The history of window curtains and curtains totals some millenia. Curtains do a premise rather cosy. To difficult itself to present dwelling without the curtains, whatever modest was its furniture. Usually, people prefer the big windows, that on the one hand allows to submit beautifully curtains, and with another - the room does not look too dark. The window decor as a rule consists of several elements: eaves, a frill, one or two curtains. In 19th century eaves, as a rule, painted and put gilding or used colored a bar. The frill hanged down from the eaves, supported by two rings.
Curtains, frills and draperies were produced from the most different materials which structure included natural fibres (flax, a clap, a wool). Appearance of curtains strongly depended on furnish of premises. Internal furnish represented a layer of a flannel which served as additional protection against influence of an environment and helped to achieve the necessary tightness of curtains. Internal furnish was used with heavy (brocade, velveteen) and expensive fabrics (the wool and silk), is much more rare - with a clap.
In the middle of 19th century the carved gilt or metal eaves with stamping have come on replacement to architectural eaves and bars. Such eaves were usually decorated by frills which have received the name lambreken. Lambreken became the integral element of a decor of a window. Under curtains the Swiss or Nottingham laces, usually, were hung up.
Bars for a drapery fastened to a stucco moulding decorating a window. In rooms with a low ceiling eaves and lambreken usually had as much as possible highly not to close a window. If the window was unduly narrow, chose a bar which would leave for a stucco moulding on 15-20 centimetres. Thus, the window became visually wider, and the room - is more light. The length of curtains paid off so that last got to a floor after assemblages have already been made. Assemblages could be the most different, for example curtains could represent a long loop from silk or a cord from a wool which was suspended for a hook hanging at level of 1 metre above a floor. Also used special wooden and metal krepezhi. By the end of 19 centuries architectural extravagances as, however, and curtains to a floor have got out of fashion. Usually a basis for curtains were the clap, flax and a wool. The smartest kind was reached by use of a different kind of brocade, sateen, a taffeta and cotton velvet. As silk was inaccessible to people from middle class, to an ornament of drawing rooms, table, and libraries the preference was given to a wool. In bedrooms the clap and a chintz prevailed. In receptions, usually, used the most expensive fabrics which tried to give unusual appearance.
In the middle of 19 centuries it was accepted to choose curtains according to a contrast principle. In sleeping rooms the analogy principle dominated. What material would not be used, the majority of critics refer to opinion, that transparent curtains in itself are a little attractive. In the summer in a room could hang up only curtains and lambreken from a lace, but in other season of a window demanded more serious approach. In last quarter of 19 centuries it became fashionable to hang up curtains in a doorway.
Curtains, frills and draperies were produced from the most different materials which structure included natural fibres (flax, a clap, a wool). Appearance of curtains strongly depended on furnish of premises. Internal furnish represented a layer of a flannel which served as additional protection against influence of an environment and helped to achieve the necessary tightness of curtains. Internal furnish was used with heavy (brocade, velveteen) and expensive fabrics (the wool and silk), is much more rare - with a clap.
In the middle of 19th century the carved gilt or metal eaves with stamping have come on replacement to architectural eaves and bars. Such eaves were usually decorated by frills which have received the name lambreken. Lambreken became the integral element of a decor of a window. Under curtains the Swiss or Nottingham laces, usually, were hung up.
Bars for a drapery fastened to a stucco moulding decorating a window. In rooms with a low ceiling eaves and lambreken usually had as much as possible highly not to close a window. If the window was unduly narrow, chose a bar which would leave for a stucco moulding on 15-20 centimetres. Thus, the window became visually wider, and the room - is more light. The length of curtains paid off so that last got to a floor after assemblages have already been made. Assemblages could be the most different, for example curtains could represent a long loop from silk or a cord from a wool which was suspended for a hook hanging at level of 1 metre above a floor. Also used special wooden and metal krepezhi. By the end of 19 centuries architectural extravagances as, however, and curtains to a floor have got out of fashion. Usually a basis for curtains were the clap, flax and a wool. The smartest kind was reached by use of a different kind of brocade, sateen, a taffeta and cotton velvet. As silk was inaccessible to people from middle class, to an ornament of drawing rooms, table, and libraries the preference was given to a wool. In bedrooms the clap and a chintz prevailed. In receptions, usually, used the most expensive fabrics which tried to give unusual appearance.
In the middle of 19 centuries it was accepted to choose curtains according to a contrast principle. In sleeping rooms the analogy principle dominated. What material would not be used, the majority of critics refer to opinion, that transparent curtains in itself are a little attractive. In the summer in a room could hang up only curtains and lambreken from a lace, but in other season of a window demanded more serious approach. In last quarter of 19 centuries it became fashionable to hang up curtains in a doorway.
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