Wednesday, July 6, 2016

Coffee Flowers Extract

Also known as Fleurs du Cafeyer d'Arabie.





  • 1 oz cassie essence
  • 1 oz tuberose essence
  • 1 oz rose spirit
  • fifty grains of freshly roasted coffee (bruised)
  • 2 oz deodorized alcohol


Digest the coffee with the alcohol for two days, filter, adding sufficient alcohol to make the resulting tincture measure two fluid ounces; then add to it the other ingredients.

Coffee flowers give excellent perfume reminiscent of jasmine, cassia and mimosa. The resemblance between name and odor is probably as imaginary here as in the case above. The extract is peculiar, but, save as a novelty, received but little attention.


Friday, June 17, 2016

A Japanese Perfume

  • 1/2 pint Extract of rose triple
  • 1/2 pint Extract of vetiver
  • 1/2 pint Extract of patchouli
  • 1/2 pint Extract of cedar
  • 1/2 pint Extract of sandalwood
  • 1/4 pint Extract of verveine

Japanese Bouquet:
  • 1 pint essence of rose pomade
  • 1/2 pint vetiver
  • 1/2 pint patchouli 
  • 1/4 pint cedar
  • 1/4 pint santal
  • 2 pints vervaine 





Wednesday, May 18, 2016

Buckingham Palace Bouquet Perfume

  • 1 pint extrait de fleur d'orange
  • 1 pint extrait de cassie
  • 1 pint extrait de jasmin
  • 1 pint extrait de rose
  • 1/2 pint extract of orris
  • 1/2 pint extract of ambergris
  • 1/2 drachm otto of neroli
  • 1/2 drachm otto of lavender
  • 1 drachm otto of rose

Monday, May 9, 2016

The Court Nosegay Perfume


  • 1 pint extrait de rose
  • 1 pint extrait de jasmine
  • 1 pint extrait de violette
  • 1 pint esprit de rose triple
  • 1 ounce extract of musk
  • 1 ounce extract of ambergris
  • 1/2 ounce otto of lemon
  • 1/2 ounce otto of bergamot
  • 1 drachm neroli

Tuesday, May 3, 2016

Piesse's Pastils


  • 1/2 lb. Willow charcoal 
  • 6 oz. Benzoic acid
  • 1/2 drachm Otto of thyme
  • 1/2 drachm Otto of caraway
  • 1/2 drachm Otto of rose
  • 1/2 drachm Otto of lavender
  • 1/2 drachm Otto of cloves
  • 1/2 drachm Otto of santal


Prior to mixing, dissolve 3/4 oz. nitre in half a pint of distilled or ordinary rose water; with this solution thoroughly wet the charcoal, and then allow it to dry in a warm place.

When the thus nitrated charcoal is quite dry, pour over it the mixed ottos, and stir in the flowers of benzoin. When well mixed by sifting (the sieve is a better tool for mixing powders than the pestle and mortar), it is finally beaten up in a mortar, with enough mucilage to bind the whole together, and the less that is used the better.

Tuesday, April 26, 2016

Eau de Chypre Perfume

This is an old-fashioned French perfume, presumed to be derived from the Cyperus esculentus by some, and by others to be so named after the Island of Cyprus; the article sold, however, is made thus—

  • 2 pints esprit de rose triple
  • 1 pint extract of musk
  • 1/2 pint extract of ambergris
  • 1/2 pint extract of vanilla
  • 1/2 pint extract of tonka bean
  • 1/2 pint extract of orris


The mixture thus formed is one of the most lasting odors that can be made.

Wednesday, April 6, 2016

Royal Palace Sachet


  • 1 lb dried rose hips 
  • 1/2 lb dried lavender
  • 1/4 lb dried thyme
  • 1/4 lb dried lemon thyme
  • 1/4 lb dried mint
  • 1/4 lb dried marjoram
  • 2 oz ground cloves
  • 2 oz ground allspice
  • 1 drachm musk in grain

Tuesday, March 15, 2016

Egyptian Lotus Extract



Mix together:
  • 2 oz jasmine essence
  • 1 1/2 drams patchouly extract
  • 1/2 oz orange flower spirit
  • 1/2 oz vanilla tincture
  • 1/2 oz civet tincture
  • 2 drams rose essence
  • 2 drams  clove spirit
  • 2 drams benzoin tincture





Thursday, March 10, 2016

Empress Eugenie's Nosegay Perfume

Mix together:


  • 1/4 pint extract of musk
  • 1/4 pint extract of vanilla
  • 1/4 pint extract of tonka bean
  • 1/4 pint extract of neroli
  • 1/2 pint extract of geranium
  • 1/2 pint extract of rose triple
  • 1/2 pint extract of sandalwood

Saturday, February 20, 2016

Royal Hunt Bouquet

Royal Hunt Bouquet #1:
  • 1 pint Esprit de rose triple
  • 1/2 pint tonka bean
  • 1/4 pint extract of neroli 
  • 1/4 pint extract of acacia
  • 1/4 pint extract of orange blossom
  • 1/4 pint extract of musk
  • 1/4 pint extract of orris
  • 2 drachms Otto of citron

Royal Hunt Bouquet #2:
  • Spirit rose 2 ozs 
  • Spirit orange flower 1/2 oz 
  • Essence cassie 1/2 oz 
  • Essence orange flower 1/2 oz 
  • Tincture tonka 1 oz 
  • Tincture musk 1 oz 
  • Tincture orris 1/2 oz 
  • Oil citron 15 mins 
Very similar to new mown hay extract, but more delicate and fleeting.

