Part 7
6. PLAIN AND NEAT.--When a pretty woman goes by in plain and neat apparel, it is the presumption that she has fair expectations, and a husband that can show a balance in his favor. For women are like books,--too much gilding makes men suspicious, that the binding is the most important part. The body is the shell of the soul, and the dress is the husk of the body; but the husk generally tells what the kernel is. As a fashionably dressed young lady passed some gentlemen, one of them raised his hat, whereupon another, struck by the fine appearance of the lady, made some inquiries concerning her, and was answered thus: "She makes a pretty ornament in her father's house, but otherwise is of no use."
7. THE RICHEST DRESS.--The richest dress is always worn on the soul. The adornments that will not perish, and that all men most admire, shine from the heart through this life. God has made it our highest, holiest duty, to dress the soul he has given us. It is wicked to waste it in frivolity. It is a beautiful, undying, precious thing. If every young woman would think of her soul when she looks in the glass, would hear the cry of her naked mind when she dallies away her precious hours at her toilet, would listen to the sad moaning of her hollow heart, as it wails through her idle, useless life, something would be done for the elevation of womanhood.
8. DRESSING UP.--Compare a well-dressed body with a well-dressed mind. Compare a taste for dress with a taste for knowledge, culture, virtue, and piety. Dress up an ignorant young woman in the "height of fashion"; put on plumes and flowers, diamonds and gewgaws; paint her face, girt up her waist, and I ask you, if this side of a painted and feathered savage you can find anything more unpleasant to behold. And yet such young women we meet by the hundred every day on the street and in all our public places. It is awful to think of.
9. DRESS AFFECTS OUR MANNERS.--A man who is badly dressed, feels chilly, sweaty, and prickly. He stammers, and does not always tell the truth. He means to, perhaps, but he can't. He is half distracted about his pantaloons, which are much to short, and are constantly hitching up; or his frayed jacket and crumpled linen harrow his soul, and quite unman him. He treads on the train of a lady's dress, and says, "Thank you", sits down on his hat, and wishes the "desert were his dwelling place."
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Beauty.
"She walks in beauty, like the night Of cloudless climes and starry skies: And all that's best of dark and bright Meet her in aspect and in her eyes; Thus mellowed to that tender light Which heaven to gaudy day denies."--BYRON.
1. THE HIGHEST STYLE OF BEAUTY.--The highest style of beauty to be found in nature pertains to the human form, as animated and lighted up by the intelligence within. It is the expression of the soul that constitutes this superior beauty. It is that which looks out of the eye, which sits in calm majesty on the brow, lurks on the lip, smiles on the cheek, is set forth in the chiselled lines and features of the countenance, in the general contour of figure and form, in the movement, and gesture, and tone; it is this looking out of the invisible spirit that dwells within, this manifestation of the higher nature, that we admire and love; this constitutes to us the beauty of our species. {92}
2. BEAUTY WHICH PERISHES NOT.--There is a beauty which perishes not. It is such as the angels wear. It forms the washed white robes of the saints. It wreathes the countenance of every doer of good. It adorns every honest face. It shines in the virtuous life. It molds the hands of charity. It sweetens the voice of sympathy. It sparkles on the brow of wisdom. It flashes in the eye of love. It breathes in the spirit of piety. It is the beauty of the heaven of heavens. It is that which may grow by the hand of culture in every human soul. It is the flower of the spirit which blossoms on the tree of life. Every soul may plant and nurture it in its own garden, in its own Eden.
3. WE MAY ALL BE BEAUTIFUL.--This is the capacity of beauty that God has given to the human soul, and this the beauty placed within the reach of all. We may all be beautiful. Though our forms may be uncomely and our features not the prettiest, our spirits may be beautiful. And this inward beauty always shines through. A beautiful heart will flash out in the eye. A lovely soul will glow in the face. A sweet spirit will tune the voice, wreathe the countenance in charms. Oh, there is a power in interior beauty that melts the hardest heart!
