,illustration3 ,h4 ,,le ,,blanc ,,esqr4 
,ingrey  ,madeley1 ,lithog4 #caj        
,strand4                                
,,the ,,art                             
,,of                           ,,tying  
,,the ,,cravat3                         
,,demonstrated ,,in ,,sixteen ,,lessons1
                                        
,,including                             
,,thirty-,,two ,,different ,,styles1    
,,forming                            ,a 
,pocket ,manual2          ,and          
exemplifying the advantage arising from 
an elegant           arrangement of this
 important part of the ,costume2        
,,preceded ,,by                         
,a ,,history ,,of ,,the ,,cravat1       
,,from ,,its ,,origin ,,to ,,the        
,,present ,,time2          ,and remarks 
on its influence on ,society in general4
                           ,,by ,h4 ,,le
 ,,blanc1 ,,esq4         ,with          
explanatory ,plates1 and a ,portrait of 
the ,author         8,nothing is more   
laudable than an enquiry after truth40  

,,addison4                              
,,third ,,edition4                      
,,london3                    ,,effingham
 ,,wilson1 #hh1 ,,cornhill1             
,,and ,,ingrey  ,,madeley1 #caj1        
,,strand4                               
#ahbh4                ,ingrey and       
,madeley1 ,printers1 #caj1 ,strand4     
,,introduction4   ,no one accustomed to 
mix with the higher classes of society  
will be at all inclined to dispute the  
advantages arising from a genteel       
appearance2 it therefore becomes        
necessary that the means of acquiring   
this distinction should be clearly      
demonstrated4 ,an attentive perusal of  
the following pages will conduce to this
 desired effect4  8,l'art de mettre sa  
,cravate est  l'homme du monde ce que   
l'art de donner  diner est a l'homme    
d'tat40  ,the ,cravat should not be     
considered as a mere ornament1 it is    
decidedly one of the greatest           
preservatives of health--it is a        
criterion by which the rank of the      

wearer may be at once distinguished1 and
 is of itself 8a letter of              
introduction40  ,the most fastidious may
 in this book find a model for          
imitation1 as not only the form1 but the
 colour appropriate to each particular  
style1 is described in the clearest and 
most comprehensive manner4  ,it can be  
incontrovertibly asserted that this     
work1 far from being an ephemeral       
production1 will be found to contain a  
mass of useful information1 and may be  
termed an 8,encyclopdia of knowledge40  
,the question whether ,cravats were worn
 by the ancients is satisfactorily      
decided4  ,it is fully proved that the  
,romans used a chin cloth1 corresponding
 almost entirely with the modern        
,cravat2 and that the collar of the     
ancient ,persians1 ,egyptians1 and      
,greeks was the origin of the ,stock of 
the present day4  ,in the chapter on    
black and coloured silk ,cravats1 it is 
shewn that the former never obtained    
greater celebrity than in the last ten  

years of the eighteenth century1 and the
 first ten of the nineteenth2 that is to
 say1 during a term of years replete    
with events of the greatest political   
interest4  ,the work is divided into    
easy lessons--the first gives a solution
 of the celebrated problem known as the 
,nud ,gordien1 and is the key to all the
 others4 ,the fifteenth lesson alone    
contains eighteen different methods of  
tying the ,cravat3 but lest any of our  
readers may be terrified at the idea of 
having so much to acquire at once1 it   
may be necessary to observe that as they
 are derivations from the fourteen first
 described1 they are necessarily short  
and easy of attainment4  ,the first and 
last lessons 7,nos4 #a and #af7 are     
undoubtedly the most important1 on      
account of the precepts1 opinions1 and  
incontrovertible truths which they      
contain4 ,in the concluding chapter the 
correct construction of the ,cravat is  
proved to be of paramount advantage to  
the wearer2 and the consequences arising

 from an ignorance of this important    
subject are pointed out in a manner     
which cannot fail to convince every     
enlightened mind4  ,to render the work  
complete in every respect1 plates1 drawn
 from nature1 are inserted2 these will  
clearly explain any difficulty a        
beginner may experience in comprehending
 our directions1 and will enable him to 
judge whether he has produced the proper
 effect on his own ,cravat4  ,in an age 
like the present1 when the man of       
quality is so closely imitated by the   
pretender--when the amalgamation of all 
ranks seems to be the inevitable        
consequence of the 8,march of           
,intellect0 now making such rapid       
strides amongst us1 we think a more     
signal service cannot be rendered to the
 higher ranks of society1 than by the   
production of such a work as this2 and1 
in the hope of being really useful1 we  
offer to a discerning public the 8,art  
of ,tying on the ,cravat40     ,,the    
,,history ,,of ,,the ,,cravat2#a  ,,from

 ,,its ,,origin ,,to ,,the ,,present    
,,day2  ,,with ,,remarks ,,on ,,its     
,,influence ,,on ,,society ,,in         
,,general4   ,no decided opinion can be 
given of the age in which ,cravats were 
first introduced4 ,the ancients were    
happily unacquainted with the ridiculous
 and dangerous fashion of confining the 
throat in linen1 either tied in front or
 fastened behind with a clasp2 this part
 of the frame was allowed to remain in  
entire liberty2 they1 however1 defended 
it from the cold by means of a woollen  
or silken cloth1 called in ,rome        
focalium1 a term which is evidently     
derived from fauces 7the throat74  ,a   
distinguished ,jesuit 7the ,rev4 ,father
 ,adam7 in his work on ,roman           
antiquities1 proves by the most         
undoubted authority that the ,romans    
made use of chin cloths1 for the        
protection of the neck and throat2 these
 were termed focalia1 and the public    
orators1 who from professional          
considerations were fearful of taking   

cold1 contributed in no small degree to 
render this fashion general4 ,some 7says
 the ,rev4 ,father7 used a handkerchief 
7sudarium7 for this purpose4 ,this is   
probably the origin of the ,cravat1     
which is in many countries called       
8,neckhandkerchief40  ,augustus1 who was
 infirm and sickly1 constantly used the 
focalium when at his own house1 or with 
his friends1 but he was never seen in it
 in public2 and ,lampridius observes    
that ,alexander ,severus made use of it 
only when returning from the baths to   
his palace4 ,in ,rome the custom of     
leaving the neck bare was so general1   
that it was considered beneath the      
dignity of the man and citizen to       
protect it in any other way than by the 
hand1 or occasionally wrapping the toga 
round it4  ,the throats of our          
forefathers were for ages as uncovered  
as their faces2 in this respect the     
descendants of the ,sarmat have not     
degenerated1 as the ,poles during the   
most severe winter have their throats   