Tuesday, January 12, 2016

Bouquet de Flora Perfume


  • 1 pint Esprit de rose
  • 1 pint Esprit de tuberose
  • 1 pint Esprit de violet
  • 2 oz Otto of bergamot
  • 1 1/2 oz Extract of benzoin
  • 1/2 oz Otto of lemon
  • 1/2 oz Otto of orange

Sunday, December 6, 2015

Dress

TO dress well requires good taste, good sense and refinement. A woman of good sense will neither make dress her first nor her last object in life. No sensible wife will betray that total indifference for her husband which is implied in the neglect of her appearance, and she will remember that to dress consistently and tastefully is one of the duties which she owes to society.

Every lady, however insignificant her social position may appear to herself, must exercise a certain influence on the feelings and opinions of others. An attention to dress is useful as retaining, in the minds of sensible men, that pride in a wife's appearance, which is so agreeable to her, as well as that due influence which cannot be obtained without it. But a love of dress has its perils for weak minds. Uncontrolled by good sense, and stimulated by personal vanity it becomes a temptation at first, and then a curse. When it is indulged in to the detriment of better employments, and beyond the compass of means, it cannot be too severely condemned. It then becomes criminal.

CONSISTENCY IN DRESS.

Consistency in regard to station and fortune is the first matter to be considered. A woman of good sense will not wish to expend in unnecessary extravagances money wrung from an anxious, laborious husband; or if her husband be a man of fortune, she will not, even then, encroach upon her allowance. In the early years of married life, when the income is moderate, it should be the pride of a woman to see how little she can spend upon her dress, and yet present that tasteful and creditable appearance which is desirable. Much depends upon management, and upon the care taken of garments. She should turn everything to account, and be careful of her clothing when wearing it.

EXTRAVAGANCE IN DRESS.

Dress, to be in perfect taste, need not be costly. It is unfortunate that in the United States, too much attention is paid to dress by those who have neither the excuse of ample means nor of social culture. The wife of a poorly paid clerk, or of a young man just starting in business, aims at dressing as stylishly as does the wealthiest among her acquaintances. The sewing girl, the shop girl, the chambermaid, and even the cook, must have their elegantly trimmed silk dresses and velvet cloaks for Sunday and holiday wear, and the injury done by this state of things to the morals and manners of the poorer classes is incalculable.

As fashions are constantly changing, those who do not adopt the extremes, as there are so many of the prevailing modes at present, can find something to suit every form and face.

INDIFFERENCE TO DRESS.

Indifference and inattention to dress is a defect of character rather than virtue, and often denotes indolence and slovenliness. Every woman should aim to make herself look as well as possible with the means at her command. Among the rich, a fondness for dress promotes exertion and activity of the mental powers, cultivates a correct taste and fosters industry and ingenuity among those who seek to procure for them the material and designs for dress. Among the middle classes it encourages diligence, contrivance, planning and deftness of handiwork, and among the poorer classes it promotes industry and economy. A fondness for dress, when it does not degenerate into vain show, has an elevating and refining influence on society.

APPROPRIATE DRESS.

To dress appropriately is another important matter to be considered. Due regard must be paid to the physical appearance of the person, and the dress must be made to harmonize throughout. An appropriate dress is that which so harmonizes with the figure as to make the apparel unnoticeable. Thin ladies can wear delicate colors, while stout persons look best in black or dark grey. For young and old the question of appropriate color must be determined by the figure and complexion. Rich colors harmonize with brunette complexions or dark hair, and delicate colors with persons of light hair and blonde complexions.

GLOVES.

Gloves are worn by gentlemen as well as ladies in the street, at an evening party, at the opera or theatre, at receptions, at church, when paying a call, riding or driving; but not in the country or at dinner. White should be worn at balls; the palest colors at evening parties and neutral shades at church.

EVENING DRESS FOR GENTLEMEN.

The evening or full dress for gentlemen is a black dress-suit—a "swallow-tail" coat, the vest cut low, the cravat white, and kid gloves of the palest hue or white. The shirt front should be white and plain; the studs and cuff-buttons simple. Especial attention should be given to the hair, which should be neither short nor long. It is better to err upon the too short side, as too long hair savors of affectation, destroys the shape of the physiognomy, and has a touch of vulgarity about it. Evening dress is the same for a large dinner party, a ball or an opera. In some circles, however, evening dress is considered an affectation, and it is as well to do as others do. On Sunday, morning dress is worn and on that day of the week no gentleman is expected to appear in evening dress, either at church, at home or away from home. Gloves are dispensed with at dinner parties, and pale colors are preferred to white for evening wear.

MORNING DRESS FOR GENTLEMEN.

The morning dress for gentlemen is a black frock-coat, or a black cut-away, white or black vest, according to the season, gray or colored pants, plaid or stripes, according to the fashion, a high silk (stove-pipe) hat, and a black scarf or necktie. A black frock coat with black pants is not considered a good combination, nor is a dress coat and colored or light pants. The morning dress is suitable for garden parties, Sundays, social teas, informal calls, morning calls and receptions.

It will be seen that morning and evening dress for gentlemen varies as much as it does for ladies. It is decidedly out of place for a gentleman to wear a dress coat and white tie in the day-time, and when evening dress is desired on ceremonious occasions, the shutters should be closed and the gas or lamps lighted. The true evening costume or full dress suit, accepted as such throughout the world, has firmly established itself in this country; yet there is still a considerable amount of ignorance displayed as to the occasions when it should be worn, and it is not uncommon for the average American, even high officials and dignified people, to wear the full evening costume at a morning reception or some midday ceremony. A dress coat at a morning or afternoon reception or luncheon, is entirely out of place, while the frock-coat or cut-away and gray pants, make a becoming costume for such an occasion.

