_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.