Having one’s portrait taken is no
longer an isolated event in one’s life.
It has become a kind of domestic and social
duty, to which even though personally opposed,
one must gracefully submit, unless
he would incur the odium of neglecting the
wishes of his family circle and the complimentary
requests of his acquaintances.
It would seem at first sight that nothing
is easier than to go to a photographer’s and
get a good likeness. Nothing is really
more uncertain and disappointing. In turning
over the albums of our friends, how
often we pass the faces of acquaintances and
don’t know them at all! How is this?
Simply because, at the moment when the
picture was taken, the original was unlike
herself. She was nervous, her head was
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screwed in a vise, her position had been selected
for her, and she had been ordered
to look at an indicated spot, and keep still.
Such a position was like nothing in her real
life, and the expression on the face was just
as foreign. The features might be perfectly
correct, but that inscrutable something which
individualizes the face was lacking.
Now if the amenities of social life require
us to have our pictures done, “it were as
well they were well done,” and much toward
this end lies within the sitter’s choice and
power.
First as to the selection of the artist. It
is a great mistake to imagine that photography
is a mere mechanical trade. There is as
much difference between two photographers
as between two engravers. Nor will a fine
lens alone produce a good picture. The
pose of the sitter, the disposition of lights
and shadows, the arrangement of drapery,
are of the greatest consequence. A good
artist has almost unlimited power in this
direction. He can render certain parts thinner
by plunging them into half-tone or by
burying their outline in the shade, and he
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can deepen and augment other portions by
surrounding them with light. Thus, if the
head is too small for beauty, he can increase
its size by throwing the light on the face;
and if it is too large, he can diminish it by
choosing a tint that would throw one half of
the face into shadow.
If the artist has a lens which perpetually
changes its focus, the result is a portrait in
which the outlines are delicately soft and
undefined. A view lens, or one that is perfectly
flat, occupies nearly two minutes to
complete the likeness, and the consequence
is, the sitter moves slightly, and the required
softness is obtained in an accidental manner.
It is evident, therefore, that the most rapidly
taken pictures are not necessarily the best.
Then people have a hundred different aspects,
and to seize the best and reproduce it is
the function of genius, and not of chemicals.
Having selected a good artist, and one,
also, whose position has enabled him to
secure the best tools, the next duty of the
sitter regards herself and her costume. In
photography a good portrait may be quite
nullified by the choice of bad colors in dress.
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Finery is the curse of the artist, but if he
works in oils he can leave it out or tone it
down. In photography, as the sitter comes,
so she must be taken, with all her excellences
or her imperfections on her head.
The colors most luminous to the eye, as
red, yellow, orange, are almost without action;
green acts feebly; blue and violet are
reproduced very promptly. If, then, a person
of very fair complexion were taken in
green, orange, or red, the lights would be very
prominent, and the portrait lack energy and
detail. The best of all dresses is black silk,—silk,
not bombazine, or merino, or any
cottony mixture, as the admirable effect depends
on the gloss of the silk, which makes
it full of subdued and reflected lights that
give motion and play to the drapery. A
dead-black dress without this shimmer would
be represented by a uniform blotch; a white
dress looks like a flat film of wax or a piece
of card-board; but a combination of black
net or lace over white is very effective,
though rarely ventured upon. An admirable
softness and depth of color are given to
photographs by sealskin and velvet.
Complexion must be considered with
dress. Blondes can wear much lighter
colors than brunettes. Brunettes always
make the best pictures when taken in dark
dresses, but neither blondes nor brunettes
look well in positive white. Are any pictures
so universally ugly as bridal ones?
All violent contrasts of color spoil a picture,
and should be particularly guarded against;
and jewelry imparts a look of vulgarity.
Blondes suffer most in photographic pictures;
their golden hair loses all its brilliancy,
and their blue eyes, so lovely to the poet,
are perplexity to the photographer. Before
facing the lens, blondes should powder their
yellow hair nearly white; it is then brought
to about the same photographic tint as in
nature.
