composing the tuft seldom running larger than two inches. To mark off the surface of the article for tufting find the centre each way and draw lines as dotted lines 1——1, 2——2, Figure113A, being careful to make them perfectly perpendicular and horizontal, as governed by the outline of the space to be tufted. Measuring from the centre lines draw other lines every three inches until you reach to within three inches of the outline of the space, thus dividing the surface into three-inch squares, as dotted lines, Figure113A. Rule diagonal lines, as A, B, C, to cut through the intersections of the dotted lines, and make these diagonal lines sufficiently heavy to be legible when tufting, as the smaller squares enclosed by the diagonal lines outline the size of the tufts and the intersection of the diagonals mark the points for the buttons. (See Figure113B.) When all the lines have been drawn the article is ready for tufting, but the cover must also be marked for buttoning before it can be applied with any degree of success.

To ascertain the size of the covering needed, count the number of squares diagonally from one extremity to the other, thus from C to C, Figure113A, numbers ten squares, and ten also from A to A; now take the size of the dotted line squares first marked on Figure113A(three inches), and multiply the number of diagonal squares by the size of the dotted squares, which gives us the size of thecovering as 30 x 30 inches; add an inch all around for tacking, and a piece of covering 32 × 32 will be the size required.

Fig 113

Fig 113A

Fig 113B

Fig 114

Fig 114A

Fig 114B

Fig 115

Fig 115A

Fig 115B

Fig 119

For spaces such as 113 A, where the surface is longer than wide, it is possible to economize in covering by joining two pieces together on the centre line of tufting, B——B; take width from the lower right hand C to the upper B, nine squares, and the number from B——B to A, upper right hand corner, five squares, and multiply each by three inches, as before, and we find that two pieces, 27 x 15 inches, with tack allowance added, will be sufficient to cover the spaces thus divided by line B——B.

The covering is turned face downward upon the table and divided into the requisite number of three-inch squares, leaving the tacking allowance beyond the outside lines and keeping the lines parallel with the edges of the material, similar to Figure114B.

Attach the centre mark of the lowest line on your material to X, the lowest button mark on your tufting surface on line A, Figure113A, and temporarily tack the next marks on the bottom line at X——X, Figure113B. Stuff the fullness thus allowed between your button and X——X, and then put in button B, as Figure113B; the space between A——B and X forms a triangular pocket of fabric, which is stuffed up plumply and button pulled into place by following the marks on cover and tufting surface; the rest of the tufting now is a repetition of this procedure, stuffing up the three-cornered pocket, pulling in the fourth button to complete the square, and forming the surplus from button to button into a straight pleat. When all filled the edges are stuffed up plumply and tacked all around, the surplus fullness around the edge being formed into pleats running outward from the outside row of buttons, as Figure113B.

This is by no means an easy task for a novice, but patience and perseverance will accomplish the result, and the method of square marking for the covering and diagonals intersecting similar sized squares on the article will give the proper allowance for fullness for all sizes and nearly all coverings.

Square or bun tufting, as shown in Figure114, is marked as Figure114A, dividing the space into three-inch squares (or larger, if desired) and the covering marked also into squares (as Figure114B) from one to one a-half inches larger than those on the surface of the article. Thus, for three-inch squares, rule your cover into four and one-half inch squares and add tacking allowance. The size of the covering can easily be ascertained, as you need the same number of four and one-half inch squares of covering as there are three-inch squares marked out for tufting.

Put in the entire bottom row of buttons and the first one of the next row (Figure114A), forming the triangular pockets, which are stuffed as explained above for biscuit tufting.

The diamond tufting of Figure115is made in a slightly different way, but the principle is the same. Rule the cross lines 1——2——3——4 as Figure115A, line 3, say three inches from the bottom, line 2, six inches above line 3, and line 1 three inches higher again.

Divide lines 1, 2, 3 and 4 into three-inch spaces, as shown on line 1, A——B——C, etc.; rule from B on line 2 to A on line 3, and also to C on line 3; rule from C on line 2 to B and D on line 3, and also from A on line 2 to B on line 3, continuing this until the surface is all marked, as Figure115A. This will give you a row of intersecting diagonal lines between lines 2 and 3 and marks the diamonds for buttons by following the intersections.

