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.

Cravate de Chasse.

This Cravat is by some élégans called à la Diane, although it is a kind of poetical license to suppose that this rather unfashionable Goddess wore one. It is doubly crossed on the neck, as shewn in the Cravate à l’Américaine (plate C, fig. 13). It should not be starched, and must be folded plainly, as shewn in plate A, fig. 1—the colour must be deep green, or feuille morte, which is more recherché.

See plate D, fig. 24.

Cravate à la Diane.

Exactly similar to the last, but the colour must be white.

Cravate à l’Anglaise.

Is formed in the same way as the Nœud Gordien, but is never starched.

See plate B, fig. 6, 7, 8, 9, 10 and 11.

Cravate à l’Indépendance.

The same as the Américaine, except in colour; it is composed of red, blue and white, in alternate stripes; all other shades are strictly prohibited.

See plate C, fig. 13.

Cravate en Valise.

Is composed like the Nœud Gordien, except the ends, which, instead of being brought down, are turned inside the knot; the handkerchief must be rather small, or it will be impossible to conceal the ends, which with the knot should present the appearance of a travelling portmanteau.

The favourite colour is that of Russia leather.

See plate D, fig. 25.

Cravate en Coquille.

The tie of this Cravat should resemble a shell; it is very pleasing, and easily formed; it consists of a double or triple knot, and the ends are fastened at the back of the neck. It does not require starch, and may be worn with or without a whalebone stiffener.

The colour may be that most pleasing to the wearer.

See plate D, fig. 26.

Cravate de Voyage.

Is put on in the same way as the Byron.

Cravate à la Colin.

Is commenced like the Byron, Bergami, and Talma; a mere knot is made, the ends left loose, and shirt collar turned down, as shewn in the Cravate Jesuitique.

This style possesses the great advantage of preventing the wearer from entering any public place, and of causing him to be shewn (politely) to the door of any private house.

See plate D, fig. 27 and 32.

Cravate en Jet d’Eau.

The same as the Cravate en Cascade.

See plate C, fig. 17.

Cravate Casse Cœur.

The same as the Bergami; the favourite colour is red (Sang de Bœuf).

See plate C, fig. 18.

Cravate à la Paresseuse.

The Paresseuse is undoubtedly one of the most convenient and easy methods of wearing the Cravat. It has been rather neglected, and we think unjustly so, as it combines the advantage of concealing the shirt of the wearer, and displaying the handkerchief to advantage. It may be put on in a moment, and this style can be adopted with complete success in wearing a handkerchief a second time. It should be prepared as shewn in plate A, fig. 2; placed on the front of the neck, the ends are passed round and crossed on the chest, as shewn in plate D, fig. 28.

Married men and antiquated beaux seem to be its greatest admirers; it may be starched or not ad libitum.

Cravate Romantique.

The same as the Byron; it is chiefly worn in the country, and the prevailing colour is solitaire.

See plate C, fig. 16.

Cravate à la Fidélité.

The same as the Mathématique. The privates of the ex-national guard of France wore it when in uniform, and it has since been recommended to the ex-ministry of our own country. It must be black, and folded on a whalebone stiffener, and should be so carefully put on as to prevent all appearance of the shirt, except the collar, which must be of the most dazzling white.

See plate C, fig. 20.

Cravate à la Talma.

This style is worn in mourning only. It is placed on the neck in the same way as the Byron and Bergami.

See plate D, fig. 29.

Cravate à l’Italienne.

Is formed in nearly the same manner as the Irlandaise, but instead of turning the ends round each other, they are passed through a ring, returned to the side they come from and fastened at the back of the neck by a small knot.

It requires a whalebone stiffener, and should be prepared as shewn in plate A, fig. 1. Starch is unnecessary. White only is admissible.

See plate D, fig. 30.

Cravate Diplomatique.

The same as the Cravate à la Gastronome.

See plate C, fig. 28.

Cravate à la Russe.