4. WOMAN THE MOST PERFECT TYPE OF BEAUTY.--Woman, by common consent, we regard as the most perfect type of beauty on earth. To her we ascribe the highest charms belonging to this wonderful element so profusely mingled in all God's works. Her form is molded and finished in exquisite delicacy of perfection. The earth gives us no form more perfect, no features more symmetrical, no style more chaste, no movements more graceful, no finish more complete; so that our artists ever have and ever will regard the woman-form of humanity as the most perfect earthly type of beauty. This form is most perfect and symmetrical in the youth of womanhood; so that the youthful woman is earth's queen of beauty. This is true, not only by the common consent of mankind, but also by the strictest rules of scientific criticism.
5. FADELESS BEAUTY.--There cannot be a picture without its bright spots; and the steady contemplation of what is bright in others, has a reflex influence upon the beholder. It reproduces what it reflects. Nay, it seems to leave an impress even upon the countenance. The feature, from having a dark, sinister aspect, becomes open, serene, and sunny. A countenance so impressed, has neither the vacant stare of the idiot, nor the crafty, penetrating look of the basilisk, but the clear, placid aspect of truth and goodness. The woman {94} who has such a face is beautiful. She has a beauty which changes not with the features, which fades not with years. It is beauty of expression. It is the only kind of beauty which can be relied upon for a permanent influence with the other sex. The violet will soon cease to smile. Flowers must fade. The love that has nothing but beauty to sustain it, soon withers away.
6. A PRETTY WOMAN PLEASES THE EYE, a good woman, the heart. The one is a jewel, the other a treasure. Invincible fidelity, good humor, and complacency of temper, outlive all the charms of a fine face, and make the decay of it invisible. That is true beauty which has not only a substance, but a spirit; a beauty that we must intimately know to justly appreciate.
7. THE WOMAN YOU LOVE BEST.--Beauty, dear reader, is probably the woman you love best, but we trust it is the beauty of soul and character, which sits in calm majesty on the brow, lurks on the lip, and will outlive what is called a fine face.
8. THE WEARING OF ORNAMENTS.--Beauty needs not the foreign aid of ornament, but is when unadorned adorned the most, is a trite observation; but with a little qualification it is worthy of general acceptance. Aside from the dress itself, ornaments should be very sparingly used--at any rate, the danger lies in over-loading oneself, and not in using too few. A young girl, and especially one of a light and airy style of beauty, should never wear gems. A simple flower in her hair or on her bosom is all that good taste will permit. When jewels or other ornaments are worn, they should be placed where you desire the eye of the spectator to rest, leaving the parts to which you do not want attention called as plain and negative as possible. There is no surer sign of vulgarity than a profusion of heavy jewelry carried about upon the person.
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Sensible Helps to Beauty.
1. FOR SCRAWNY NECK.--Take off your tight collars, feather boas and such heating things. Wash neck and chest with hot water, then rub in sweet oil all that you can work in. Apply this every night before you retire and leave the skin damp with it while you sleep.
2. FOR RED HANDS.--Keep your feet warm by soaking them often in hot water, and keep your hands out of the water as much as possible. Rub your hands with the skin of a lemon and it will whiten them. If your skin will bear glycerine after you have washed, pour into the palm a little glycerine and lemon juice mixed, and rub over the hands and wipe off.
3. NECK AND FACE.--Do not bathe the neck and face just before or after being out of doors. It tends to wrinkle the skin.
4. SCOWLS.--Never allow yourself to scowl, even if the sun be in your eyes. That scowl will soon leave its trace and no beauty will outlive it. {96}
5. WRINKLED FOREHEAD.--If you wrinkle your forehead when you talk or read, visit an oculist and have your eyes tested, and then wear glasses to fit them.
