FLAT VALANCES OR LAMBREQUINS

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

Figure10is one of the simpler forms, surmounted by a moulding cornice, and is frequently used where it is desired to give the windows the appearance of greater height by raising the cornice the desired distance above the top of the frame, the valance concealing the real height of the window.

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

Figure11is a combination of the flat valance and festoon drapery. Its use is not confined to any particular room, and it can be made simple and inexpensive, or elaborated with appliqués, as Figures12and14, until it is rich enough for any purpose. Its main characteristics are the small quantity of goods required and the ease with which it can be made. Nearly all flat valances are made on buckram to give them the required stiffness to hang flat and smooth.

LOUIS XIII.

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

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

Do not try to make too many scallops; allow the outside scallops to be a little wider than the others, so that they will appear about the same size when the tails are put over them. The outline of the end scallops can be made a little more straight where the tail covers it, as dotted line, Figure11.

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

Figure11Aillustrates the method of finding the radius of three given points—as the two ends and the centre of a scallop. Having determined the width of the scallop, draw perpendicular lines at its extremities, A——A and B——B, Figure11A, and on these lines mark X the distance you wish to raise the ends of the scallop from the line. With point of dividers at C on the bottom line strike an arc at a little more than half the distance to X on line A; then with point of dividers at X on line A strike an arc with the same radius as before to cross the other arc at the two ends. Repeat this on the other side of the centre point C toward line B,and by ruling straight lines through the intersecting extremities of each arc to where they meet in the centre you find the radius from which all three points would be touched by a sweep of the dividers.

The pipes which are attached at the top of each scallop are cut in the following manner: Measure the length of space the pipe is to cover and draw a line on your pattern paper its equivalent in length; from one end, with half its length as a radius, draw a quarter circle on each side of the line marking point D where it crosses the line. With point at D and the end of the line as a radius sweep to intersect the curved line at each side, which will give you points C——C; rule straight lines from points C——C to B and to A. The bottom line following the circle is too round for a nice pipe, and should be modified to midway between the curved and straight lines, as dotted lines, Figure11B.

This pattern can be used to good advantage by utilizing half of it only, repeating from the line A——B for the buckram pattern and the lining, as Figure11B, and repeating from the line A——C for the pattern for the outer covering, Figure11C. After being covered with the lining, as Figure11B, it is bent round and the two edges joined together with fine thread and baseball stitch, as Figure11D. Cut the covering as Figure11C, allowing a half inch all around for hem; fold together wrong side out and stitch the edges A——A and B——B together; press the seam out flat, turn right side out, and pull over the buckram form, turning in the edge around the bottom and sewing it down.

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

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

GOTHIC.

Figure12is a similar treatment, with the lower third composed of a shirred skirt; the buckram form is made first and covered, and the skirt is sewn to the under side before the lining is put on. In addition to the fringe at the bottom of the skirt this style is further embellished with an edging or lace around each scallop and an appliqué ornament centreing each scallop. The top edge is sometimes finished as illustrated with a heavy silk cord with knots or double loops at the prominent points.

Figure13is a combination of pelmet and overdrapery, used where the decoration is desired to be very deep without the appearance of excessive weight. The flat back or pelmet is made perfectly straight and flat, trimmed with a gimp or galloon, and appliquéd, the long end being provided with a deep fringe. The overdrapery is cut as per rule for irregular festoons, and while it has the appearance of passing over and down behind the pelmet, it is joined behind just out of sight, using no more goods than is necessary for the appearance on the face side. This can be made very effective by using a plain material for the pelmet covering and a striped or figured fabric for the overdrapery. It can be used for dining-rooms, libraries and offices where the windows are high and not very wide. Repeated from the left side with double tail in centre it is a nice treatment for a double or mullioned window.

Figure14illustrates another style and the method of applying it to a double window. The top is further embellished with a garniture of heavy silk cords and tassels, which, on very deep valances, is sometimes replaced with a light-weight silk festoon drapery in harmonizing shades.

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

To make up flat valances lay the cut out buckram form upon the goods with which it is to be covered and cut the goods an inch larger all around.

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

ILLUSTRATING FOUR POSITIONS OF THE DRAPERY RELATIVE TO THE WOODWORK.

It will be necessary to notch the goods to allow it to go up into the points of the scallops, as X, Figure15.

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

When all properly basted it is either slip-stitched together, as shown in Figure15A, or machine stitched, keeping the edge of the lining about a sixteenth of an inch back from the edge. The tails also are lined; lay the cut tail on the table face down and turn over on top about half an inch on the two sides and bottom, and with shoe tacks tack it to the table nice and even all round the edge; lay the lining over it face side up and tack it over the other, turning in the edge the same distance that the goods is turned over, and with edges lying even, removing the first round of tacks as you put in the others, baste the two together with basting stitch and slip-stitch, or machine stitch it together, according to the nature of the goods. In making the pipe cover the buckram form with the lining before forming it into the cone shape, bringing all the edges over and sewing them to the wrong side, so that they will not be visible in the cone when made.

A MODERN VERSION.

For the skirt in Figure12allow about as much again for fullness for light-weight goods, and half as much again for medium weight.

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

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

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

Thus a valance like Figure11would take for a four-foot window two and five-eighths yards of fifty-inch goods, the same of lining, and about one yard of thirty-six-inch buckram.

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

Fig 16

Fig 16A

Fig 16B

Fig 16C

Fig 17

Fig 17A

Fig 17B

Fig 17C

Fig 17D E F

Fig 18

Fig 18A

Fig 18B

Fig 18C

Fig 19

Fig 19A

Fig 20 Fig 20A

Fig 21

Fig 21A

Fig 22 Fig 22A Fig 22B

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