I was working on this straw before Dad passed away last spring. It was originally getting trimmed in green as seen here.
It was then transformed into my second mourning bonnet for the 2008 season.
Pictures to come
This year, it will get changed again…
Pictures to come
This was my first experience with making a caned bonnet and making a Regency era bonnet. Since it was a new millinery project for me, I decided to reuse material. These bonnets used to be the dress I wore to my brother’s wedding a few years back. I just loved this ginger silk and had to make it into something I would use more often.
The caned bonnet was one I worked on with Bevin as she did her first caned bonnet. We used her buckram pattern for the base. The cane is the smallest cane I could order from Frank’s Cane and Rush Supply. (Excellent service by the way.) My can is sandwiched between layers set in groups to define the difference between the caned and loose areas. Overall I thought this was an easy, fun project. I liked the caned look so much I started a white sheer caned bonnet (to be posted sometime.) I want to find the right flowers and ribbons for this. I am leaning towards burgundies, rusts, or deep greens. Purples might be an option too.
The Regency bonnet came about after a conversation with Pam. While I hadn’t had any Regency clothing at the time of making the bonnet, I just needed to see how it would go together.
I’ve discovered the visitation to this blog is much more frequent and consistent than my website. Between this and finding I can put pdf files up easily here, I plan to put more materials here. In the meantime, I thought it would be helpful to link back what is already on the website.
Information for From Field to Fashion: Straw Bonnets is available on the website.
To Net or not to Net is fairly popular, discussing hairnets of the mid-century. http://www.geocities.com/shadowofthesundial/netarticle.html
The original shawl article is available on the website at http://www.geocities.com/shadowofthesundial/earlyvictorianshawls.html. The E-book Early Victorian Shawls is available here https://annaworden.wordpress.com/2009/01/22/straw-bonnet-work-book-early-victorian-shawls/
I have a series resources in PDF format available here http://www.geocities.com/shadowofthesundial/list.html including: Anatomy of a Dress – The basic structure of a mid-century dress.
Anatomy of a Bonnet – The basic structure of a mid-century bonnet.
Fringing shawls – A guide to fringing a wool fabric shawl.
Making Bonnet Ribbons – A guide to making bonnet ribbons from fabric or narrower ribbons.
Event Prep Cheat Sheet- A helpful sheet to help you have the basics for an event.
Introductions- Hints on how to give basic introductions.
Swatch cards template- A template for swatch cards
Transcription of ”Home” by Fergurson and Transcription of “Politeness” by Fergurson
Books and Paper- Information on the sizes of paper and books.
Flowers from Godey’s- These are directions for making various flowers from Godey’s I plan to eventually make. I’ll be adding more directions as I am able to scan more originals and as I attempt each flower.
Packing and Storing Small storage containers for packing and storing small items.
Tents and Camping –
Soldiers’ Aide – Acquisition and Distribution Chart –
Creature Comforts, those things that make life more comfortable at events.
Dining and Entertaining
Keeping your hands busy Needlework ideas for at events
Money and Measures
I am planning on updating and moving over all the Social Movements reading lists from the Social Movement Series in the Citizen’s Companion. For right now, those lists are here. http://www.geocities.com/shadowofthesundial/social.html
I hope this makes accessing things easier for everyone. Thanks for visiting.
This was originally printed in full in The Citizen’s Companion.
Modern, 21st century fashion doesn’t give us many opportunities to wear fun hats very often. That makes wearing bonnets and hats in from the 19th century much more fun. Most of us enjoy, some do stress, looking for bonnets or hats. The goal each time? Finding an authentic bonnet or hat that fit within the person’s budget, needs and skills.
There really is a wide range of options for headwear out there to fit just about everyone’s needs. Here is a general outline of millinery options to match with your time, skills and budget.
Custom Made Bonnets
One route is to have a custom made bonnet designed for you. This method requires no sewing skill from you at all. Your level of creativity is flexible as is your own research level. The milliner can choose with you the right shape for the years or seasons of your portrayal while considering the shape of your face
She or he can then select the fabrics, ribbons, trims, and other embellishments that will best compliment your attire in a period method. This route can be one of the more costly depending on the type of bonnet selected, the amount of work and the materials used. Custom buckram/silk or straw bonnets start around $ 120 to $180 and go up; hoods range from $50 to 170 depending on materials and design. A custom bonnet, hat or hood could take weeks or even months to complete based on your milliner’s schedule. Plan accordingly.