To measure the space for covering, measure from A to B, to C to D, and so on to G, adding one and a-half inches to the distance between each letter for fullness. Measure from 4 to 3 to 2 to 1 in the same way, adding one and a-half inches to each space, so that a panel the size of 115 A, which measures 12 x 18 inches, requires a piece of covering 18 x 27 inches, with an allowance of another inch all around for tacking (20 x 29). Mark the covering, as Figure115B, which shows the one and a-half inches added to the spaces between the upright lines and also to the spaces between the cross lines.

Put in the first row of buttons and draw the bottom edge of the goods, which lies directly in line with each button, straight down, and tack it temporarily there. This will form a series of pipes all across the bottom; stuff evenly and plumply, and commencing in the centre stuff up all the space between the first row of buttons and the second line; pull the cover down over this by pulling the button mark on the cover down to the button mark on the line, and put in the button, forming the surplus material diagonally from button to button into a pleat, as illustrated (Figure115A). Continue this row and the rest in like manner, folding the pleats downward and facing each other in pairs, as indicated by arrows. Finish the top with a row of pipes similar to the bottom, stuff up all the edges and tack them, drawing all the surplus fullness into pleats from each button of the outside rows, and rounding the edges down to the place where finished off by tacking.

Beneath the rail of Figure113a short piped valance fills the space to the floor. It is slightly pleated between the pipes, so that the pleats fall into festoon shape, and is also an effective valance for cosey corners and chairs. Mark out on a paper, Figure116, the exact appearance of a portion of the valance, including two pipes and the space between; erect perpendicular lines A and B through the centre of each pipe, measure the width of the pipes at bottom and top, the length from top to bottom, the distance between D——C at the top and the distance around thecurved bottom line between A——B at the bottom, recording the measurements as here shown.

COLONIAL BEDROOM

Take a large piece of paper, and using the longest edge of it as the bottom line A——B, Figure116A, mark off the distance of the bottom edge of the festoon (1——9); from the centre of this space erect a perpendicular line E——E at right angles to the bottom line, and as long as twice the length of the pipe (2——0); at the top of the perpendicular line rule another horizontal line parallel with the bottom line or the edge of your paper, and with the perpendicular line as your centre, locate points C and D, exactly as on your drawing 116.

With E as your centre and A——B as radii (116 A), strike a half circle to connect A and B; with B as a centre and one-quarter the distance to E as a radius, strike an arc to intersect the half circle and locate point A——1, and repeat at B to locate B——1; rule from B——1 and A——1 to E, from A——1 to C and from B——1 to D, defining the general outline of the festoon-like section between the pipes.

Fig 123

Reverting again to Figure116the bottom of the pipe measures four and one-half inches across the face when pressed flat; double this to get the circumference, which would be nine inches; rule a horizontal line from point A——1 (116 A) parallel with the bottom line and nine inches in length; erect a perpendicular line, X——X, from the centre of it, and on the perpendicular mark the length of the pipe as shown on your drawing (1——0); at the top of this line lay out the size of the top circumference of the pipe, which is double the face measurement, and locate points G and G four and one-half inches apart; rule from G to A——1, round out the bottom line from A——1 to B——1 as dotted line, add the trimming allowance between C and G, dropping about two inches to F, midway between lines C and G as dotted line; fold the paper on line X——X and cut out the festoon and half the pipe, as outlined by X——A1——E——B1——D——C——F——G and X, together with the paper folded underneath, which will give you when opened the pattern of two festoons and one pipe, as Figure116A, which may be repeated indefinitely by joining the pieces at F so that the seams are hidden behind the pipe.

To pleat the festoons shirr from C to F and D to F tightly on a stout thread, fasten F——F together, drawing the pipe together at the back, and fold the top of the pipe down behind to finish even with the top of the festoons. Tack the whole to a slat or to the bottom of the bed itself and straighten out the pipes and pleats to hang nicely and uniformly.

By increasing the depth of the festoon to (2——8) twice the depth of the festoon drawn in Figure116(1——4) and adding rosettes, made as explained in chapter on pleated valances and lambrequins, a more elaborate effect is obtained, as Figure116B, suitable for other purposes where a simple valance is required. The canopy is made on a frame shaped like Figure117, suspended by brass chains or wire from the ceiling or wall, and supports the curtains at sides and back, in addition to the drapery which completes the canopy. The side curtains are made about a foot longer thanthe distance from floor to canopy, and caught up with rosettes or loops, as explained in chapter on scarf draperies.

