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Godey's Lady's Book, Vol. 48, No. XVIII, April, 1854

Godey's Lady's Book, Vol. 48, No. XVIII, April, 1854
Author: Various
Title: Godey's Lady's Book, Vol. 48, No. XVIII, April, 1854
Release Date: 2018-12-19
Type book: Text
Copyright Status: Public domain in the USA.
Date added: 27 March 2019
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Godey's Lady's Book,
Philadelphia, April, 1854


The TABLE OF CONTENTS Table has been harvested from the January Edition.



A Mother's Love, by Mary Neal, 355
Appletons', 380
Apron in Broderie en Lacet, 363
Beauty, by Miss M. H. Butt, 346
Border and Corner for Pocket-Handkerchief, 361
Camilla Mantilla, 289
Caps, 362
Celestial Phenomena, by D. W. Belisle, 315
Centre-Table Gossip, 379
Chemisettes, 362
Cottage Furniture, 364
Crochet Tassel Cover, 358
Dairy-House and Piggery, 349
Don't Overtask the Young Brain, 337
Dream Picture, by Mrs. A. F. Law, 353
Dress--as a Fine Art, by Mrs. Merrifield, 347
Editors' Table, 366
Ellie Maylie, by Jennie Dowling De Witt, 353
Enigmas, 377
Eugenie Costume, 292
Fashions, 381
Godey's Arm-Chair, 371
Godey's Course of Lessons in Drawing, 323
I was Robbed of my Spirit's Love, by Jaronette, 354
Jacket for Riding-Dress, 364
Laces and Embroideries, 379
Lady's Scarf Mantelet, 357
Lady's Slipper, 363
Le Printemps Mantilla, 289
Letters Left at the Pastry Cook's, Edited by Horace Mayhew, 334
Literary Notices, 369
Management of Canary Birds, 322
Mantillas, from the celebrated Establishment of G. Brodie, New York, 290, 291
Manuel Garcia, the celebrated Singing-Master, 366
Mrs. Murden's Two Dollar Silk, by The Author of "Miss Bremer's Visit to Cooper's Landing," 317
Netted Cap, for morning wear, 360
Our Practical Dress Instructor, 357
Patterns for Embroidery, 365
Receipts, &c., 378
Singular Inscriptions on Tombstones, 376
Some Thoughts on Training Female Teachers, by Miss M. S. G., 336
Sonnets, by Wm. Alexander, 352
Spring Bonnets, 294
The Borrower's Department, 377
The Elixir of Life, by Charles Albert Janvier, 354
The Household, 379
The Interview, by T. Hempstead, 352
The Last Moments, by R. Griffin Staples, 356
The Manufacture of Artificial Flowers, by C. T. Hinckley, 295
The Orphan's Departure, by Margaret Floyd, 310
There's Music, by Horace G. Boughman, 353
The Song-Birds of Spring, by Norman W. Bridge, 355
The Souvenir; or, The Arrival of the Lady's Book. A Sketch of Southern Life, by Pauline Forsyth, 338
The Toilet, 382
The Trials of a Needle-Woman, by T. S. Arthur, 326
The Turkish Costume, 348
The Was and the Is, by O. Everts, M. D., 356
The Wild Flowers of Early Spring-time, 343
To an Absent Dear One, by Fannie M. C., 355
To Ida, by Horace Phelps, M. D., 356
True Happiness in a Palace, 367
Undersleeves, 362
Washing made Easy, 379
Willie Maylie, by Cornelia M. Dowling, 353
Zanotti: a Romantic Tale of Italy and Spain, by Percy, 300



Engraved for Godey's Lady's Book.

The Arrival of the Lady's Book

Latest Fashions for Godey's Lady's Book


CAMILLA MANTILLA.—Light green silk, trimmed with Honiton lace.

LE PRINTEMPS MANTILLA.—Lavender or pearl-colored silk. The yoke and point cut inone piece. The trimming is a rich fringe of the same color.



[From the establishment of G. BRODIE, No. 51 Canal Street, New York.]

FOR the early portion of the season, we illustrate a mantilla of great beauty. It is made of black-green or ruby-colored,with a richly embroidered ornamental design. Should it prove desirable, the upper portion of the garmentmay be left off, and the lower alone worn. The mantilla is trimmed with a netted fringe, seven inches wide.



[From the establishment of G. BRODIE, No. 51 Canal Street, New York.]

FOR the close of this month and the early summer, we present a mantilla which shares largely the public favor.This garment has appeared elsewhere before, somewhat in advance of its time; but, as we desire to present accuratereports of what are actually the reigning modes, we publish it here for the benefit of our lady friends. It is in theberthe style, composed of white poult de soie, heavily embroidered. The collar is slashed upon the shoulder, andcross-laced with cords terminating in neat tassels. It is fringed with extraordinary richness.




Suitable for the coming season. Material.—Brilliante or lawn. The corsage is cut square and full, and trimmed withinserting and edging. The skirt has a hem and two tucks, each six inches deep, trimmed as above.