The milliner you choose for your custom bonnet should be knowledgeable of period construction, shapes, fashion, and socio-economic influences on an impression. Talk or meet with her/him before hand; ask about their research and to see examples of their work. Be sure to discuss the impression or scenario you need the bonnet for, including the background of your character, the situation and what you will wear.
Millinery Off the Rack or Via the Internet
Buying a bonnet, hat or hood off the rack of via the internet has many advantages. The purchase is instant with no wait for construction of embellishment. If shopping in person, you can try the piece on to see how the shape suits you and your dress. You can also inspect the construction, method of attaching trim, etc. – Were the ribbons sewn on with cotton or silk thread? Was the straw plait sewn with cotton or linen thread not nylon? Are the flowers paper, silk, dried, fabric or plastic? Are the flowers pinned or sewn on rather than glued? How is the shape of the cheek tabs? Are there functional ties as well as decorative? If the milliner is present you can also ask questions – Was this piece based on an original, a photo, a fashion description? What kind of buckram was used? Is the milliner willing to make alterations/changes for you?
This route doesn’t require you to know how to sew or construct a bonnet. I do suggest you have a general knowledge of period shapes and materials. Take some time before shopping to look at original piece that fit your impression taking note of the shape and material. Bring some of your favorites with you. Do be aware of impulse purchases. You may end up with a bonnet you love that doesn’t go with your wardrobe or impression. Off the rack bonnets range from $90 to $200; straw bonnets$100 to $180; hoods $50 to $120; hats $70 to $150; sunbonnets $30 to $80.
We now move to options that require some sewing skills as well as knowledge of period millinery.
Finishing a purchased base
You can purchase a buckram or straw bonnet base or straw hat to finish and embellish on your own. This requires basic to moderate sewing skills. You start with a base that is accurate in shape, materials and construction. For a buckram bonnet you will need to cover the base with your desired fabric. Some milliners will provide directions for this. For buckram and straw bonnets you will need to line the interior as desired, add interior ruching or a cap, a curtain, functional ties, decorative ribbons, and embellishments. (See the section on making your own bonnet for material considerations.) A buckram base costs between $30 to $60; Straw bonnet bases $40 to $80; hats $35 to $60. Some milliners offer bases which are partly finished including the lining and cap.
Taking a class
One of the most enjoyable routes is to take a bonnet making class. Knowledgeable instructors are available to teach sessions on making just about every piece of headwear – buckram bonnets, straw bonnets, quilted hoods, corded bonnets, slat straw bonnets and hoods. You can find a class in a travelable distance. You can also arrange for an instructor to come to you to do a session for your local civilians. Depending on the type of headwear, sessions vary from an afternoon to a weekend or several consecutive evenings. Costs also vary according to the project, what materials are supplied, and where the instructor is coming from. Buckram and straw bonnet classes run $75 to $150; hoods and sunbonnets $50 to $110.
Most projects require basic to intermediate sewing skills. The great advantages to taking a class to make your bonnet or hood is the wealth of knowledge that comes with your instructor as well as the hands-on guidance through each step. An additional advantage is the camaraderie that develops with other participants during the class.
Making your own bonnet
If you are comfortable with your sewing skills, making your bonnet on your own is an option. You can choose to purchase a kit, purchase a pattern or follow period directions. Before beginning your bonnet or hood, even before making any purchases you must research. You will need to read up on period construction, materials and fashion. I recommend looking at original examples.
Buckram bonnet kits cost $25-$45; straw bonnet kits $20-$35; buckram bonnet patterns $15-$20; hood patterns $10-$20; sunbonnet patterns $8-$16 . There really isn’t a pattern for a straw bonnet because they were originally sewn row by row in the round. There are some directions available though. (contact the author for these.)