JEWELRY FOR GENTLEMEN.

It is not considered in good taste for men to wear much jewelry. They may with propriety wear one gold ring, studs and cuff-buttons, and a watch chain, not too massive, with a modest pendant, or none at all. Anything more looks like a superabundance of ornament.

EVENING DRESS FOR LADIES.

Evening dress for ladies may be as rich, elegant and gay as one chooses to make it. It is everywhere the custom to wear full evening dress in brilliant evening assemblages. It may be cut either high or low at the neck, yet no lady should wear her dress so low as to make it quite noticeable or a special subject of remark. Evening dress is what is commonly known as "full dress," and will serve for a large evening party, ball or dinner. No directions will be laid down with reference to it, as fashion devises how it is to be made and what material used.

BALL DRESS.

Ball dressing requires less art than the nice gradations of costume in the dinner dress, and the dress for evening parties. For a ball, everything should be light and diaphanous, somewhat fanciful and airy. The heavy, richly trimmed silk is only appropriate to those who do not dance. The richest velvets, the brightest and most delicate tints in silk, the most expensive laces, elaborate coiffures, a large display of diamonds, artificial flowers for the head-dress and natural flowers for hand bouquets, all belong, more or less, to the costume for a large ball.

THE FULL DINNER DRESS.

The full dinner dress for guests admits of great splendor. It may be of any thick texture of silk or velvet for winter, or light rich goods for summer, and should be long and sweeping. Every trifle in a lady's costume should be, as far as she can afford it, faultless. The fan should be perfect in its way, and the gloves should be quite fresh. Diamonds are used in brooches, pendants, earrings and bracelets. If artificial flowers are worn in the hair, they should be of the choicest description. All the light neutral tints, and black, dark blue, purple, dark green, garnet, brown and fawn are suited for dinner wear.

DRESS OF HOSTESS AT A DINNER PARTY.

The dress of a hostess at a dinner party should be rich in material, but subdued in tone, so as not to eclipse any of her guests. A young hostess should wear a dress of rich silk, black or dark in color, with collar and cuffs of fine lace, and if the dinner be by daylight, plain jewelry, but by gaslight diamonds.

SHOWY DRESS.

The glaring colors and "loud" costumes, once so common, have given place to sober grays, and browns and olives; black predominating over all. The light, showily-trimmed dresses, which were once displayed in the streets and fashionable promenades, are now only worn in carriages. This display of showy dress and glaring colors is generally confined to those who love ostentation more than comfort.

DRESS FOR RECEIVING CALLS.

If a lady has a special day for the reception of calls, her dress must be of silk, or other goods suitable to the season, or to her position, but must be of quiet colors and plainly worn. Lace collars and cuffs should be worn with this dress, and a certain amount of jewelry is also admissible. A lady whose mornings are devoted to the superintendence of her domestic affairs, may receive a casual caller in her ordinary morning dress, which must be neat, yet plain, with white plain linen collars and cuffs. For New Year's, or other calls of special significance, the dress should be rich, and may be elaborately trimmed. If the parlors are closed and the gas lighted, full evening dress is required.

CARRIAGE DRESS.

The material for a dress for a drive through the public streets of a city, or along a fashionable drive or park, cannot be too rich. Silks, velvets and laces, are all appropriate, with rich jewelry and costly furs in cold weather. If the fashion require it, the carriage dress may be long enough to trail, or it may be of the length of a walking dress, which many prefer. For driving in the country, a different style of dress is required, as the dust and mud would soil rich material.

VISITING COSTUMES.

Visiting costumes, or those worn at a funeral or informal calls, are of richer material than walking suits. The bonnet is either simple or rich, according to the taste of the wearer. A jacket of velvet, or shawl, or fur-trimmed mantle are the concomitants of the carriage dress for winter. In summer all should be bright, cool, agreeable to wear and pleasant to look at.

DRESS FOR MORNING CALLS.

Morning calls may be made either in walking or carriage dress, provided the latter is justified by the presence of the carriage. The dress should be of silk; collar and cuffs of the finest lace; light gloves; a full dress bonnet and jewelry of gold, either dead, burnished or enameled, or of cameo or coral. Diamonds are not usually worn in daylight. A dress of black or neutral tint, in which light colors are introduced only in small quantities, is the most appropriate for a morning call.

MORNING DRESS FOR STREET.

The morning dress for the street should be quiet in color, plainly made and of serviceable material. It should be short enough to clear the ground without collecting mud and garbage. Lisle-thread gloves in midsummer, thick gloves in midwinter, are more comfortable for street wear than kid ones. Linen collars and cuffs are most suitable for morning street dress. The bonnet and hat should be quiet and inexpressive, matching the dress as nearly as possible. In stormy weather a large waterproof with hood is more convenient and less troublesome than an umbrella. The morning dress for visiting or breakfasting in public may be, in winter, of woolen goods, simply made and quietly trimmed, and in summer, of cambric, pique, marseilles or other wash goods, either white or figured. For morning wear at home the dress may be still simpler. The hair should be plainly arranged without ornament.

THE PROMENADE DRESS.

The dress for the promenade should be in perfect harmony with itself. All the colors worn should harmonize if they are not strictly identical. The bonnet should not be of one color, and parasol of another, the dress of a third and the gloves of a fourth. Nor should one article be new and another shabby. The collars and cuffs should be of lace; the kid gloves should be selected to harmonize with the color of the dress, a perfect fit. The jewelry worn should be bracelets, cuff-buttons, plain gold ear-rings, a watch chain and brooch.

OPERA DRESS.