Material.—Tissue, barège or silk. Five folds on the skirt, each five inches deep. Scallops trimmed with No. 1½ ribbon.Looped up at intervals with No. 3 ribbon, as in plate; the ribbons to suit the colors in the dress. Corsage the same.

Gimp or braid is to be used with silk.



THIS bonnet, which is suited to a plain walking-dress, is made of straw, and trimmed with Leghorn-colored ribbon, disposed in asimple and tasteful style, with two long flowing ends on the left side. The bonnet is lined with white ærophane, laid in small neat folds;and the under-trimming consists of loops of black velvet ribbon. The second figure is the reverse side of the same bonnet.






THE manufacture of artificial flowers, firstbrought to a high degree of excellence by theItalians, is one of no small importance, consideringthe amount of skill and labor which it bringsinto requisition. The first attempt at makingartificial flowers among civilized nations wasby twisting ribbons of different colors somewhatinto the shape of flowers, and fastening them towire stems. This yielded to the use of feathers,which were far more elegant, but could not alwaysbe made to imitate in color the flowerswhich they represented, there being considerabledifficulty in getting them to take the dyes.Where the plumage of birds is of great brilliancy,the natural colors admirably answer the purpose,and do not fade or lose their resplendenthues. Thus, in South America, the savageshave long known how to fabricate beautifulartificial flowers from such plumage. In Italy,the cocoons of silkworms are often used, andhave a soft and velvety appearance, while theytake a brilliant dye. In France, the finest cambricis the chief material, while wax is alsolargely employed. The arrangement of theworkshop, and the variety and use of tools,where flower-making is practised on a largescale, are as follows:—

Fig. 1.

A large and well-lighted room, which hasthe means of warmth in winter, is selected, andalong its whole extent is placed a table, similarto the writing-tables used in schools, where thework-people may have a good light as long aspossible. This table is fitted with drawers containingnumerous compartments, arranged so asto receive and keep separate the small parts offlowers, such as petals, stalks, minute blossomscatkins, buds, leaves not mounted on their stalksand all other parts not fit to be placed amongmore finished specimens. It is desirable thatthe table be covered with oil-cloth, so that itmay be frequently cleansed, by washing, fromthe stains of the different colors employed.Along the whole extent of this table are placedflower-holders, that is, light frames with horizontaliron wires, to which the flowers, whenattached to their stalks, are suspended by merelycrooking the end of the stalk, and hanging iton the wire. Sometimes tightly strained pack-threadis used instead of wire. Figs. 1 and 2represent two forms of flower-holder; in bothcases the frame is fixed to the table. Along thetables are also ranged bobbin-holders in considerablenumbers, not unlike those used by weavers.The bobbin-holder is a rod of iron, Fig. 3,about six inches high, fixed in a massive leadenor wooden base. On this rod is threaded a largebobbin, on which is wound a quantity of silk[296]or wool. On its summit may be fixed a nut, toprevent the bobbin, when in rapid motion, fromwhirling off the rod, but this is often omitted.Ladies who work for their pleasure frequentlyhave this bobbin-holder made in an ornamentalform, the base being covered with bas-reliefs,and the nut at the top taking the form of anarrow, a blossom, &c. But the more simpleand free from ornament, the better is the holderfor use, any unnecessary projections only actingas so many means of entangling the silk.

Fig. 2. Fig. 3.

Fig. 4.

The flower-maker does not take up flowersor their parts with the fingers, but with pincersof the simplest description, Fig. 4, which areincessantly in use. With these, the smallestparts of the flower can be seized, and disposedin their proper places, raised, depressed, turnedabout and adjusted, according to the taste of theartist, and her appreciation of natural forms.It is with the pincers also that any little contortionsof the extremities of petals, and irregularitiesin their form and in the arrangementof stamens, are copied. The proper length ofthis tool is about five inches. Each workwomanbrings one for her own use, and keeps it closeat hand. Dressing-frames of various sizes formanother part of the furniture of the work-room.On these are stretched the materials, which aregummed and dyed. A dressing-frame, Fig. 5,consists of two uprights of hard wood, with twocross pieces of the same, capable of adjustment.The frame is fitted with crooks for the attachmentof the material, or with a band of coarsecanvas to which the material can be sewn.These frames have no feet, and are fitted sometimesagainst a wall, sometimes upon a chair.When covered with the material, they are hungup against the wall by one of the cross pieces,until it is time to dismount them.

Fig. 5.

Fig. 6. Fig. 7. Fig. 8.

There are also various useful implements,called by the work-people "irons," for cuttingout petals, calyxes, and bracts, and for giving toleaves those various serrated and other formswhich produce such wonderful variety in foliage.These cutting tools, two of which are shown inFigs. 6 and 7, are of iron, with a hollow handle,flat at its upper extremity, that the hammermay be readily applied. They are about fouror five inches long, and of numerous sizes andvarieties. That they may cut rapidly and clearly,the edges are occasionally rubbed with drysoap. When a leaf becomes

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