Part 3

1808. Fancy Needlework

Although there is a continual change in designs and materials for fancy needlework of every description, the fundamental principles on which this kind of work in all its various branches is executed remain the same. These are carefully, though briefly set forth in the following series of instructions on this subject.

1809. Instructions in Crochet

1810. Popularity of Crochet

Perhaps no kind of work has ever attained such popularity as

Crochet

. Whether as a simple trimming, as an elaborate quilt, or as a fabric, almost rivalling Point Lace, it is popular with every woman who has any time at all for fancy work, since it is only needful to understand the stitches, and the terms and contractions used in writing the descriptions of the different designs, to be enabled to work with ease the most beautiful pattern that ever appeared in crochet.

1811. Stitches used in Crochet

These, with their abbreviations, are:

ch chain stitch

s single crochet

dc double crochet

L long stitch

double and treble long

1812. Chain Stitch, ch.

Hook the cotton into a loop, and keep on looping the cotton through a previous stitch till a succession of chains are made to form a foundation.

1813. Single Crochet, s.

This occurs only in working designs; the hook is inserted in a stitch, and the cotton is pulled through that and the cotton which is on the hook at the same time; it thus makes a close tie.

1814. Double Crochet, or dc.

With cotton on the hook insert the latter into a stitch, draw the cotton through; there are now two loops on the hook, take up the cotton on the hook, and with cotton again upon the hook draw it through the two loops.

1815. Long Stitch, or l.

With the loop of last stitch on the hook, twist the cotton over the hook, place the latter through a stitch, draw the cotton through, then put the cotton over the hook, draw the cotton through two loops, and again through two loops.

1816. Double and Treble Long

With the hook in a loop, twist the cotton twice or three times over the hook, and draw the hook successively through either two or three loops.

1817. Square Crochet

Square crochet is also sometimes used. The squares are either open or close. An open square consists of one L, two Ch, missing two on the line beneath, before making the next stitch. A close square has three successive L's. Thus, any given number of close squares, followed by an open, will have so many times three L's; consequently any foundation for square crochet must have a number that can be divided by three.

1818. To Contract an Edge

This may be done in Dc, or long stitch. Twist the thread round the hook as often as required, insert it in the work, and half do a stitch. Instead of finishing it, twist the thread round again, until the same number of loops are on, and work a stitch entirely; so that, for two stitches, there is only one head.

1819. To Join on a Thread

Joins should be avoided as much as possible in open work. In joining, finish the stitch by drawing the new thread through, leaving two inches for both ends, which must be held in.

1820. To Use Several Colours

This is done in single crochet. Hold the threads not in use on the edge of the work, and work them in. Change the colour by beginning the stitch in the old colour, and finishing it with the new, continuing the work with the latter holding in the old. If only one stitch is wanted in the new colour, finish one stitch, and begin the next with it; then change.

1821. To Join Leaves, &c.

When one part of a leaf or flower is required to be joined to another, drop the loop from the hook, which insert in the place to be joined; draw the loop through and continue.

1822. To Work over Cord

Hold the cord in the left hand with the work, and work round it, as you would over an end of thread, working closely. When beads are used they must be first threaded on silk or thread, and then dropped, according to the pattern, on the

wrong

side of the work. This side looks more even than the other: therefore, when bead purses are worked from an engraving, they are worked the reverse of the usual way, viz., from right to left.

1823. Oriental Crochet erroneously termed Tricotee

This is worked by just making a chain the length required. Then put the hook through a loop of the chain, pull the wool through without twisting it, and so continue to the end, keeping all the stitches on the hook.

In returning

, twist the wool over the hook, pull it through the first loop, twist the wool again over the hook, pull it through the next, and so continue to the end. There will now be a row of flat loops, but not on the edge. Work exactly as at the first row which was worked with the chain row, but in this there is no chain row.

1824. Instructions in Netting

1825. Regularity in Netting

The beauty of netting consists in its firmness and regularity. All joins in the thread must be made in a very strong knot; and, if possible, at an edge, so that it may not be perceived.

1826. Implements used in Netting

These are a netting needle and mesh. In filling a netting needle with the material, be careful not to make it so full that there will be a difficulty in passing it through the stitches. The size of the needle must depend on the material to be employed, and the fineness of the work. Steel needles are employed for every kind of netting except the very coarsest. They are marked from 12 to 24, the latter being extremely fine. The fine meshes are usually also of steel; but, as this material is heavy, it is better to employ bone or wooden meshes when large ones are required. Many meshes are flat; and in using them the

width

is given.

1827. Diamond Netting

The first stitch in this work is termed

diamond

netting, the holes being in the form of diamonds. To do the first row, a stout thread, knotted to form a round, is fastened to the knee with a pin, or passed over the foot, or on the hook sometimes attached to a work cushion for the purpose. The end of the thread on the needle is knotted to this, the mesh being held in the left hand on a line with it. Take the needle in the right hand; let the thread come over the mesh and the third finger, bring it back under the mesh, and hold it between the thumb and first finger. Slip the needle through the loop over the third finger, under the mesh and the foundation thread. In doing this a loop will be formed, which must be passed over the fourth finger. Withdraw the third finger from the loop, and draw up the loop over the fourth, gradually, until it is quite tight on the mesh. The thumb should be kept firmly over the mesh while the stitch is being completed. When the necessary number of stitches is made on this foundation, the future rows are to be worked backwards and forwards. To form a

round

, the first stitch is to be worked into immediately after the last, which closes the netting into a circle.

1828. Round Netting

Round Netting is very nearly the same stitch. The difference is merely in the way of putting the needle through the loop and foundation, or other stitch. After passing the needle through the loop, it must be brought out, and put

downwards

through the stitch. This stitch is particularly suitable for purses.

1829. Square Netting

Square Netting is exactly the same stitch as diamond netting, only it is begun at a corner, on one stitch, and increased (by doing two in one) in the last stitch of every row, until the greatest width required is attained. Then, by netting two stitches together at the end of every row, the piece is decreased to a point again. When stretched out, all the holes in this netting are squares.

One Kind Word may Turn Aside a Torrent of Anger.

1830. Darning on Netting

Square and diamond netting are the most frequently used, and are ornamented with patterns darned on them, in simple darning or in various point stitches. In the latter case it forms a variety of the sort of work termed

guipure d'Art

.

1831. Grecian Netting

Do one plain row. First pattern row. Insert the needle in the first stitch, and, without working it, draw through it the second stitch, through the loop of which draw the first, and work it in the ordinary way. This forms a twisted stitch, and the next is a very small loop formed of a part of the second stitch. Repeat this throughout the row.

The second row is done plain.

The third like the first; but the first and last stitches are to be done in the usual manner, but begin the twisting with the second and third loops.

The fourth is plain. Repeat these four rows as often as required.

Use No. 20 mesh for the fancy rows, and No. 14 for the plain.

1832. Counting Stitches

Stitches in Netting are always counted by knots.

1833. Instructions in Tatting, or Frivolité

1834. Implements for Tatting

The only necessary implements for tatting are a thin shuttle or short netting-needle, and a gilt pin and ring, united by a chain. The cotton used should be strong and soft. There are three available sizes, Nos. 1, 2, and 3. Attention should be paid to the manner of holding the hands, as on this depends the grace or awkwardness of the movement. Fill the shuttle with the cotton (or silk) required, in the same manner as a netting needle. Hold the shuttle between the thumb and first and second fingers of the right hand, leaving about half a yard of cotton unwound. Take up the cotton, about three inches from the end, between the thumb and first finger of the left hand, and let the end fall in the palm of the hand; pass the cotton round the other fingers of the left hand (keeping them parted a little), and bring it again between the thumb and forefinger, thus making a circle round the extended fingers. There are only two stitches in tatting, and they are usually done alternately; this is therefore termed a

double stitch

.

1835. English Stitch

The first stitch is called the

English stitch

, and made thus:—Let the thread between the right and left hands fall towards you; slip the shuttle under the thread between the first and second fingers; draw it out rather quickly, keeping it in a horizontal line with the left hand. You will find a slipping loop is formed on this cotton with that which went round the fingers. Hold the shuttle steadily, with the cotton stretched tightly out, and with the second finger of the left hand slip the loop thus made under the thumb.

1836. French Stitch

The other stitch is termed

French stitch

; the only difference being, that instead of allowing the cotton to fall

towards

you, and passing the shuttle

downwards

, the cotton is thrown in a loop over the left hand, and the shuttle passed under the thread between the first and second fingers

upwards

. The knot must be invariably formed by the thread which passes round the fingers of the

left

hand. If the operation is reversed, and the knot formed by the cotton connected with the shuttle, the loop will not draw up. This is occasioned by letting the cotton from the shuttle hang loosely instead of drawing it out and holding it tightly stretched. When any given number of these double stitches are done, and drawn closely together, the stitches are held between the first finger and thumb, and the other fingers are withdrawn from the circle of cotton, which is gradually diminished by drawing out the shuttle until the loop of tatting is nearly or entirely closed. The tatted loops should be quite close to each other, unless directions to the contrary are given.

1837. Ornamental Edging

The pin is used in making an ornamental edge, something like purl edging, thus:—Slip the ring on the left-hand thumb, that the pin attached may be ready for use. After making the required number of double stitches, twist the pin in the circle of cotton, and hold it between the forefinger and thumb, whilst making more double stitches; repeat. The little loops thus formed are termed

picots

.