Freckles, which are hardly any blemish in
the natural face, become, on account of their
yellow tint, very unpleasantly distinct in a
photographic picture, and often give to the
face a decidedly spotted look. They are
easily disguised for the occasion. There
ought to be in the dressing-room of every
studio a mixture of a little oxide of zinc and
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glycerine; this is to be thinned with rose-water
till of the consistence of cream, and
applied to the face with a piece of sponge
previous to the photographing process. It
leaves the skin a delicate white color, and
masks all freckles and discolorations. Let a
lady with freckles try her picture first without
this mixture, and again after the sponge and
the cosmetic, and the value of the receipt
will be at once appreciated. Its use has
long been advocated by the British Journal
of Photography.
In connection with this fact we may offer
a few words of advice to ladies whose skins
are apt to tan and freckle when exposed to the
summer sun. Blue is, of all colors, most
readily affected by light; and yellow is, of all
colors, the least readily susceptible to it. If,
then, a fine complexion is desired, the blue
veil must be rigorously discarded, however
becoming. Green could take its place, but
a little yellow net would be better to save a
delicate complexion than all the washes and
Kalydors ever invented. Freckles and tan
are nothing more than the darkening of
the salts of iron in the blood by the action
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of light; and as blue is, of all colors, most
easily affected by it, as we have said, any
one can see how destructive to a fine skin a
blue veil must be in sunny weather.
If the photograph is to be colored, the
shade of the costume is not nearly of so
much importance; but it may always be
borne in mind that close-fitting light garments
increase the size of the head, hands,
and feet, and that a flowing ample dress
renders these parts light and delicate. The
advantage of coloring photographs is very
great, if the artist be an able and judicious
one, for that hardness of outline, which is
more artificial than natural, may be in a great
measure remedied by a clever brush; only,
always object to solid colors; the most transparent
water-colors alone should be used.
However, it is a disputed question whether
artificial coloring, however well done, improves
photographs, since it certainly, in
some measure, robs them of that accuracy
and that air of purity which are the distinctive
claims of the art. The next improvement
in this method of limning faces will
undoubtedly be the compelling of the sun—the
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source of all color—to paint the pictures
he draws; and a number of recent facts point
to this improvement as very probable within
a short time.
Never permit yourself to be the lay figure
of a photographer’s ideal landscapes. The
cutting up of a portrait with balustrades,
pillars, and gay parterres is fatal to the effect
of the figure, which should be the only object
to strike the eye. No photographic portrait
looks so well as one with a perfectly plain
background, but if some accessory is desired,
then see that it does not turn the central
figure into ridicule. If you have always
lived in some modest home, do not be made
to stand in marble halls or amid splendid
imaginary domains. Young ladies reading
in full evening costume, with water and
swans behind them, or standing in trailing
silks and laces in a mountain pass, are ridiculous
enough. We saw a few days ago
the face of a lovely girl looking out of a
Champagne basket. The picture was artistically
taken, but the extravagant conceit of
the surroundings, utterly at variance with the
original’s character, completely spoiled the
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picture. We have in mind also a famous
belle sitting in an elaborate toilet in a room
full of books and materials for writing and
study, though all her little world knows that
she never reads aught but the lightest of
novels, and never writes anything but an
invitation or a love-letter. Actresses taken
in character may require an elaborate artificial
background in order to assist the illusion,
but private ladies, as a rule, look infinitely
better without it.
In ladies’ portraits the setting-off of beauty
is the thing to be borne in mind. This, in
a photograph, is, in a great measure, a
question of lights and shadows, and of their
distribution. For every face there is a light
and a shadow to be specially selected as the
one that will show it to the best advantage.
The most becoming light is one level with,
or even somewhat beneath, the face, it being
a great mistake to suppose the foot-lights on
the stage unbecoming. A top light, such
as we get in ordinary photographic rooms,
augments the projection of the forehead, and
throws a deep shadow over the eyes. The
bridge of the nose, the lower lip, and chin
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separate themselves, as it were, in clear lights,
from the rest of the face, and such an effect
is very unbecoming and inappropriate for a
young girl.
If the features are prominent, a clear
bright light increases very decidedly that
prominence, and also imparts a peculiar
hardness to the expression that has probably
no existence in the model. Therefore insist
that, as far as possible, the light from above
shall be got rid of, and a light from the side
brought into use.
