LESSON VII. Cravate à la Byron.

Plate C, fig. 16.

As Lord Byron differed so widely from the world in general, we can hardly expect to find in the Cravat worn by this prince of poets, any of that élégance recherchée which generally characterize an Englishman of rank. It is universally allowed that the least constraint of the body has a corresponding effect on the mind, and it must, therefore, be admitted, that to a certain extent, a tight Cravat will cramp the imagination, and, as it were, suffocate the thoughts.

That Lord Byron feared this effect, is proved from his submitting to the inconveniences of a Cravat, only when accommodating himself to the bienséances of society; and in every portrait where he is painted in the ardour of composition, his neck is always free from the trammels of the neckcloth.

The Cravat which bears the name of this noble author, differs widely from most others—this difference consists in the manner in which it is first placed on the neck. It is commenced at the back of the neck—the ends are then brought in front under the chin, and fastened in a large bow, or rosette, at least six inches in length and four in circumference.

This fashion is extremely comfortable in summer, and during long journeys, as it forms but one turn round the neck, which is thus left comparatively free.

Either black or white may be worn, but it should not be starched, and is folded as shewn in plate A, fig. 1.

See plate referred to.