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AMERICAN HOMES AND GARDENS 



September, 1907 



Curtains and Draperies 



By Delia Austrian 



^ H E N glass and brocades cover the windows 

 ^'^^W^^^^M, '-'^^y deprive a room of sunlight; but if the 

 ^^x^w%^^w '"'^^"^ without curtains the sunshine is 



often so strong as to fade the carpet and 

 ^^^y^i^^^^ furniture. To curtain wisely is between 

 I^^^^^O^^^ these extremes; the tendency to-day is to 



have the curtain simple. In early days cur- 

 tains were often elaborate, and the draping of them no easy 

 matter. 



Early inventions of household furnishings were scarce, but 

 curtains were among the earliest kind of decorations. The 

 Renaissance and the expedition of Charles VIII into Italy 

 made them more general. The looms of Holland, England, 

 and France were kept busy weaving materials for furniture 

 coverings and draperies. 1 apestries decorated the walls 

 and the window curtains were kept in harmony. 



During the reign of Louis XII, the materials most com- 

 monly used were tapestry, brocades, and velvets. These 

 heavy hangings were often trimmed with braid, lace, and 

 fringes. The reign of Louis XIV gave more elaborate deco- 

 rations to France. The furniture was exceedingly elaborate, 

 and the cornices for the curtains were made to harmonize. 

 The windows were long and consisted of square panes in a 

 long sash. Outside the window there was usually only one 

 railing. The window was usually decorated with one cornice; 

 this was sometimes simple, but more often it was carved 

 elaborately. These cornices were either enameled white or 



gilded to match the panels and doors, and were ably designed. 

 The window-curtains were just as important as the drap- 

 ings. Those curtains next to the panels were white, made 

 of laces, embroideries, and India muslin. Over these were 

 hung handsome draperies of velvet and silk, often embroid- 

 ered exquisitely and folded with care. In one beautiful suite 

 of the eighteenth century, the room was furnished in jonquil- 

 colored Lyons brocade embroidered with silver flowers. 

 The portieres were of jonquil taffeta trimmed at the top with 

 silver lace or braid, while the bottom was ornamented with 

 silver fringe. The portieres were of brocade similarly 

 trimmed. 



The Persian pattern was also exceedingly popular at this 

 time; a sort of figured chintz of white background decorated 

 with flowers and birds. The curtains of Madame de Pompa- 

 dour were always elaborate and of Oriental pattern, painted 

 with little figures of Chinese images. In the reign of Louis 

 XVI, green and yellow taffetas were the prevailing style; 

 these curtains were usually wadded and heavily lined to give 

 a stiff appearance. The favorite design in the time of Marie 

 Antoinette was the winding ribbon alternating with a straight 

 stripe and sprinkled with delicate flowers. 



The Directoire banished all elaborate trimmings; the key- 

 note of the time was simplicity. The cornice and heavy 

 drapery were abolished, and their place was given to a thin 

 pole and a light silk curtain. Although the Empire restored 

 the gilded cornice and the silk curtain, neither ever regained 



Flowered Cretonne Curtain for a Living-room 



Velvet Portiere for the Hall 