There is as much character in the human
figure as in the face; consequently full-length
portraits are best, because they add
to the facial resemblance the attitude and
peculiarities of the figure. If the portrait is
half-size, then the attitude ought to indicate
the position of the lower extremities. In
bust portraits the head is everything, the
bust merely sustains and indicates its size
and proportion. The head, however, should
never be represented without the bust, for
the effect of such a portrait is a total want
of unity; it offers no point of comparison by
which the rest of the body can be judged,—a
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matter of great importance, as this is one
of the most striking characteristics of the
individual.
A carte de visite is a more agreeable likeness
than a larger one, because it is taken
with the middle of the lens, where it is
truest; hence it is never out of drawing.
Also, it hides rather than exaggerates any
roughness of the face; and, again, it is so
moderate in price that we can afford to distribute
the pictures generously.
Photographs have a bad name for durability,
and when we look over our albums
and see those that were once strong and expressive
now pale and faded, we are forced
to admit that their beauty is evanescent.
But this disadvantage is very much the fault
of the artist. There is nothing in the chemical
constitution of photographs—formed as
they are by the combination of the precious
metals—to make them evanescent. The
trouble lies in the last process through
which they pass. This process leaves them
impregnated with a destructive chemical, and
the removal of all traces of it is a difficult
and tedious thing. To be finished effectually,
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the pictures ought to be bathed for a
day in a good body of water constantly
agitated and changed. Artists who are
jealous of their art and of their personal
reputation insist on this process being
thoroughly attended to, but with inferior
photographers the temptation to neglect it
is very great, especially as in many cases the
vicious chemical adds to the present brilliancy
of the picture. They are further tempted
by the impatience of sitters, who are often
importunate for an immediate finish of their
pictures. But if a durable portrait is wanted,
ladies must allow the artist time for the
proper cleansing of their photograph.
To the large majority of people the first
interview with their photographic portrait
is a heavy disappointment. They express
themselves by an eloquent silence, turn it
this way and that, hold it near and far off.
After a little while they become used to it
in its velvet frame, though they never in their
heart acknowledge its truthfulness. Again,
there are others to whom photography is
very favorable, and they show to more advantage
in their pictures than ever they did
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in reality. These last are people whose
features are well balanced and proportioned,
but who are not generally considered beautiful.
Faces dependent for beauty on their
mobility and expression suffer most, and are
indeed, in their finer moods, almost untranslatable
by this process.
Still, setting aside all artistic considerations,
photographic portraits have a great
social value, not only because they fairly
indicate the personnel of their models, but
because they so faithfully represent textures
that we can form a very good idea from a
carte de visite of the social position of the
sitter, and incidentally, from the cut, style,
and material of the dress, a very good notion
also of their moral calibre.
Many things are permissible in photographic
portraits—which may be retaken
every few months—that would justly be
deprecated in a finished oil portrait destined
to go down with houses and lands to unborn
generations. In such a picture any intrusion
of the imagination is an impertinence if made
at the slightest expense of truth.
The great value of an oil portrait is this:
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the divine, almost intangible light of expression
hovering over the face is seized on by
living skill and intellect, and imprisoned in
colors. The sitter is not taken in one
special moment, when his eyes are fixed and
his muscles rigid, but in a free study of
many hours the characteristics of the face
are learned, and some felicitous expression
caught and fixed forever. This is what
gives portrait painting its special value, and
drives ordinary photographic portraits out of
the realms of art into those of mechanism.
Artists have various ways of treating their
sitters. Some throw them into a Sir-Joshua-like
attitude, and put in a Gainsborough
background. Others compass the face all
over, and map it out like a chart, taking
elevations of every mole and dimple. But
whenever an artist feels unsafe away from his
compasses, and cannot trust himself, sitters
should not trust him.
There is a real pleasure in sitting to a
master in his art, a real weariness and
disgust in sitting to a tyro. It must be
remembered that not only is the best expression
to be caught, but that the features
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of any face vary so much under physical
changes and mental moods that their differences
may actually be measured with a foot-rule.