constantly exposed4 ,the same fashion   
7which is1 however1 less surprising7 has
 descended to the ,eastern ,nations1    
among whom a white and well turned neck 
is metaphorically compared to the beauty
 of a tower of ivory4 ,the ,calmucks1   
,baskirs1 and other ,tartars of the     
,don1 or the borders of the ,caspian    
,sea1 also adhere to this fashion2 very 
few of them1 however1 merit the ,eastern
 compliment1 as their throats are       
generally ugly and ill-formed4 ,this    
custom gradually declined in ,france and
 several parts of ,europe1 and luxury1  
rather than necessity1 introduced the   
fashion of covering the throat loosely  
with a fine starched linen cloth2 this  
was worn above the shirt1 without a     
collar2 the ends were brought down on   
the breast1 and there fastened by laces 
of thread--from this the idea of bands  
was derived--before the introduction of 
the heavy and unhealthy bonds1 which at 
a later period confined the throat1 was 
even dreamt of4  ,the ruff1 stiffened   

and curled in single or double rows 7an 
inconvenient but harmless ornament71    
became the favourite in its turn1 and   
continued in fashion while the hair was 
worn short2 but this also fell into     
disrepute when ,louis ,,xiii4 allowed   
his to grow4 ,then raised collars1      
plaited neck-cloths1 and bands 7both    
plain and of lace71 enveloped the       
throats of our ancestors1 from the neck 
to the chin1 and covered the tops of the
 arms and the shoulders4 ,this fashion  
continued until ,louis ,,xiv4 adopted   
the enormous flaxen or black peruke1    
which almost concealed the front of the 
neck4 ,it then gave way to bright       
coloured ribands arranged in bows1 which
 were also introduced by this gay and   
gallant monarch1 and imitated by every  
one according to his rank or caprice4   
,up to that time1 as frivolity alone had
 reigned1 the fashion was not injurious2
 but the throat1 which had hitherto been
 comparatively free1 now lost that      
liberty which it has never since        

regained4 ,in #affj a regiment of       
,croats arrived in ,france2--a part of  
their singular costume excited the      
greatest admiration1 and was immediately
 and generally imitated2 this was a tour
 de cou1 made 7for the private soldiers7
 of common lace1 and of muslin or silk  
for the officers2 the ends were arranged
 en rosette1 or ornamented with a button
 or tuft1 which hung gracefully on the  
breast4 ,this new arrangement1 which    
confined the throat but very slightly1  
was at first termed a ,croat1 since     
corrupted to ,cravat4 ,the ,cravats of  
the officers and people of rank were    
extremely fine1 and the ends were       
embroidered or trimmed with broad lace2 
those for the lower classes were        
subsequently made of cloth or cotton1 or
 at the best of black taffeta1 plaited2 
which was tied round the neck by two    
small strings4 ,these strings were at a 
later period replaced by clasps1 or a   
buckle1 and the ,cravat then took the   
name of ,stock4  ,the ,cravat at length 

became universal1 and was increased to  
an almost incredible size4 ,some        
enveloped the neck in entire pieces of  
muslin2 others wore a stitched          
stiffener1 on which several             
handkerchiefs were folded4 ,by this     
chafaudage the neck was placed on a     
level with the head1 which in size it   
surpassed1 and with which it was        
confounded4 ,the shirt collar rose to   
the side of the ears1 and the top of the
 ,cravat covered the mouth and lower    
part of the nose1 so that the face 7with
 the exception of the nose7 was         
concealed by the ,cravat and a forest of
 whiskers2 these rose on each side to   
the hair1 which was combed down over the
 eyes4 ,in this costume the lgans bore a
 greater resemblance to beasts than men1
 and the fashion gave rise to many      
laughable caricatures4 ,they were       
compelled to look straight before them1 
as the head could only be turned by     
general consent of all the members1 and 
the tout ensemble was that of an        

unfinished statue4  ,instances have1    
however1 occurred in which these immense
 ,cravats have saved the lives of the   
wearers in battle4 ,one fact1 as related
 by ,dr4 ,pizis1 may be worthy of       
record4 8,i was laughing0 7says he7 8at 
,general ,lepale1 on account of his     
enormous ,cravat4 ,at the moment of     
entering into action his regiment       
charged1 and after dispersing the       
enemy's cavalry returned to the bivouac4
 ,i was informed that the ,general had  
been struck by a pistol shot in the     
throat4 ,i immediately hastened to his  
assistance1 and was shewn a bullet1     
which was stopped in its career by the  
very ,cravat ,i had just been           
ridiculing4--,two officers and several  
privates had received sabre cuts on the 
,cravat1 and escaped without injury2 so 
that ,i was obliged to confess that     
these immense bandages were not always  
useless40  ,singers more than any class 
of persons1 should be careful to avoid  
exposing the throat to the cold1 a      

moderate heat contributes to supple the 
organs1 and renders the voice clearer   
and more harmonious2 though1 on the     
contrary1 it is greatly deteriorated if 
the throat is constrained by a tightened
 ,cravat4 ,no part of the body is more  
susceptible of cold than the neck2 and  
this susceptibility is the effect of too
 much covering in general2 but in       
leaving a ball room1 or any heated      
place1 the greatest care should be taken
 to defend the chest and neck from cold4
  ,the natives of the ,south are but too
 well acquainted with the danger of such
 sudden transitions1 and the ,spaniards 
particularly1 who always wear a large   
handkerchief hanging carelessly from the
 neck1 invariably wrap themselves in it1
 when being warm they are suddenly      
exposed to the cold4  ,in short1 the    
,cravat has now arrived at the summit of
 perfection1 and has been materially    
assisted in its progress by the use of  
starch4 ,the question naturally arises  
to whom is the world indebted for this  

sublime invention8 ,to the ,english1    
,russians1 ,italians1 or ,french8--,on  
this point we confess ourselves unable  
to decide4 ,the blanchisseuses of each  
of those powers have been mainly        
instrumental in communicating this      
important discovery to the world at     
large4  ,on our parts1 more profound    
investigations would be unavailing2 and 
it is only by a continued course of     
laborious research1 that it would be    
possible to remove the obscurity which  
has enveloped the subject of our labours
 for so many ages4  #a 8,cravat1 from   
,cravate1 which ,menage derives from the
 ,croats1 a sort of ,german troops1     
usually called ,croats1 from whom1 in   
#afcf1 this ornament1 he adds1 was      
adopted40 ,todd's ,johnson's            
,dictionary4     ,,stocks3              
,considerations on the origin of        
,stocks3--their advantages1             
inconveniences1 colours1 forms1 and     
fashions4   ,although the ,egyptians1   
,persians1 ,greeks1 and nearly all the  