Each type of headwear requires different materials. This greatly varies the total cost of the bonnet or hood chosen. For a buckram bonnet you will need buckram, milliners wire, cotton for under lining the silk, cotton or silk for lining the inside, silk or wool to cover the bonnet and make the curtain, 1”ribbon for functional ties, 2-3 yards of wide silk ribbon for decorative ties, white cotton or silk net or sheer for interior ruching/cap and additional ribbon, flowers, feathers, etc. for trim. For a straw bonnet you will need 17 yards of ½” wide straw plait (more yardage is needed for narrower plait), milliner wire, watered down glue for sizing/stiffening, cotton or silk to line the inside, net cotton or silk for ruching, 3 yards of 4” to 6” wide ribbon or ½ yard silk for decorative ribbon and the curtain, 1 yard of 1” ribbon for functional ties and additional ribbon, flowers, feathers, etc. for trim. For a quilted hood you will need 1 to 2 yards of wool or silk depending on the fabric design and the type of hood, 1 yard of lining silk or cotton, cotton or wool batting, 1 yard of 1” ribbon and 1-2 yards of decorative ribbons. You may also want a fur trimming. For a sun bonnet you will need about a yard of cotton, silk or wool, ½ yard of corresponding lining fabric, cardboard for slats or cords for cording, and ribbon or fabric for ties.
Closing
As you can see, there are many millinery options to choose from. If you have time through the off season and want to network, find a class. It is a great way to make new friends. If you think you are likely to get snowed in over the winter or would enjoy some quiet evenings after the kids have gone to sleep, pick up the materials to make your own bonnet to have on hand when the opportunity arises. If you haven’t a moment to spare, tuck away some pictures of bonnets you enjoy so you can order or pick out the right bonnet for you. Choose the option that best fits your needs while striving for the most accurate piece of headwear.
About two or three years back I did this review of Period Impressions’ Straw Bonnet Pattern for some folks on the SA. I am putting it here for easy access.
Initial observations regarding the materials and directions:
– The pattern is drawn for a low and high brim bonnet with a separate tip.
– The materials list includes additional items you will need to purchase – covered wire, thread, Fray Check and glue. Depending on where you purchase these, the cost will be $5-12 for these.
– The straw plait is extra fine. It is very pretty. I like how the plait can be manipulated. On the brim and body of the bonnet, this plait easily adjusts for tension and width. The plait doesn’t need to be dampened for the body and brim. It does help for the crown coiling.
On a closer look at the plait, I am not sure if this is a period correct plaiting technique or straw splitting technique. Straw splitters make the strands flat to be braided individually or in pairs. The plait is very pretty in design that is fine. The cotton cording on either end is not something I have seen before.
There are some definite advantages to the flexibility of the plait. This is especially true when making the center of the point. But, since it is so fine and fiddly, it could be harder for a first-timer to work with. It would be easier for some one to make the bonnet from plain split straw of the same width. For this reason, I would suggest the buyer to purchase 18 to 20 yards of 1/2″ 5 or 7 strand split straw to use instead. This is more plait than provided by the kit because the amount provided in the kit is barely enough not allowing for error or flaws in the plait.
– I didn’t understand why Fray Check was included in the materials list at first because the plait I have worked with before didn’t fray. As I worked with the plait, I discovered it does fray at the ends. I would rather see the ends stitched together then Fray Check used.
– The directions at row 7 are different than what I do in that area. I start creating height in the brim further back in the crown. I don’t see directions to do this. In the area around row 7 from the front, I would normally pull the sides back a little while pushing the cheek tab forward a little. This usually takes place over 2 to 5 rows.
– In the final two illustrations and directions, the “fall” doesn’t look to be right. It should reach further along the sides than illustrated. Look at original bonnets to see where the curtain and ties should be positioned.
– I kept pinning the template closed after each row to see how the plait sat. When I work in the round from back to front, I adjust the tension of the plait a good deal. This doesn’t work the same on the template working flat. The back side of each row of plait appeared looser than I would have liked. I started pulling the top/middle of each row a bit tighter.
– I ran a gathering stitch around the back of the body before attaching the back of the crown. This technique gives a nice transition between the two pieces.
– I ran out of plait after binding the raw edges. I would need about 20 inches more to have enough to cover the wire.
– Last but quite significant – When it came to ripping out the interfacing…. frustrated is a gentle word for what I felt. The stitches on the backside need to be very small for the interfacing to come off nicely.
Additional thoughts:
– This bonnet needs wiring at the brim and sides for sure.