An ordinary artist will measure these
distances; an extraordinary artist will catch
their subtle effects, and will draw the features
as well as the expression at their very best.
A really fine oil portrait should look as
well near by as it does at a distance.
Suffer no artist to leave out blemishes
which contribute to the character of the
original; ugly or pretty, unless a portrait is
a likeness, it is worthless. There are very
clever artists who cannot paint a true portrait,
because they leave every picture
redolent of themselves. Thus Bartolozzi
in engraving Holbein’s heads, made everything
Bartolozzi. But in a portrait the
individuality of the sitter should permeate
and usurp the whole canvas, so that in looking
at it we should think only of the person
represented, and quite forget the artist who
brought him before us.
It is an axiom that every full-length portrait
requires a curtain and a column, every
half-length a table, every kit-kat a full face.
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But surely such rules betray barrenness of
invention. Every good position cannot be
said to have been exhausted. Why should
not every portrait be treated as a part
of an historical picture in which the sitter’s
position and background and accessories
produced the tone and feeling most suitable
to his ordinary life? Raphael in his portrait
of Leo the Tenth exhibits a faithful
study of such subordinates. There is a
prayer-book with miniatures, a bell on the
table, and a mirror at the back of the chair
reflecting the whole scene. One of Rembrandt’s
most charming portraits is that of
his mother cutting her nails with a pair of
scissors.
Never suffer any artist to slur over or
hide the hand. The hand is a feature full
of beauty and individuality. Any one who
has noticed how Vandyck studied and
worked out its peculiarities, what beauty
and expression he gave to it, will never
undervalue its power as an exponent of
personality again.
The portraits of men or women occupying
prominent positions should always have
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their name and that of the artist on the back.
If this had been done in times past, how
many nameless portraits, now of little value,
would be held in high estimation! From
the time of Henry the Eighth to the time of
Charles the First it was usual to insert in a
corner the armorial bearings of the person
represented. This did not, indeed, accurately
identify the individual, but it made it
easier to determine. There is a masterpiece
of Vandyck’s in the National Gallery of
England that goes by the name of “Gevartius.”
But no one knows who Gevartius was.
Here is an old man’s head made memorable
for all time,—a head which would be thought
cheap at $10,000, and which, if it were for
sale, would attract connoisseurs from all
parts of the civilized world, and it is without
a name. How much more valuable and
interesting it would be if its history were
known! Therefore no feeling of modesty
should prevent eminent characters from insuring
the identity of their pictures. Let us
imagine a picture of Abraham Lincoln and
one of Professor Morse two hundred years
hence, with the name attached in one case,
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and a mere tradition of identity in the other,
and it will be easy to estimate the difference
in value.
Americans have been accused of an undue
taste for portraiture; the taste has its foundation
in the character of the nation. It
corresponds with that estimation of the personal
worth of a man, and that full appreciation
of individual independence, which
form such important elements in our national
character.
The Crown of Beauty
The glory and the crown of physical
perfection is beautiful hair. Venus
would not charm us if she were bald, and
neither poet, painter, nor sculptor would
dare to give us a “subject” which should
lack this, the charm of all other charms.
Neither is it a modern fancy. Homer,
when he would praise Helen, calls her “the
beautiful-haired Helen,” and Petronius, in
his famous picture of Circe, makes much of
“trailing locks.”
The loveliness of long hair in woman
seems never to have been disputed, and it
had also a very wide acceptance as a mark
of masculine strength and beauty. St. Paul,
it is true, says that it is a shame to a man
to have long hair, but his opinion is not to
be taken without reservation, for both the
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traditions of poetry and painting give to the
Saviour, and also to the Beloved Disciple,
long locks of curling brown hair. The
Greek warriors and most of the Asiatic nations
prided themselves on their long hair,
and the Romans gave a great significance to
it by making it the badge of a freeman.
Cæsar, too, distinctly says that he always
compelled the men of a province which he
had conquered to shave off their hair in
token of submission.
The Saxon and Danish rulers of England
were equally famous for their long yellow
locks, and the fashion continued with little
or no intermission until the dynasty of the
Tudor kings. They affected, for some reason
or other, short hair; and “King Hal”
is undoubtedly indebted for his “bluff look”
to the short, thick crop which he wore.
