Thursday, August 17, 2017

Cremorne Valley Bouquet

  • Tincture of jasmine 10 ounces 
  • Tincture of orange flowers 10 ounces 
  • Tincture of rose 20 ounces 
  • Tincture of violet 10 ounces 
  • Tincture of musc baur (synthetic musk) 1 ounce 
  • Tincture of ambergris 1 ounce 
  • Oil of bergamot 1/2 ounce 
  • Oil of hyacinth geraniol 1 dram 

Mix and filter if necessary. 

Monday, June 5, 2017

To Clean Kid Gloves

Make a solution of one quart of distilled benzine with one-fourth of an ounce of carbonate of ammonia, one-fourth of an ounce of fluid chloroform, one-fourth of an ounce of sulphuric ether. Pour a small quantity into a saucer, put on the gloves, and wash, as if washing the hands, changing the solution until the gloves are clean. Rub them clean and as dry as possible with a clean dry cloth, and take them off and hang them where there is a good current of air to dry. This solution is also excellent for cleaning ribbons, silks, etc., and is perfectly harmless to the most delicate tints. Do not get near the fire when using, as the benzine is very inflammable.

Washing the gloves in turpentine, the same as above, is also a good means of cleaning them.

Friday, May 26, 2017

Lip Salves and Rouges

Creme de Psyche - for the Lips:

  • 1 ounce White wax 
  • 1 ounce spermaceti
  • 5 ounces oil of sweet almonds

Melt together, and pour in Mecca balsam, 1 drachm; and stir until the mass congeals, then add 10 grains powdered acetate of lead.

Superior Lip Salve:

White wax, two and a half  ounces ; spermaceti, three quarters of an ounce ; oil of  almonds, four ounces. Mix well together, and apply a  little to the lips at night.

German Lip Salve:

Butter of cacao, 1/2 ounce; oil of almonds, 1/4 ounce; melt together with a gentle heat, and add 6 drops essence of lemon.

French Lip Salve:

Mix together 16 ounces lard, 2 ounces white wax, nitre and alum in fine powder, of each, 1/2 ounce; alkanet to color.

Glycerine Lip Salve:

This is prepared by adding 1/6 to 1/8 part of glycerine to any one of the above whilst in the melted state, and stirring the mixture assiduously until it begins to cool.

White Lip Salve:

Take 1/2 pound spermaceti ointment, liquify it by the heat of warm water, and stir in 1/2 drachm neroli or essence de petitgrain as before.

White Lip Salve #2:

  • 1/4 lb Almond oil
  • 1 oz Wax
  • 1 oz Spermaceti
  • 1/2 drachm Otto of almonds
  • 1/4 drachm Otto of geranium

After lip salve is poured into the pots and got cold, a red-hot iron must be held over them for a minute or so, in order that the heat radiated from the irons may melt the surface of the salve and give it an even face.

Peruvian Red Lip Salve:

  • 1/2 pound spermaceti ointment
  • 3 or 4 drachms alkanet root
Digest, at a gentle heat, until the first has acquired a rich deep red color, then pass it through a coarse strainer. "When the liquid fat has cooled a little, stir in thoroughly 3 drachms balsam of Peru. In a few minutes pour off the clear portion from the dregs (if any), and add 20 to 30 drops oil of cloves. Lastly, before it cools, pour it into the pots or boxes. The product forms the finest and most esteemed Up salve. 2 or 3 drops of essence of ambergris, or of essence royale, improve and vary it.

Rose Lip Salve:

As the above, but using only 1 1/2 drachms balsam of Peru, and replacing the oil of cloves with a few drops of attar of roses, or sufficient to give the mixture a marked odor of roses. Some makers omit the balsam altogether. If uncol-ored, it forms white rose lip salve.

Rose Lip Salve #2:

  • 1/2 lb Almond oil 
  • 2 oz Spermaceti and wax
  • 2 oz Alkanet root
  • 1/4 drachm Otto of roses
Place the wax, sperm, and oil on to the alkanet root in a vessel heated by steam or water-bath; after the materials are melted, they must digest on the alkanet to extract its color for at least four or five hours; finally, strain through fine muslin, then add the perfume just before it cools.

Common Lip Salve:

Is made simply of equal parts of lard and suet, colored with alkanet root, and perfumed with an ounce of bergamot to every pound of salve.

To Make Lip Salve:

Melt in a jar placed in a basin of boiling water a quarter of an ounce each of white wax and spermaceti, flour of benzoin fifteen grains, and half an ounce of the ]oil of almonds. Stir till the mixture is cool. Color red with alkanet root.