ancient nations1 were unacquainted with 
the use of ,cravats and ,stocks1 they   
wore collars1 which may reasonably be   
considered as the avant-couriers of     
both4  ,collars1 made of the richest    
metals1 and lined with a soft cloth1    
were worn1 like the modern ,stock1 to   
ornament the face and support the chin4 
,the general use of collars amongst the 
ancients1 and ,stocks in our own times1 
would almost prove that when man is left
 to himself1 8his nose is much more     
inclined to claim acquaintance with the 
earth10 7to use the expression of a     
celebrated ,french author71 8than his   
eyes with the ,heavens10 as ,buffon     
asserts4  ,however that may be1 collars 
have been entirely superseded by the    
introduction of ,stocks3 these are in   
fact collars1 though composed of        
different materials--they form no       
wrinkle--make but one turn round the    
neck1 and are fastened behind by a      
buckle or clasps4  ,stocks were first   
introduced as military costume about the

 commencement of the eighteenth century4
 ,choiseul1 minister of war under ,louis
 ,,xv4 presented them to the troops in  
lieu of the ,cravat4  ,these ,stocks    
were made of black horse-hair1 tolerably
 hard1 moderately wide1 and were only   
injurious when fastened too tightly4 ,in
 many regiments1 the officers wishing   
the men to appear healthy1 obliged them 
to tighten the ,stock so as almost to   
produce suffocation1 instead of allowing
 them more nourishing food1 or of       
treating them with more kindness2 or1 in
 short1 of giving them an opportunity of
 acquiring that health1 the appearance  
only of which was produced by the       
tightened stock4  ,the ,stock has ever  
since formed a part of military costume4
 ,invention has been racked to diversify
 it as much as possible2 and1 as        
appearance alone was consulted1 each    
change has rendered it more injurious2  
it has been transformed into a collar as
 hard as iron1 by the insertion of a    
slip of wood1 which acting on the       

larynx1 and compressing every part of   
the neck1 caused the eyes almost to     
start from their spheres1 and gave the  
wearer a supernatural appearance often  
producing vertigos and faintings1 or at 
least bleeding at the nose4 ,it rarely  
happened that a field-day passed over   
without surgical aid being required by  
one or more soldiers1 whose illness was 
only produced by an over-tightened      
,stock4 ,as the same kind of ,stock was 
used for necks of all sizes1 whether    
long or short1 thin or thick1 it        
rendered the weaver1 in many cases1     
almost immoveable2 he was scarcely able 
to obey the order1 8right face--left    
face10 and was entirely prohibited from 
stooping4  ,stocks have lately been much
 improved1 and these objections no      
longer exist4 ,the best ,stocks for     
general use are made of whalebone1      
thinned at the edges1 with a border of  
white leather1 which entirely prevents  
that unpleasant scratching of the chin  
so often produced by the whalebone      

penetrating the upper part4     ,,the   
,,black ,,and ,,coloured ,,silk         
,,cravat4   ,the world in general is    
well informed of the source from which  
silk is derived2 that it proceeds from  
an industrious insect of the order      
lepidoptera1 known as the silk worm2    
which1 in forming a light soft thread of
 almost infinite length1 produces a bag1
 in which it undergoes the              
transformation from the chrysalis to the
 butterfly4 ,as silk occupies so        
important a station in the toilet1 it   
can hardly be less important that we    
should here offer a few remarks upon it4
  ,among the ,romans the use of silk was
 general3 scarcely any other material   
was worn on the neck4 ,augustus always  
used a silk handkerchief1 and his       
example was imitated by all the         
petits-maitres of ,rome1 among whom the 
appearance of delicate health was       
considered a distinguishing mark of ton4
 ,it was also a constant attendant at   
the ladies' toilet 7mundus muliebris71  

and they called the handkerchief bissyna
 sudaria4 ,it is probable that the      
,roman sidon resembled the large shawls 
now worn by the ,english ladies4  ,it   
appears that there was a company of     
silk-women in ,england as early as      
#adee2 but these were probably employed 
in needle-work1 as ,italy supplied the  
broad material4 ,henry ,,ii1 is said to 
have been the first who wore silk knit  
stockings2 though the invention came    
from ,spain1 whence silk stockings were 
afterwards brought to ,henry ,,viii4 and
 ,edward ,,vi4  ,the advantages of this 
manufacture caused its introduction to  
be strongly recommended by ,james ,i4   
and in #afjh mulberry-trees were planted
 for the purpose of cultivating the     
worm--this1 however1 failed4 ,towards   
the latter end of this king's reign     
7about #afbj7 the manufacture of broad  
silk was introduced2 and in #afbi was so
 much increased that the silk throwsters
 were incorporated as a public body4 ,in
 #affa above #dj1jjj persons were       

employed4  ,the ,revocation of the edict
 of ,nantes in #afhe1 greatly promoted  
the ,english manufactures1 as did also  
the invention of the throwing machine at
 ,derby in #agai4 ,great improvements   
have since taken place1 and our         
manufacturers now yield the palm to     
none4  ,the black silk ,cravat is now   
generally worn1 and coloured silk       
handkerchiefs have been partially       
patronized4 ,napoleon generally wore a  
black silk ,cravat1 as was remarked at  
,wagram1 ,lodi1 ,marengo1 ,austerlitz1  
c4 ,but at ,waterloo it was observed    
that1 contrary to his usual custom1 he  
wore a white handkerchief1 with a       
flowing bow1 although the day previous  
he appeared in his black ,cravat4       
,coloured handkerchiefs should be as    
plain as possible2 we must1 however1    
give it as our opinion1 that they can   
only be worn en dshabille at home1 or   
when going to bathe1 ride1 c4 early in  
the morning4     ,,the ,,art ,,of       
,putting on the ,cravat4                

,illustration3 ,plate ,a4      ,fig4 #a4
      ,fig4 #b4      ,fig4 #c4 ,russian 
,stocks4      ,fig4 #d4 ,whalebone      
,stiffner4      ,fig4 #e4      ,fig4 #f4
 ,shirt ,collar4  ,ingrey  ,madeley     
,lithog4 #caj ,strand4     ,,lesson ,i4 
,preliminary and indispensible          
,instructions4   ,when the ,cravats are 
brought from the laundress they should  
undergo a careful examination1 previous 
to classing them1 to ascertain whether  
they are properly washed1 ironed1 and   
folded2 and for the purpose of deciding 
on the exact style in which each may be 
worn with the best effect4 ,the set of  
the ,cravat and the neatness of the tie 
entirely depends on its being correctly 
got up4         99       99       99    
99       99  ,if these requisites are   
not carefully attended to1 the ,cravat  
immediately fades and becomes yellow1   
whilst on the contrary1 if properly     
prepared1 it presents an elegant and    
recherch appearance4         99       99
       99       99       99  ,starch    

gives a combination of substance1       
elasticity1 and suppleness to the       
handkerchief1 and by filling up the     
smallest holes effectually excludes the 
cold air in winter4 ,in summer it also  
possesses the incalculable advantage of 
preventing the ,cravat from adhering too
 closely to the neck1 and thereby       
producing an uncomfortable heat4        
99       99       99       99       99  
,whatever style may have been adopted in
 putting on the ,cravat1 when the knot  
is once formed 7whether good or bad7 it 
should not be changed under any pretence
 whatever4         99       99       99 
99       99  ,in the duties of the      
toilet1 we may compare the tie of the   
,cravat to the liaisons de sauces       
blanches of the kitchen2 the least error
 is fatal to the whole composition of   
either1 and as a new sauce must be      
prepared1 with entirely fresh           
ingredients1 so must a new tie be       
produced by a fresh ,cravat4         99 
99       99       99       99  ,when the