1838. Trefoil Tatting

This is done by drawing three loops up tightly, made close together, and then leaving a short space before making more. The trefoil is sewed into shape afterwards with a needle.

1839. To Join Loops

When two loops are to be connected, a

picot

is made in the

first

, wherever the join is required. When you come to the corresponding part of the

second

loop, draw the thread which goes round the fingers of the left hand through the

picot

with a needle, pulling through a loop large enough to admit the shuttle. Slip this through, then draw the thread tight again over the fingers, and continue the work. In many patterns a needle is used to work over, in buttonhole stitch, the thread which passes from one loop to another. A long needleful of the same cotton or silk used for the tatting is left at the beginning of the work, and a common needle used to buttonhole over bars wherever they occur.

1840. Alternative Picots

Picots are also sometimes made with the needle and cotton in working over these bars.

1841. Instructions in Knitting

1842. Improvements in Process

Although the art of knitting is known perhaps more generally than almost any other kind of fancy work, still as the knowledge is not universal, and there have been of late years great improvements in many of the processes, we hope that a short account of all the stitches, and the elementary parts of the craft, will be welcomed by many of our friends—and most seriously would we recommend them to attain

perfection

in this branch of work, because, above all others, it is a resource to those who, from weak eyes, are precluded from many kinds of industrial amusement, or who, as invalids, cannot bear the fatigue of more elaborate work. The fact is that knitting does not require eyesight at all; and a very little practice ought to enable any one to knit whilst reading, talking, or studying, quite as well as if the fingers were unemployed. It only requires that the fingers should be properly used, and that one should not be made to do the duty of another.

1843. Implements for Knitting

These are rods or pins of ivory, bone, or steel. The latter are most commonly used, and should have tapered points, without the least

sharpness

at the extremity.

1844. Casting On

The first process in knitting is casting on. To effect this, hold the end of cotton between the first and second fingers of the left hand; bring it over the thumb and forefinger, and bend the latter to twist the cotton into a loop; bend the needle in the loop; hold the cotton attached to the reel between the third and little fingers of the right hand, and over the point of the forefinger; bring the thread round the needle by the slightest possible motion; bend the needle towards you, and tighten the loop on the left-hand finger, in letting it slip off to form the

first

stitch.

1845. Formation of Stitches

Now take that needle with the loop on it in the left hand, and another in the right. Observe the position of the hands. The left hand needle is held between the thumb and the second finger, leaving the forefinger free, to aid in moving the points of the needles. This mode of using the forefinger, instead of employing it merely to hold the needle, is the great secret of being able to knit without looking at the work, for so extremely delicate is the sense of touch in this finger, that it will, after a little practice, enable you to tell the sort of stitch coming next, in the finest material, so that knitting becomes merely mechanical. Insert the point in the loop, bringing it behind the other needle, slip the thread round it, bring the point in front, and transfer the loop to the left-hand needle without withdrawing it from the right hand. Repeat the process for any number of stitches required.

1846. Plain Knitting

Slip the point of the right-hand needle in a loop, bring the thread round it, and with the forefinger push the point of the needle off the loop so that the thread just twisted round forms a new one on the right hand.

1847. Purling

The right-hand needle is slipped in the loop

in front of

the left-hand one, and the thread, after passing between the two, is brought round it; it is then worked as before. The thread is always brought forward before beginning a purled stitch, unless particular directions to the contrary are given.

1848. Mode of making Stitches

To make one, merely bring the thread in front before knitting, when, as it passes over the needle, it makes a loop; to make two, three, or more, pass the thread

round the needle in addition

, once for 2, twice for 3, and so on.

1849. To Decrease

Take one stitch off without knitting; knit one, then slip the point of the left-hand needle in the unknitted stitch and draw it over the other. It is marked in receipts d. To decrease 2 or more, slip 1, knit 2, 3, or more together,

as one

, and pass the slip stitch over.

1850. How to Join a Round

Four or five needles are used in round work, such as socks, stockings, &c. Cast on any given number of stitches on one needle, then slip another needle in the last stitch, before casting any on it; repeat for any number. When all are cast on, knit the first 2 stitches off on to the end of the last needle. One needle is always left unused in casting on for a round.

1851. How to Join Toe of Sock, &c.

Divide all the stitches on to two needles, hold both in the left hand, as if they were one, and in knitting take a loop off each one, which knit together.

1852. To Cast off

Knit 2 stitches; with the left-hand needle draw the first over the second; knit another; repeat. Observe that the row before the casting off should never be very tightly knitted.

1853. To Knit Three Stitches Together

To knit three stitches together, so that the centre one shall be in front.—Slip 2 off the needle together knit the third, and draw the others over together.

1854. To Raise a Stitch

To raise a stitch is to knit the bar of thread between the two stitches as one.

1855. Abbreviations

The abbreviations used are:

K knit

P purl

D decrease

K 2 t knit 2 together

P 2 t purl 2 together

M 1 make 1

1856. Size of Needles

Take care to have needles and cotton or wool that are suitable to each other in size. The work of the best knitter in the world would appear ill done if the needles were too fine or too coarse. In the former case, the work would be close and thick; in the latter it would be too much like a cobweb.

1857. Instructions in Embroidery and Canvas Work

1858. Embroidery

Embroidery, properly speaking, includes every sort of ornamental work done with a sewing needle of any kind; but in its popular acceptation, it applies only to the ornamentation of any article by the eye, or from drawn or marked patterns—whatever may be the material, or combination of materials employed; Berlin or canvas work, on the contrary, is the usual designation of all kinds of embroidery on canvas,

done by counting threads

, and frequently by the aid of a painting on checked paper.

1859. Distinction in Embroidered Work

Although these two different sorts of work are really equally entitled to the designation of

embroidery

, yet for the sake of making our hints as intelligible as possible, we will adopt the popular terms, and confine our present remarks to that sort of embroidery which is not executed by the stitch.

Be A Friend to Virtue—a Stranger to Vice.

1860. Materials

Every sort of embroidery material may be used for embroidering upon. The most common are muslin, cambric, velvet, satin, cloth, and leather.

1861. Application

The simplest style of embroidery is that termed

Application

,—that is, where the pattern is in one material, laid on another which forms the ground. In this way muslin is worked on net, velvet is laid on cloth, or on another velvet, and cretonne designs cut out and laid on another material, the edges being either sewed over, or ornamented with fancy cord, braid, gold thread, or any other appropriate material.

1862. Braiding

Another very easy style of ornamentation is that known as braiding. Children's dresses are worked with narrow silk or worsted braid, the latter being also used for ladies' aprons, flounces, &c. Gold and silver braid enter largely into various sorts of decorated needlework, and the Victoria braid, of cotton, which has something of the appearance of satin stitch, is generally known.

1863. Stitches in Braiding

There is considerable art required to achieve putting on the Victoria braid evenly and firmly. The stitches should be taken across the braid. This makes it lie flat.

1864. Elaborate Embroidery

But the most elaborate kinds of embroidery are those which represent flowers, fruit, and other devices on any material; and these may be divided into white and coloured embroidery.

1865. Broderie Anglaise

White embroidery, or embroidery on muslin, is used for a great variety of articles of ladies' dress. The simplest is termed Broderie Anglaise. In this style, the pattern is either in satin stitch, or from left to right, formed of holes cut out of the muslin, and sewed over with embroidery cotton. The great art in working broderie is to make the holes all of the same size, and to take the stitches closely and regular.

1866. Satin Stitch

Satin stitch is a smooth raised work, used for leaves, flowers, &c. It is done by first tracing the outlines accurately with soft cotton, then taking stitches from point to point of the part to be raised, so as to have the greatest thickness of cotton in the centre, and sewing it over, in stitches taken close together, but slightly slanting, and completely across the part outlined. The veining of leaves is generally formed by taking the stitches from the vein to the edge, first on one side and then on the other. The borders of embroidered muslin collars, &c., are usually finished with buttonhole stitch, worked either the width of an ordinary buttonhole, or in long stitches, and raised like satin stitch. Eyelet holes are made by piercing round holes with a stiletto, and sewing them round.

1867. Fancy Stitches

There are many fancy stitches introduced into muslin work, but these require to be practically taught.

1868. Frame for Embroidery

The kind of frame on which muslin is most easily worked, consists of two hoops of wood, about eight inches in diameter. One is rather smaller than the other. On it the muslin is stretched, and the larger one being slipped over it, and fitting tightly, keeps the muslin in its place.

1869. Embroidery on Satin, &c.

Satin and velvet are embroidered in coloured silks, gold and silver bullion, pearls, &c. A very fashionable style is the work with

ombre

or shaded silks.

1870. Netting Silk in Embroidery

The most delicate kinds of embroidery are worked with fine netting silk, one strand of which is drawn out. This makes the silk appear softer and richer.

1871. Shading in Silks

It requires considerable care to work well with ombre silks, to avoid incorrect shading. Nature should be followed as closely as possible. Not only must the form be carefully preserved, but the lights and shades must be disposed in an artistic manner. For instance: the point of a leaf is never the darkest part, nor should the lower leaves and flowers of a group of the same kind be light.