– I am a little worried about the glue sizing and the flexibility of the plait combined with high humidity and/or rain. I think this will be a “no rain” bonnet.
Images:
Close up – foggy
http://img.photobucket.com/albums/v95/Deliagodric/Bonnet%20Pictures/101_0078.jpg
prior to sizing:
http://img.photobucket.com/albums/v95/Deliagodric/Bonnet%20Pictures/101_0075.jpg
http://img.photobucket.com/albums/v95/Deliagodric/Bonnet%20Pictures/101_0077.jpg
http://img.photobucket.com/albums/v95/Deliagodric/Bonnet%20Pictures/101_0076.jpg
After sizing and decorating (version 1)
http://img.photobucket.com/albums/v95/Deliagodric/Bonnet%20Pictures/101_0123.jpg
http://img.photobucket.com/albums/v95/Deliagodric/Bonnet%20Pictures/101_0121.jpg
After sizing and decorating (version 2)
http://img.photobucket.com/albums/v95/Deliagodric/Bonnet%20Pictures/101_0688.jpg
If you haven’t already, do check out Mrs. Peeble’s post on the WCC.
http://www.westcoastcampaigner.com/forums/showthread.php?t=1432
She discusses everything from mending and caring for clothes to planting an herb garden to tent, furniture and china care. She has many wonderful tips to share.
This event is this Friday. It sounds like an absolute must see event. Please check it out.
http://www.landmarksociety.org/events/events.html?CA=8&EID=287
I don’t know how many of you are as anxious for spring as I am. While I think snow can create the most beautiful landscapes, I find driving in it quite tiresome. I also find, on mornings like this morning, sliding on ice a bit nerve racking. (I’m so glad I’ve been exercising because I would have landed right on the ground otherwise.) Given that today is Groundhogs Day, I feel a little better that spring will actually be here eventually.
The earliest reference to Groundhog’s Day that shows up on Google Books is in 1893. Other days landing in the February 2nd vicinity show up more often including Candlemas, Imbolc, and Purification Day. In the 1832 and 1841 almanac The Year Book of Daily Recreation and Information by William Hone describes the February 2nd holiday:
“February 2. Candlemas Day. This day is so called, because it the papal church a mass was celebrated, and candles were consecrated, for the church processions. To denote the custom and the day, a hand holding a torch was marked on the old Danish calendars.”
In John Timbs’ 1861 Something For Everybody :
Candlemas.
The Pagan Romans celebrated their Juno Februata on the day which is the vigil of Candlemas, Feb. 1st; and hence the name of the month February is unquestionably derived. In some of the ancient illuminated calendars, a woman holding a taper in each hand is represented in the month of February.
Candlemas is evidently traceable to the ancient custom of lighting up churches and chapels with candles and lamps, and carrying them in procession. The practice of lighting the churches has been discontinued in England since the second year of Edward VI.; in the Romish Church, the original name, and all its attendant ceremonies, are still retained. Herbert, in his Country Parson, refers to a relic of this practice in the custom of saying “when light is brought in, God sends us the light of Heaven,—and the parson likes this very well. Light is a great blessing, and as great as food, for which we give thanks; and those that think this superstitious, neither know superstition nor themselves.”
The candles for this festival were made in great quantities in Roman Catholic times; the Wax Chandlers’ Company was incorporated as early as 1483; the chandler of old lent out wax-tapers for hire ; and wax was .brought to him to be made into “torches, torchettes, prykettes, or perchers, chaundelle or tapers for women ayenst Candlemas.”
Notwithstanding the Popish character of Candlemas, and its hallowing and conjuring of candles, in 1628 we find a Bishop of Durham, climbing ladders to light up his cathedral with 220 candles and 16 torches; and in 1790, the collegiate church of Ripon, Yorkshire, was, on the Sunday before Candlemas Day, ” one continued blaze of light all the afternoon by an immense number of candles.”
Ray, in his Proverbs, has: “On Candlemas Day, throw candle and candlestick away;” and “Sow or set beans on Candlemas waddle,” i.e., wane of the moon.