Opera dress for matinees may be as elegant as for morning calls. A bonnet is always worn even by those who occupy boxes, but it may be as dressy as one chooses to make it. In the evening, ladies are at liberty to wear evening dresses, with ornaments in their hair, instead of a bonnet, and as the effect of light colors is much better than dark in a well-lighted opera house, they should predominate.

THE RIDING DRESS.

A lady's riding habit should fit perfectly without being tight. The skirt must be full, and long enough to cover the feet, but not of extreme length. The boots must be stout and the gloves gauntleted. Broadcloth is regarded as the more dressy cloth, though waterproof is the more serviceable. Something lighter may be worn for summer, and in the lighter costumes a row of shot must be stitched at the bottom of the breadths of the left side to prevent the skirts from being blown by the wind. The riding dress is made to fit the waist closely, and button nearly to the throat. Above a small collar or reverse of the waist is shown a plain linen collar, fastened at the throat with a bright or black necktie. Coat sleeves should come to the wrist with linen cuffs beneath them. No lace or embroidery is allowable in a riding costume. It is well to have the waist attached to a skirt of the usual length, and the long skirt fastened over it, so that if any accident occurs obliging the lady to dismount, she may easily remove the long overskirt and still be properly dressed.

The hair should be put up compactly, and no veil should be allowed to stream in the wind. The shape of the hat will vary with the fashion, but it should always be plainly trimmed, and if feathers are worn they must be fastened so that the wind cannot blow them over the wearer's eyes.

A WALKING SUIT.

The material for a walking suit may be either rich or plain to suit the taste and means of the wearer. It should always be well made and never appear shabby. Bright colors appear best only as trimmings. Black has generally been adopted for street dresses as the most becoming. For the country, walking dresses are made tasteful, solid and strong, more for service than display, and what would be perfectly appropriate for the streets of a city would be entirely out of place on the muddy, unpaved walks of a small town or in a country neighborhood. The walking or promenade dress is always made short enough to clear the ground. Thick boots are worn with the walking suit.

DRESS FOR LADIES OF BUSINESS.

For women who are engaged in some daily employment such as teachers, saleswomen and those who are occupied in literature, art or business of some sort, the dress should be somewhat different from the ordinary walking costume. Its material should be more serviceable, better fitted to endure the vicissitudes of the weather, and of quiet colors, such as brown or gray, and not easily soiled. While the costume should not be of the simplest nature, it should dispense with all superfluities in the way of trimming. It should be made with special reference to a free use of the arms, and to easy locomotion. Linen cuffs and collars are best suited to this kind of dress, gloves which can be easily removed, street walking boots, and for jewelry, plain cuff-buttons, brooch and watch chain. The hat or bonnet should be neat and tasty, with but few flowers or feathers. For winter wear, waterproof, tastefully made up, is the best material for a business woman's outer garment.

ORDINARY EVENING DRESS.

The ordinary evening house dress should be tasteful and becoming, with a certain amount of ornament, and worn with jewelry. Silks are the most appropriate for this dress, but all the heavy woolen dress fabrics for winter, and the lighter lawns and organdies for summer, elegantly made, are suitable. For winter, the colors should be rich and warm, and knots of bright ribbon of a becoming color, should be worn at the throat and in the hair. The latter should be plainly dressed. Artificial flowers and diamonds are out of place. This is both a suitable dress in which to receive or make a casual evening call. If a hood is worn, it must be removed during the call. Otherwise a full dress bonnet must be worn.

DRESS FOR SOCIAL PARTY.

For the social evening party, more latitude is allowed in the choice of colors, material, trimmings, etc., than for the ordinary evening dress. Dresses should cover the arms and shoulder; but if cut low in the neck, and with short sleeves, puffed illusion waists or some similar device should be employed to cover the neck and arms. Gloves may or may not be worn, but if they are they should be of some light color.

DRESS FOR CHURCH.

The dress for church should be plain, of dark, quiet colors, with no superfluous trimming or jewelry. It should, in fact, be the plainest of promenade dresses, as church is not the place for display of fine clothes.

THE DRESS FOR THE THEATRE.

The promenade dress with the addition of a handsome cloak or shawl, which may be thrown aside if it is uncomfortable, is suitable for a theatre. The dress should be quiet and plain without any attempt at display. Either a bonnet or hat may be worn. Gloves should be dark, harmonizing with the dress.

DRESS FOR LECTURE AND CONCERT.

For the lecture or concert, silk is an appropriate dress, and should be worn with lace collars and cuffs and jewelry. A rich shawl or velvet promenade cloak, or opera cloak for a concert is an appropriate outer garment. The latter may or may not be kept on the shoulders during the evening. White or light kid gloves should be worn.

CROQUET, ARCHERY AND SKATING COSTUMES.

Croquet and archery costumes may be similar, and they admit of more brilliancy in coloring than any of the out-of-door costumes. They should be short, displaying a handsomely fitting but stout boot, and should be so arranged as to leave the arms perfectly free. The gloves should be soft and washable. Kid is not suitable for either occasion. The hat should have a broad brim, so as to shield the face from the sun, and render a parasol unnecessary. The trimming for archery costumes is usually of green.

An elegant skating costume may be of velvet, trimmed with fur, with fur bordered gloves and boots. Any of the warm, bright colored wool fabrics, however, are suitable for the dress. If blue or green are worn, they should be relieved with trimmings of dark furs. Silk is not suitable for skating costume. To avoid suffering from cold feet, the boot should be amply loose.

BATHING COSTUME.

Flannel is the best material for a bathing costume, and gray is regarded as the most suitable color. It may be trimmed with bright worsted braid. The best form is the loose sacque, or the yoke waist, both of them to be belted in, and falling about midway between the knee and ankle; an oilskin cap to protect the hair from the water, and merino socks to match the dress, complete the costume.