The festoon-like pleats in the top of the curtain are obtained by cutting out sections of the top of the curtain, similar to the piece defined by points E——1, E——1, and F, in Figure118, the total amounts cut out consuming the fullness allowance, as, for instance, a piece of forty-eight inch material pleated to twenty-four inches would have two triangles of eight inches removed, as Figure119, and a half triangle of the same size taken off each corner; by shirring the raking edges the pleats are obtained and the fullness consumed.

The drapery of Figure113is made up of triple-pleated festoons, made as follows: Sketch out the festoon as you desire to pleat it, either full size on your blackboard or to a reduced scale on paper, the large lower pleats occupying two-thirds of the depth, and the small upper pleats the remaining one-third, as Figure120; measure the distance around the bottom of the festoon from A to B, the depth from E to X, and also from C to E and D to E, recording the distance on your drawing.

The bottom line and the depth of the festoon pattern, Figure118, are planned as a regular festoon, so draw the bottom line, A to B, locate the points A1——B1 one-sixth of and above the bottom line, as explained for straight festoons; rule the perpendicular centre line E——X as long as twice the depth recorded on Figure120, and rule the top line parallel to and almost as long as the bottom line.

Fig 124

Fig 125

Now take one-quarter of the measurement between C——D, Figure120, and mark it on your top line, so that half of it lies on each side of your centre line E, thus the distance between C——D is eighteen inches, one-quarter of it is four and one-half inches, and two and one-quarter inches on each side of the centre line locates E1 and E1 four and one-half inches apart.

Now take the distances recorded between C and E and E and D on your sketch, and mark these distances outward on the top line from E1 and E1, which will give you the size of the top of the festoon and locate points C and D on your pattern. Mark F about one-quarter of the distance from E to X on your pattern (Figure118); rule from F to E1 on each side, A1 to C and B1 to D, add pleating allowance, as dotted lines on raking sides of festoon, hollow out the U-shaped marked at E, as dotted line, round out the bottom of festoon, and cut out the pattern, shirr the edges from E——1 around to E——1 on a stout thread, and pleat the raking outside edges up as anordinary straight festoon. (See explanation in chapter on French festoons.)

The ruffle which surmounts the drapery and forms a trimming at the edge of the canopy (Figure113) consists of a piece of material pleated in such a manner that the pleats are smaller at the bottom than at the top. It is made separately, and either joined to the drapery or put on over it. The size and number of the little cone-like pleats are matters of personal taste, and the principle of making is the same for all sizes and shapes.

On a fair-sized piece of paper draw out exactly two pipes and the space between as you desire it to look when finished (see Figure121). Continue the side outlines of the pipes downward until they meet, as A——A. This, of course, will be nearer or more distant according to the flare of the top of the pipe. Place point of dividers at A, and using the length of the pipe as a radius, strike a quarter circle through and on each side of the top of the pipe, as line B——B; now draw perpendicular lines passing up through the centre of each pipe and at right angles to the straight bottom line of the ruffle.

Place one point of dividers at C, where upright line intercepts the circling line, B——B, and with a little more than D——D as radii, sweep to cross the line B——B on each side; place dividers at the point where your sweep crossed B——B, with the same radius, and strike another line to cross B——B and locate E, and rule from E and D to A on each side of the pipe; with dividers at A, and with the bottom of the pipe as a radius strike another quarter circle as H——H, the points where dotted lines D and D cross H——H locate G——G, and where dotted lines E and E cross H——H, F——F are located; mark the place where the perpendicular line crosses H——H as X, which is shown on the middle pipe, and the pattern is ready for punching.

Note instructions for punching pattern of Figure 107A in chapter on archways, and follow the same procedure with this pattern, punching points E——D——C——D——E at the top, and F——G——X——G——F at the bottom. You will notice that letters E——D——D——E——F, G——G and F outline the pipe and show the lines for folding, while the space enclosed between C——C——X——X is the pattern of the plain piece between the pipes; now by shifting the pattern as explained for Figure107B, in above mentioned chapter, and marking through the perforations you will have a pattern outlined by the same letters as Figure122; rule from point to point and you have the complete pattern of one pipe and the space between it and the next one, by repeating this, as shown in Figure122A, you may make the ruffle any required length, stiffen with wiggin holland or buckram and pleat as indicated by lines in pipes, the shaded portions of Figure122Agoing to the back of the pipe, and the points C E——C E and X F——X F meeting and fastened together. The completed ruffle is now sewn to the top of the festoons and the seam finished with a cord, as Figure113.