 ,cravat is satisfactorily arranged1 the
 finger must be passed lightly along the
 top1 to smooth and thin it1 and cause  
it to coincide with the shirt collar4   
99       99       99       99       99  
,a small iron1 with a handle1 made      
expressly for the purpose1 and          
moderately warm1 is the best instrument 
for producing a thin and equal edge to  
the ,cravat2 it will also serve to      
smooth the tie2 but great care must be  
taken that it is clean and glossy1 as   
without this precaution spots will be   
inevitable4      ,see plate ,a1 fig4 #e4
         99       99       99       99  
99  ,when a ,cravat has not been        
previously folded by the laundress1 and 
you have prepared it yourself1 of the   
exact height required by the style you  
intend to adopt1 particular attention   
should be paid to the folding the ends1 
one of which must be folded down and the
 other up1 as it may be1 the right or   
left end4      ,plate ,a1 fig #b4       
99       99       99       99       99  

,the great advantages of this method    
will be immediately perceptible1 in the 
prevention of that disagreeable         
prominence which is generally produced  
at the back of the neck by the junction 
of the ends2 which being brought to the 
front without being soiled1 or tumbled  
in the slightest degree1 are more easily
 formed into an elegant tie4         99 
99       99       99       99  ,the same
 care and attention are necessary to the
 back as to the front of the ,cravat4   
99       99       99       99       99  
,although coloured ,cravats are made of 
more costly materials than those which  
are entirely plain1 it is most clearly  
laid down1 as a rule in the laws of     
taste1 that they can be admitted only as
 undress costume4  ,the white ,cravat1  
with spots or squares1 is received as   
half-dress2 but the plain white alone is
 allowed at balls or soires4  ,the black
 ,stock1 or ,cravat1 is only suited to  
military men1 not on service1 who are   
dressed in plain clothes4 ,as to        

coloured ,cravats1 they are entirely    
prohibited in evening parties4          
,illustration3 ,plate ,b4      ,fig #f4 
,folding of the ,cravat4      ,fig4 #g4 
#ast time4      ,fig4 #h4 #bnd time4    
,fig4 #i4 #crd time4      ,fig4 #aj4    
#dth time4      ,fig #aa4 #eth time4    
,ingrey  ,madeley ,lithog4 #caj ,strand4
     ,,lesson ,,ii4  ,nud ,gordien4     
,plate ,b1 fig4 #f1 #g1 #h1 #i1 #aj1 and
 #aa4   ,it would be very difficult to  
offer to our readers an exact and       
perfectly intelligible explanation of   
this most elegant style--of the         
sovereign of ,cravat ties1 the ,nud     
,gordien1 the origin of which is lost in
 the obscurity of antiquity4            
,notwithstanding the laborious          
researches we have bestowed on this     
interesting subject1 we have hitherto   
been unable to discover the name of the 
genius to whom the honor of this        
invention is due4 ,we only know 7and it 
is1 we believe1 generally known7 that   
,alexander the great1 irritated at being

 unable to comprehend the theory of its 
composition1 and determined not to be   
foiled1 adopted the shorter and easier  
method of solving the question--that of 
cutting it with his sword4  ,in our own 
times we occasionally meet with young   
aspirants1 who1 in the fullest          
acceptation of the term1 adopt the      
,gordian tie2 with this difference1     
however1 that when they wish to untie   
it1 as a sword like that of the         
,macedonian monarch is too cumbersome   
for their delicate hands1 they make use 
of a pair of scissors1 with which they  
are more familiar--but to our subject4  
,we confess1 with regret1 that we can   
only speak imperfectly of this          
interesting tie2 but as theory is       
nothing when compared to practice1 we   
will endeavour to address ourselves to  
the eyes1 rather than to the judgment of
 our readers1 in the conviction that1   
though we may be unable to accomplish   
our object entirely1 we shall1 at least1
 approach it as nearly as possible4     

,attention6   ,,problem4  ,in the first 
place1 the ,cravat for this tie must be 
of ample size1 and properly starched1   
ironed1 and folded 7as shewn plate ,b4  
fig4 #f72 whether it be plain or        
coloured is of little consequence2 but a
 rather stout one should be preferred1  
as it will offer more facilities to the 
daring fingers of the beginner who      
attempts to accomplish this chef-d'uvre4
  ,it will then be necessary to meditate
 deeply and seriously on the five       
following directions4  ,i4 ,when you    
have decided on the ,cravat1 it must be 
placed on the neck1 and the ends left   
hanging 7as shewn plate ,b1 fig4 #g1    
first time74  ,,ii4 ,you must take the  
point ,k1 pass it on the inside of the  
point ,z1 and raise it 7same plate1 fig4
 #h1 second time74  ,,iii4 ,you lower   
the point ,k on the tie1 now half formed
 ,o 7same plate1 fig4 #i1 third time74  
,,iv4 ,then1 without leaving the point  
,k1 you bend it inside and draw it      
between the point ,z1 which you repass  

to the left1 ,y2 in the tie now formed1 
,y1 ,o1 you thus accomplish the         
formation of the destined knot4  ,v4 and
 last4 ,after having tightened the knot1
 and flattened it with the thumb and    
fore-finger1 or more properly with the  
iron1 mentioned in the preceding lesson 
7see plate ,a1 fig4 #e72 you lower the  
points1 ,k1 ,z1 cross them1 and place a 
pin at the point of junction ,h1 and at 
once solve the problem of the ,nud      
,gordien4  ,he who is perfectly         
conversant with the theory and practice 
of this tie1 may truly boast that he    
possesses the key to all the others1    
which are1 in fact1 derived from this   
alone4 ,a ,cravat which has been once   
worn in this way1 can only be used      
afterwards en neglig1 as it will be so  
much tumbled by this intricate          
arrangement4  ,the slightest error in   
the first fold of this tie will render  
all succeeding efforts1 with the same   
handkerchief1 entirely useless--we have 
said it4  ,we would1 therefore1         