The fashion even extended to the women
of that age, and their pictured faces, with
their hair all hidden away under a coif, have
a most hard, stiff, and unlovely appearance.
Under the Stuarts, long, flowing hair again
became fashionable with the Royalist party,
who made their “love locks” the sign and
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emblem of their loyalty. On the contrary,
the Puritans made short hair almost a tenet
of faith and a part of their creed. Within
the last ten years hair has been again the
sign of political feeling, for, during the Civil
War, the Southern women in favor of the
Confederacy wore one long curl behind the
left ear, while those in favor of the Union
wore one behind each ear.
During the last century men have gradually
cut their hair shorter and shorter.
They pretend, of course, fashion dictates
the order; but a woman may be allowed
to doubt whether necessity did not first dictate
to fashion. Certainly ladies prefer in
men hair that is moderately long, thick, and
curling, to the penitentiary style of last year.
And suppose they could have long hair, but
cut it for their own comfort, the act says
very little for their gallantry. I have no
need to point to the chignons, braids, and
artifices which women use to lengthen their
hair in order to please men, who decline to
return the compliment, even to a degree
that would be vastly becoming to them.
After the length of hair, color is the point
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of most interest. In reality there are but
two colors, black and red. Brown, golden,
yellow, etc., are intermediate, the difference
in shade being determined by the sulphur
and oxygen or carbon which prevails. In
black hair, carbon exceeds; in golden hair,
sulphur and oxygen. It has been insisted
that climate determines the color of hair;
that fair-haired people are found north of
parallel 48°; brown hair between 48° and
45°; which would include Northern France,
Switzerland, Bohemia, Austria, and touch
Georgia and Circassia, Canada, and the
northern part of Maine; and that below
that line come the black-haired races of
Spain, Naples, Turkey, etc., etc. But this
is easily disproved. Take, for instance, the
parallel 50° and follow it round the world.
Upon it may be found the curly, golden-haired
European; the black, straight hair of
the Mongolian and American Indian, and
again, in Canada, it will give us the fair-haired
Saxon girl. So, then, it is race, and
not climate, which determines the color. I
am inclined to think, too, that temperament
has something to do with it, since we find
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black-haired Celts, golden-haired Venetians,
and fair and black-haired Jews.
The ancient civilized nations passionately
admired red hair. Greeks, Romans, Chinese,
Turks, and Spaniards have given it
to their warriors and beauties. Somehow
among the Anglo-Saxon race it has a bad
reputation. Both in novels and plays it is
common to give the rascal of the plot
“villanous red hair;” and in the English
school of painters, the traitor Judas is generally
distinguished by it. In the East, black
is the favorite color, and the Persians abhor
a red-haired woman. Light brown or golden
hair is the universal favorite. The Greeks
gave it to Apollo, Venus, and Minerva.
The Romans had such a passion for it that,
in the days of the Empire, light hair brought
from Germany (to make wigs for Roman
ladies) sold for its weight in gold. The
Germans themselves, not content with the
beautiful hair Nature had given them,
made a soap of goat’s tallow and beechwood
ashes to brighten the color. Homer loved
“blondes,” and Milton and Shakespeare are
full of golden-haired beauties, while the
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pages of the novelist and the galleries of
painters, ancient and modern, show the
same preference.
Lavater insists greatly on the color of
hair as an index to the disposition. “Chestnut
hair,” he says, “indicates love of change
and great vivacity; black hair, passion,
strength, ambition, and energy; fair hair,
mildness, tenderness, and judgment.”
Fashion has dressed the hair in many
absurd and also in many beautiful forms;
but through all changes, curls, floating free
and natural, have had a majority of admirers.
Some one says that “of all the revolvers
aimed at men’s hearts, curls are the most
deadly,” and from the persistent instinct of
women in retaining them, I am inclined to
indorse this statement. The Armenians and
some other Asiatics twist the hair into the
form of a mitre; the Parthians and Persians
leave it long and floating; the Scythians
and Goths wear it short, thick, and bristling;
the Arabians and kindred people often cut
it on the crown. In the South of Europe,
“to be in the hair” is a common expression
for unmarried girls, because they wear their
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hair long and flowing, while matrons put it
up in a coil at the back of the head.