1872. Materials used in Embroidery and Canvas Work

The materials for canvas work and embroidery may be classed under the names of wool, silk, chenille, and braid; beads, straw, and a variety of other fancy materials, are also brought into use. A knowledge of the proper mode of using them, and the varieties of each which are made, is one of the most useful things it is possible for the amateur needle-woman to become acquainted with. We will, therefore, take them in their order.

1873. Wool

German wool (or Berlin wool, as it is commonly called) is the most beautiful material manufactured for canvas-work. The vast variety of shades, the exquisite tints produced, the softness and evenness of the fabric, are beyond all praise. We speak of Berlin wool

as it ought to be

; for no article is more frequently of inferior quality. From damp, or bad packing, or many other causes, it is frequently crushed and injured, and in that state is not fit to be used for good work. Berlin wool is supposed to be all dyed, as well as made, abroad; at present a large proportion is entirely produced in our own country, which is little, if at all, inferior to the foreign. Berlin wool is made only in two sizes, 4-thread and 8-thread; unless the latter is specified in directions, the other is always implied.

Berlin wools are either dyed in one colour, or in shades of the same colour, or (

very rarely

) in shades of several colours. Technically, a silk or wool dyed in shades of the same colour, going gradually from light to dark, and from dark to light again, is termed an

ombre

, or

shaded

wool or silk, whereas

chine

is the term employed when there are several

colours

used. There are, also, what are called

short

and

long

shades; that is, in the former the entire shades, from the lightest to the lightest again, will occur within a short space, a yard or so; whereas, in

long

shades the gradation is much more gradually made.

We notice these apparently trifling differences that readers may comprehend the importance of obtaining precisely the proper materials for each design. If we prescribe a certain article, it is because

it

and no other will give the effect. Transparent, white, or silver beads are usually worked with white silk, but clear glass beads, threaded on cerise silk, produce a peculiarly rich effect by the coloured silk shining through transparent glass. The silk used must be extremely fine, as the beads vary much in size. A change of material, which might appear of no consequence whatever, would completely spoil the effect of the design.

1874. Fleecy Wool

Fleecy wool is the sort of wool used for jackets and other large articles. Some of the tints are quite as brilliant as those of Berlin wool. It is made in 3, 4, 6, 8, and 12 threads, and is much cheaper than German wool. It does very well for grounding large pieces of canvas work.

1875. Shetland Wool

Shetland wool is very fine and soft, is much used, and prized for shawls and neckties and for veils.

1876. Eis Wool

A pure German wool of silky brightness, is used for the same purpose as Shetland wool excepting for veils. It is also used instead of silk for embroidering on velvet, as tea cosies, &c.

1877. Andalusian Wool

Andalusian wool is a medium wool, less thick than Berlin wool, is used for cuffs and shawls.

1878. Other kinds of Wool

There are also other names given to wools by the vendors or manufacturers of them: for instance, "The Peacock Wool" and "The Coral Wool" are trade marks, and not particular wools.

1879. Scotch Fingering Wool

Scotch fingering wool is used for knitting stockings and socks, and gentlemen's kilt hose.

1880. Thin Lambs' Wool and Wheeling Yarn

Scotch yarns, used principally for children's socks and stockings.

1881. Merino Wool

Merino wool is the produce of a Spanish breed of sheep. The wool was introduced into this country about the close of the last century. George III. was a great patron of this breed. French Merino is made from this peculiariy soft wool; so also Berlin wool, used for canvas embroidery.

1882. Angola Wool

The produce of an African breed of sheep; is a soft hairy wool. Is used for making Angola shawls and gloves, valued for their extreme softness and warmth. These were popular till the cotton manufacturers introduced a very poor imitation make entirely of cotton.

1883. Camel-hair Wool

Camel-hair wool is the production of the llama, or al-lama, a native of South America. This ruminant animal resembles in its nature, but not in its form, a camel. The back and sides of the llama are clothed with fine long woolly hairs, becoming smooth, silky, and shining towards the tips, the general colours being of a uniform bright brown. The native Indians use it in the manufacture of stuffs, ropes, bags, and mats.

1884. Alpaca

Al-Paco produces the alpaca wool. This creature is also a species of camel, though different in shape. Cavier regarded the paco as a variety of the llama; so also the vicugua. The llama is generally used as a beast of burden, while the former are used chiefly for their flesh and wool.

1885. Yak Lace and Fringe

This is said to be made from the tail hair of an animal resembling an ox, a horse, and sheep; the first for its shape, the next for its tail, and the third for its wool. The tail, under the Indian name of

Chowrie

, is often mounted in horns and silver, and used as a switch to keep off flies. The yak inhabits the coldest parts of Tibet, India.

1886. Silk

This well known production of the silk-worm in its natural state, as reeled from the cocoon, is termed "raw silk;" and before this can be used for weaving it requires to be twisted, or, as it is technically termed, "thrown;" that is to say, it is not two threads twisted one over the other, but the single filament itself is twisted so as to render it firmer; this is termed "singles." The next process is termed "tram." This is two threads loosely twisted together. This usually constitutes the "weft" silk, which is thrown by the shuttle across the long threads, or "warp," of the piece-silk.

1887. Organzine

Organzine, or hard silk, generally constitutes the "warp," or length of the silk. This is made by first twisting each individual thread of silk, and then two or more of the threads are twisted together by the "throwing" mill (throw one thread over the other). In this state it must be boiled, to discharge the gum which renders the silk hard to the touch, and unfit to receive the dye. It is now boiled in soap and water for four hours, and then boiled in clear water to discharge the soap; after which it is glossy, soft, and fit for wearing.

1888. Filoselle Silk

Filoselle silk was formerly a "spun silk," and the product chiefly of the silkworm, which naturally eats its way through its cocoon. It is only comparatively of late years that this silk has been used. The short filaments are spun in the same way that cotton and wool are spun, and is afterwards woven. A great deal of this silk is used for stockings and socks, and for weaving in with wool-fabrics, but there is also another kind of Filoselle used in needlework. This is two-thread silk, or "tram." Eight or ten of these slightly twisted threads form a strand of silk, so that, according to the purpose required, one, two, or more threads of it can be used for embroidery. This is glossy as satin.

1889. Floss Silk

Floss silk consists of several filaments of untwisted silk sufficient to make a strand of silk. It is used for working on the surface of wool stitches to heighten the effect and give brilliancy.

1890. Tusseh Silk

Tusseh silk or, as some term it, "Tussore," is spun from the silk of the perforated cocoon of the tusseh-moth. This silk is seldom dyed, being the natural colour of the cocoon, which cannot be satisfactorily extracted; nor will it absorb dye perfectly.

1891. Embroidery Silk

Embroidery silk is bright and lustrous, and composed of two rather loosely twisted large threads.

Sadler's Silk

and

Purse-Silk

have three threads.

Sewing Silk

has two.

Tailor's Twist

three threads.

1892. Chenille

Chenille is of two kinds.

Chenille à broder

(the finest sort), and

chenille ordinaire

, which is stiff, and about the thickness of a quill: both are round. The extreme richness of the appearance of chenille makes it suitable for any work requiring great brilliancy; as the plumage of birds, some flowers, and arabesques. Silk canvas is much embroidered with chenille, but is extremely expensive, and very soon injured by dust. It should only be employed for articles intended to be glazed, such as pole-screens, the tops of work-boxes, and screens.

1893. Arrasene

Arrasene is a perfectly flat silk-chenille—and is used for embroidery on all descriptions of material.

1894. Braids

Braids are of various kinds. Russian silk braids are generally employed for dresses, slippers, &c.; but for many of these purposes the new Albert braid recently manufactured in England is much richer and far more effective. Russian silk braid is generally narrow, and the plait is of that kind which is termed Grecian—all the strands going from the edge to the centre. In French braid, on the contrary, the plait of every two strands over each other. French braid, in silk, is very little used in this country. Slippers and other small articles worked in braid have the effect greatly improved by laying a gold thread on one or both sides of the braid.

1895. Victoria, Adelaide, or Coronation Braid

Victoria, Adelaide, or Coronation braid (for the same article has been called by all these various names), is a cotton braid, which, when laid on net or muslin, looks something like satin-stitch. It is composed of thick and thin parts alternately, and is made in only two sizes.

1896. Albert Braid

Albert braid is a sort of silk cord, made in many beautiful colours. It is intended for either application, in braiding, and being

raised

, looks extremely well, with very small outlay of time or money.

1897. Gold and Silver Braids

Gold and silver braids are often used in Mosaic work, and for slippers, blotting-cases, &c. The Mosaic braid, which is comparatively cheap, is generally used.

1898. Stitches

Various stitches are used in embroidery with crewels and silk.

1899. Stem Stitch

Stem stitch, also Crewel stitch, is that used for stems and for ordinary filling-in of flowers and arabesques. Instead of working from right to left, the stitches are smoother if worked from left to right. In stems a long stitch is made, and then a second halfway the length of the first, and half-way beyond it, till a stem is formed; and to complete it work from right to left, placing the needle under a stitch of the stem, not of the material, and so work back upon the top of the previous stitches. In the stem first worked only the tiniest piece of the material is taken up on the needle, so that the wool or silk is all on the surface.

1900. Stem Stitch in Flowers, &c.

In flowers and arabesques the stem-stitch is worked straight, but each stitch differing in length from the other, so as to make the wool smooth. Commence the work at the lowest part of the petals, and work upwards to the edge.