Pomade Rosat for the Lips:

Melt together:

  • 2 ounces white wax
  • 4 ounces oil of sweet almonds
  • 3 drachms alkanet

Digest for several hours, strain, and add 12 drops attar of rose ; used for the lips.

Saturday, May 6, 2017

Hoyt's German Cologne

Hoyt's German Cologne

The following formula has been as similar to Hoyt's German Cologne
  • 1 ounce Oil Bergamot 
  • 1 ounce Lemon 
  • 1/4 ounce Oil Neroli  
  • 1/2 ounce Oil Santal Wood 
  • 20 grains Camphor
  • 7 pints Cologne Spirit 
  • 1 pint Rose Water 

Mix and let month then filter. 

Sunday, April 9, 2017

Various Patchouli Formulas

Extract Patchouly 

  • 8 parts Essence Patchouly 
  • 2 parts Essence Rose 
  • 2 parts Essence Rose Geranium 
  • 4 parts Cologne Spirit 


Patchouly #2:

  • Sandal Oil 1/2 dr 
  • Bergamot Oil 1/2 dr
  • Geranium Oil 1 dr
  • Civet Tincture 4 dr
  • Musk Tincture 4 1/2 dr
  • Patchouly Oil 5 dr
  • Cassie 2 oz 
  • Jasmine 5 oz 
  • Rose 8 oz 

Patchouli #3:
  • Tincture of musk 4 ounces 
  • Tincture of orris 4 ounces 
  • Tincture of vanilla 2 ounces 
  • Oil of rose 1/2 dram 
  • Oil of sandalwood 20 minims 
  • Oil of patchouli 40 minims 
  • Cologne spirits (188%) 6 ounces 
  • Rose water 2 ounces 
Mix and filter.

Extrait de Patchouly:
  • 1 pint extract of rose
  • 1 pint extract of orange flower
  • 1-1/2 pint deodorized alcohol
  • 6 drams oil of patchouly
  • 1 dram oil of rose
  • 8 oz rose water, triple

Extract of Patchouli Perfume:
  • 1 1/4 ounces attar of patchouli
  • 1/4 ounce attar of rose
  • 1 gallon rectified spirits

Common Essence de Patchouli:

  • 1 1/4 ounces otto of patchouli
  • 1/4 ounce otto of rose
  • 1 gallon rectified spirit

Mix and let stand for a week.

Essence de Poucha Pat:

Essence de Patchoulie. 

  • 3 pounds Indian patchouli (leaves or foliaceous tops)
  • 9 pints rectified spirit
Digest for a week in a close vessel, add 1/2 ounce oil of lavender (Mitcham) and promote solution by agitation. Next throw the whole into a still, and further add 1 gallon water and 2 or 3 pounds common salt. Agitate the whole briskly together, lute on the still-head, and distill over (rapidly) 1 gallon. To the distillate add 1/2 fluid ounce finest essence of musk; and after 10 days' repose, bottle it. A very fashionable perfume, particularly for personal use.

Tuesday, April 4, 2017

Satin Bouquet

  • 160 gr oakmoss
  • 40 gr sandalwood oil
  • 35 gr ylang-ylang
  • 20 gr Bulgarian rose oil
  • 10 gr rose oil absolute
  • 10 gr patchouli oil
  • 5 gr costus oil
  • 160 gr artificial jasmine (extra)
  • 100 gr Methyl ionone
  • 35 gr Cinnamic alcohol
  • 35 gr Phenylethyl alcohol
  • 35 gr Vetiveryl acetate
  • 10 gr Styrallyl acetate
  • 35 gr Hydroxycitronellal
  • 35 gr Linalol
  • 10 gr Dianthax base
  • 10 gr Cinnamic aldehyde
  • 20 gr Dimethylhydrocinnamol
  • 100 gr artificial gardenia
  • 10 gr Vanillin
  • 5 gr C-10 aldehyde
  • 25 gr C-11 aldehyde
  • 10 gr Musk ambrette
  • 20 gr Musk ketone

Thursday, March 30, 2017

Various Heliotrope Formulas

Heliotrope #1:
  • Ylang Ylang Oil 1/4 dr 
  • Benzyl Acetate 1 1/4 dr
  • Terpineol 5 dr
  • Heliotropin 5 1/2 dr
  • Musk Tincture 12 dr
  • Vanillin Tincture 12 dr
  • Peru Balsam Tincture 12 dr
  • Rose 3 oz 
  • Tuberose 3 oz
  • Jasmine 7 oz

