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1953-54 Theatre Catalog, 11th Edition, Page 203 (167)

1953-54 Theatre Catalog, 11th Edition
1953-54 Theatre Catalog
1953-54 Theatre Catalog, 11th Edition, Page 203
Page 203

1953-54 Theatre Catalog, 11th Edition, Page 203

1. Detergency: How best to remove the greatest amount of soil from all parts of fabric.

2. Resoiling: How to clean carpet so as to leave nothing of sticky or adherent nature in the wool pile. Such residue would cause dirt, subsequently tracked on the carpet, to cling more readily than before the cleaning process, since resoiling is strongly influenced by the presence of certain detergents, oils, greases, and perhaps deliquescent materials.

3. File Distortion: This has to do with the felting properties of wool, used constructively in the manufacture of blankets and fulled woolen and worsted clothing. In the case of rug cleaning, as in the washing of woolen sweaters, it is an undesirable property. Its effect in tangling fibers, and changing the surface appearance of the carpet in the presence of detergents and mechanical action, is to be avoided as far as possible.

4. Color Bleeding: How to prevent the washing process from having an deleterious effect in blurring color or causing one to run into another.

5. Odor and Mold Growth: The cleaning process should leave no objectionable odors of detergent in the cleaned door covering. Such odors may be due e not to the detergent*but to improper drying. The cellulosic backing yarns are readily attacked by fungus which provides food for bacterial growth. If cleaned rugs are not properly dried, the backings may retain sufficient moisture for the development of ever-present spores which cause such mildew growth. This results in deterioration of the backing, usually accompanied by bad odors.

6. Shrinkage: Obviously, the cleaning process should not cause any alteration in the dimensions of the fabric.

The object of carpet cleaning-in addition to the preservation of the fabric *is naturally to leave the face of the carpet looking, as nearly as possible, exactly as it did when new.


Every theatre has a iidoor showii that has been billed to run for years. This iifloor show" is the carpet, and it is one of the initial factors in establishing the tone of the house. If the manager is a sound business man, he


k will select it with the same exacting standards that were applied in booking the entertainment.

As with the performance, the carpet must be colorful, yet in good taste. It must please the audience and leave it with a desire to come back soon. Above all, it must be a durable performer with a style that is always fresh and a tough constitution that enables it to withstand the grueling demands of a long performance.

Many leading carpet men have called the American movie-house the nations most exacting carpet-wear test. Here the carpet is committed to years of cushioning an endless parade of feet. Wet feet, scufiiing feet, feet that carry and grind into the carpet an almost limitless variety of dirts, grits, and oily substances. And no less important gum, chocolate, and greasy popcorn that is dropped and crushed underfoot.

In the Bigelow-Sanford line the Wilton (or Jacquard) carpet is one of the most desirable for theatre service. This construction is famous for durability and its many patterns designed to minimize the appearance of wear. The Wilton is called the iicarpet of hidden value," for buried under its surface are resilient yarns that lengthen its life and heighten the feeling of luxury. In quality it ranges from the Austrian Loom-Tufted and Hartford Saxony to a variety of less expensive weaves.

In addition to the Saxony grades, leading Wilton qualities for theatre installation include Delrock, Delwood, Edgemere, Marshheld, Ascot and Putnam. All are engineered for rugged service and incorporate the attractions of comfort, luxury and sound-silencing essential in this highly competitive field. Each is available in a wide range of patterns and colors; more than 500

styles are offered in Saxony alone. In addition, special patterns and colors can be woven in minimum quantities of 250

yards to meet individual decorative requirements. It is recommended that if a new

theatre is to be constructed, the management should consult a reliable carpet supplier or manufacturer while still in the blueprint stage if possible. Bigelowis Carpet Counsel, staffed by experts drawing from the companyis 128 years of experience, is prepared to offer advice on the special requirements of the theatre installation, and to guide the manager in solving specific carpet problems.

The theatre carpet should be of heavy construction in a superior, quality that can withstand years of abuse in lobbies and lounges, and the abrasion it receives on stairs and inclined aisles. Any compromise invites the higher costs of extra maintenance and premature replacement, or the loss of business resulting from shabby appearance.

The long-term economies of this policy are seen in the experience of the Eastham, Rochester, N. Y. The original Bigelow installation was made in 1922. This carpet cushioned and silenced the steps of more than 10,000,000 people over 29 years before it was necessary to consider re-carpeting. Even then Bigelowls Carpet Counsel found that only portions needed replacing. Years of wear still remained for carpet in the mezzanine and adjacent rooms. Many other sections were taken up and re-used in parts of the balcony. The new installation was especially dyed to match the remaining portions of the original carpet so there would be no discord in the theatres decorative continuity.

There are other important factors to consider in selecting theatre carpet.

BELOW: A BOLD tropical pattern carpet accentuates the modem beuuly oi the lobby of the Crest. Baltimore. Theatre carpet should be of heavy construction and in a superior quality to stand abuse. Leif: Maintenance staffers learning the proper method at shampoomg carpet to insure long life.

1953-54 Theatre Catalog, 11th Edition, Page 203