PROBLEM.
In the first place, the Cravat for this tie must be of ample size, and properly starched, ironed, and folded (as shewn [plate B. fig. 6]); whether it be plain or coloured is of little consequence; but a rather stout one should be preferred, as it will offer more facilities to the daring fingers of the beginner who attempts to accomplish this chef-d’œuvre.
It will then be necessary to meditate deeply and seriously on the five following directions.
I. When you have decided on the Cravat, it must be placed on the neck, and the ends left hanging (as shewn [plate B, fig. 7], first time).
II. You must take the point K, pass it on the inside of the point Z, and raise it ([same plate, fig. 8], second time).
III. You lower the point K on the tie, now half formed O ([same plate, fig. 9], third time).
IV. Then, without leaving the point K, you bend it inside and draw it between the point Z, which you repass to the left, Y; in the tie now formed, Y, O, you thus accomplish the formation of the destined knot.
V. and last. After having tightened the knot, and flattened it with the thumb and fore-finger, or more properly with the iron, mentioned in the preceding lesson (see [plate A, fig. 5]); you lower the points, K, Z, cross them, and place a pin at the point of junction H, and at once solve the problem of the Nœud Gordien.
He who is perfectly conversant with the theory and practice of this tie, may truly boast that he possesses the key to all the others, which are, in fact, derived from this alone. A Cravat which has been once worn in this way, can only be used afterwards en negligé, as it will be so much tumbled by this intricate arrangement.
The slightest error in the first fold of this tie will render all succeeding efforts, with the same handkerchief, entirely useless—we have said it.
We would, therefore, seriously advise any one who really desires to be initiated in the mysteries of this delightful science, to make his first essay on a moderate sized block. We can confidently assure him, that with moderate perseverance, he will soon be enabled to pursue his studies with pleasure and advantage—on himself.
(A careful examination of the figures referred to in this lesson is strongly recommended).
Plate C.
Fig. 12. L’Orientale. Fig. 13. L’Américaine. Fig. 14. Collier de Cheval. Fig. 15. Sentimentale. Fig. 16. A la Byron. Fig. 17. En Cascade. Fig. 18. A la Bergami. Fig. 19. De Bal. Fig. 20. Mathématique. Fig. 21. Irlandaise. Fig. 22. Maratte. Fig. 23. Gastronome.
LESSON III.
Cravate à l’Orientale.
The shape of the Cravate à l’Orientale, is that of a turban, and the ends form a crescent; in this instance we wear that under the chin, which the Mahometans wear above the forehead.
One of our antiquarian friends, who has devoted his time to long and laborious researches on the origin of Cravats, asserts, that the real Cravate à l’Orientale consists of a very small silken cord; and that in the highest circles of Turkey, it is sometimes the custom to draw it tighter than the human frame can well bear; he very properly adds that this fashion produces the most serious results to the health of any one who is suddenly compelled to adopt it.
The Cravat, for this style, must be small, that it may present two small ends only; these must be strongly starched at the tips, that they may retain the form of the crescent, as not the slightest wrinkle can be suffered. A whalebone stiffener must, therefore, be used, as the least deviation from this rule will entirely deprive it of its denomination Orientale.
The Cravate à l’Orientale must be of the purest white muslin, or white cachemire.
LESSON IV.
Cravate à l’Américaine.
The Cravate à l’Américaine is extremely pretty and easily formed, provided the handkerchief is well starched.
When it is correctly formed, it presents the appearance of a column, destined to support a Corinthian capital. This style has many admirers here, and also among our friends, the fashionables of the New World, who pride themselves on its name, which they call “Independence;” this title may, to a certain point, be disputed, as the neck is fixed in a kind of vice, which entirely prohibits any very free movements.
The Cravate à l’Américaine requires a whalebone stiffener, and is commenced in the same way as the Nœud Gordien; the ends are brought in front, as shown in [fig. 8, plate C], are lowered as in [fig. 9 (same plate)], and fastened to the shirt bosom, like the Cravate en Cascade.
The prevailing colour is sea green, or striped blue, red and white.
LESSON V.
Cravate Collier de Cheval.
