Chapter XX: Part 20

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 two together;
P 2 t, purl 2 together;
M 1, make one.

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 peculiarily 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]

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.

1938. 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.

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

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

iii. Visits of condolence require a grave style of dress.

iv. 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.

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

vi. 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.

vii. 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.

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

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

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

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

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

xiii. 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.

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

xv. 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."

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

xvii. The gloves should not be removed during a visit.

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

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

1937. Balls and Evening Parties.

i. An invitation to a ball should be given _at least_ a week
beforehand.

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

iii. 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.

iv. Appear in full dress.

v. Always wear gloves.

vi. Do not wear rings on the outside of your gloves.

vii. Avoid an excess of jewellery.

viii. Do not select the same partner frequently.

ix. Distribute your attentions as much as possible.

x. Pay respectful attention to elderly persons.

xi. Be cordial when serving refreshments, but not importunate.

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

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

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

xv. Chess and all unsociable games should be avoided.

xvi. 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.

xvii. 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.

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

xix. After dancing, conduct your partner to a seat.

xx. 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:

1. Date when born.
2. Name of the child.
3. Boy or girl.
4. Name of the father.
5. Name and maiden name of the mother.
6. Rank or profession of the father.
7. Signature, description, and residence of the person giving the
information.
8 Date of the registration.

1960. Baptismal Name.