TRAVELING DRESS.

Comfort and protection from dust and dirt are the requirements of a traveling dress. When a lady is about making an extensive journey, a traveling suit is a great convenience, but for a short journey, a large linen overdress or duster may be put on over the ordinary dress in summer, and in winter a waterproof cloak may be used in the same way. For traveling costumes a variety of materials may be used, of soft, neutral tints, and smooth surface which does not retain the dust. These should be made up plainly and quite short. The underskirts should be colored, woolen in winter and linen in summer. The hat or bonnet must be plainly trimmed and completely protected by a large veil. Velvet is unfit for a traveling hat, as it catches and retains the dust; collars and cuffs of plain linen. The hair should be put up in the plainest manner. A waterproof and warm woolen shawl are indispensible, and may be rolled in a shawl strap when not needed. A satchel should be carried, in which may be kept a change of collars, cuffs, gloves, handkerchiefs, toilet articles, and towels. A traveling dress should be well supplied with pockets. The waterproof should have large pockets, and there should be one in the underskirt in which to carry such money and valuables as are not needed for immediate use.

THE WEDDING DRESS.

A full bridal costume should be white from head to foot. The dress may be of silk, heavily corded, moire antique, satin or plain silk, merino, alpaca, crape, lawn or muslin. The veil may be of lace, tulle or illusion, but it must be long and full. It may or may not descend over the face. Orange blossoms or other white flowers and maiden blush roses should form the bridal wreath and bouquet. The dress is high and the arms covered. Slippers of white satin and white kid gloves complete the dress.

The dress of the bridegroom and ushers is given in the chapter treating of the etiquette of weddings.

DRESS OF BRIDEMAIDS.

The dresses of bridemaids are not so elaborate as that of the bride. They should also be of white, but may be trimmed with delicately colored flowers and ribbons. White tulle, worn over pale pink or blue silk and caught up with blush roses or forget-me-nots, with bouquet de corsage and hand bouquet of the same, makes a beautiful costume for the bridemaids. The latter, may or may not, wear veils, but if they do, they should be shorter than that of the bride.

TRAVELING DRESS OF A BRIDE.

This should be of silk, or any of the fine fabrics for walking dresses; should be of some neutral tint; and bonnet and gloves should match in color. It may be more elaborately trimmed than an ordinary traveling dress, but if the bride wishes to attract as little attention as possible, she will not make herself conspicuous by a too showy dress. In private weddings the bride is sometimes married in traveling costume, and the bridal pair at once set out upon their journey.

DRESS AT WEDDING RECEPTIONS.

At wedding receptions in the evening, guests should wear full evening dress. No one should attend in black or mourning dress, which should give place to grey or lavender. At a morning reception of the wedded couple, guests should wear the richest street costume with white gloves.

MOURNING.

The people of the United States have settled upon no prescribed periods for the wearing of mourning garments. Some wear them long after their hearts have ceased to mourn. Where there is profound grief, no rules are needed, but where the sorrow is not so great, there is need of observance of fixed periods for wearing mourning.

Deep mourning requires the heaviest black of serge, bombazine, lustreless alpaca, delaine, merino or similar heavily clinging material, with collar and cuffs of crape. Mourning garments should have little or no trimming; no flounces, ruffles or bows are allowable. If the dress is not made en suite, then a long or square shawl of barege or cashmere with crape border is worn. The bonnet is of black crape; a hat is inadmissible. The veil is of crape or barege with heavy border; black gloves and black-bordered handkerchief. In winter dark furs may be worn with the deepest mourning. Jewelry is strictly forbidden, and all pins, buckles, etc., must be of jet. Lustreless alpaca and black silk trimmed with crape may be worn in second mourning, with white collars and cuffs. The crape veil is laid aside for net or tulle, but the jet jewelry is still retained. A still less degree of mourning is indicated by black and white, purple and gray, or a combination of these colors. Crape is still retained in bonnet trimming, and crape flowers may be added. Light gray, white and black, and light shades of lilac, indicate a slight mourning. Black lace bonnet, with white or violet flowers, supercedes crape, and jet and gold jewelry is worn.

PERIODS OF WEARING MOURNING.

The following rules have been given by an authority competent to speak on these matters regarding the degree of mourning and the length of time it should be worn:

"The deepest mourning is that worn by a widow for her husband. It is worn two years, sometimes longer. Widow's mourning for the first year consists of solid black woolen goods, collar and cuffs of folded untrimmed crape, a simple crape bonnet, and a long, thick, black crape veil. The second year, silk trimmed with crape, black lace collar and cuffs, and a shorter veil may be worn, and in the last six months gray, violet and white are permitted. A widow should wear the hair perfectly plain if she does not wear a cap, and should always wear a bonnet, never a hat.

"The mourning for a father or mother is worn for one year. The first six months the proper dress is of solid black woolen goods trimmed with crape, black crape bonnet with black crape facings and black strings, black crape veil, collar and cuffs of black crape. Three months, black silk with crape trimming, white or black lace collar and cuffs, veil of tulle and white bonnet-facings; and the last three months in gray, purple and violet. Mourning worn for a child is the same as that worn for a parent.

"Mourning for a grandparent is worn for six months, three months black woolen goods, white collar and cuffs, short crape veil and bonnet of crape trimmed with black silk or ribbon; six weeks in black silk trimmed with crape, lace collar and cuffs, short tulle veil; and six weeks in gray, purple, white and violet.

"Mourning worn for a friend who leaves you an inheritance, is the same as that worn for a grandparent.

