Curtains

Designer Loudon wrote" curtains give such an air of comfort to a room, whether it be to the spectator from without, or to the occupant within, that we could wish no cottage, however humble, to be without them. For the same reason, we should wish cottage windows to be large, that the curtains may be displayed without too much obstructing the light"

A fully draped window consisted of a cornice, a valance, and one or more curtains. In the 1840’s, the cornice was generally a painted, gilded, or stained pole. The valance hung below the cornice attached by rings.

Window curtains, draperies, and valances were produced in a variety of materials, all employing natural fibers such as linen, silk, cotton and wool. Since silk was quite expensive, and the woolen industry lagged behind the cotton industry, most middle –class houses probably used cotton fabrics.

Part of the rich appearance of curtains depended upon proper lining and interlining. The interlining was a layer of flannel that furnished extra protection from the elements, and contributed to the proper "hang" of the curtains. Interlining was most common on heavier weaves, such as damask, velvet and expensive fibers, such as wool and silk. It was rarely used with cottons.

In the 1850’s ornately patterned, gilded wood or stamped metal cornices replaced the architectural cornices and poles. These cornices usually were incorporated with a valance known as a "lambrequin". By mid-century they were an integral element of fashionable design for window coverings. Undercurtains, also called "glass curtains", hung next to the windows. These were usually made of Swiss or Nottingham lace.

The drapery poles were generally attached to the window moldings. However, in low rooms, critics recommended placing the cornice and lambrequin at the ceiling to avoid covering the window glass. And in cases where the windows were unusually narrow the poles were extended six to eight inches beyond the moldings to make the windows appear wider and to admit as much light as possible.. The length of the curtains was such as to reach the floor when looped up. One method to loop the curtain was a long loop of silk or worsted cord suspended from a hook three to four feet above the floor. Another method was curtain pins made of wood or metal. By the 1880’s looping was no longer fashionable, nor was the curtain to touch the floor.

Most curtains were made of cotton, linen, and wool. The richest possible look was achieved by using silk brocade, damask, satin, taffeta, plush and velvet. With silk beyond the reach of most middle-class households, critics preferred woolens for parlors, dining rooms, and libraries. Cotton remained the choice for bedrooms, with chintzes and calicoes. Formal rooms employed the richest fabrics and most ornate designs. Curtain materials corresponded in richness to the upholstery fabrics.

In choosing the colors of curtains, mid-century dictated a "harmony by contrast" approach when furnishing public rooms. For bedrooms "harmony by analogy" was best, with one hue in various tints and shades.

Whatever the material chosen, most critics agreed that sheer curtains generally were not attractive by themselves. In the summer a room might employ only lace curtains and a lace lambrequin, but other seasons required a more substantial treatment.

The doorway curtain became very popular during the last quarter of the century.