Part 45

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.