1901. Split Stem Stitch

Having worked one stitch, in making the second split the first stitch in the centre with the needle. In the stitch, the thread is continued under the material.

1902. Couching

Couching is a laying down on the outline of the design, a thick strand of filoselle, or cord or wool or silk of any kind, and then over-stitching it down with a fine silk of the same, or a contrasting colour.

1903. Basket-work Stitch and Diaper Stitch

These are done with gold, silver, or silk cords, stitched on the material in patterns, with silk of another, or of the same colour. The cords are just passed through the back of the work to its surface; either one, two, or three at a time are held in place by the left hand, the over-stitching being done by the right hand.

1904. Canvas for Cross-stitch Work

The Penelope is now universally used where the ground is filled in. Formerly it resembled the silk canvas now used where no grounding is required, but by accident a manufacturer observing some cross-stitch work unpicked, took the hint, and the result was the "Penelope canvas," of which there are different degrees of fineness, determined by the number of double-crossed threads that may fill the space of one inch.

1905. Elephant Penelope Canvas

Elephant Penelope Canvas is extremely coarse—fitted for working rugs and eight or twelve thread wools.

1906. Silk Canvas

Silk canvas requires no grounding; it is made of a cotton thread overcast with silk, and resembles coarse even-threaded cheese cloths, but is silky.

1907. Mode of doing Canvas Work

This is always done by the thread,—particular care should in all cases be taken that the size of the various materials is properly proportioned. Placing the canvas in a frame, technically termed

dressing the frame

, is an operation which requires considerable care. The frame itself, especially for a large piece of work, should be substantially made; otherwise the stress upon it will be apt to warp it, and drag the canvas. If this occurs to any extent, the injury can never be repaired.

1908. To Frame Canvas

After herringboning the raw edges of the canvas, sew them,

by

the thread, to the webbing of the frame,—that is, to the top and bottom. Then stretch the ends till the canvas is extended to its utmost length, put in the pegs, and brace the sides with fine twine. If the canvas is too long for the frame, and any part has to be rolled over the end, let the wood be first covered with a few thicknesses of silver paper.

1909. Design on Cloth

Sometimes, to save the trouble of grounding, a design is worked on cloth, over which canvas is laid. Whenever this is the case, the cloth must be carefully damped, to remove the gloss, before it is put into the frame. Then, as cloth will always stretch much more than canvas, it must be cut a little smaller both ways. The raw edges of the cloth should be turned in, and tacked to the canvas before they are framed. Some people withdraw the threads of canvas after the work is done; but it has a much richer effect if the threads of canvas are cut close to the outer stitches; and if there are any small spaces in the pattern, where the ground should be seen, they may be worked in wool of the colour of the ground.

1910. Stretching Work

Should a piece of work be a little drawn when taken out of the frame, damp the back well with a clean sponge, and stretch it again in the frame in the opposite direction. Whenever Berlin-work is done on any solid thick material, as cloth, velvet, &c., a needle should be used with an eye sufficiently large to form a passage for this wool. This prevents the latter from being crushed and impoverished as it passes through.

1911. Stitches in Canvas Work

There are five kinds of stitch used in canvas work—

Cross Stitch, Tent Stitch, Tapestry Stitch, German Stitch, and Irish Stitch

.

1912. Cross Stitch

Cross stitch is generally known. The needle is brought up in one pole of the canvas and down on another, two threads higher and more to the right. The slanting thread is then crossed in the opposite direction. A cross-stitch covers two threads in each direction.

1913. Tent Stitch

Tent stitch occupies one-fourth the space of cross-stitch. It is taken from one hole to the next above, and on the right hand side of a previous stitch.

Every One Basteth the Fat Hog, while the Lean One Burneth.

1914. Tapestry Stitch

Tapestry stitch crosses two threads of the canvas in the length, and one in the width. It is sometimes called Gobelin stitch, because it resembles somewhat the Gobelin tapestry. It is not suited for coarse canvas, and, in working from a Berlin pattern,

two

straight stitches must be counted as one square cross stitch.

1915. German Stitch

German stitch is worked diagonally, and consists of the first part of a cross stitch, and a tent stitch alternately worked.

1916. Irish Stitch

Irish stitch is worked parallel with the selvedges of the canvas. None of the stitches cross the threads in the

width

. In the first row, take the thread alternately over four and two threads; in all future rows take the stitches over four threads,—which, as they rise—first from the long and then from the short stitch, will produce the same appearance in others.

1917. Handling Wool

With regard to wools, they should never be wound, as the least handling crushes the pile and spoils them. Chenille needs still more careful handling.

1918. Stiffening Work

To stiffen large pieces of work, wet the wrong side thoroughly with gum water or gum tragacanth, and dry it before a fire (the wet side nearest the fire), before removing it from the frame.

1919. Beads in Canvas Work

Beads in canvas work have the treble merit of being at once brilliant, durable, and attractive.

1920. Tapestry Painting

Tapestry painting is an imitation of the famed Gobelin tapestry, which is hand-woven over fine cord. The imitation is painted on a machine-woven rep canvas: the term rep is a corruption of the Saxon term

wrepp

, or

rape

, a cord, Dutch

roop

, from which we get the word rope. In the Gobelins the shading of the different tints of wool that form a picture, or other designs, are put in by hand work, or shuttles moved by the hand, and on the wrong side of the picture, and the threads of wool, the weft run longitudinally, not horizontally, so that when the design is finished the picture is turned horizontally, and is complete. In Tapestry Painting the

rep

of the canvas is from right to left (horizontal), and this is then painted over and forms a picture in imitation of the Gobelin tapestry. The latter is so named after its French inventor, Giles Gobelin, about 1520. He was a famous dyer who discovered the celebrated Gobelin's scarlet dye. The house in which he lived was purchased by Louis XIV for a manufactory of tapestry for adorning palaces, the designs for which were drawn by Le Brun, a celebrated French painter, about 1666. Her Majesty Queen Victoria has recently caused to be established at Windsor, an establishment where the art of making "Gobelin Tapestry" is successfully taught.

1921. Tapestry of Auxerre

This town, in the northern part of the province of Burgundy, was once famous for its tapestry of a peculiar make. The design was handwoven in small patches of colour, and then was sewed together at the back to form the picture. Tapestry painting in blocks or masses of a single colour successfully imitate this tapestry, only that where the joining is of the real Auxerre tapestry is in tapestry painting marked by a black outline.

1922. Terra Cotta Painting

Terra Cotta is an Italian term for "burnt-earth." Bricks are a coarse kind of terra cotta. The new building erected at Kensington for the reception of valuable remains and subjects of natural history, is built entirely of terra cotta slabs. Terra Cotta vases of the early and late Etruscan period, such as those in the British Museum, are priceless. These are painted in various designs, and burnt in. The Doulton Ware is a close, if not exact, representation of these matchless specimens. Terra Cotta painting is simply vases and plates of red terra cotta, painted in Greek designs with ordinary black paint, and then varnished, or plates painted with a similar medium, in flowers of various colours. These last, of course, are no imitations of the antique.

Time and Tide Tarry for No Man.

1923. Lustra Painting

Lustra painting is a recent invention that so much resembles silk embroidery as to be mistaken for it. The outline of a design is sketched either on Roman satin or any smooth fabric, and then bronze powders of different colours are rubbed in with a preparation which is a trade secret. The leaves and stems are outlined in silk, this rendering the imitations more complete.

1924. Hints upon Etiquette

¹

Footnote 1:

See "Etiquette and Social Ethics." 1s. London: Houlston and Sons

return to footnote mark

1925. Introduction to Society

Avoid all extravagance and mannerism, and be not over-timid at the outset. Be discreet and sparing of your words. Awkwardness is a great misfortune, but it is not an unpardonable fault. To deserve the reputation of moving in good society, something more is requisite than the avoidance of blunt rudeness. Strictly keep to your engagements. Punctuality is the essence of politeness.

1926. The Toilet

Too much attention cannot be paid to the arrangements of the toilet. A man is often judged by his appearance, and seldom incorrectly. A neat exterior, equally free from extravagance and poverty, almost always proclaims a right-minded man. To dress appropriately, and with good taste, is to respect yourself and others. A gentleman walking, should always wear gloves, this being one of the characteristics of good breeding. Fine linen, and a good hat, gloves, and boots, are evidences of the highest taste in dress.

1927. Visiting Dress

A black coat and trousers are indispensable for a dinner, or a ball. Either a white or black waistcoat is proper on such occasions. Morning dress is sufficient for an ordinary visit of ceremony.

1928. Officers' Dress

Upon public and state occasions all officers should appear in uniform.

1929. Ladies' Dress

Ladies' dresses should be chosen so as to produce an agreeable harmony. Never put on a dark-coloured bonnet with a light spring costume. Avoid uniting colours which will suggest an epigram; such as a straw-coloured dress with a green bonnet.

1930. Arrangement of the Hair

The arrangement of the hair is most important. Bands are becoming to faces of a Grecian caste. Ringlets better suit lively and expressive heads. Avoid the extremes of fashion, whatever the fashion may be, especially those fashions which tend to spoil the hair and render it unfitted for plainer styles.

1931. Excess of Lace and Flowers

Whatever be your style of face, avoid an excess of lace, and let flowers be few and choice.