Heliotrope #2:
  • 5 oz cassie extract
  • 1 oz orris
  • 4 oz orange flower
  • 12 oz jasmine
  • 10 oz vanilla
  • 12 oz tuberose
  • 6 drams esprit de rose
  • 6 drops almond oil

Heliotrope #3:
  • 2 qts extract of rose, made from the pomade
  • 1 qt extract of orange flowers, made from the pomade
  • 4 oz tincture of ambergris
  • 4 oz Heliotropin
  • 1 dram musk xylene, 100%
  • 1 qt alcohol

Heliotrope #4:

  • Tincture of heliotrope (1 to 16) 8 ounces 
  • Tincture of orris 16 ounces 
  • Tincture or rose 8 ounces 
  • Tincture of jas3uin 8 ounces 
  • Tincture of styrax 2 drams 
  • Tincture of vetiver 2 drams 
  • Tincture of coumarin 8 ounces 
  • Oil of bergamot 2 drams 
  • Oil of bitter almonds 8 drops 
Mix and filter if necessary

Extrait d'Heliotrope:
  • Extract of jasmine from pomade 2 qts 
  • Extract of orange flowers 1 pint 
  • Tincture of ambergris 4 oz 
  • Heliotropine 4 oz 
  • Ylang Ylang, Siegert 2 drams 
  • Coumarin 2 drams 
  • Musk xylene 1 dram 
  • Alcohol to make 4 qts 

Extrait  de Heliotrope #2:
  • 1/2 pint Spirituous extract of vanilla
  • 1/4 pint Spirituous extract of French rose pomatum
  • 2 oz Spirituous extract of orange-flower pomatum
  • 1 oz Spirituous extract of ambergris
  •  5 drops Essential oil of almonds

A preparation made in this manner under the name of Extract de Heliotrope is that which is sold in the shops of Paris and London, and is really a very nice perfume, passing well with the public for a genuine extract of heliotrope.

Extrait au Heliotrope:

  • 2 pints Extract of rose
  • 1 pint extract of orange flower
  • 1/2 pint Tincture of vanilla  
  • 2 oz tincture of civet 
  • 2 oz tincture of ambergris 
  • 1 dram Oil of almonds 
  • 4 oz Rose-water, triple  
Heliotrope is not cultivated for its perfume, although very fine. This formula is an imitation, and I believe a very good one.

Eau de Heliotrope:

  • 1/2 Imperial fluid drachm essence of ambergris, coarsely powdered
  • 1/2 ounce avoirdupois vanilla
  • 1/2 pin orange-flower water
  • 1 quart rectified spirit
5 or 6 drops each of oil of bitter almonds and cassia are sometimes added
Digest for a week, and then decant or filter. Used both as a cosmetic and perfume.

Essence of Heliotrope
Spirituous extract of vanilla 1/2 pint, of French rose-pomatum 1/4 pint, of orange-flower, pomatum 2 oz., of ambergris 1 oz.; add 5 drops of the essential oil of almond.

Eau Spiritueuse d'Heliotrope
 Eau Spiritueuse d'Heliotrope. Vanilla 3 drs., double orange-flower water 6 oz., rectified spirit a quart; macerate for 3 days, and distil in a water-bath. It may be coloured with cochineal. But the essence d'heliotrope of some perfumers appears, by the colour, not to have been distilled.

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

Various Bouquet de Flora Formulas

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

Bouquet de Flora (Nosegay of Flowers):

  • 1 pint Extract of rose 
  • 1 pint Extract of jasmine
  • 1/2 pint Extract of  orange flower
  • 1/2 pint Tincture of orris 
  • 1/4 pint Tincture of civet 
  • 1/4 pint Tincture of ambrette 
  • 2 ounces musk
  • 2 drachms Oil of bergamot 
  • 1 drachm Oil of lavender 
  • 1 drachm Oil of cloves 
  • 1/2 drachm Oil of neroli 
  • 6 ounces Orange-flower water 
This is a very fine combination, and should be popular.--

Sunday, December 6, 2015


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 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.


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 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.


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 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.


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.


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.


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 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 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 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.


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.


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.


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.


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, 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.


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.


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 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 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.


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.


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.


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.


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.


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.


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 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.


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 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.


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.


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.


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.


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.


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.


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.


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.


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."