64 
House & Garde 
‘^Tl^ibaut^ 
Wall Papers 
HIBAUT’S 
new 1919 
A wall paper styles are 
ready for your selection. 
Now is the time to redeco¬ 
rate your home, brighten 
up your surroundings and 
change your thoughts from 
the dark days of war to the 
bright future of peace. 
There is a Thibaut 
Decorator in Your 
Town 
If your decorator does not 
carry the Thibaut styles for 
1919, send us his name to¬ 
gether with your require¬ 
ments and we will send you 
samples as well as our very 
helpful book “Model Wall 
Treatments” profusely il¬ 
lustrated. Ask for edition 
4197. 
RICHARD E.THIBAUT, Inc. 
Wall Paper Specialists 
MADISON AVENUE AT 32nd STREET 
NEW YORK 
BOSTON BRONX 
96-98 Federal St. 485 Willis Ave. 
BROOKLYN NEWARK 
Flatbush & DeKalb Aves. 141 Halsey St, 
WASHINGTON HEIGHTS 
(New York City) 3621 Broadway. 
The Largest Wall Paper House 
the World 
To the Decorator who wishes to han¬ 
dle the best and most up to date line 
of artistic wall papers, we have a very 
attractive proposition to set forth. 
How to Select Spring Curtain Fabrics 
{Continued from page 30) 
If you have hesitated to use valances 
because of supposed difficulty in their 
shaping, you will be surprised at the 
ease with which you can make them 
yourself by carefully following a few 
simple instructions. 
There should always be a relative pro¬ 
portion between the shape of the win¬ 
dow and the shape of the lambrequin, 
that is, a wide, low window requires a 
rather narrow, arched-shaped lambre¬ 
quin (Fig. A); while a narrow, high 
window is improved by a deeper one 
with a central lobe (Fig. E). The 
average window, being approximately 
36" X 60", calls for a valance about 
IS" at its greatest depth, that is, at the 
side. The depth of these side lobes 
varies from about 12" for a low win¬ 
dow to 18" for a high one. 
Making a Valance 
First of all you will need a supply of 
manila paper, a yard stick, a T square, 
heavy pencil, scissors, and pins. Granted 
that you are cutting for a window of 
average dimensions, with the aid of the 
square and yard stick cut an absolutely 
straight strip of paper IS" wide and as 
long as the width of your window. 
Fold crosswise at the center, pin firmly 
at the ends, and rule off into thirds 
lengthwise at A-A and B-B, and cross¬ 
wise at C-C and D-D, as indicated in 
Diagram I. If your design is to be 
arched-shaped, the top of the arch 
should not go above line A-A. If it is 
to have a central lobe, the lobe should 
not extend below B-B. Starting at x, 
roughly sketch the side lobe, which 
should not extend beyond D-D. From 
D-D to the fold complete the center 
portion, arch or lobe. An ordinary 
pencil compass is helpful in drawing the 
curves. Cut along the pencil line, unpin 
and open, and you will see that the 
side lobes and the central portion each 
occupy approximately one-third of the 
whole. Fig. F shows how a pattern 
may be adapted to a groupi of windows; 
and Figs. B and C suggest the severe 
lines best suited to the formal character 
of heavy materials. 
The next step is to pin the pattern 
at the top of the window, over some 
side curtains, preferably those with 
which the lambrequin is to be used, and 
study the effect. Maybe a curve needs 
to be cut away a little, or padded by 
pinning on an extra piece of paper. Try 
several shapes before finally deciding, 
and when you are satisfied that you 
have achieved the right one, re-cut the 
pattern. 
When re-cutting, if the valances are 
to be lined, add an extra half-inch at 
the top, to allow for seams; if unlined, 
add 1^", which allows for a fin¬ 
ished hem at the top. For a valance 
which is to hang quite flat, add only 
at each end for seams; but when a 
projecting rod or bracket is to be used 
enough must be added to go around the 
ends. Pin the open pattern firmly 
across the width of the goods, and in 
cutting follow the curves very carefully. 
In using velour, see that the nap runs, 
downward and pin the pattern on the.- 
wrong side of the goods to prevent slip¬ 
ping. With figured goods, make sure 
that the design conforms pleasingly to. 
the shape of the lambrequin, and match, 
carefully where piecing is necessary. A 
few figured materials and those like 
monk’s cloth and Russian crash, which 
have no special weave, cut to best ad¬ 
vantage lengthwise of the cloth, par¬ 
ticularly if the windows are extra wide 
or in groups. Side curtains made of 
such materials should have top and 
bottom hems the same depth, so that 
they may be reversed. 
Heavy stuffs, like velour, damask, or 
rep, should be lined with sateen or 
similar material, but cotton draperies- 
are better unlined. 
In lining velour, to prevent slipping, 
put two rows of fine bastings about 
apart and stitch between. Leave one 
end of the valance open, to be blind- 
stitched after turning. An inch opening 
at the top of each end will permit the 
valance to hang on a separate rod; 
otherwise pins or hooks may be fastened 
to the back. 
Finish Accessories 
Galoon, cord, fringe, and tassels are 
accessory touches which give finish and 
charm to window draperies. Very hand¬ 
some galoons are found in silk of plain 
or mixed colors, and in dull gold or 
silver thread. They must be applied 
before lining, set the depth of their 
width from the edge, basted firmly along 
both edges, and neatly mitred at the 
corners. All the colors of the drapery 
may be repeated in the trimming, or a 
particular hue emphasized by a fringe 
or braid of solid color. 
In sewing these edgings on cotton 
materials, crease down yy on the right 
side of the goods and baste the edging 
over this, holding it a little slack on the 
outward curves. Stitch the outer edge 
on the wrong side, and the inner one 
on the right side. Where casement cur¬ 
tains are not used finish the inner 
edges and bottoms of side curtains with 
the same trimming, to soften the 
outline. 
If you wish to live happily with your 
new curtains, remember that the fabric 
which on the counter looks “perfectly 
fascinating” may become a very differ¬ 
ent thing when hung at your windows. 
The light showing through intensifies 
some colors and softens others. If pos¬ 
sible, have the bolt sent home on ap¬ 
proval, but in any case take with you a 
piece of the wall paper and try it with 
the goods against a window in the shop, 
to assure yourself that harmony exists 
between the two. You can achieve still 
further harmony by employing the val¬ 
ance or curtain material for table run¬ 
ner, sofa cushion, or chair cover, thus 
artistically bringing together the vari¬ 
ous accessories of the room and giving 
unity to the ensemble. 