6. OLD LOOKS.--Sometimes your face looks old because it is tired. Then apply the following wash and it will make you look younger: Put three drops of ammonia, a little borax, a tablespoonful of bay rum, and a few drops of camphor into warm water and apply to your face. Avoid getting it into your eyes.
7. THE BEST COSMETIC.--Squeeze the juice of a lemon into a pint of sweet milk. Wash the face with it every night and in the morning wash off with warm rain water. This will produce a very beautiful effect upon the skin.
8. SPOTS ON THE FACE.--Moles and many other discolorations may be removed from the face by a preparation composed of one part chemically pure carbolic acid and two parts pure glycerine. Touch the spots with a camel's-hair pencil, being careful that the preparation does not come in contact with the adjacent skin. Five minutes after touching, bathe with soft water and apply a little vaseline. It may be necessary to repeat the operation, but if persisted in, the blemishes will be entirely removed.
9. WRINKLES.--This prescription is said to cure wrinkles: Take one ounce of white wax and melt it to a gentle heat. Add two ounces of the juice of lily bulbs, two ounces of honey, two drams of rose water, and a drop or two of ottar of roses. Apply twice a day, rubbing the wrinkles the wrong way. Always use tepid water for washing the face.
10. THE HAIR.--The hair must be kept free from dust or it will fall out. One of the best things for cleaning it, is a raw egg rubbed into the roots and then washed out in several waters. The egg furnishes material for the hair to grow on, while keeping the scalp perfectly clean. Apply once a month.
11. LOSS OF HAIR.--When through sickness or headache the hair falls out, the following tonic may be applied with good effect: Use one ounce of glycerine, one ounce of bay rum, one pint of strong sage tea, and apply every other night, rubbing well into the scalp.
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How to Keep the Bloom and Grace of Youth.
THE SECRET OF ITS PRESERVATION.
1. The question most often asked by women is regarding the art of retaining, with advancing years, the bloom and grace of youth. This secret is not learned through the analysis of chemical compounds, but by a thorough study of nature's laws peculiar to their sex. It is useless for women with wrinkled faces, dimmed eyes and blemished skins to seek for external applications of beautifying balms and lotions to bring the glow of life and health into the face, and yet there are truths, simple yet wonderful, whereby the bloom of early life can be restored and retained, as should be the heritage of all God's children, sending the light of beauty into every woman's face. The secret:
2. Do not bathe in hard water; soften it with a few drops of ammonia, or a little borax.
3. Do not bathe the face while it is very warm, and never use very cold water.
4. Do not attempt to remove dust with cold water; give your face a hot bath, using plenty of good soap, then give it a thorough rinsing with warm water.
5. Do not rub your face with a coarse towel.
6. Do not believe you can remove wrinkles by filling in the crevices with powder. Give your face a Russian bath every night; that is, bathe it with water so hot that you wonder how you can bear it, and then, a minute after, with moderately cold water, that will make your face glow with warmth; dry it with a soft towel.
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Form and Deformity.
1. PHYSICAL DEFORMITIES.--Masquerading is a modern accomplishment. Girls wear tight shoes, burdensome skirts, corsets, etc., all of which prove so fatal to their health. At the age of seventeen or eighteen, our "young ladies" are sorry specimens of feminality; and palpitators, cosmetics and all the modern paraphernalia are required to make them appear fresh and blooming. Man is equally at fault. A devotee to all the absurd devices of fashion, he practically asserts that "dress makes the man." But physical deformities are of far less importance than moral imperfections.
2. DEVELOPMENT OF THE INDIVIDUAL.--It is not possible for human beings to attain their full stature of humanity, except by loving long and perfectly. Behold that venerable man! he is mature in judgment, perfect in every action and expression, and saintly in goodness. You almost worship as you behold. What rendered him thus perfect? What {99} rounded off his natural asperities, and moulded up his virtues? Love, mainly. It permeated every pore, and seasoned every fibre of his being, as could nothing else. Mark that matronly woman. In the bosom of her family she is more than a queen and goddess combined. All her looks and actions express the outflowing of some or all of the human virtues. To know her is to love her. She became thus perfect, not in a day or year, but by a long series of appropriate means. Then by what? Chiefly in and by love, which is specially adapted thus to develop this maturity.