Another reason was that the use of lighted tapers, which was observed all winter at vespers and litanies, was then wont to cease till the next Allhallow Mass. Women used to carry candles when they were churched; in the north of England, this is called Wives’ Feast Day. Christmas evergreens were removed, and box substituted in their place, as Herrick thus enjoins, in his Hesperides:—
Down with the Rosemary and Baycs,
Down with the Misleto;
Instead of Holly, now up-raise
The greener Box (for snow).
The Holly Hitherto did sway,
Let Box now domineere
Until the dancing Easter Day
On Easter’s Eve appear.
Then youthful Box, which now hath grace,
Your houses to renew;
Grown old, surrender must his place
Unto the crisped Yew.
When Yew is out, then Birch comes in,
And many flowers beside,
Both of a fresh and fragrant kinne,
To honour Whitsuntide.
Green Rushes, then, and sweetest Bents,
With cooler Oaken boughs,
Come in for comely ornaments,
The re-adorn the house.
Thus times do shift; each thing his turne do’s hold;
New things succeed as former things grow old. “
There are many other descriptions and histories of the available on GB.
We are likely most familiar with the weather forcasting method of watching the groundhog reacting to his or her shadow. These are some of the other predictions that were made at this time of year: (From Something for Everybody mostly relevant to the climate in England I suspect.)
When the wind’s in the east on Candlemas Day,
There it will stick till the second of May.
When Candlemas Day is fine and clear,
A shepherd would rather see his wife on the bier.
After Candlemas Day, the frost will be more keen,
If the sun then shines bright, then before it has been.
You should on Candlemas Day
Throw candle and candlestick away.
On Candlemas Day, if the thorns hang a-drop,
Then you are sure of a good pea-crop.
In The Borderer’s Table Book published in London, 18__, this look how well winter will hold can be found a set of predictions that make me think I’ll have a long winter in this area (the weather was nice yesterday and is again today.)
On Candlemas-day, throw candle and candlestick away.
A windy Christmas and calm Candlemas are signs of a good year.
If Candlemas-day be fine, it portends a hard season to come.
If Candlemas-day be cloudy and lowering, a mild and gentle season.
That hind had as life see his wife on the bier,
As that Candlemas-day be pleasant and clear.
If Candlemas-day be fair and bright,
Winter will have another flight.
If Candlemas-day be clouds and rain,
Winter is gone, and will not come again.
When Candlemas-day is come and gone
The snow lies on a hot stone.
February fill dike, be it black or be it white,
But if it be white, it’s the better to like.
Of all the months in the year, curse a fair February.
If Candlemas-day be dry and fair,
The half of winter’s to come and mair.
If Candlemas-day be wet and foul,
The half of winter’s gone at Yule.
It Candlemas-day is fair and clear,
There’ll be two winters in the year
.
For more seasonal proverbs, also see Proverbs of All Nations, London, 1861.
A recent post on the Sewing Academy brought up one of my pet peeves, the Fan Dance. This dance is popular at many of the north-eastern events. I love cotillions (dance games). But, most of the time I see this dance done, it isn’t done the way it is described in mid-century dance manuals. At events I see it danced in long lines rather than in a circle as described. I’ve seen the dance done in a circle. This format makes it far more fun for all involved.
Below are period versions of the fan dance.
From The Prompter by William DeGarmo (New York, Raymond & Caulon, Printers, 1865.)
“L’ÉVENTAIL–(THE FAN.)
“The first couple perform a Tour de Valse or Galop. The gentleman conductor seats his lady upon a chair in the centre of the room, and brings two gentlemen (one by each hand) in front of the lady, who offers to one of the two her fan, and dances with the other. The gentleman who receives the fan must follow the dancing couple round, fanning them at the same time.”
From American Dancing Master, and Ball-room Prompter by Elias Howe (Boston 1862)
The Fan–L’Eventail. (Waltz, Polka, or Mazourka Step.)
“Three chairs are placed in the middle of the room upon the same line. The two at the ends should be turned contrariwise to that in the centre, as in the figure of the Glass of Champagne. The first couple sets out in waltzing. The gentlemen seats his lady upon the centre chair, and seeks two other gentlemen, whom he places in the two other chairs. The lady offers her fan to one of the gentlemen at her side, and waltzes with the other. The gentleman with the fan must follow the waltzing couple, fanning them and hopping about the circle.”