In this style are included all Cravats which are fastened at the back of the neck, without the ends being at all brought in front; these should not be concealed under the Cravat, but down the back, and care must be taken to prevent their rising above the waistcoat. Any colour is allowed, and starch may be used or not ad libitum.

See plate D, fig. 31.

Cravate Jesuitique.

This is a Cravat in appearance only.

For this style the waistcoat must be made en cuirasse, and the collar must be high enough to conceal the neck entirely. The shirt collar is turned down and forms a kind of band.

Although this style has lately become very general, we have never been at all prepossessed in its favour; not merely because it is unpleasant to the eye, but that we rather pride ourselves in despising most cordially whatever has the least resemblance to the name or quality of a Jesuit.

See plate D, fig. 32.

In closing this lesson, we must observe, that although we have specified the colour which fashion seems to have patronized for each particular style of Cravat, we do not (in any instance) intend to exclude the chaste simplicity of white, which may be introduced in any of them.

LESSON XVI.
AND LAST.
Important and necessary Observations.

In all cases of apoplexy, fainting, or illness in general, it is requisite to loosen or even remove the Cravat immediately.

The greatest insult that can be offered to a man, comme il faut, is to seize him by the Cravat; in this case blood only can wash out the stain upon the honour of either party.

The Cravat should invariably be loosened before the commencement of study, or of any important business.

Those who have a short neck, high shoulders, a round, full, and fresh coloured face, and who are at all subject to head aches, beatings of the temples, &c. should be most careful to wear the Cravat loose; the neglect of this precaution will generally produce an attack of the complaint to which they may be liable.

Those who are accustomed to sleep in the Cravat, should be most careful in examining whether it be loose. In all cases of organic diseases of the heart, or large vessels, &c. it should be entirely prohibited.

Lastly.—Every person at all accustomed to travel, and who has the least respect for his appearance, should provide himself with a box for containing a collection of Cravats.

This box must be divided into several compartments, and be made of the following proportions; eighteen inches in length, six inches in width, and twelve in depth, it should contain,

1 A dozen (at least) of plain white Cravats.

2 The same quantity of spotted and striped white Cravats.

3 A dozen coloured ditto.

4 Three dozen (at least) shirt collars.

5 Two whalebone stiffeners.

6 Two black silk Cravats.

7 The small iron mentioned in the first lesson.

8 As many copies as possible, of this important and useful work, taking the precaution of having them well bound, that they may occupy less room.[2]

CONCLUSION.
On the Importance of the Cravat in Society.

When a man of rank makes his entrée into a circle distinguished for taste and elegance, and the usual compliments have passed on both sides, he will discover that his coat will attract only a slight degree of attention, but that the most critical and scrutinizing examination will be made on the set of his Cravat. Should this unfortunately, not be correctly and elegantly put on—no further notice will be taken of him; whether his coat be of the reigning fashion or not will be unnoticed by the assembly—all eyes will be occupied in examining the folds of the fatal Cravat. His reception will in future be cold, and no one will move on his entrance;—but if his Cravat is savamment and elegantly formed—although his coat may not be of the last cut—every one will rise to receive him with the most distinguished marks of respect, will cheerfully resign their seats to him, and the delighted eyes of all will be fixed on that part of his person which separates the shoulders from the chin—let him speak downright nonsense he will be applauded to the skies; it will be said—“this man has critically and deeply studied the thirty-two lessons on the Art of Tying the Cravat.”—But again reverse the picture—it will be found that the unfortunate individual who is not aware of the existence of this justly celebrated work—however well informed he may be on other subjects—will be considered as an ignorant pretender, and will be compelled to suffer the impertinence of the fop, who will treat him with disdain, merely because his Cravat is not correctly disposed—he will moreover be obliged to hear in silence, and to approve (under pain of being considered unacquainted with the common rules of politeness) all the remarks which he will thus subject himself to—occasionally relieved by hearing a whisper of “He cannot even put on a Cravat properly.”

THE END.

TABLE OF CONTENTS.