Epigraph
And exemplifying the advantage arising from an elegant arrangement of this important part of the Costume; “Nothing is more laudable than an enquiry after truth.”
Addison.
Introduction
No one accustomed to mix with the higher classes of society will be at all inclined to dispute the advantages arising from a genteel appearance; it therefore becomes necessary that the means of acquiring this distinction should be clearly demonstrated. An attentive perusal of the following pages will conduce to this desired effect.
“L’art de mettre sa Cravate est à l’homme du monde ce que l’art de donner à diner est a l’homme d’état.”
The Cravat should not be considered as a mere ornament, 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 distinguished, and is of itself “a letter of introduction.”
The most fastidious may in this book find a model for imitation, as not only the form, but the colour appropriate to each particular style, is described in the clearest and most comprehensive manner.
It can be incontrovertibly asserted that this work, far from being an ephemeral production, will be found to contain a mass of useful information, and may be termed an “Encyclopædia of knowledge.”
The question whether Cravats were worn by the ancients is satisfactorily decided.
It is fully proved that the Romans used a chin cloth, corresponding almost entirely with the modern Cravat; and that the collar of the ancient Persians, Egyptians, and Greeks was the origin of the Stock of the present day.
In the chapter on black and coloured silk Cravats, it is shewn that the former never obtained greater celebrity than in the last ten years of the eighteenth century, and the first ten of the nineteenth; that is to say, during a term of years replete with events of the greatest political interest.
The work is divided into easy lessons—the first gives a solution of the celebrated problem known as the Nœud Gordien, and is the key to all the others. The fifteenth lesson alone contains eighteen different methods of tying the Cravat: but lest any of our readers may be terrified at the idea of having so much to acquire at once, it may be necessary to observe that as they are derivations from the fourteen first described, they are necessarily short and easy of attainment.
The first and last lessons (Nos. 1 and 16) are undoubtedly the most important, on account of the precepts, opinions, and incontrovertible truths which they contain. In the concluding chapter the correct construction of the Cravat is proved to be of paramount advantage to the wearer; and the consequences arising from an ignorance of this important subject are pointed out in a manner which cannot fail to convince every enlightened mind.
To render the work complete in every respect, plates, drawn from nature, are inserted; these will clearly explain any difficulty a beginner may experience in comprehending our directions, and will enable him to judge whether he has produced the proper effect on his own Cravat.
In an age like the present, 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 “March of Intellect” now making such rapid strides amongst us, we think a more signal service cannot be rendered to the higher ranks of society, than by the production of such a work as this; and, in the hope of being really useful, we offer to a discerning public the “Art of Tying on the Cravat.”
THE
HISTORY OF THE CRAVAT;1
FROM ITS ORIGIN TO THE PRESENT DAY;
WITH REMARKS
ON ITS INFLUENCE ON SOCIETY IN GENERAL.
No decided opinion can be given of the age in which Cravats were first introduced. The ancients were happily unacquainted with the ridiculous and dangerous fashion of confining the throat in linen, either tied in front or fastened behind with a clasp; this part of the frame was allowed to remain in entire liberty; they, however, defended it from the cold by means of a woollen or silken cloth, called in Rome focalium, a term which is evidently derived from fauces (the throat).
A distinguished Jesuit (the Rev. Father Adam) in his work on Roman antiquities, proves by the most undoubted authority that the Romans made use of chin cloths, for the protection of the neck and throat; these were termed focalia, and the public orators, who from professional considerations were fearful of taking cold, contributed in no small degree to render this fashion general. Some (says the Rev. Father) used a handkerchief (sudarium) for this purpose. This is probably the origin of the Cravat, which is in many countries called “Neckhandkerchief.”
Augustus, who was infirm and sickly, constantly used the focalium when at his own house, or with his friends, but he was never seen in it in public; and Lampridius observes that Alexander Severus made use of it only when returning from the baths to his palace. In Rome the custom of leaving the neck bare was so general, that it was considered beneath the dignity of the man and citizen to protect it in any other way than by the hand, or occasionally wrapping the toga round it.
The throats of our forefathers were for ages as uncovered as their faces; in this respect the descendants of the Sarmatæ have not degenerated, as the Poles during the most severe winter have their throats constantly exposed. The same fashion (which is, however, less surprising) has descended to the Eastern Nations, among whom a white and well turned neck is metaphorically compared to the beauty of a tower of ivory. The Calmucks, Baskirs, and other Tartars of the Don, or the borders of the Caspian Sea, also adhere to this fashion; very few of them, however, merit the Eastern compliment, as their throats are generally ugly and ill-formed. This custom gradually declined in France and several parts of Europe, and luxury, rather than necessity, introduced the fashion of covering the throat loosely with a fine starched linen cloth; this was worn above the shirt, without a collar; the ends were brought down on the breast, and there fastened by laces of thread—from this the idea of bands was derived—before the introduction of the heavy and unhealthy bonds, which at a later period confined the throat, was even dreamt of.