"Mourning for a brother or sister is worn six months, two months in solid black trimmed with crape, white linen collar and cuffs, bonnet of black with white facing and black strings; two months in black silk, with white lace collar and cuffs; and two months in gray, purple, white and violet.

"Mourning for an uncle or aunt is worn for three months, and is the second mourning named above, tulle, white linen and white bonnet facings being worn at once. For a nephew or niece, the same is worn for the same length of time.

"The deepest mourning excludes kid gloves; they should be of cloth, silk or thread; and no jewelry is permitted during the first month of close mourning. Embroidery, jet trimmings, puffs, plaits—in fact, trimming of any kind—is forbidden in deep mourning, but worn when it is lightened.

"Mourning handkerchiefs should be of very sheer fine linen, with a border of black, very wide for close mourning, narrower as the black is lightened.

"Mourning silks should be perfectly lusterless, and the ribbons worn without any gloss.

"Ladies invited to funeral ceremonies should always wear a black dress, even if they are not in mourning; and it is bad taste to appear with a gay bonnet or shawl, as if for a festive occasion.

"The mourning for children under twelve years of age is white in summer and gray in winter, with black trimmings, belt, sleeve ruffles and bonnet ribbons."

Thursday, December 3, 2015

Vervaine Sachet


  • 1 lb dried and ground Lemon peel  
  • 1/4 lb lemon thyme
  • 1 dram otto of lemon-grass
  • 1/2 oz otto of lemon-peel
  • 1 oz otto of bergamot

Monday, November 30, 2015

Parrish's Best Cologne

Mix together:

  • 2 fluid ounces oil of bergamot
  • 2 fluid drachms oil of neroli
  • 1/2 fluid ounce oil of jasmin
  • 2 fluid drachms oil of garden lavender
  • 1 minim oil of cinnamon
  • 3 fluid ounces benzoated tincture
  • 1/2 fluid ounce oil of musk
  • 1 gallon deodorized alcohol
  • 2 pints rose-water


The mixture should stand a long time before filtering for use.

Thursday, November 19, 2015

Bouquet de Montpellier Perfume


  • 1 pint Extrait de tubereuse
  • 1 pint Extrait de rose de pomade
  • 1 pint Extrait de rose triple
  • 1/4 pint Extract of musk
  • 1/4 pint Extract of ambergris
  • 1 1/2 drachm Otto of cloves
  • 1/2 oz Otto of bergamot

Thursday, November 12, 2015

Harmony of Colors in Dress

THE selection and proper arrangement of colors, so that they will produce the most pleasant harmony, is one of the most desirable requisites in dress. Sir Joshua Reynolds says: "Color is the last attainment of excellence in every school of painting." The same may also be said in regard to the art of using colors in dress. Nevertheless, it is the first thing to which we should give our attention and study.

We put bright colors upon our little children; we dress our young girls in light and delicate shades; the blooming matron is justified in adopting the warm, rich hues which we see in the autumn leaf, while black and neutral tints are declared appropriate to the old.

One color should predominate in the dress; and if another is adopted, it should be in a limited quantity and only by way of contrast or harmony. Some colors may never, under any circumstances, be worn together, because they produce positive discord to the eye. If the [Pg 342]dress be blue, red should never be introduced by way of trimming, or vice versa. Red and blue, red and yellow, blue and yellow, and scarlet and crimson may never be united in the same costume. If the dress be red, green maybe introduced in a minute quantity; if blue, orange; if green, crimson. Scarlet and solferino are deadly enemies, each killing the other whenever they meet.

Two contrasting colors, such as red and green, may not be used in equal quantities in the dress, as they are both so positive in tone that they divide and distract the attention. When two colors are worn in any quantity, one must approach a neutral tint, such as gray or drab. Black may be worn with any color, though it looks best with the lighter shades of the different colors. White may also be worn with any color, though it looks best with the darker tones. Thus white and crimson, black and pink, each contrast better and have a richer effect than though the black were united with the crimson and the white with the pink. Drab, being a shade of no color between black and white, may be worn with equal effect with all.

A person of very fair, delicate complexion, should always wear the most delicate of tints, such as light blue, mauve and pea-green. A brunette requires bright colors, such as scarlet and orange, to bring out the brilliant tints in her complexion. A florid face and auburn hair call for blue.

Black hair has its color and depth enhanced by scarlet, orange or white, and will bear diamonds, pearls or lustreless gold.

Dark brown hair will bear light blue, or dark blue in a lesser quantity.

If the hair has no richness of coloring, a pale yellowish green will by reflection produce the lacking warm tint.

Light brown hair requires blue, which sets off to advantage the golden tint.

Pure golden or yellow hair needs blue, and its beauty is also increased by the addition of pearls or white flowers.

Auburn hair, if verging on the red, needs scarlet to tone it down. If of a golden red, blue, green, purple or black will bring out the richness of its tints.

Flaxen hair requires blue.


MATERIAL FOR DRESS.

The material for dress must be selected with reference to the purpose which it is to serve. No one buys a yellow satin dress for the promenade, yet a yellow satin seen by gaslight is beautiful, as an evening-dress. Neither would one buy a heavy serge of neutral tint for an opera-dress.

SIZE IN RELATION TO DRESS AND COLORS.

A small person may dress in light colors which would be simply ridiculous on a person of larger proportions. So a lady of majestic appearance should never wear white, but will be seen to the best advantage in black or dark tints. A lady of diminutive stature is dressed in bad taste when she appears in a garment with large figures, plaids or stripes. Neither should a lady of large proportions be seen in similar garments, because, united with her size, they give her a "loud" appearance. Indeed, pronounced figures and broad stripes and plaids are never in perfect taste.