From The Art of Dancing, by Edward Ferrero (New York, 1859)
“The Fan Three chairs are placed in the centre of the room on a line. The two at the extremities must be turned contrariwise to that in the centre. The first couple leads off in a waltz. The gentleman seats his lady on the centre chair, and gives her a fan; he proceeds to select two other gentlemen, whom he seats on the other two chairs. The lady offers the fan to one of the two gentlemen seated at her side, and waltzes with the other. The gentleman who holds the fan must follow the dancing couple, fanning them, while hopping on one leg.”
From The Drawing-Room Dances by Henri Cellarius (London, 1847)
“The Fan–L’Eventail. (Waltze, polka.)
Three chairs are placed in the middle of the room upon the same line. The two at the ends should be turned contrarywise to that in the centre, as in the figure of the Glass of Champagne. The first couple sets out in waltzing. The gentleman seats his lady upon the centre chair, and seeks two other gentlemen whom he places in the two other chairs. The lady offers her fan to one of the gentlemen at her side, and waltzes with the other. The gentleman with the fan must follow the waltzing couple, fanning them and hopping about the circle.”
Do not speak loud and long in company. This is a fault that young people are liable to commit. In the exuberance of their spirits, the voice is often raised to a high key, and some favorite topic is extended to an immoderate length, to the exclusion of all other conversation. This habit should be strictly guarded against. Those who indulge in it are liable to utter many things ridiculous and absurd, and to lay themselves open to the just censure of the wise and prudent. Loud laughter is also impolite, and is considered by many as an indication of an empty mind. I would by no means banish sociability and pleasantry from the friendly circle. But there should be a proper medium observed. The good sense of youth should teach them not to surpass, in these respects, certain bounds prescribed by propriety.
In a mixed company, avoid, if possible, all contentions and disputes, especially on exciting topics. If carried to any extent, they lead to exhibition of improper feelings, and generally cause the disputants, and the whole company, to become unhappy. There may be cases where this rule should be departed from; but such instances are extremely rare. As a general practice, the rule should be strictly adhered to.
Do not permit yourself, in company, to speak disrespectfully of one who is absent, if you can consistently avoid it. This practice is not only impolite, but it is ungenerous and unjust. If it becomes necessary to express opinions derogatory to the character fo the absent, speak in guarded language and with all the palliations that charity and forgiveness can suggest.
Avoid any exhibitions of anger or petulance. There are impolite and immodest especially so in females. They throw you off your guard, cause you to utter expressions extremely improper, and often ridiculous, and place you in circumstances very unpleasant. A guard should be placed upon the temper. Nothing is more to be avoided than the outbreakings of rage. Under their influence, evils are often committed, for which a whole after life of propriety can hardly atone.
Be cautious not to interrupt others when speaking. This plainly indicates a want of good breeding; and yet it is a very common practice with many. However anxious you may be to utter your views, remain silent until those who are speaking have concluded. Respect to them, and a desire to avoid confusion, as well as the rules of propriety, dictate a strict adherence to this precaution.
Do not bluntly deny the truth of the opinions expressed by those with whom you are conversing; and more especially if they are aged, or their opportunities for obtaining information have been superior to yours. If you differ from them, express your views in modest and respectful language, and with due deference to their mature experience. You should rather express the propriety of a different opinion than pertinaciously assert it.
Never indulge in ridiculing others in company. It is a vulgar and ungenerous practice, and indicates a narrow, uncultivated mind. All have their weaknesses and imperfections, – even those who possess the most shining talents, have their blemishes. “But what an absurd thing it is to pass over all the valuable characteristics of individuals, and fix our attention on their infirmities; to observe their imperfections more than their virtues, and to make use of them for the sport of others rather than for our own improvement.” “The littlest feeling of all, it is the delight in contemplating the littleness of other people.” Persons addicted to ridicule, are not usually distinguished for their own wisdom or good sense. Like critics who cut up a good publication, without being able to produce one themselves worth reading, so those most given to the ridicule of others, are themselves generally deficient in many of the valuable characteristics of human nature. “If the talent of ridicule where employed to laugh men out of vice and folly it might be of some use to the world; but, instead of this, we find that it is generally made use of to laugh men out of virtue and good sense, by attacking every thing that is solemn and serious, decent and praiseworthy, in human life.” If young people must indulge in ridicule, I pray to you act upon the reverse of this observation. Let your talent of ridicule be exercised only against immoral and vicious practices; against pride, folly, and every species of extravagance and sin.