seriously advise any one who really     
desires to be initiated in the mysteries
 of this delightful science1 to make his
 first essay on a moderate sized block4 
,we can confidently assure him1 that    
with moderate perseverance1 he will soon
 be enabled to pursue his studies with  
pleasure and advantage--on himself4  7,a
 careful examination of the figures     
referred to in this lesson is strongly  
recommended74     ,illustration3 ,plate 
,c4      ,fig4 #ab4 ,l',orientale4      
,fig4 #ac4 ,l',amricaine4      ,fig4    
#ad4 ,collier de ,cheval4      ,fig4    
#ae4 ,sentimentale4      ,fig4 #af4 ,a  
la ,byron4      ,fig4 #ag4 ,en ,cascade4
      ,fig4 #ah4 ,a la ,bergami4        
,fig4 #ai4 ,de ,bal4      ,fig4 #bj4    
,mathmatique4      ,fig4 #ba4           
,irlandaise4      ,fig4 #bb4 ,maratte4  
,fig4 #bc4 ,gastronome4     ,,lesson    
,,iii4  ,cravate  l',orientale4  ,plate 
,c1 fig4 #ab4   ,the shape of the       
,cravate  l',orientale1 is that of a    
turban1 and the ends form a crescent2 in

 this instance we wear that under the   
chin1 which the ,mahometans wear above  
the forehead4  ,one of our antiquarian  
friends1 who has devoted his time to    
long and laborious researches on the    
origin of ,cravats1 asserts1 that the   
real ,cravate  l',orientale consists of 
a very small silken cord2 and that in   
the highest circles of ,turkey1 it is   
sometimes the custom to draw it tighter 
than the human frame can well bear2 he  
very properly adds that this fashion    
produces the most serious results to the
 health of any one who is suddenly      
compelled to adopt it4  ,the ,cravat1   
for this style1 must be small1 that it  
may present two small ends only2 these  
must be strongly starched at the tips1  
that they may retain the form of the    
crescent1 as not the slightest wrinkle  
can be suffered4 ,a whalebone stiffener 
must1 therefore1 be used1 as the least  
deviation from this rule will entirely  
deprive it of its denomination          
,orientale4  ,the ,cravate  l',orientale

 must be of the purest white muslin1 or 
white cachemire4      ,see plate        
referred to4     ,,lesson ,,iv4         
,cravate  l',amricaine4  ,see plate ,c1 
fig4 #ac4   ,the ,cravate  l',amricaine 
is extremely pretty and easily formed1  
provided the handkerchief is well       
starched4  ,when it is correctly formed1
 it presents the appearance of a column1
 destined to support a ,corinthian      
capital4 ,this style has many admirers  
here1 and also among our friends1 the   
fashionables of the ,new ,world1 who    
pride themselves on its name1 which they
 call 8,independence20 this title may1  
to a certain point1 be disputed1 as the 
neck is fixed in a kind of vice1 which  
entirely prohibits any very free        
movements4  ,the ,cravate  l',amricaine 
requires a whalebone stiffener1 and is  
commenced in the same way as the ,nud   
,gordien2 the ends are brought in front1
 as shown in fig4 #h1 plate ,c1 are     
lowered as in fig4 #i 7same plate71 and 
fastened to the shirt bosom1 like the   

,cravate en ,cascade4  ,the prevailing  
colour is sea green1 or striped blue1   
red and white4      ,see plate referred 
to4     ,,lesson ,v4  ,cravate ,collier 
de ,cheval4  ,plate ,c1 fig4 #ad4       
,this style greatly resembles the       
,orientale1 from which it is evidently  
derived4 ,it has been greatly admired by
 the fair sex1 who have praised it to   
their husbands1 their lovers1 and even  
to their friends and relations2 and have
 thus promoted its adoption by every    
means in their power4  ,the ends are    
fastened at the back of the neck1 or are
 concealed in the folds2 a whalebone    
stiffener is requisite1 but starch is   
unnecessary4  ,cravats with horizontal  
stripes1 or large spots1 are preferred4 
,the most becoming colour is that called
 ,russia leather4 ,black is sometimes   
worn1 but the shirt bosom must then be  
plaited4  ,human life is often compared 
to a painful journey2 and it is probably
 on the same philosophical principle    
that the ,cravate ,collier de ,cheval   

was considered a proper costume for man1
 who often drags on his weary way1      
loaded with evils more insupportable    
than the heaviest burthens4  ,this style
 is1 however1 7in our opinion7 rather   
vulgar1 and we have introduced it here1 
more that it may be avoided as an       
instance of false taste1 than as a model
 to copy4  ,it is folded as shewn in    
plate ,a1 fig4 #a4      ,see plate      
referred to4     ,,lesson ,,vi4         
,cravate ,sentimentale4  ,plate ,c1 fig4
 #ae4   ,the name alone of this ,cravat 
is sufficient to explain that it is not 
alike suitable to all faces4  ,you1     
then1 whom nature has not gifted with   
skins of silk--eyes of fire--with       
complexions rivalling the rose and      
lily2--you1 to whom she has denied      
pearly teeth and coral lips 7a gift     
which in our opinion would be rather    
inconvenient7--you1 in fact1 whose faces
 do not possess that sympathetic charm1 
which in a moment1 at a glance1 spreads 
confusion o'er the senses1 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      
peruquier4 ,we repeat--avoid it2 and be 
assured that if your physiognomy does   
not inspire sensations of love and      
passion1 and you should adopt the       
,cravate ,sentimentale1 you will be a   
fair butt for the shafts of ridicule1   
which 7with no unsparing hand7 will be  
showered upon you on all sides4  ,it is1
 therefore1 for the juvenile only that  
it is at all adapted1 and there should  
even be something boyish in the general 
appearance of the wearer4 ,it may1 then1
 be worn from the age of seventeen to   
twenty-seven2 but after that age it     
cannot1 with propriety1 be patronized by
 even the most agreeable4  ,it must be  
allowed that this style is completely   
opposed to the ,orientale and ,collier  
de ,cheval4 ,it must be strongly        
starched1 and fastened with a single    
rosette at the top1 as near as possible 
to the chin4  ,it is more fashionable in

 the country than in town4 ,cambric is  
generally preferred4      ,see plate    
referred to4     ,,lesson ,,vii4        
,cravate  la ,byron4  ,plate ,c1 fig4   
#af4   ,as ,lord ,byron differed so     
widely from the world in general1 we can
 hardly expect to find in the ,cravat   
worn by this prince of poets1 any of    
that lgance recherche which generally   
characterize an ,englishman of rank4 ,it
 is universally allowed that the least  
constraint of the body has a            
corresponding effect on the mind1 and it
 must1 therefore1 be admitted1 that to a
 certain extent1 a tight ,cravat will   
cramp the imagination1 and1 as it were1 
suffocate the thoughts4  ,that ,lord    
,byron feared this effect1 is proved    
from his submitting to the              
inconveniences of a ,cravat1 only when  
accommodating himself to the biensances 
of society2 and in every portrait where 
he is painted in the ardour of          
composition1 his neck is always free    
from the trammels of the neckcloth4     