Heavy, rich materials suit a tall figure, while light, full draperies should only be worn by those of slender proportions and not too short. The very short and stout must be content with meagre drapery and quiet colors.

Tall and slim persons should avoid stripes; short, chunky ones, flounces, or any horizontal trimming of the dress which, by breaking the outline from the waist to the feet, produces an effect of shortening.

HOW COLORS HARMONIZE.

Colors may form a harmony either by contrast or by analogy. When two remote shades of one color are associated, such as very light blue and a very dark blue, they harmonize by contrast, though the harmony may be neither striking nor perfect. When two colors which are similar to each other are grouped, such as orange and scarlet, crimson and orange, they harmonize by analogy. A harmony of contrast is characterized by brilliancy and decision, and a harmony of analogy by a quiet and pleasing association of colors.

When a color is chosen which is favorable to the complexion, it is well to associate with it the tints which will harmonize by analogy, as to use contrasting colors would diminish its favorable effect. When a color is used in dress, not suitable to the complexion, it should be associated with contrasting colors, as they have the power to neutralize its objectionable influence.

Decoration

Colors of similar power which contrast with each other, mutually intensify each other's brilliancy, as blue and orange, scarlet and green; but dark and light colors associated do not intensify each other to the same degree, the dark appearing darker and the light appearing [Pg 346]lighter, as dark blue and straw color. Colors which harmonize with each other by analogy, reduce each other's brilliancy to a greater or less degree, as white and yellow, blue and purple, black and brown.

The various shades of purple and lilac, dark blues and dark greens, lose much of their brilliancy by gaslight, while orange, scarlet, crimson, the light browns and light greens, gain brilliancy by a strong artificial light.

Below the reader will find a list of colors that harmonize, forming most agreeable combinations, in which are included all the latest and most fashionable shades and colors:


  • Black and pink.
  • Black and lilac.
  • Black and scarlet.
  • Black and maize.
  • Black and slate color.
  • Black and orange, a rich harmony.
  • Black and white, a perfect harmony.
  • Black and brown, a dull harmony.
  • Black and drab or buff.
  • Black, white or yellow and crimson.
  • Black, orange, blue and scarlet.
  • Black and chocolate brown.
  • Black and shaded cardinal.
  • Black and cardinal.
  • Black, yellow, bronze and light blue.
  • Black, cardinal, blue and old gold.
  • Blue and brown.
  • Blue and black.
  • Blue and gold, a rich harmony.
  • Blue and orange, a perfect harmony.
  • Blue and chestnut (or chocolate).
  • Blue and maize.
  • Blue and straw color.
  • Blue and white.
  • Blue and fawn color, weak harmony.
  • Blue and stone color.
  • Blue and drab.
  • Blue and lilac, weak harmony.
  • Blue and crimson, imperfectly.
  • Blue and pink, poor harmony.
  • Blue and salmon color.
  • Blue, scarlet and purple (or lilac).
  • Blue, orange and black.
  • Blue, orange and green.
  • Blue, brown, crimson and gold (or yellow).
  • Blue, orange, black and white.
  • Blue, pink and bronze green.
  • Blue, cardinal and old gold.
  • Blue, yellow, chocolate-brown and gold.
  • Blue, mulberry and yellow.
  • Bronze and old gold.
  • Bronze, pink and light blue.
  • Bronze, black, blue, pink and gold.
  • Bronze, cardinal and peacock blue.
  • Brown, blue, green, cardinal and yellow.
  • Brown, yellow, cardinal and peacock blue.
  • Crimson and gold, rich harmony.
  • Crimson and orange, rich harmony.
  • Crimson and brown, dull harmony.
  • Crimson and black, dull harmony.
  • Crimson and drab.
  • Crimson and maize.
  • Crimson and purple.
  • Cardinal and old gold.
  • Cardinal, brown and black.
  • Cardinal and navy blue.
  • Chocolate, blue, pink and gold.
  • Claret and old gold.
  • Dark green, white and cardinal.
  • Ecrue, bronze and peacock.
  • Ecrue and light blue.
  • Garnet, bronze and pink.
  • Gensd'arme and cardinal.
  • Gensd'arme and bronze.
  • Gensd'arme and myrtle.
  • Gensd'arme and old gold.
  • Gensd'arme, yellow and cardinal.
  • Gensd'arme, pink, cardinal and lavender.
  • Green and gold, or gold color.
  • Green and scarlet.
  • Green and orange.
  • Green and yellow.
  • Green, crimson, blue and gold, or yellow.
  • Green, blue and scarlet.
  • Green, gold and mulberry.
  • Green and cardinal.
  • Lilac and white, poor.
  • Lilac and gray, poor.
  • Lilac and maize.
  • Lilac and cherry.
  • Lilac and gold, or gold color.
  • Lilac and scarlet.
  • Lilac and crimson.
  • Lilac, scarlet and white or black.
  • Lilac, gold color and crimson.
  • Lilac, yellow or gold, scarlet and white.
  • Light pink and garnet.
  • Light drab, pine, yellow and white.
  • Myrtle and old gold.
  • Myrtle and bronze.
  • Myrtle, red, blue and yellow.
  • Myrtle, mulberry, cardinal, gold and light green.
  • Mulberry and old gold.
  • Mulberry and gold.
  • Mulberry and bronze.
  • Mulberry, bronze and gold.
  • Mulberry and pearl.
  • Mode, pearl and mulberry.
  • Maroon, yellow, silvery gray and light green.
  • Navy blue, light blue and gold.
  • Navy blue, gensd'arme and pearl.
  • Navy blue, maize, cardinal and yellow.
  • Orange and bronze, agreeable.
  • Orange and chestnut.
  • Orange, lilac and crimson.
  • Orange, red and green.
  • Orange, purple and scarlet.
  • Orange, blue, scarlet and purple.
  • Orange, blue, scarlet and claret.
  • Orange, blue, scarlet, white and green.
  • Orange, blue and crimson.
  • Pearl, light blue and peacock blue.
  • Peacock blue and light gold.
  • Peacock blue and old gold.
  • Peacock blue and cardinal.
  • Peacock blue, pearl, gold and cardinal.
  • Purple and maize.
  • Purple and blue.
  • Purple and gold, or gold color, rich.
  • Purple and orange, rich.
  • Purple and black, heavy.
  • Purple and white, cold.
  • Purple, scarlet and gold color.
  • Purple, scarlet and white.
  • Purple, scarlet, blue and orange.
  • Purple, scarlet, blue, yellow and black.
  • Red and white, or gray.
  • Red and gold, or gold color.
  • Red, orange and green.
  • Red, yellow or gold color and black.
  • Red, gold color, black and white.
  • Seal brown, gold and cardinal.
  • Sapphire and bronze.
  • Sapphire and old gold.
  • Sapphire and cardinal.
  • Sapphire and light blue.
  • Sapphire and light pink.
  • Sapphire and corn.
  • Sapphire and garnet.
  • Sapphire and mulberry.
  • Shaded blue and black.
  • Scarlet and blue.
  • Scarlet and slate color.
  • Scarlet and orange.
  • Scarlet, blue and white.
  • Scarlet, blue and yellow.
  • Scarlet, black and white.
  • Scarlet, blue, black and yellow.
  • Shaded blue, shaded garnet and shaded gold.
  • Shaded blue and black.
  • White and cherry.
  • White and crimson.
  • White and brown.
  • White and pink.
  • White and scarlet.
  • White and gold color, poor.
  • Yellow and black.
  • Yellow and brown.
  • Yellow and red.
  • Yellow and chestnut or chocolate.
  • Yellow and white, poor.
  • Yellow and purple, agreeable.
  • Yellow and violet.
  • Yellow and lilac, weak.
  • Yellow and blue, cold.
  • Yellow and crimson.
  • Yellow, purple and crimson.
  • Yellow, purple, scarlet and blue.
  • Yellow, cardinal and peacock blue.
  • Yellow, pink, maroon and light blue.