The ruff, stiffened and curled in single or double rows (an inconvenient but harmless ornament), became the favourite in its turn, and continued in fashion while the hair was worn short; but this also fell into disrepute when Louis XIII. allowed his to grow. Then raised collars, plaited neck-cloths, and bands (both plain and of lace), enveloped the throats of our ancestors, from the neck to the chin, and covered the tops of the arms and the shoulders. This fashion continued until Louis XIV. adopted the enormous flaxen or black peruke, which almost concealed the front of the neck. It then gave way to bright coloured ribands arranged in bows, which were also introduced by this gay and gallant monarch, and imitated by every one according to his rank or caprice.
Up to that time, as frivolity alone had reigned, the fashion was not injurious; but the throat, which had hitherto been comparatively free, now lost that liberty which it has never since regained. In 1660 a regiment of Croats arrived in France;—a part of their singular costume excited the greatest admiration, and was immediately and generally imitated; this was a tour de cou, made (for the private soldiers) of common lace, and of muslin or silk for the officers; the ends were arranged en rosette, or ornamented with a button or tuft, which hung gracefully on the breast. This new arrangement, which confined the throat but very slightly, was at first termed a Croat, since corrupted to Cravat. The Cravats of the officers and people of rank were extremely fine, and the ends were embroidered or trimmed with broad lace; those for the lower classes were subsequently made of cloth or cotton, or at the best of black taffeta, plaited; which was tied round the neck by two small strings. These strings were at a later period replaced by clasps, or a buckle, and the Cravat then took the name of Stock.
The Cravat at length became universal, and was increased to an almost incredible size. Some enveloped the neck in entire pieces of muslin; others wore a stitched stiffener, on which several handkerchiefs were folded. By this échafaudage the neck was placed on a level with the head, which in size it surpassed, and with which it was confounded. The shirt collar rose to the side of the ears, and the top of the Cravat covered the mouth and lower part of the nose, so that the face (with the exception of the nose) was concealed by the Cravat and a forest of whiskers; these rose on each side to the hair, which was combed down over the eyes. In this costume the élégans bore a greater resemblance to beasts than men, and the fashion gave rise to many laughable caricatures. They were compelled to look straight before them, as the head could only be turned by general consent of all the members, and the tout ensemble was that of an unfinished statue.
Instances have, however, occurred in which these immense Cravats have saved the lives of the wearers in battle. One fact, as related by Dr. Pizis, may be worthy of record. “I was laughing” (says he) “at General Lepale, on account of his enormous Cravat. At the moment of entering into action his regiment charged, and after dispersing the enemy’s cavalry returned to the bivouac. I was informed that the General had been struck by a pistol shot in the throat. I immediately hastened to his assistance, and was shewn a bullet, which was stopped in its career by the very Cravat I had just been ridiculing.—Two officers and several privates had received sabre cuts on the Cravat, and escaped without injury; so that I was obliged to confess that these immense bandages were not always useless.”
Singers more than any class of persons, should be careful to avoid exposing the throat to the cold, a moderate heat contributes to supple the organs, and renders the voice clearer and more harmonious; though, on the contrary, it is greatly deteriorated if the throat is constrained by a tightened Cravat. No part of the body is more susceptible of cold than the neck; and this susceptibility is the effect of too much covering in general; but in leaving a ball room, or any heated place, the greatest care should be taken to defend the chest and neck from cold.
The natives of the South are but too well acquainted with the danger of such sudden transitions, and the Spaniards particularly, who always wear a large handkerchief hanging carelessly from the neck, invariably wrap themselves in it, when being warm they are suddenly exposed to the cold.
In short, the Cravat has now arrived at the summit of perfection, and has been materially assisted in its progress by the use of starch. The question naturally arises to whom is the world indebted for this sublime invention? To the English, Russians, Italians, or French?—On this point we confess ourselves unable to decide. The blanchisseuses of each of those powers have been mainly instrumental in communicating this important discovery to the world at large.
On our parts, more profound investigations would be unavailing; and it is only by a continued course of laborious research, that it would be possible to remove the obscurity which has enveloped the subject of our labours for so many ages.
Notes
1 “Cravat, from Cravate, which Menage derives from the Croats, a sort of German troops, usually called Croats, from whom, in 1636, this ornament, he adds, was adopted.” Todd’s Johnson’s Dictionary.