Until the ninth century in England, Nature
pretty much led the fashions in hair-dressing;
then plaits turned up on each
side of the cheek were introduced; and in
the eleventh century the hair all disappeared
under the head-dress of that time. Early
in the sixteenth century ladies began to
“turn up” the hair. Queen Margaret of
Navarre frizzed and turned back her abundant
locks just as the women of our own
day do. The custom, too, that is now
prevalent of braiding the hair in two long
locks and tying them at the ends with
ribbons was a favorite style in the early
part of the seventeenth century. In the
eighteenth century women used powder to
such an extent as almost to destroy the
color of the hair, and during the past
hundred years every possible arrangement
and non-arrangement has had a temporary
favor.
I have nothing to say about the customs
of the present day. If there is any property
in which a woman has undisputed right, it is
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surely in her own hair; and if she chooses
to wear it in an unbecoming or inartistic
style, it is certainly no one’s business that
I can perceive. Assuredly not the men’s,
since I have already shown that they, either
through inability or selfishness, decline to
wear the thick, flowing locks with which
Nature crowns manly strength and beauty,
and which are all women’s admiration.
The majority of women have a natural
taste in this matter, and very few are so
silly as to sacrifice their beauty to fashion.
Two or three rules are fundamental in all
arrangements of the hair: one is that a
superabundance at the back of the head always
imparts an animal expression; another,
that it is peculiarly ugly to sweep the whole
forehead bare. The Greeks, supreme authorities
on all subjects of beauty and taste,
were never guilty of such an atrocity. In
all their exquisite statues the hair is set
low. A third is that “bands” are the most
trying of all coiffures, and never ought to be
adopted except by faces of classic beauty.
To add them to a round, merry face with
a nose retroussé is as absurd as to put a
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Doric frieze on an irregular building. A
general and positive one is that all hair is
spoiled, both in quality and color, by oiling,
for it takes from it that elasticity and lightness
which is its chief charm and characteristic;
the last (which I have no hope ladies
will heed just at present) is, never to hide
the natural form of the head.
Waste of Vitality
If we come to reflect upon it, in middle
age we find that the one great cause of
departure from the ideal in real life is our
liability to take cold. Almost all our pleasures
are bound up with this probability, for
when we have taken cold we are far too
stupid either to give or enjoy pleasure. And
there is no philosophy connected with colds.
Serious illnesses are full of instruction and
resignation, but who thinks of being resigned
to a cold, or of making a profitable
use of it?
“Chilly” is a word that of late years has
come to be a frequent and pitiably significant
one on the lips of the middle-aged.
They have a terror of the frost and snow
which they once enjoyed so keenly, and
they really suffer much more than they will
allow themselves to confess.
The most invigorating and inspiriting of
all climates is 64°, but if the glass fall to
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50°, chilly people are miserable; they feel
draughts everywhere, especially on the face,
and very likely the first symptoms of a
neuralgic attack. At 40°—which must
have been the in-door winter temperature
of our forefathers—they become irritable
and shivery, and lose all energy. If the
temperature fall below 30°, they “take
cold,” and exhibit all the mental inertia and
many of the physical symptoms of influenza,
which nevertheless has not attacked them.
Let us at once admit a truth: the young
and robust despise the chilly for their
chilliness, for there is such a thing as
physical pride, and a very unpleasant thing
it is in families. These physical Pharisees
are always recommending the “roughing”
and “hardening” process, and they would
gladly revive for the poor invalid the cold-water
torture of the past.
Without being conscious of it, they are
cruel. Chilly people are not made better
by the unsympathetic remarks of those of
quicker blood. There is no good in assuring
them that the cold is healthy and
seasonable. They feel keenly the half-joking
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imputation of “cosseting,” though
perhaps they are too inert and miserable
to defend themselves.
Strong walking exercise is the remedy
always proposed. Many cannot take it.