1932. Appropriateness of Ornaments

In a married woman a richer style of ornament is admissible. Costly elegance for her—for a young girl, a style of modern simplicity.

1933. Simplicity and Grace

The most elegant dress loses its character if it is not worn with grace. Young girls have often an air of constraint, and their dress seems to partake of their want of ease. In speaking of her toilet, a women should not convey the idea that her whole skill consists in adjusting tastefully some trifling ornaments. A simple style of dress is an indication of modesty.

1934. Cleanliness

The hands should receive special attention. They are the outward signs of general cleanliness. The same may be said of the face, the neck, the ears, and the teeth. The cleanliness of the system generally, and of bodily apparel, pertains to Health, and is treated of under this head.

1935. The Handkerchief

There is considerable art in using this accessory of dress and comfort. Avoid extreme patterns, styles, and colours.

Never be without a handkerchief. Hold it freely in the hand, and do not roll it into a ball. Hold it by the centre, and let the corners form a fan-like expansion. Avoid using it too much. With some persons the habit becomes troublesome and unpleasant.

Punctuality Begets Confidence.

1936. Visits and Presentations

Friendly calls should be made in the forenoon, and require neatness, without costliness of dress.

Calls to give invitations to dinner-parties, or balls, should be very short, and should be paid in the afternoon.

Visits of condolence require a grave style of dress.

A formal visit should never be made before noon. If a second visitor is announced, it will be proper for you to retire, unless you are very intimate both with the host and the visitor announced; unless, indeed, the host expresses a wish for you to remain.

Visits after balls or parties should be made within a month.

In the latter, it is customary to enclose your card in an envelope, bearing the address outside. This may be sent by post, if you reside at a distance.

But, if living in the neighbourhood, it is polite to send your servant, or to call in person. In the latter case a corner should be turned down.

Scrape your shoes and use the mat. Never appear in a drawing-room with mud on your boots.

When a new visitor enters a drawing-room, if it be a gentleman, the ladies bow slightly, if a lady, the guests rise.

Hold your hat in your hand, unless requested to put it down. Then lay it beside you.

The last arrival in a drawing-room takes a seat left vacant near the mistress of the house.

A lady is not required to rise to receive a gentleman, nor to accompany him to the door.

When your visitor retires, ring the bell for the servant. You may then accompany your guest as far towards the door as the circumstances of your friendship seem to demand.

Request the servant, during the visits of guests, to attend to the door the moment the bell rings.

When you introduce a person, pronounce the name distinctly, and say whatever you can to make the introduction agreeable. Such as "an old and valued friend," a "schoolfellow of mine," "an old acquaintance of our family."

Never stare about you in a room as if you were taking stock of those who are present.

The gloves should not be removed during a visit.

Be hearty in your reception of guests; and where you see much diffidence, assist the stranger to throw it off.

A lady does not put her address on her visiting card.

1937. Balls and Evening Parties

An invitation to a ball should be given at least a week beforehand.

Upon entering, first address the lady of the house; and after her, the nearest acquaintances you may recognise in the room.

If you introduce a friend, make him acquainted with the names of the chief persons present. But first present him to the lady of the house, and to the host.

Appear in full dress.

Always wear gloves.

Do not wear rings on the outside of your gloves.

Avoid an excess of jewellery.

Do not select the same partner frequently.

Distribute your attentions as much as possible.

Pay respectful attention to elderly persons.

Be cordial when serving refreshments, but not importunate.

If there are more dancers than the room will accommodate, do not join in every dance.

In leaving a large party it is unnecessary to bid farewell, and improper to do so before the guests.

In balls and large parties there should be a table for cards, and two packs of cards placed upon each table.

Chess and all unsociable games should be avoided.

Although many persons do not like to play at cards except for a stake, the stakes agreed to at parties should be very trifling, so as not to create excitement or discussion.

The host and hostess should look after their guests, and not confine their attentions. They should, in fact, attend chiefly to those who are the least known in the room.

Avoid political and religious discussions. If you have a hobby, keep it to yourself.

After dancing, conduct your partner to a seat.

Resign her as soon as her next partner advances.

(

For the Figures of Dances, see pars.

139

-

159

.—

See

Hints Upon Etiquette

,

par

2024

.)

1938. Marriage Arrangements

1939. Special Licences

Special licences are dispensations from the ordinary rule, under which marriages can only take place canonically in the parish church, or other places duly licensed for that purpose. They can only be obtained from the Metropolitan or archbishop of the province, and often with no small difficulty, not being readily granted; and when obtained the fees are about £50.

1940. Common Licences

Common Licences enable persons of full age, or minors with consent of parents or guardians, to be married in the church of the parish in which one of them has resided for three weeks. They are procured from Doctors' Commons, or from any surrogate, at the cost of about £2 10s.

1941. Banns

Banns must be published

three times

in the parish church, in _each place_ where the persons concerned reside. The clerk is applied to on such occasions; his fee varies from 1s. 6d. upwards. When the marriage ceremony is over, the parties repair to the vestry, and enter their names in the parish registry. The registry is signed by the clergyman and the witnesses present, and a certificate of the registry is given to the bridegroom if desired. The charge for a certificate of marriage is 2s. 7d., including the penny stamp on the documents, as by law required, and the clergyman's fee varies according to circumstances. The clerk will at all times give information thereupon; and it is best for a friend of the bridegroom to attend to the pecuniary arrangements.

1942. Marriage by Registration

An Act was passed in the reign of William the Fourth, by which it was rendered legal for persons wishing to be married by a civil ceremony, to give notice of their intention to the Registrar of Marriages in their district or districts. Three weeks' notice is necessary, to give which the parties call, separately or together, at the office of the registrar, who enters the names in a book. When the time of notice has expired, it is only necessary to give the registrar an intimation, on the previous day, of your intention to attend at his office on the next day, and complete the registration. The ceremony consists of merely answering a few questions, and making the declaration that you take each other to live as husband and wife. The fee amounts only to a few shillings, and in this form no wedding ring is required, though it is usually placed on the ring-finger of the bride's left hand, in the presence of the persons assembled. The married couple receive a certificate of marriage, which is in every respect lawful.

One To-day is Worth Two To-morrow.

1943. Wedding Dress

It is impossible to lay down specific rules for dress, as fashions change, and tastes differ. The great art consists in selecting the style of dress most becoming to the person. A stout person should adopt a different style from a thin person; a taLl one from a short one. Peculiarities of complexion, and form of face and figure, should be duly regarded; and in these matters there is no better course than to call in the aid of any respectable milliner and dressmaker, who will be found ready and able to give the best advice. The bridegroom should simply appear in morning dress, and should avoid everything eccentric and conspicuous in style. The bridesmaids should always be made aware of the bride's dress before they choose their own, which should be determined by a proper harmony with the former.

1944. The Order of Going to Church

The order of going to church is as follows:—The

Bride

, accompanied by her

father

, occupies the

last carriage

. The father hands out the bride, and leads her direct to the altar, round which those who have been invited have already grouped themselves, leaving room for the father, the bride, and the bridesmaids, who usually await the bride's coming at the entrance to the church, or at the bottom of the chancel, and follow her to the communion rails.

1945. The Bridegroom

The Bridegroom, who has made his way to the church, accompanied by his "best man," or principal groomsman —an intimate friend or brother—should be waiting at the communion rails to receive his future wife on her arrival. He and she then stand facing the altar, he being on the right of the bride, and the father or the gentleman who is to "give away" the bride, on the left.

1946. The Chief Bridesmaid

The Chief Bridesmaid occupies a place immediately behind the

bride

, to hold her gloves and handkerchief, and flowers; her

companions

range themselves close to, and slightly in the rear of the principal bridesmaid. If any difficulties occur from forgetfulness, or want of knowledge, the woman who is usually in attendance at the church can set everything right.

1947. Important Details

Remember to take the License and the Ring with you.—The fee to a clergyman is according to the rank and fortune of the bridegroom; the clerk if there be one, expects

five shillings

, and a trifle should be given to the pew opener, and other officials of the church. There is a fixed scale of fees at every church, to which the parties married can add if they please.

1948. Afterwards

When the Ceremony is concluded,

the bride, taking the bridegroom's arm, goes into the vestry, the others following

; signatures are then affixed, and a registration made, after which the married pair enter their carriage, and proceed to the breakfast, everyone else following.

1949. The Order of Return

The order of return from Church differs from the above only in the fact that the bride and bridegroom now ride together in the first carriage, the bride being on his left. The bridesmaids and other guests find their way home in the remaining carriages, but to prevent confusion some preconcerted arrangement is desirable.

1950. The Wedding Breakfast

The Wedding Breakfast having been already prepared, the wedding party return thereto. If a large party, the bride and bridegroom occupy seats in the centre of the long table, and the two extremities should be presided over by the father and mother of the bride, or, failing these, by elderly relatives, if possible one from each family. Everyone should endeavour to make the occasion as happy as possible. One of the senior members of either the bride or bridegroom's family should, sometime before the breakfast has terminated, rise, and in a brief but graceful manner, propose the "Health and happiness of the wedded pair." It is much better to drink their healths together than separately; and, after a brief interval, the bridegroom should return thanks, which he may do without hesitation, since no one looks for a speech upon such an occasion. A few words, feelingly expressed, are all that is required. The breakfast generally concludes with the departure of the happy pair upon their wedding tour.