,the ,cravat which bears the name of    
this noble author1 differs widely from  
most others--this difference consists in
 the manner in which it is first placed 
on the neck4 ,it is commenced at the    
back of the neck--the ends are then     
brought in front under the chin1 and    
fastened in a large bow1 or rosette1 at 
least six inches in length and four in  
circumference4  ,this fashion is        
extremely comfortable in summer1 and    
during long journeys1 as it forms but   
one turn round the neck1 which is thus  
left comparatively free4  ,either black 
or white may be worn1 but it should not 
be starched1 and is folded as shewn in  
plate ,a1 fig4 #a4      ,see plate      
referred to4     ,,lesson ,,viii4       
,cravate en ,cascade4  ,see plate ,c1   
fig4 #ag4   ,the ,cravate en ,cascade is
 formed by making a single knot1 like   
that in the second lesson1 plate ,b1    
fig4 #h1 and leaving one end longer than
 the other2 the longer1 after being     
brought on the inside 7as in the plate  

and figure referred to7 must be lowered 
so as to cover the whole of the         
knot--carefully spread out as wide as   
possible1 and then fastened to the bosom
 of the shirt4 ,the tout ensemble will  
then present the appearance of the      
,cascade1 or ,jet d',eau in the bason of
 the ,palais ,royal4  ,this style is    
generally followed by valets1 butlers   
and other fashionables of the same      
grade4  ,the handkerchief should not be 
starched4      ,see plate referred to4  
,,lesson ,,ix4  ,cravate  la ,bergami4  
,plate ,c1 fig4 #ah4   ,like the        
,cravate  la ,byron1 which it greatly   
resembles1 the ,bergami is first placed 
at the back of the neck--the ends are   
brought forward and crossed on the      
breast1 without being tied1 and then    
fastened to the braces2 some pass them  
under the arms1 and tie them on the     
back2 but the handkerchief must then be 
very large1 and folded as shewn in plate
 ,b1 fig #f4      ,see plate referred   
to4     ,,lesson ,x4  ,cravate de ,bal4 

,plate ,c1 fig4 #ai4   ,the ,cravate de 
,bal should not be tied1 but fastened   
with pins to the braces1 or to the      
shirt1 in the same way as the ,bergami4 
,some pass the ends under the arms1 and 
tie them on the back2 but as this method
 is inconvenient1 from the handkerchief 
moving with the body in dancing1 we     
would recommend the two first4  ,it     
should be simply and plainly folded1 7as
 shewn in plate ,b1 fig4 #f71 and must  
be tolerably large4  ,the ,cravate de   
,bal1 when carefully put on is          
delightfully elegant2 it partakes of the
 elegant svrit of the ,mathmatique1     
combined with the laissez-aller of the  
,bergami1 whilst it unites the          
advantages of both2 it is in fact1 a    
derivation from them4  ,we must here    
enter an entire prohibition against     
colours of every kind for the ,cravate  
de ,bal--white must reign alone4  ,the  
,cravat should be but slightly starched4
      ,see plate referred to4           
,,lesson ,,xi4  ,cravate ,mathmatique4  

,plate ,c1 fig4 #bj4   ,regularity and  
proportion are the essentials of every  
art4  ,in a beautiful landscape we are  
occasionally delighted with the knotted 
and bent trunk of the majestic oak2 but 
the correct and beautiful proportion of 
a ,grecian column 7even in ruins7 rivets
 our attention and excites our wonder   
and admiration4  ,the ,cravate          
,mathmatique is a combination of        
symmetry and regularity--the style is   
grave and severe1 and the slightest     
wrinkle is strictly prohibited4 ,the    
ends should be geometrically correct1   
and must bear examination even by the   
aid of a compass2 they should descend   
obliquely from each side1 and form two  
acute angles in crossing--all the folds 
in a horizontal direction1 forming the  
two acute and opposite angles of a      
triangle1 which the ,mathmatique must   
always strictly represent4  ,black is   
generally worn1 and is made either of   
taffeta or ,levantine4  ,a whalebone    
stiffener is requisite4      ,see plate 

referred to4     ,,lesson ,,xii4        
,cravate  l',irlandaise4  ,plate ,c1    
fig4 #ba4   ,this ,cravat very closely  
resembles the ,mathmatique1 and differs 
only in the arrangement of the ends1    
which in the ,irlandaise are joined in  
front and twine round each other--each  
end is then brought back to the side it 
comes from1 and is fastened at the back 
of the neck4  ,this difference1 which   
would be invisible to a superficial     
observer1 will not escape the critical  
eye of an lgant1 accustomed to peruse   
this important work with the care and   
attention it merits4  ,the ,irlandaise  
is not confined to any particular       
colour1 and the handkerchief need not be
 starched1 but a whalebone stiffener is 
necessary4      ,see plate referred to4 
,,lesson ,,xiii4  ,cravate  la ,maratte4
  ,plate ,c1 fig4 #bb4   ,the ,cravat   
for this style should be of the finest  
and whitest ,india muslin4 ,like the    
,byron1 it is commenced at the back of  
the neck1 and linked like a chain2 the  

ends may either be fastened like those  
of the ,cravat de ,bal 7to the braces1  
or on the back71 or to the shirt bosom4 
,the ,maratte does not require starch1  
and should be simply and plainly folded4
      ,see plate referred to4           
,,lesson ,,xiv4  ,cravate  la           
,gastronome4  ,plate ,c1 fig4 #bc4      
,the vritable ,cravate  la ,gastronome  
is a handkerchief of any kind1 without  
starch1 folded on a stiffener of at most
 three fingers in depth1 and thrown     
rather than fastened round the neck3 it 
is more particularly distinguished by   
the tie which confines the ends2 this   
greatly resembles the ,nud ,gordien in  
elasticity1 with this difference1       
however1 that it slackens and yields to 
the slightest movement of the neck--to  
the least vacillation of the jaws1 and  
even to that slight swelling of the     
throat which in men decidedly           
distinguished for gastronomic talents1  
so often produces impeded respiration4  
,it also possesses the great advantage  

