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1950-51 Theatre Catalog, 9th Edition, Page 307 (285)

1950-51 Theatre Catalog, 9th Edition
1950-51 Theatre Catalog
1950-51 Theatre Catalog, 9th Edition, Page 307
Page 307

1950-51 Theatre Catalog, 9th Edition, Page 307

Pointers To Insure Long Carpet Wear

Construction, Underlining, and Installation Are Treated in Their Close Relationship to Use Life

As a basic part of theatre decor, carpeting can contribute much to a theatreis own special atmosphere. The soft Hoor covering should give patrons a sense of pleasure from its harmonious color combinations and pattern. Carpet should create an air of comfort, give an appearance of space, and serve as a "welcome" mat throughout the house. Not only does the theatre owner want the carpeting to enhance or preserve the individuality and comfort of his house, he also wants it to stand up as long as possible under the hard usage it will receive in any theatre.


BRIEF: Theatre carpeting . . . unlike the universe . . . does not last forever . . . especially since it is called upon to bear more punishment than floor coverings in any other type of building . . . However battered and bruised it may be

daily . . . by hundreds of tramping, scuffing, and wet feet . . . it still must look fresh and attractive for the next days visitors . . . particularly because of the important role it often plays in the decorative scheme of the house.

The problem of deriving the maximum wear from his carpeting . . . made all the more acute by the current increasing shortage of wool to fill new or replacement orders . . . is one of cardinal interest to every theatre operator . . . Much has been written about the proper care of carpets . . . when they are on the floor . . . but comparatively little has been said about prolonging use life before they are even laid . . . by the selection of properly constructed types . . . the employment of underlinings

. and correct installation . . . The following article surveys these filifegivingi, preliminary measures in detail.


It is a wise idea to consult the contract representatives of distributors or manufacturers. These men have had years of cXperience in dealing with every phase of contract installation. They can offer sound suggestions and discuss the owncris wishes and needs, budget limitations, and special traffic problems. Whether it is a complete theatre job or a replacement, the choice of carpet is one which deserves careful consideration.


Most theatre carpet comes from one of three looms: Chenille, Wilton or Velvet; these fine floor coverings are specially Woven to withstand the heavy traffic in theatres. Chenille carpeting is usually custom-made, and any color or colors, pattern, size, or shape, no matter how Irregular, can be loomed to specification. Furthermore, Chenille can be woven as \Vlde as 30' without a seam. The weaving



President, Carpet Institute. Inc.

of Chenille requires two looms with a hand-tufting operation on the second loom. The pile surface, woven on one loom, is cut into furry strips, and these strips are then woven into the base of the carpet on a second loom. The back of the carpet has a heavy, sturdy woolen yarn structure. It is a tough, wearresisting weave.

Wilton is fine carpeting with a cut pile surface. It's twin weave is the Brussels, which is woven in the same manner, but the pile is left uncut. Sometimes cut and uncut pile are combined. In the Wilton weave, one set of woolen yarns forms the pile surface, and the other sets are woven into the base.

Velvet is the simplest of all weaves, loomed with one set of wool yarns with all the wool appearing in the surface. Before it is taken from the loom, the looped tufts are cut. The top-quality Velvets, such as those used in theatre installations, have a thick, luxurious pile.

Determining Quality

The pressure of human hands is useful in determining the quality of a wool fioor

covering. Density of the pile is an important factor in judging the durability of a carpet. The pile is the face of the carpet made up of tufts of woolen yarn held together by backing yarn. The denser the pile, the more it will resist any attempt with the thumb to make a dent in it. Quality wool has a springiness that lets it bounce back from pressure.

Carpet quality cannot be judged by depth of pile alone. It is necessary to know what constitutes the carpet, for there are some low-pile carpets which surpass the high-pile types, and there are texture weaves which combine both low and high tufts. Many rich-looking and long-wearing carpets are made up of several levels of tightly looped pile, and others are a combination of cut pile and looped pile. Pile height is, of course, a. factor in judging quality, but it is not the sole decisive factor.

Several varieties of wool are required for carpet weaving. While the sheep born in the United States furnish tine wool for clothing, carpets require strong, tough, wear-resisting yarns made from wool grown on the sheep in cold mountainous countries. No one wool fiber has all the necessary characteristics for fine carpeting, but a judicious blending of wools achieves the best results. Carpet wools

UNDERLININGS ARE DESIRABLE because they save wear, prolong life, and make floor coverings look richer. Here illustrated is an installation mcm rolling out a seclion oi Spongex Rubber lining.
1950-51 Theatre Catalog, 9th Edition, Page 307