3. PHYSICAL STATURE.--Men and women generally increase in stature until the twenty-fifth year, and it is safe to assume, that perfection of function is not established until maturity of bodily development is completed. The physical contour of these representations plainly exhibits the difference in structure, and also implies difference of function. Solidity and strength are represented by the organization of the male, grace and beauty by that of the female. His broad shoulders represent physical power and the right of dominion, while her bosom is the symbol of love and nutrition.
HOW TO DETERMINE A PERFECT HUMAN FIGURE.
The proportions of the perfect human figure are strictly mathematical. The whole figure is six times the length of the foot. Whether the form be slender or plump, this rule holds good. Any deviation from it is a departure from the highest beauty of proportion. The Greeks made all their statues according to this rule. The face, from the highest point of the forehead, where the hair begins, to the end of the chin, is one-tenth of the whole stature. The hand, from the wrist to the end of the middle finger, is the same. The chest is a fourth, and from the nipples to the top of the head is the same. From the top of the chest to the highest point of the forehead is a seventh. If the length of the face, from the roots of the hair to the chin, be divided into three equal parts, the first division determines the point where the eyebrows meet, and the second the place of the nostrils. The navel is the central point of the human body, and if a man should lie on his back with his arms and legs extended, the periphery of the circle which might be described around him, with the navel for its center, would touch the extremities of his hands and feet. The height from the feet to the top of the head is the same as the {100} distance from the extremity of one hand to the extremity of the other when the arms are extended.
The Venus de Medici is considered the most perfect model of the female forms, and has been the admiration of the world for ages. Alexander Walker, after minutely describing this celebrated statue, says: "All these admirable characteristics of the female form, the mere existence of which in woman must, one is temped to imagine, be, even to herself, a source of ineffable pleasure, these constitute a being worthy, as the personification of beauty, of occupying the temples of Greece; present an object finer, alas, than Nature even seems capable of producing; and offer to all nations and ages a theme of admiration and delight." Well might Thomson say:
So stands the statue that enchants the world, So, bending, tries to vail the matchless boast-- The mingled beauties of exulting Greece.
We beg our readers to observe the form of the waist (evidently innocent of corsets and tight dresses) of this model woman, and also that of the Greek Slave in the accompanying outlines. These forms are such as unperverted nature and the highest art alike require. To compress the waist, and thereby change its form, pushing the ribs inward, displacing the vital organs, and preventing the due expansion of the lungs, is as destructive to beauty as it is to health. {101}
THE HISTORY, MYSTERY, BENEFITS AND INJURIES OF THE CORSET.
1. The origin of the corset is lost in remote antiquity. The figures of the early Egyptian women show clearly an artificial shape of the waist produced by some style of corset. A similar style of dress must also have prevailed among the ancient Jewish maidens; for Isaiah, in calling upon the women to put away their personal adornments, says: "Instead of a girdle there shall be a rent, and instead of a stomacher (corset) a girdle of sackcloth."
2. Homer also tells us of the cestus or girdle of Venus, which was borrowed by the haughty Juno with a view to increasing her personal attractions, that Jupiter might be a more tractable and orderly husband.
3. Coming down to the later times, we find the corset was used in France and England as early as the 12th century.
4. The most extensive and extreme use of the corset occurred in the 16th century, during the reign of Catherine de Medici of France and Queen Elizabeth of England. With Catherine de Medici a thirteen-inch waist measurement was considered the standard of fashion, while a thick waist was an abomination. No lady could consider her figure of proper shape unless she could span her waist with her two hands. To produce this result a strong rigid corset was worn night and day until the waist was laced down to the required size. Then over this corset was placed the steel apparatus shown in the illustration on next page. This corset-cover reached from the hip to the throat, and {102} produced a rigid figure over which the dress would fit with perfect smoothness.