This style greatly resembles the Orientale, from which it is evidently derived. It has been greatly admired by the fair sex, who have praised it to their husbands, their lovers, and even to their friends and relations; and have thus promoted its adoption by every means in their power.
The ends are fastened at the back of the neck, or are concealed in the folds; a whalebone stiffener is requisite, but starch is unnecessary.
Cravats with horizontal stripes, or large spots, are preferred. The most becoming colour is that called Russia leather. Black is sometimes worn, but the shirt bosom must then be plaited.
Human life is often compared to a painful journey; and it is probably on the same philosophical principle that the Cravate Collier de Cheval was considered a proper costume for man, who often drags on his weary way, loaded with evils more insupportable than the heaviest burthens.
This style is, however, (in our opinion) rather vulgar, and we have introduced it here, more that it may be avoided as an instance of false taste, than as a model to copy.
It is folded as shewn in [plate A, fig. 1].
LESSON VI.
Cravate Sentimentale.
The name alone of this Cravat is sufficient to explain that it is not alike suitable to all faces.
You, then, whom nature has not gifted with skins of silk—eyes of fire—with complexions rivalling the rose and lily;—you, to whom she has denied pearly teeth and coral lips (a gift which in our opinion would be rather inconvenient)—you, in fact, whose faces do not possess that sympathetic charm, which in a moment, at a glance, spreads confusion o’er the senses, and disorder and trouble in the hearts of all who behold you—be careful how you expose to public gaze a head like that of a peruquier. We repeat—avoid it; and be assured that if your physiognomy does not inspire sensations of love and passion, and you should adopt the Cravate Sentimentale, you will be a fair butt for the shafts of ridicule, which (with no unsparing hand) will be showered upon you on all sides.
It is, therefore, for the juvenile only that it is at all adapted, and there should even be something boyish in the general appearance of the wearer. It may, then, be worn from the age of seventeen to twenty-seven; but after that age it cannot, with propriety, be patronized by even the most agreeable.
It must be allowed that this style is completely opposed to the Orientale and Collier de Cheval. It must be strongly starched, and fastened with a single rosette at the top, as near as possible to the chin.
It is more fashionable in the country than in town. Cambric is generally preferred.
LESSON VII.
Cravate à la Byron.
As Lord Byron differed so widely from the world in general, we can hardly expect to find in the Cravat worn by this prince of poets, any of that élégance recherchée which generally characterize an Englishman of rank. It is universally allowed that the least constraint of the body has a corresponding effect on the mind, and it must, therefore, be admitted, that to a certain extent, a tight Cravat will cramp the imagination, and, as it were, suffocate the thoughts.
That Lord Byron feared this effect, is proved from his submitting to the inconveniences of a Cravat, only when accommodating himself to the bienséances of society; and in every portrait where he is painted in the ardour of composition, his neck is always free from the trammels of the neckcloth.
The Cravat which bears the name of this noble author, differs widely from most others—this difference consists in the manner in which it is first placed on the neck. It is commenced at the back of the neck—the ends are then brought in front under the chin, and fastened in a large bow, or rosette, at least six inches in length and four in circumference.
This fashion is extremely comfortable in summer, and during long journeys, as it forms but one turn round the neck, which is thus left comparatively free.
Either black or white may be worn, but it should not be starched, and is folded as shewn in [plate A, fig. 1].
LESSON VIII.
Cravate en Cascade.
The Cravate en Cascade is formed by making a single knot, like that in the second lesson, [plate B, fig. 8], and leaving one end longer than the other; the longer, after being brought on the inside (as in the plate and figure referred to) must be lowered so as to cover the whole of the knot—carefully spread out as wide as possible, and then fastened to the bosom of the shirt. The tout ensemble will then present the appearance of the Cascade, or Jet d’Eau in the bason of the Palais Royal.
This style is generally followed by valets, butlers and other fashionables of the same grade.
The handkerchief should not be starched.
LESSON IX.
Cravate à la Bergami.
Like the Cravate à la Byron, which it greatly resembles, the Bergami is first placed at the back of the neck—the ends are brought forward and crossed on the breast, without being tied, and then fastened to the braces; some pass them under the arms, and tie them on the back; but the handkerchief must then be very large, and folded as shewn in [plate B, fig 6].