of loosening itself in cases of         
indigestion1 apoplexy1 or fainting4     
,the ,gastronome is seldom worn previous
 to the age of forty1 but this greatly  
depends on climate and constitution4    
,see plate referred to4                 
,illustration3 ,plate ,d4      ,fig4    
#bd4 ,de ,chasse4      ,fig4 #be4 ,en   
,valise4      ,fig4 #bf4 ,coquille4     
,fig4 #bg4 ,a la ,colin4      ,fig4 #bh4
 ,a la ,parresseuse4      ,fig4 #bi4 ,a 
la ,talma4      ,fig4 #cj4 ,a           
l',italienne4      ,fig4 #ca4 ,a la     
,russe4      ,fig4 #cb4 ,jesuitique4    
,ingrey  ,madeley ,lithog4 #caj ,strand4
     ,,lesson ,,xv4  ,eighteen different
 methods of putting on the ,cravat4     
,plate ,d1 figures #bd1 #be1 #bf1 #bg1  
#bh1 #bi1 #cj1 #ca1 and #cb4  ,although 
this lesson comprehends eighteen        
different methods of wearing the        
,cravat1 yet as they are nearly all     
derived from some of those already      
explained1 it is but little longer than 
any one of them4 ,it is placed nearly at

 the end of the work as it is absolutely
 necessary that the thirteen first      
should be well studied and digested1    
previous to entering upon this2 for it  
would be as vain for a veteran          
fashionable to attempt the formation of 
any of the following1 without having    
previously made himself acquainted with 
the preceding1 as for a young           
mathematician to attempt an explanation 
of the third book of ,legendre1 without 
having studied the first and second4    
,cravate de ,chasse4  ,this ,cravat is  
by some lgans called  la ,diane1        
although it is a kind of poetical       
license to suppose that this rather     
unfashionable ,goddess wore one4 ,it is 
doubly crossed on the neck1 as shewn in 
the ,cravate  l',amricaine 7plate ,c1   
fig4 #ac74 ,it should not be starched1  
and must be folded plainly1 as shewn in 
plate ,a1 fig4 #a--the colour must be   
deep green1 or feuille morte1 which is  
more recherch4      ,see plate ,d1 fig4 
#bd4   ,cravate  la ,diane4  ,exactly   

similar to the last1 but the colour must
 be white4   ,cravate  l',anglaise4  ,is
 formed in the same way as the ,nud     
,gordien1 but is never starched4        
,see plate ,b1 fig4 #f1 #g1 #h1 #i1 #aj 
and #aa4   ,cravate  l',indpendance4    
,the same as the ,amricaine1 except in  
colour2 it is composed of red1 blue and 
white1 in alternate stripes2 all other  
shades are strictly prohibited4         
,see plate ,c1 fig4 #ac4   ,cravate en  
,valise4  ,is composed like the ,nud    
,gordien1 except the ends1 which1       
instead of being brought down1 are      
turned inside the knot2 the handkerchief
 must be rather small1 or it will be    
impossible to conceal the ends1 which   
with the knot should present the        
appearance of a travelling portmanteau4 
,the favourite colour is that of ,russia
 leather4      ,see plate ,d1 fig4 #be4 
,cravate en ,coquille4  ,the tie of this
 ,cravat should resemble a shell2 it is 
very pleasing1 and easily formed2 it    
consists of a double or triple knot1 and

 the ends are fastened at the back of   
the neck4 ,it does not require starch1  
and may be worn with or without a       
whalebone stiffener4  ,the colour may be
 that most pleasing to the wearer4      
,see plate ,d1 fig4 #bf4   ,cravate de  
,voyage4  ,is put on in the same way as 
the ,byron4   ,cravate  la ,colin4  ,is 
commenced like the ,byron1 ,bergami1 and
 ,talma2 a mere knot is made1 the ends  
left loose1 and shirt collar turned     
down1 as shewn in the ,cravate          
,jesuitique4  ,this style possesses the 
great advantage of preventing the wearer
 from entering any public place1 and of 
causing him to be shewn 7politely7 to   
the door of any private house4      ,see
 plate ,d1 fig4 #bg and #cb4   ,cravate 
en ,jet d',eau4  ,the same as the       
,cravate en ,cascade4      ,see plate   
,c1 fig4 #ag4   ,cravate ,casse ,cur4   
,the same as the ,bergami2 the favourite
 colour is red 7,sang de ,buf74         
,see plate ,c1 fig4 #ah4   ,cravate  la 
,paresseuse4  ,the ,paresseuse is       

undoubtedly one of the most convenient  
and easy methods of wearing the ,cravat4
 ,it has been rather neglected1 and we  
think unjustly so1 as it combines the   
advantage of concealing the shirt of the
 wearer1 and displaying the handkerchief
 to advantage4 ,it may be put on in a   
moment1 and this style can be adopted   
with complete success in wearing a      
handkerchief a second time4 ,it should  
be prepared as shewn in plate ,a1 fig4  
#b2 placed on the front of the neck1 the
 ends are passed round and crossed on   
the chest1 as shewn in plate ,d1 fig4   
#bh4  ,married men and antiquated beaux 
seem to be its greatest admirers2 it may
 be starched or not ad libitum4         
,cravate ,romantique4  ,the same as the 
,byron2 it is chiefly worn in the       
country1 and the prevailing colour is   
solitaire4      ,see plate ,c1 fig4 #af4
   ,cravate  la ,fidlit4  ,the same as  
the ,mathmatique4 ,the privates of the  
ex-national guard of ,france wore it    
when in uniform1 and it has since been  

recommended to the ex-ministry of our   
own country4 ,it must be black1 and     
folded on a whalebone stiffener1 and    
should be so carefully put on as to     
prevent all appearance of the shirt1    
except the collar1 which must be of the 
most dazzling white4      ,see plate ,c1
 fig4 #bj4   ,cravate  la ,talma4  ,this
 style is worn in mourning only4 ,it is 
placed on the neck in the same way as   
the ,byron and ,bergami4      ,see plate
 ,d1 fig4 #bi4   ,cravate  l',italienne4
  ,is formed in nearly the same manner  
as the ,irlandaise1 but instead of      
turning the ends round each other1 they 
are passed through a ring1 returned to  
the side they come from and fastened at 
the back of the neck by a small knot4   
,it requires a whalebone stiffener1 and 
should be prepared as shewn in plate ,a1
 fig4 #a4 ,starch is unnecessary4 ,white
 only is admissible4      ,see plate ,d1
 fig4 #cj4   ,cravate ,diplomatique4    
,the same as the ,cravate  la           
,gastronome4      ,see plate ,c1 fig4   