5. During the 18th century corsets were largely made from a species of leather known as "Bend," which was not unlike that used for shoe soles, and measured nearly a quarter of an inch in thickness. One of the most popular corsets of the time was the corset and stomacher shown in the accompanying illustration.
6. About the time of the French Revolution a reaction set in against tight lacing, and for a time there was a return to the early classical Greek costume. This style of dress prevailed, with various modifications, until about 1810, when corsets and tight lacing again returned with threefold fury. Buchan, a prominent writer of this period, says that it was by no means uncommon to see "a mother lay her daughter down upon the carpet, and, placing her foot upon her back, break half a dozen laces in tightening her stays."
7. It is reserved to our own time to demonstrate that corsets and tight lacing do not necessarily go hand in hand. Distortion and feebleness are not beauty. A proper proportion should exist between the size of the waist and the breadth of the shoulders and hips, and if the waist is diminished below this proportion, it suggests disproportion and invalidism rather than grace and beauty.
8. The perfect corset is one which possesses just that degree of rigidity which will prevent it from wrinkling, but will at the same time allow freedom in the bending and twisting of the body. Corsets boned with whalebone, horn or steel are necessarily stiff, rigid and uncomfortable. After a few days' wear the bones or steels become bent and set in position, or, as more frequently happens, they break and cause injury or discomfort to the wearer.
9. About seven years ago an article was discovered for the stiffening of corsets, which has revolutionized the corset industry of the world. This article is manufactured from {103} the natural fibers of the Mexican Ixtle plant, and is known as Coraline. It consists of straight, stiff fibers like bristles bound together into a cord by being wound with two strands of thread passing in opposite directions. This produces an elastic fiber intermediate in stiffness between twine and whalebone. It cannot break, but it possesses all the stiffness and flexibility necessary to hold the corset in shape and prevent its wrinkling.
We congratulate the ladies of to-day upon the advantages they enjoy over their sisters of two centuries ago, in the forms and the graceful and easy curves of the corsets now made as compared with those of former times.
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TIGHT-LACING.
It destroys natural beauty and creates an unpleasant and irritable temper. A tight-laced chest and a good disposition cannot go together. The human form has been molded by nature, the best shape is undoubtedly that which she has given it. To endeavor to render it more elegant by artificial means is to change it; to make it much smaller below and much larger above is to destroy its beauty; to keep it cased up in a kind of domestic cuirass is not only to deform it, but to expose the internal parts to serious injury. Under such compression as is commonly practiced by ladies, the {105} development of the bones, which are still tender, does not take place conformably to the intention of nature, because nutrition is necessarily stopped, and they consequently become twisted and deformed.
Those who wear these appliances of tight-lacing often complain that they cannot sit upright without them--are sometimes, indeed, compelled to wear them during all the twenty-four hours; a fact which proves to what extent such articles weaken the muscles of the trunk. The injury does not fall merely on the internal structure of the body, but also on its beauty, and on the temper and feelings with which that beauty is associated. Beauty is in reality but another name for expression of countenance, which is the index of sound health, intelligence, good feelings and peace of mind. All are aware that uneasy feelings, existing habitually in the breast speedily exhibit their signature on the countenance, and that bitter thoughts or a bad temper spoil the human expression of its comeliness and grace.
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The Care of the Hair.
1. THE COLOR OF THE HAIR.--The color of the hair corresponds with that of the skin--being dark or black, with a dark complexion, and red or yellow with a fair skin. When a white skin is seen in conjunction with black hair, as among the women of Syria and Barbary, the apparent exception arises from protection from the sun's rays, and opposite colors are often found among people of one prevailing feature. Thus red-haired Jews are not uncommon, though the nation in general have dark complexion and hair.