An Hour in the Morning is Worth Two at Night.

1951. Cards

A newly married couple send out cards immediately after the ceremony to their friends and acquaintance, who, on their part, return either notes or cards of congratulation on the event. As soon as the lady is settled in her new home, she may expect the calls of her acquaintance; for which it is not absolutely necessary to remain at home, although politeness requires that they should be returned as soon as possible. But, having performed this, any further intercourse may be avoided (where it is deemed necessary) by a polite refusal of invitations. Where cards are to be left, the number must be determined according to the various members of which the family called upon is composed. For instance, where there are the mother, aunt, and daughters (the latter having been introduced to society), three cards should be left. Recently, the custom of sending cards has been in a great measure discontinued, and instead of this, the words "No cards" are appended to the ordinary newspaper advertisement, and the announcement of the marriage, with this addition, is considered all sufficient.

1952. Reception

When the married pair have returned, and the day of reception arrives, wedding cake and wine are handed round, of which every one partakes, and each expresses some kindly wish for the newly married couple. The bride ought not to receive visitors without a mother, or sister, or some friend being present, not even if her husband be at home. Gentlemen who are in professions, or have Government appointments, cannot always await the arrival of visitors; when such is the case, some old friend of the family should represent him, and proffer an apology for his absence.

1953. The Wedding Tour

The Wedding Tour must depend upon the tastes and circumstances of the married couple. Home-loving Englishmen and women may find much to admire and enjoy without ranging abroad. Those whose time is somewhat restricted should visit some spot which may be reached without difficulty. Cornwall and Devonshire, the Isle of Wight, &c., are each delightful to the tourist; and the former is now accessible by railway as far as the Land's End. The scenery of the North of Devon, and of both coasts of Cornwall, is especially beautiful. North Wales offers a delightful excursion; the lakes of Westmoreland and Cumberland; the lakes of Killarney, in Ireland; also the magnificent scenery of the Scottish lakes and mountains. To those who wish for a wider range, France, Germany, Switzerland, and the Rhine offer charms which cannot be surpassed.

1954. Wedding Cakes

Four pounds of fine flour, well dried; four pounds of fresh butter; two pounds of loaf sugar; a quarter of a pound of mace, pounded and sifted fine; the same of nutmegs. To every pound of flour add eight eggs; wash four pounds of currants, let them be well picked and dried before the fire; blanch a pound of sweet almonds, and cut them lengthwise very thin; a pound of citron; one pound of candied orange; the same of candied lemon; half a pint of brandy. When these are made ready, work the butter with your hand to a cream; then beat in the sugar a quarter of an hour; beat the whites of the eggs to a very strong froth; mix them with the sugar and butter; beat the yolks half an hour at least, and mix them with the cake; then put in the flour, mace, and nutmeg, keep beating it well till your oven is ready—pour in the brandy, and beat the currants and almonds lightly in. Tie three sheets of white paper round the bottom of your hoop to keep it from running out; rub it well with butter, put in your cake; lay the sweetmeats in layers; with cake between each layer; and after it is risen and coloured cover it with paper before your oven is stopped up. It will require three hours to bake properly.

Morning for Work, Evening for Contemplation.

1955. Almond Icing for Wedding Cake

Beat the whites of three eggs to a strong froth, pulp a pound of Jordan almonds very fine with rose water, mix them, with the eggs, lightly together; put in by degrees a pound of common loaf sugar in powder. When the cake is baked enough, take it out, and lay on the icing; then put it in to brown.

1956. Sugar Icing for Wedding Cake

Beat two pounds of double refined sugar with two ounces of fine starch, sift the whole through a gauze sieve, then beat the whites of five eggs with a knife upon a pewter dish for half an hour; beat in the sugar a little at a time, or it will make the eggs fall, and injure the colour; when all the sugar is put in, beat it half an hour longer, and then lay on your almond icing, spreading it even with a knife. If put on as soon as the cake comes out of the oven, it will harden by the time the cake is cold.

1957. Marriages of Dissenters

Marriages of Dissenters may be solemnized at any place of worship duly licensed, and in accordance with the forms of their worship. In some cases, the service of the Church of England is read, with slight additions or modifications. The clerk of the place of worship should be applied to for information.

1958. Christenings

Christenings may be performed either in accordance with the rites of the Established Church, or of dissenting congregations; the time of birth, and the name of every child, must also be registered. The fees paid for christening vary with a variety of circumstances. Particulars should in each case be obtained of the clerk of the place of worship. It is usual to make a christening the occasion of festivity; but not in such a manner as to require special remark. The parents and god-parents of the child appear at church at the appointed hour. The child is carried by the nurse. The dress of the parties attending a christening should be what may be termed demi-costume, or half-costume; but the infant should be robed in the choicest manner that the circumstances will allow. It is usual for the sponsors to present the child with a gift to be preserved for its future years. Silver spoons, a silver knife and fork, a clasp-bible, a silver cup, and other such articles, are usually chosen. It is usual, also, to give a trifling present to the nurse.

1959. Registration of Births

The law of registration requires the parents, or occupiers of houses in which the births happen, to register such birth at the registrar's office within

six weeks

after the date thereof. For registration, within the time specified,

no charge is made

. But after the expiration of the forty-second day from the birth, a fee of

seven shillings and sixpence

must be paid. After the expiration of six months from the date of the birth, no registration is allowed. It is therefore most important, as soon as possible after the birth of a child, for the father or mother, or in default of either, the occupier of the house in which to his knowledge the child is born, or any one who may have been present at the birth, to go to the office of the registrar of the district, and communicate the following particulars:

Date when born.

Name of the child.

Boy or girl.

Name of the father.

Name and maiden name of the mother.

Rank or profession of the father.

Signature, description, and residence of the person giving the information.

Date of the registration.

1960. Baptismal Name

If any child born in England, whose birth has been registered, shall, within six months of such registration, have any name given to it in baptism other than that originally registered, such baptismal name may be added to the previous registration, if, within seven days of such baptism, application be made to the registrar by whom the child was originally registered. For this purpose a certificate of the baptism must be procured of the clergyman, for which a fee of 2s. 7d. (including stamp) must he paid. This certificate must he taken to the registrar, who will charge another fee of

one shilling

for adding the baptismal name to the original registration.

Frugality Proves an Easy Chair for Old Age.

1961. Choice of Names

To choose names for children, parents should consult the list of names in

pars

.

971

,

972

.

1962. Children born at Sea

If any child of an English parent shall be born at sea on board a British vessel, the captain or commanding officer shall make a minute of the particulars touching the birth of the child, and shall, on the arrival of the vessel at any part of the kingdom, or sooner, by any other opportunity, send a certificate of the birth through the post-office (

for which no postage will be charged

), to the Registrar General, General Registrar Office, London.

1963. Funerals and Registration of Deaths

It is always best to place the direction of a funeral under a respectable undertaker, with the precaution of obtaining his estimate for the expenses, and limiting him to them. He can best advise upon the observances to be attended to, since the style of funerals differs with the station of the deceased's family, and is further modified by the customs of particular localities, and even by religious views.

1964. Registration of Deaths

The father or mother of any child that dies, or the occupier of a house in which any person may die, must, within _five days_ after such death, give notice to the registrar of the district. Some person present at the death should at the same time attend and give to the registrar an account of the circumstances or cause of the death, to the best of his or her knowledge or belief. Such person must sign his or her name, and give the place of abode at which he or she resides. The following are the particulars required:

Date of Death.

Name in full.

Sex and age.

Rank or profession.

Cause of death.

Signature, description, and residence of the person giving the information.

Date of the registration.

A certificate of the cause of death must be obtained from the medical man in attendance, who is required to state when he last saw the patient.

1965. Persons dying at Sea

The commander of any British vessel, on board of which a death occurs at sea, must act the same as in a case of birth.

1966. Certificates of Death

Every registrar must deliver to the undertaker,

without fee

, a certificate of the death, which certificate shall be delivered to the officiating minister. No dead body can be buried without such certificate, under a penalty of £10.

1967. Observances of Deaths and Funerals

It is usual, when a death takes place, to communicate it immediately, upon mourning note-paper, to the principal members of the family, and to request them to notify the same to the more remote relatives in their circle. A subsequent note should state the day and hour at which the funeral is fixed to take place.

1968. Special Invitations

Special invitations to funerals are not considered requisite to be sent to near relatives; but to friends and acquaintances such invitations should be sent.

1969. Gloves

Most persons who attend funerals will provide themselves with gloves; but it is well to have a dozen pairs, of assorted sizes, provided in case of accident. An arrangement can be made for those not used to be returned.

1970. Hatbands and Cloaks

Hatbands and Cloaks will be provided by the undertaker.

1971. Mourning

The dressmaker will advise upon the "degree" of mourning to be worn, which must be modified according to the age of the deceased, and the relationship of the mourner. The undertaker will advise respecting the degree of mourning to be displayed upon the carriages, horses, &c.

1972. Going to the Funeral

In going to the Funeral the nearest relatives of the deceased occupy the carriages nearest the hearse. The same order prevails in returning. Only the relatives and most intimate friends of the family should return to the house after the funeral; and their visit should be as short as possible.