Figure114illustrates the application of straight top festoons to a molded canopy frame, the roof of which is shirred to a centre in sunburst effect.

Figure115shows a ruffle or piped heading similar to Figure113with larger spaces between the pipes, and the method of detailing the pattern is the same as already explained.

Figure123illustrates a dome shaped canopy supported by a molded cornice, and is more simple of construction than at first appears; the molded cornice needs no further explanation than the front view, Figure123, and the side view, Figure123A.

The construction of the dome can easily be followed by Figures123Band 123 C; a light hardwood circular frame is first marked at intervals around the outer edge where the ribs are desired to be, and a number of straight iron wires about one-eighth of an inch in diameter are inserted by boring holes in the edge of the frame, driving in the wires as C, in 123 D, after which tacks are driven in beside the holes to swell the fibres of the wood against the wire, and the wires bent upright as A and B of this illustration. Each separate wire is bent to take the shape of the rib, and all are fastened at the centre temporarily; when all are thus fastened, commence winding the three wires composing each rib, binding them solidly together with soft twine continuing to the centre, then turn the wires sharply aside, in line with the next rib, to which the ends are then bound, and the winding repeated on each rib.

Fig 118

Fig 122

Fig 122A

Fig 123A

Fig 123B

Fig 123C

Fig 123D

It is desirable that no wires be permitted to continue across the centre, but that all should turn back, leaving the centre free from the thickness that wouldbe occasioned by the crossing and recrossing of the wires.

EMBROIDERED LACE CURTAINS AND BONNE FEMMES—IRISH POINT, RENAISSANCE AND MARIE ANTOINETTE.

By crossing twines on the frame and dropping a plumb line over the intersections, the centre of the dome may be kept in line with the centre of the open frame (see Figure123C).

When the ribs are all in position wire loops are run around the ribbed circle inside, at different heights, to strengthen them and preserve the globular shape. The framework is then covered with canvas, and each panel (the space between two ribs) is padded with some soft material evenly distributed and covered with cotton, after which the covering material is put on, a row of stitching holding all firmly to each rib and a cord covering the stitching.

The drapery beneath the cornice of Figure123combines the festoon and straight valance principles which have been already explained in former chapters, and the small drapery above the embroidery is put on separately.

The four-poster of Figure124shows the application of a straight box pleat in keeping with the architectural lines of the bed, and any of the draperies shown herewith may be applied to four-post beds if the general outline and style of the draperies conforms to the general construction of the bed itself.

In Figure125we illustrate a French canopy which adapts itself very readily to the decoration of brass beds. The dome is formed of panels of buckram or cardboard, cut to shape, and covered with the fabric, plain or pleated; the panels are then sewn together with the baseball stitch, previously illustrated, and a hoop fastened inside the bottom to preserve the shape. If heavy fabrics are desired for curtains, drapery and covering, the dome should be more substantially constructed, as described for Figure123, dispensing with the molded cornice if desired.

Bed canopies, no matter how light, must be carefully put up and securely fastened to avoid accident.

The back curtains, which appear in almost all of the illustrations presented herewith, are in some cases attached to the side curtains, so that the fabric is continuous from fringe to fringe, those of Figures123and125being so planned.

The back curtain of Figure124is shirred on a rod top and bottom, and stretched into pleats, while those shown in Figures113,114and115may be treated similarly, or, as illustrated, pleated into long, sweeping pleats. The material is joined up, allowing nearly half as much again to the width, say a piece 6—- 9 for a 4—- 6 bed, and allow a like quantity (2—- 3) in addition to the required length.

Spread the material out on the table, find the centre of the top, and measure each way on the top edge a distance of eighteen inches; measure down each side from the top corner the distance you have allowed (2——3), and rule from these marks to the extremities of your eighteen-inch marks; add outside of this the allowance for tacking and trimming and trim off the corner, which means that you remove from each corner a piece of material measuring about 20 x 24 inches, and triangular in shape. Tack the straight top to the back of the canopy, centering the goods (3——0) in the space (4——6) and pleat up the biased corners into the remaining spaces at each side.

Back to Index Next