Sunday, November 1, 2015

To Clean Ostrich Feathers

Cut some white curd soap in small pieces, pour boiling water on them, and add a little pearlash.

When the soap is quite dissolved, and the mixture cool enough for the hand to bear, plunge the feathers into it, draw the feathers through the hand till the dirt appears squeezed out of them, pass them through a clean lather with some blue in it, then rinse in cold water with blue to give them a good color.

Beat them against the hand to shake off the water, and dry by shaking them near a fire.

When perfectly dry, curl each fibre separately with a blunt knife or ivory paper-folder.

Tuesday, October 27, 2015

Fumigating Paper

There are two modes of preparing this article:--

1. Take sheets of light cartridge paper, and dip them into a solution of alum--say, alum, one ounce; water, one pint. After they are thoroughly moistened, let them be well dried; upon one side of this paper spread a mixture of equal parts of gum benzoin, olibanum, and either balm of Tolu or Peruvian balsam, or the benzoin may be used alone. To spread the gum, &c., it is necessary that they be melted in an earthenware vessel and poured thinly over the paper, finally smoothing the surface with a hot
spatula. When required for use, slips of this paper are held over a candle or lamp, in order to evaporate the odorous matter, but not to ignite it. The alum in the paper prevents it a to certain extent from burning.

2. Sheets of good light paper are to be steeped in a solution of saltpetre, in the proportions of two ounces of the salt to one pint of water, to be afterwards thoroughly dried.

Any of the odoriferous gums, as myrrh, olibanum, benzoin, &c., are to be dissolved to saturation in rectified spirit, and with a brush spread upon one side of the paper, which, being hung up, rapidly dries.

Slips of this paper are to be rolled up as spills, to be ignited, and then to be blown out.

The nitre in the paper causes a continuance of slow combustion, diffusing during that time the agreeable perfume of the odoriferous gums. If two of these sheets of paper be pressed together before the surface is dry, they will join and become as one. When cut into slips, they form what are called Odoriferous Lighters, or Perfumed Spills.

Monday, October 19, 2015

Indian, or Yellow Pastils

  • 1 lb Santal-wood, in powder
  • 1-1/2 lb Gum benzoin
  • 1/4 lb. Gum Tolu
  • 1 - 1/2 oz Nitrate of potass
  • 3 drachms  Otto of santal
  • 3 drachms otto of cassia
  • 3 drachms otto of cloves
  • Mucilage of tragacantha, q.s. to make the whole into a stiff paste.

The benzoin, santal-wood, and Tolu, are to be powdered and mixed by sifting them, adding the ottos. The nitre being dissolved in the mucilage, is then added. After well beating in a mortar, the pastils are
formed in shape with a pastil mould, and gradually dried.

The Chinese jossticks are of a similar composition, but contain no Tolu. Jossticks are burned as incense in the temples of the Buddahs in the Celestial Empire, and to such an extent as to greatly enhance the value of santal-wood.



India Incense

All India or Hindu Incenses contain Sandalwood as a base, and they together with any Spice, particularly Cinnamon, is burned in the Temples. However, some of the Hindu Incenses are made more aromatic with the addition of essential oils or perfume bases.


Persian Incense

Persian Incense is a combination using Sandalwood and a  Spice, mainly Cinnamon, together with Benzoin or  Frankincense and Myrrh.