1973. Walking Funerals

In Walking Funerals it is considered a mark of respect for friends to become pall-bearers. In the funerals of young persons, the pall should be borne by their companions, wearing white gloves. It is a pretty and an affecting sight to see the pall over the coffin of a young lady borne by six of her female friends. Flowers may be placed, upon the coffin, and strewed in and over the grave.

1974. Societies

As funerals in England, when conducted in ths ordinary way, with the usual display of hearse, mourning carriages, and costly mourning, are attended with considerable expense, societies have been formed in many parishes with the view of reducing the outlay resorted to on these occasions, and at a time perhaps when it would be better in many cases to observe the strictest economy. The members of these societies agree among themselves to do all that is possible to reduce expenditure at funerals, and to render the accompaniments of the sad ceremony as inexpensive as possible. Instead of going into mourning, many now content themselves with wearing a simple band of cloth round the left arm. This is done by women as well as by men.

1975. Visits of Condolence

Visits of condolence after funerals should be paid by relatives within from a week to a fortnight; by friends within the second week of the fortnight; friends of less intimacy should make enquiries and leave cards.

1976. Correspondence

Correspondence with families in mourning should be upon black-edged paper, if from members of the family; or upon the ordinary notepaper, but sealed with black, if from friends.

1977. Ceremonies

All ceremonies are in themselves superficial things; yet a man of the world should know them. They are the outworks of manners and decency, which would be too often broken in upon, if it were not for that defence which keeps the enemy at a proper distance. It is for that reason we always treat fools and coxcombs with great ceremony, true good-breeding not being a sufficient barrier against them.

1978. Love's Telegraph

If a gentleman want a wife, he wears a ring on the

first

finger of the left hand; if he be engaged, he wears it on the

second

finger; if married, on the

third

; and on the fourth if he never intends to be married. When a lady is not engaged, she wears a hoop or diamond on her

first

finger; if engaged, on the

second

; if married, on the

third

; and on the fourth if she intends to die unmarried. When a gentleman presents a fan, flower, or trinket, to a lady with the

left

hand, this, on his part, is an overture of regard; should she receive it with the

left

hand, it is considered as an acceptance of his esteem; but if with the

right

hand, it is a refusal of the offer. Thus, by a few simple tokens explained by rule, the passion of love is expressed; and through the medium of the telegraph, the most timid and diffident man may, without difficulty, communicate his sentiments of regard to a lady, and, in case his offer should be refused, avoid experiencing the mortification of an explicit refusal.

1979. Wedding Rings

The custom of wearing wedding rings appears to have taken its rise among the Romans. Before the celebration of their nuptials, there was a meeting of friends at the house of the lady's father, to settle articles of the marriage contract, when it was agreed that the dowry should be paid down on the wedding day or soon after. On this occasion there was commonly a feast, at the conclusion of which the man gave to the woman, as a pledge, a ring, which she put on the fourth finger of her left hand,

because it was believed that a nerve reached thence to the heart

, and a day was then named for the marriage.

1980. Why the Wedding Ring is placed on the Fourth Finger

"We have remarked on the vulgar error which supposes that an artery runs from the fourth finger of the left hand to the heart. It is said by Swinburn and others, that therefore it became the wedding finger. The priesthood kept up this idea by still retaining it as the wedding finger, but the custom is really associated with the doctrine of the Trinity; for, in the ancient ritual of English marriages, the ring was placed by the husband on the top of the thumb of the left hand, with the words, 'In the name of the father;' he then removed it to the forefinger, saying, 'In the name of the Son;' then to the middle finger, adding, 'And of the Holy Ghost;' finally, he left it as now, on the fourth finger, with the closing word, 'Amen.' "

The History and Poetry of Finger Rings.

1981. The Art of being Agreeable

The true art of being agreeable is to appear well pleased with all the company, and rather to seem well entertained with them than to bring entertainment to them. A man thus disposed, perhaps may not have much learning, nor any wit; but if he has common sense and something friendly in his behaviour, it conciliates men's minds more than the brightest parts without this disposition; and when a man of such a turn comes up to old age, he is almost sure to be treated with respect. It is true, indeed, that we should not dissemble and flatter in company; but a man may be very agreeable, strictly, consistent with truth and sincerity, by a prudent silence where he cannot concur, and a pleasing assent where he can. Now and then you meet a person so exactly formed to please, that he will gain upon everyone that hears or beholds him: this disposition is not merely the gift of nature, but frequently the effect of much knowledge of the world, and a command over the passions.

1982. Artificial Manners

Artificial manners, and such as spring from good taste and refinement, can never be mistaken, and differ as widely as gold and tinsel. How captivating is gentleness of manner derived from true humility, and how faint is every imitation! That suavity of manner which renders a real gentlewoman courteous to all, and careful to avoid giving offence, is often copied by those who merely subject themselves to certain rules of etiquette: but very awkward is the copy. Warm professions of regard are bestowed on those who do not expect them, and the esteem which is due to merit appears to be lavished on every one alike. And as true humility, blended with a right appreciation of self-respect, gives a pleasing cast to the countenance, so from a sincere and open disposition springs that artlessness of manner which disarms all prejudice. Feeling, on the contrary, is ridiculous when affected, and, even when real, should not be too openly manifested. Let the manners arise from the mind, and let there be no disguise for the genuine emotions of the heart.

1983. Hints upon Personal Manners

It is sometimes objected to books upon etiquette that they cause those who consult them to act with mechanical restraint, and to show in society that they are governed by arbitrary rules, rather than by an intuitive perception of what is graceful and polite.

1984. Unsound Objection

This objection is unsound because it supposes that people who study the theory of etiquette do not also exercise their powers of observation in society, and obtain, by their intercourse with others, that freedom and ease of deportment which society alone can impart.

Better Go to Bed Supperless than Rise in Debt.

1985. Books upon Etiquette

Books upon Etiquette are useful, inasmuch as they expound the laws of polite society. Experience alone, however, can give effect to the

precise

manner in which those laws are required to be observed.

1986. Simple Hints

Whatever objections may be raised to the teachings of works upon etiquette, there can be no sound argument against a series of simple and brief hints, which shall operate as precautions against mistakes in personal conduct.

1987. No Gossip

Avoid intermeddling with the affairs of others. This is a most common fault. A number of people seldom meet but they begin discussing the affairs of some one who is absent. This is not only uncharitable, but positively unjust. It is equivalent to trying a

cause in the absence of the person implicated

. Even in the criminal code a prisoner is presumed to be innocent until he is found guilty. Society, however, is less just, and passes judgment without hearing the defence. Depend upon it, as a certain rule,

that the people who unite with you in discussing the affairs of others will proceed to your affairs and conduct in your absence

.

1988. Consistent Principles

Be consistent in the avowal of Principles. Do not deny to-day that which you asserted yesterday. If you do, you will stultify yourself, and your opinions will soon be found to have no weight. You may fancy that you gain favour by subserviency; but so far from gaining favour, you lose respect.

1989. Avoid Falsehood

Avoid falsehood. There can be found no higher virtue than the love of truth. The man who deceives others must himself become the victim of morbid distrust. Knowing the deceit of his own heart, and the falsehood of his own tongue, his eyes must be always filled with suspicion, and he must lose the greatest of all happiness—confidence in those who surround him.

1990. Elements of Manly Character

The following elements of manly character are worthy of frequent meditation:

To be wise in his disputes.

To be a lamb in his home.

To be brave in battle and great in moral courage.

To be discreet in public.

To be a bard in his chair.

To be a teacher in his household.

To be a council in his nation.

To be an arbitrator in his vicinity.

To be a hermit in his church.

To be a legislator in his country.

To be conscientious in his actions.

To be happy in his life.

To be diligent in his calling.

To be just in his dealing.

To do whatever he doeth as being done unto God, and not unto men.

1991. Good Temper

Avoid Manifestations of Ill-temper. Reason is given for man's guidance. Passion is the tempest by which reason is overthrown. Under the effects of passion, man's mind becomes disordered, his face disfigured, his body deformed. A moment's passion has frequently cut off a life's friendship, destroyed a life's hope, embittered a life's peace, and brought unending sorrow and disgrace. It is scarcely worth while to enter into a comparative analysis of ill-temper and passion; they are alike discreditable, alike injurious, and should stand equally condemned.

1992. Be Humble

Avoid Pride. If you are handsome, God made you so; if you are learned, some one instructed you; if you are rich, God gave you what you own. It is for others to perceive your goodness; but you should be blind to your own merits. There can be no comfort in deeming yourself better than you really are: that is self-deception. The best men throughout all history have been the most humble.

1993. Affectation is a Form of Pride

It is, in fact, pride made ridiculous and contemptible. Some one writing upon affectation has remarked as follows:

"If anything will sicken and disgust a man, it is the affected, mincing way in which some people choose to talk. It is perfectly nauseous. If these young jackanapes, who screw their words into all manner of diabolical shapes, could only feel how perfectly disgusting they were, it might induce them to drop it. With many, it soon becomes such a confirmed habit that they cannot again be taught to talk in a plain, straightforward, manly way. In the lower order of ladies' boarding-schools, and indeed, too much everywhere, the same sickening, mincing tone is too often found. Do, pray, good people, do talk in your natural tone, if you don't wish to be utterly ridiculous and contemptible."