Others make a laudable effort to follow
the prescription, and perhaps during it
feel a glow of warmth to which in the
house—though the house is thoroughly
warmed—they are strangers. But half an
hour after their return home the tide of
life has receded again, and they are as
chilly and nervous as before.
Nevertheless, they have passed through
an experience which, if they would consider
it, indicates their relief, if not their cure.
While out-of-doors they thought it necessary
to cover their feet with warm hosiery
and thick boots, the head with a bonnet
and veil, their hands with gloves and a
fur muff, their body with some fur or
wadded garment half an inch thick. In
short, when they went out they imitated
Nature, and protected themselves as she
does animals.
But just as soon as they return home
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they uncover their head and hands, replace
the warm, heavy clothing of the feet with
some of a more elegant but far colder
quality, and take off altogether the thick
warm garments worn out-of-doors. A
bear that should follow the same course
when it went home to its snug subterranean
den would naturally enough die of
some pulmonary disease. Nations which
are subjected to long and severe winters
have learned the more natural and excellent
way. The Laplander keeps on his
fur, the Russian his wadded garment, the
Tartar his sheep-skin, the Shetlander goes
about in his house in his wadmal. It is
only in our high state of civilization that
men and women divest themselves of half
their clothing with the thermometer below
zero, and then run to the fire to warm
their freezing hands and feet.
If warm clothing protects us out of the
house, it will do the same in the house; and
it is no more “coddling,” and much more
sensible and satisfactory than cowering over
a grate. Under the head-dress a silk skullcap
is a most effective protection against
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draughts, and would prevent many an attack
of neuralgia. A silk or wash-leather vest
will keep the body at a more equable temperature
than the best fire. A shawl to
most middle-aged ladies is a graceful toilet
adjunct even in the house, and it is capable
of retaining as well as of imparting much
warmth. When very chilly after removal
of outside wraps, or from any other cause,
try a wadded dressing-gown over the usual
clothing. In five minutes the added comfort
will be recognized.
The secret is, then, to keep the body at
its proper temperature in the house by the
adoption of sufficient warm clothing, instead
of trusting to artificially heated atmosphere.
No one will be more liable to take cold out
of the house because she has been warm
in the house. There is no more sense in
shivering in-doors in order to prepare the
body to endure the out-door climate than
there would be in sleeping with too few
blankets for fear of increasing the sense
of cold when out of bed.
A stuffy room, with air constantly heated
to 75°, is the most efficacious invention
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ever devised for ruining health. But it is
equally true that habitual warmth is the very
best preserver of constitutional strength in
middle and old age; and undoubtedly this
is best maintained by a temperature of 68°
and plenty of clothing.
A very important aid to warmth is a
proper diet. Many women who suffer continually
from a sense of chill, below the
tide of healthy life, have yet constantly
at hand an abundance of nourishing food.
But they eat one day at one hour, the next
at another; they don’t care what they eat,
and take anything a flippant-minded cook
chooses to send them; they wait for some
one when themselves hungry, out of mere
domestic courtesy; and when their husbands
are from home they take tea and biscuits
because it is not worth while giving servants
the trouble of cooking for them alone. In
all these and many similar ways vitality is
continually lost, and with every loss of
vitality there is a corresponding access of
slow, chilly, shivering inertia.
It is a great mistake that women are
taught from childhood that it is meritorious
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in their sex to conceal their own wants, and
to postpone their own convenience to that
of fathers, brothers, husbands, and even
servants. For in the end they break down,
and are left in a state of ill health in which
all the wheels of life run slow. The trouble,
in a sentence, is that women have no
wives—no one to remind them when they
are in a draught, or come in with wet feet,
no one to get them a warm drink when
chilly, and ward off the little ills (which
soon become great ones) by loving, thoughtful,
constant care and attention.
All women know how hard it is to live
the usual life of work and amusement in
a physical condition of far below the requisite
strength. Nothing induces this condition
like chronic chill. In it no vitality
can be gained, and very much may be continually
lost. Therefore every plan should
be tried which promises to raise the temperature
to a healthy standard. Try the
effect of a room heated to 68°, and plenty
of warm, constantly warm clothing.