LESSON X.
Cravate de Bal.
The Cravate de Bal should not be tied, but fastened with pins to the braces, or to the shirt, in the same way as the Bergami. Some pass the ends under the arms, and tie them on the back; but as this method is inconvenient, from the handkerchief moving with the body in dancing, we would recommend the two first.
It should be simply and plainly folded, (as shewn in [plate B, fig. 6]), and must be tolerably large.
The Cravate de Bal, when carefully put on is delightfully elegant; it partakes of the elegant sévérité of the Mathématique, combined with the laissez-aller of the Bergami, whilst it unites the advantages of both; it is in fact, a derivation from them.
We must here enter an entire prohibition against colours of every kind for the Cravate de Bal—white must reign alone.
The Cravat should be but slightly starched.
LESSON XI.
Cravate Mathématique.
Regularity and proportion are the essentials of every art.
In a beautiful landscape we are occasionally delighted with the knotted and bent trunk of the majestic oak; but the correct and beautiful proportion of a Grecian column (even in ruins) rivets our attention and excites our wonder and admiration.
The Cravate Mathématique is a combination of symmetry and regularity—the style is grave and severe, and the slightest wrinkle is strictly prohibited. The ends should be geometrically correct, and must bear examination even by the aid of a compass; they should descend obliquely from each side, and form two acute angles in crossing—all the folds in a horizontal direction, forming the two acute and opposite angles of a triangle, which the Mathématique must always strictly represent.
Black is generally worn, and is made either of taffeta or Levantine.
A whalebone stiffener is requisite.
LESSON XII.
Cravate à l’Irlandaise.
This Cravat very closely resembles the Mathématique, and differs only in the arrangement of the ends, which in the Irlandaise are joined in front and twine round each other—each end is then brought back to the side it comes from, and is fastened at the back of the neck.
This difference, which would be invisible to a superficial observer, will not escape the critical eye of an élégant, accustomed to peruse this important work with the care and attention it merits.
The Irlandaise is not confined to any particular colour, and the handkerchief need not be starched, but a whalebone stiffener is necessary.
LESSON XIII.
Cravate à la Maratte.
The Cravat for this style should be of the finest and whitest India muslin. Like the Byron, it is commenced at the back of the neck, and linked like a chain; the ends may either be fastened like those of the Cravat de Bal (to the braces, or on the back), or to the shirt bosom.
The Maratte does not require starch, and should be simply and plainly folded.
LESSON XIV.
Cravate à la Gastronome.
The véritable Cravate à la Gastronome is a handkerchief of any kind, without starch, folded on a stiffener of at most three fingers in depth, and thrown rather than fastened round the neck: it is more particularly distinguished by the tie which confines the ends; this greatly resembles the Nœud Gordien in elasticity, with this difference, however, that it slackens and yields to the slightest movement of the neck—to the least vacillation of the jaws, and even to that slight swelling of the throat which in men decidedly distinguished for gastronomic talents, so often produces impeded respiration. It also possesses the great advantage of loosening itself in cases of indigestion, apoplexy, or fainting.
The Gastronome is seldom worn previous to the age of forty, but this greatly depends on climate and constitution.
Plate D.
Fig. 24. De Chasse. Fig. 25. En Valise. Fig. 26. Coquille. Fig. 27. A la Colin. Fig. 28. A la Parresseuse. Fig. 29. A la Talma. Fig. 30. A l’Italienne. Fig. 31. A la Russe. Fig. 32. Jesuitique.
Ingrey & Madeley Lithog. 310 Strand.
LESSON XV.
Eighteen different methods of putting on the Cravat.
[Plate D, figures 24, 25, 26, 27, 28, 29, 30, 31, and 32.]
Although this lesson comprehends eighteen different methods of wearing the Cravat, yet as they are nearly all derived from some of those already explained, it is but little longer than any one of them. It is placed nearly at the end of the work as it is absolutely necessary that the thirteen first should be well studied and digested, previous to entering upon this; for it would be as vain for a veteran fashionable to attempt the formation of any of the following, without having previously made himself acquainted with the preceding, as for a young mathematician to attempt an explanation of the third book of Legendre, without having studied the first and second.