1994. Vulgarity

We have adopted the foregoing Paragraph because we approve of some of its sentiments, but chiefly because it shows that persons who object to affectation may go to the other extreme—vulgarity. It is vulgar, we think, to call even the most affected people "jackanapes, who screw their words into all manner of diabolical shapes." Avoid vulgarity in manner, in speech, and in correspondence. To conduct yourself vulgarly is to offer offence to those who are around you; to bring upon yourself the condemnation of persons of good taste; and to incur the penalty of exclusion from good society. Thus, cast among the vulgar, you become the victim of your own error.

1995. Avoid Swearing

An oath is but the wrath of a perturbed spirit. It is

mean

. A man of high moral standing would rather treat an offence with contempt than show his indignation by an oath. It is

vulgar

, altogether too low for a decent man. It is

cowardly

, implying a fear either of not being believed or obeyed. It is

ungentlemanly

, A gentleman, according to Webster, is a

genteel

man—well-bred, refined. It is

indecent

, offensive to delicacy, and extremely unfit for human ears. It is

foolish

. "Want of decency is want of sense." It is

abusive

—to the mind which conceives the oath, to the tongue which utters it, and to the person at whom it is aimed. It is

venomous

, showing a man's heart to be as a nest of vipers; and every time he swears, one of them starts out from his head. It is

contemptible

, forfeiting the respect of all the wise and good. It is

wicked

, violating the Divine law, and provoking the displeasure of Him who will not hold him guiltless who takes His name in vain.

1996. Be a Gentleman

Moderation, decorum, and neatness distinguish the gentleman; he is at all times affable, diffident, and studious to please. Intelligent and polite, his behaviour is pleasant and graceful. When he enters the dwelling of an inferior, he endeavours to hide, if possible, the difference between their ranks of life; ever willing to assist those around him, he is neither unkind, haughty, nor over-bearing. In the mansions of the rich, the correctness of his mind induces him to bend to etiquette, but not to stoop to adulation; correct principle cautions him to avoid the gaming-table, inebriety, or any other foible that could occasion him self-reproach. Gratified with the pleasures of reflection, he rejoices to see the gaieties of society, and is fastidious upon no point of little import. Appear only to be a gentleman, and its shadow will bring upon you contempt; be a gentleman, and its honours will remain even after you are dead.

1997. The Happy Man, or True Gentleman

How happy is he born or taught, That serveth not another's will, Whose armour is his honest thought, And simple truth his only skill: Whose passions not his masters are. Whose soul is still prepared for death Not tied unto the world with care Of prince's ear, or vulgar breath: Who hath his life from rumours freed, Whose conscience is his strong retreat Whose state can neither flatterers feed. Nor ruin make oppressors great, Who God doth late and early pray More of His grace than gifts to lend; And entertains the harmless day With a well-chosen book or friend; This man is freed from servile bands, Of hope to rise or fear to fall; Lord of himself, though not of lands, And having nothing, yet hath all.

Sir Henry Wotton

, 1530.

Riches are but the Baggage of Fortune.

1998. Be Honest

Not only because "honesty is the best policy," but because it is a duty to God and to man. The heart that can be gratified by dishonest gains; the ambition that can be satisfied by dishonest means; the mind that can be devoted to dishonest purposes, must be of the worst order.

1999. General Principles

Having laid down these General Principles for the government of personal conduct, we will epitomize what we would still enforce:

2000. Idleness

Avoid Idleness. It is the parent of many evils. Can you pray, "Give us this day our daily bread," and not hear the reply, "Do thou this day thy daily duty"?

2001. Idle Tales

Avoid telling Idle Tales, which is like firing arrows in the dark: you know not into whose heart they may fall.

2002. Self-Praise

Avoid talking about yourself, praising your own works, and proclaiming your own deeds. If they are good they will proclaim themselves, if bad, the less you say of them the better.

2003. Envy

Avoid Envy; for it cannot benefit you, nor can it injure those against whom it is cherished.

2004. Disputation

Avoid Disputation for the mere sake of argument. The man who disputes obstinately, and in a bigoted spirit, is like the man who would stop the fountain from which he should drink. Earnest discussion is commendable; but factious argument never yet produced a good result.

2005. Kindness

Be Kind in Little Things. —The true generosity of the heart is more displayed by deeds of minor kindness, than by acts which may partake of ostentation.

2006. Politeness

Be Polite.—Politeness is the poetry of conduct—and like poetry, it has many qualities. Let not your politeness be too florid, but of that gentle kind which indicates a refined nature.

2007. Sociable

Be Sociable—avoid reserve in society. Remember that the social elements, like the air we breathe, are purified by motion. Thought illumines thought, and smiles win smiles.

2008. Punctuality

Be Punctual.—One minute too late has lost many a golden opportunity. Besides which, the want of punctuality is an affront offered to the person to whom your presence is due.

2009. Hints

The foregoing Remarks may be said to apply to the moral conduct, rather than, to the details of personal manners. Great principles, however, suggest minor ones; and hence, from the principles laid down, many hints upon personal behaviour may be gathered.

2010. Hearty

Be Hearty in your salutations, discreet and sincere in your friendships.

2011. Listen

Prefer to Listen rather than to talk.

2012. Respect

Behave, even in the presence of your relations, as though you felt respect to be due to them.

2013. Humble

In Society never forget that you are but one of many.

2014. House Rules

When you Visit a Friend, conform to the rules of his household; lean not upon his tables, nor rub your feet against his chairs.

2015. Privacy

Pry not into Letters that are not your own.

2016. Ladies

Pay unmistakable Respect to ladies everywhere.

2017. Silliness

Beware of Foppery, and of silly flirtation.

2018. Considerate

In Public Places be not too pertinacious of your own rights, but find pleasure in making concessions.

2019. Conversation

Speak Distinctly, look at the person to whom you speak, and when you have spoken, give him an opportunity to reply.

2020. Temperance

Avoid Drunkenness as you would a curse; and modify all appetites, especially those that are acquired.

2021. Correct Dress

Dress Well, but not superfluously; be neither like a sloven, nor like a stuffed model.

2022. Cleanliness

Keep away all Uncleanly Appearances from the person. Let the nails, the teeth, and, in fact, the whole system receive

salutary

rather than

studied

care. But let these things receive attention at the toilet—not elsewhere.

2023. Jewellery

Avoid displaying Excess of Jewellery. Nothing looks more effeminate upon a man.

2024. Central Ideas

Every one of these Suggestions may be regarded as the centre of many others, which the earnest mind cannot fail to discover. (See

Hints on Etiquette

,

par

.

1924

.)

2025. Children

Happy indeed is the child who, during the first period of its existence, is fed upon no other aliment than the milk of its mother, or that of a healthy nurse. If other food become necessary before the child has acquired teeth, it ought to be of a liquid form; for instance, biscuits or stale bread boiled in an equal mixture of milk and water, to the consistence of a thick soup; but by no means even this in the first week of its life. Children who are brought up by hand, that is to say, who are not nursed by mother or wet nurse, require an occasioned change of diet, and thin gruel affords a wholesome alternation to milk. When cows' milk is used it should be obtained, if possible, from one and the same cow, and diluted with boiled water. Swiss milk is recommended by some medical men. The Aylesbury Dairy Company furnish a speciality for young children under the name of "Artificial Human Milk," which is recommended.

2026. Thickening

Flour or Meal ought never to be used for soup, as it produces viscid humours, instead of a wholesome nutritious chyle.

2027. Introducing Solid Food

After the first Six Months, weak veal or chicken broth may be given, and also, progressively, vegetables that are not very flatulent, for instance, carrots, endive, spinach, parsnips, with broth, and a little stewed fruit, such as apples, pears, plums, and cherries.

2028. After Weaning

When the Infant Is Weaned, and has acquired its proper teeth, it is advisable to let it have small portions of meat, and other vegetables, as well as dishes prepared of flour, &c., so that it may gradually become accustomed to every kind of strong and wholesome food.

2029. Simple Food

We ought, however, to be cautious, and not upon any account to allow a child pastry, confectionery, cheese, heavy dishes made of boiled or baked flour, onions, horseradish, mustard, smoked and salted meat, especially pork, and all compound dishes; for the most simple food is the most wholesome.

2030. Potatoes

Potatoes should be allowed only in moderation, and not to be eaten with butter, but rather with other vegetables, either mashed up or in broth.

2031. Time-Table

The Time of Taking Food is not a matter of indifference; very young infants make an exception; for, as their consumption of vital power is more rapid, they may be more frequently indulged with aliment.

2032. Regularity

It is, however, advisable to accustom even them to a certain regularity, so as to allow them their victuals at stated periods of the day; for it has been observed that those children which are fed indiscriminately through the whole day, are subject to debility and disease. The stomach should be allowed to recover its tone, and to collect the juices necessary for digestion, before it is supplied with a new portion of food.

2033. Daily Diet

The following Order of giving Food to children has been found proper, and conducive to their health:—After rising in the morning, suppose about six o'clock, a moderate portion of lukewarm milk, with well baked bread, which should by no means be new; at nine o'clock, bread with some fruit, or, if fruit be scarce, a small quantity of fresh butter; about twelve o'clock, the dinner, of a sufficient quantity; between four and five o'clock, some bread with fruit, or, in winter, some preserve as a substitute for fruit.

2034. Tea