#bh4   ,cravate  la ,russe4  ,in this   
style are included all ,cravats which   
are fastened at the back of the neck1   
without the ends being at all brought in
 front2 these should not be concealed   
under the ,cravat1 but down the back1   
and care must be taken to prevent their 
rising above the waistcoat4 ,any colour 
is allowed1 and starch may be used or   
not ad libitum4      ,see plate ,d1 fig4
 #ca4   ,cravate ,jesuitique4  ,this is 
a ,cravat in appearance only4  ,for this
 style the waistcoat must be made en    
cuirasse1 and the collar must be high   
enough to conceal the neck entirely4    
,the shirt collar is turned down and    
forms a kind of band4  ,although this   
style has lately become very general1 we
 have never been at all prepossessed in 
its favour2 not merely because it is    
unpleasant to the eye1 but that we      
rather pride ourselves in despising most
 cordially whatever has the least       
resemblance to the name or quality of a 
,jesuit4      ,see plate ,d1 fig4 #cb4  

99       99       99       99       99  
,in closing this lesson1 we must        
observe1 that although we have specified
 the colour which fashion seems to have 
patronized for each particular style of 
,cravat1 we do not 7in any instance7    
intend to exclude the chaste simplicity 
of white1 which may be introduced in any
 of them4     ,,lesson ,,xvi4  ,,and    
,,last4  ,important and necessary       
,observations4   ,in all cases of       
apoplexy1 fainting1 or illness in       
general1 it is requisite to loosen or   
even remove the ,cravat immediately4    
99       99       99       99       99  
,the greatest insult that can be offered
 to a man1 comme il faut1 is to seize   
him by the ,cravat2 in this case blood  
only can wash out the stain upon the    
honour of either party4         99      
99       99       99       99  ,the     
,cravat should invariably be loosened   
before the commencement of study1 or of 
any important business4         99      
99       99       99       99  ,those   

who have a short neck1 high shoulders1 a
 round1 full1 and fresh coloured face1  
and who are at all subject to head      
aches1 beatings of the temples1 c4      
should be most careful to wear the      
,cravat loose2 the neglect of this      
precaution will generally produce an    
attack of the complaint to which they   
may be liable4         99       99      
99       99       99  ,those who are    
accustomed to sleep in the ,cravat1     
should be most careful in examining     
whether it be loose4 ,in all cases of   
organic diseases of the heart1 or large 
vessels1 c4 it should be entirely       
prohibited4         99       99       99
       99       99  ,lastly4--,every    
person at all accustomed to travel1 and 
who has the least respect for his       
appearance1 should provide himself with 
a box for containing a collection of    
,cravats4  ,this box must be divided    
into several compartments1 and be made  
of the following proportions2 eighteen  
inches in length1 six inches in width1  

and twelve in depth1 it should contain1 
#a ,a dozen 7at least7 of plain white   
,cravats4  #b ,the same quantity of     
spotted and striped white ,cravats4  #c 
,a dozen coloured ditto4  #d ,three     
dozen 7at least7 shirt collars4  #e ,two
 whalebone stiffeners4  #f ,two black   
silk ,cravats4  #g ,the small iron      
mentioned in the first lesson4  #h ,as  
many copies as possible1 of this        
important and useful work1 taking the   
precaution of having them well bound1   
that they may occupy less room4#b  #b   
,editor's opinion4     ,,conclusion4    
,on the ,importance of the ,cravat in   
,society4   ,when a man of rank makes   
his entre into a circle distinguished   
for taste and elegance1 and the usual   
compliments have passed on both sides1  
he will discover that his coat will     
attract only a slight degree of         
attention1 but that the most critical   
and scrutinizing examination will be    
made on the set of his ,cravat4 ,should 
this unfortunately1 not be correctly and

 elegantly put on--no further notice    
will be taken of him2 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 ,cravat4 ,his reception    
will in future be cold1 and no one will 
move on his entrance2--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 respect1 will cheerfully resign
 their seats to him1 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 skies2 it will be said--8this man
 has critically and deeply studied the  
thirty-two lessons on the ,art of ,tying
 the ,cravat40--,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 pretender1 and
 will be compelled to suffer the        
impertinence of the fop1 who will treat 
him with disdain1 merely because his    
,cravat is not correctly disposed--he   
will moreover be obliged to hear in     
silence1 and to approve 7under pain of  
being considered unacquainted with the  
common rules of politeness7 all the     
remarks which he will thus subject      
himself to--occasionally relieved by    
hearing a whisper of 8,he cannot even   
put on a ,cravat properly40   ,,the     
,,end4     ,,table ,,of ,,contents4     
,page4      ,introduction               
iii                           ,,the     
,,cravat4      ,its philosophical1      
moral1 and political history2 with      
reflections on its influence on         
society--from its       origin to the   
present time                            
#i                            ,,the     
,,stock4      ,its origin--inconvenience

 and advantages--its colour1       form1
 c4                                     
#ag      ,the black and coloured silk   
,cravat                       #ba       
,,first ,,lesson4      ,preliminary     
observations                            
#be                          ,,second   
,,lesson4      ,cravate ,nud ,gordien   
#cj                          ,,third    
,,lesson4      ----  l',orientale       
#cd                          ,,fourth   
,,lesson4      ----  l',amricaine       
#cf                          ,,fifth    
,,lesson4      ---- ,collier de ,cheval 
#cg                          ,,sixth    
,,lesson4      ---- ,sentimentale       
#ci                         ,,seventh   
,,lesson4      ----  la ,byron          
#da                          ,,eighth   
,,lesson4      ---- en ,cascade         
#dc                          ,,ninth    
,,lesson4      ----  la ,bergami        
#dd                          ,,tenth    
,,lesson4      ---- de ,bal             
#de                         ,,eleventh  

,,lesson4      ---- ,mathmatique        
#df                         ,,twelfth   
,,lesson4      ----  l',irlandaise      
#dh                        ,,thirteenth 
,,lesson4      ----  la ,maratte        
#di                        ,,fourteenth 
,,lesson4      ----  la ,gastronome     
#ej                        ,,fifteenth  
,,lesson4      ,eighteen different      
methods of putting on the ,cravat       
#ea      ,cravate de ,chasse            
#eb      ----  la ,diane                
#ec      ----  l',anglaise              
ib4      ----  l',indpendance           
ib4      ---- en ,valise                
#ed      ---- en ,coquille              
ib4      ---- de ,voyage                
#ee      ----  la ,colin                
ib4      ---- en ,jet-d',eau            
#ef      ---- ,casse-,cur               
ib4      ----  la ,paresseuse           
#eg      ---- ,romantique               
ib4      ----  la ,fidlit               
#eh      ----  la ,talma                
ib4      ----  l',italienne             

#ei      ---- ,diplomatique             
ib4      ----  la ,russe                
#fj      ---- ,jesuitique               
ib4                   ,,sixteenth       
,,lesson1 ,,and ,,last4      ,important 
and necessary observations              
#fb                                     
,,conclusion4      ,on the ,importance  
of the ,cravat in society               
#fe