Avoid ridiculing others on account of their appearance, or their plainness of dress. Some are naturally more awkward in their demeanor than others; and any ridicule on that account, will be at the expense of your good sense, in the eyes of the discriminating. All tastes do not agree in regard to dress. You claim the liberty of arraying yourself in such habiliments and style as your fancy dictates. You should be willing to grant the same privilege to others; and should no more imagine that you have the right of ridiculing them for not following your taste, then they have of ridiculing you for not imitating theirs. And by all means avoid ridiculing those, who, from poverty are unable to appear in attire as costly or as fashionable as that of the community in general. This is a cruel, ungenerous, unmanly practice. It is not only impolite, but it is really inhuman. It displays a selfish spirit, a shallow mind, and a heart devoid of the gentler susceptibilities of our nature. No individual, male or female, can justly lay the least claim to politeness of generosity, who exhibits a feeling so mean and brutal. Instead of basely indulging in the ridicule of the poor, you should be inclined to drop the tear of pity over their misfortunes, to commiserate their condition, to soothe them, and to reconcile them to their situations; and if possible, to do something, or to say something, that will shed a few rays of enjoyment into their hearts. Individuals possessing true politeness, will exhibit towards people in low circumstances, as to poverty, none but emotions of a kind, humane, generous character. And they will not judge of their worth by their poverty. But looking beyond the outward circumstances, to the qualities of the heart, they will honor and commend integrity, virtue, and purity, as readily when clothed in worn and humble garments, as when “arrayed in purple and fine linen.”
We will now briefly examine the affirmative of this subject, and notice a few characteristics that pertain to politeness. I have once remarked, that true politeness is an exhibition, through outward signs and tokens, of kind and friendly emotions towards those in your presence. Or, in other words, politeness is a desire to make those around you happy. A disposition to be pleasant and agreeable, therefore, is one of the first requisites of politeness. It is impossible for those who are morose and ill-tempered, to be polite. They may assume the outward form, the shadow, but the spirit of true politeness will be wanting. If, from misfortune, disappointment, vexations, difficulties, or illness, your feelings are in an unhappy or irritable state, you had far better refrain from mingling in company, while such is your condition, than to make others wretched by a display of your ill feelings. Strive, therefore, while you are in company, to be good-humored, cheerful, kindly disposed. With these feeling in full activity, you cannot well avoid being polite. And it is encouraging to know that, with every effort to entertain and exhibit these emotions, they will increase in stability and extent, until they become a second nature, and habitually pervade you minds.
Gratitude is another ingredient of politeness. What can appear more dishonorable or selfish, than an insensibility to proffered kindness? What more ill-bred or impolite? The uncultivated boor will, under the dictation of nature, return thanks for favors. And it surely becomes those who would improve their manners, not to be unmindful of this subject. Every attention which you receive from others, is an indication of the kindness which they cherish towards you. In this light they should be received and properly acknowledged.
Always attend to those who address you, and give due heed to their remarks. Inattention in this respect, is exceedingly rude, and indicates a lack of good breeding. Do not frequently change your posture by rising up, or sitting down, or walking about while another is speaking to you. It will be construed into a neglect of their words, or a desire to avoid their conversation. Whispering, and holding private discourse in company, is very improper and impolite.
Respect to the aged is another trait of politeness. It is extremely indecorous to make those advanced in years the subject of ridicule, derisions, or laughter. Gray hairs should ever be treated with deference and respect. The aged have long borne the burdens of life. They have administered to the welfare of society, and to the prosperity and enjoyment of those who are now young. It becomes your duty, as the palsy of age creeps upon them, incapacitating them for active duties and labors, to honor and reverence them, to cherish and support them, and to render the “downhill of life” as pleasant and agreeable as possible. No sight is more delightful than to behold the young assiduously engaged in respectful attentions to the aged; while there is no greater lack of politeness, no plainer indication of an unfeeling heart, than to treat the aged with neglect, disrespect, or harshness.
(Publication information: J.M. Fletcher: Nashua, N.H. 1850)
If I Had My Own Blue Box: 
