THE SCIENCE OF COLOUR IN DRESS
Unfortunately for our health and comfort, the teachings of science are too often disregarded, if they interfere with our habits. Science, when not practically applied, loses its value; it wants fixedness, stability. Its application is its embodiment; without it, it is a mere figment of the brain. Its business is to inform the mind, and remove erroneous impressions; and its highest aim is usefulness. The popular belief with respect to dress, that a black dress is warmer, both in winter and summer, than a white one, is erroneous. The truth is that, the material being the same, a black dress is cool in winter and warm in summer—while a white one is warm in winter and cool in summer; that is to say, the one is cool when we require warmth, and warm when we require to be cooled; while the other is warm when we are cool, and cool when we are warm, and thus answers the purpose of dress, which is, to protect the body from the influence of the weather.
Science teaches that dark colours absorb heat, and part with it much more rapidly than light ones; black and white being the two extremes. How strange that this knowledge has not been applied to dress! If the bowls of two spoons, the one polished, and the other smeared with soot, be held near a fire, it will be found that the blackened one becomes hot much sooner than the other; and if now they be both made hot by holding them against the bars of the grate, and then removed from the fire, and suspended in the air, it will be seen that the blackened one will get cool much sooner than the other. It is true that the difference in this case is chiefly due to the polish on one of the spoons, but it is not altogether due to it. Again: if hot water be poured into two vessels, the one white and the other black, the water in the latter will cool before the other. So likewise if two persons, one dressed in black and the other in white—all other conditions being the same—were to go from the cold external air into a heated room, the one in black would feel the heat sooner than the other, and on leaving the room would feel the cold sooner; consequently, would be more likely to take cold than the other. It is therefore evident that a light-coloured dress is more conducive to health and comfort than a dark one, since it prevents the external heat or cold from too suddenly reaching the body, and prevents the body from too suddenly parting with its heat; and thus, that it keeps it in a more equable temperature.
We may now understand the reason why animals in the polar regions are white—their whiteness preserves the heat of their bodies much better than any other colour. So likewise the earth, in consequence of the whiteness of snow, is prevented from parting with its heat. It is not so much by snow protecting the earth from the external cold, that it does such valuable service, as by its preventing the radiation of the internal heat. This whiteness of snow, and of the polar animals, must not be looked upon as the result of blind chance: it strikingly exemplifies the wisdom and goodness of the Creator.
The above observations are peculiarly applicable to the case of men engaging in arctic expeditions. I do not know what dress they usually wear, but it is quite clear that a white woollen one would be the most appropriate; and if it had a gloss upon it, it would be so much the better. This they might have learned from observing the animals in those regions.
DIBDIN'S SAILOR-SONGS
In a recent article in this Journal,4 we gave our opinion of practical sea-life, and incidentally alluded to the songs of Dibdin. The paper excited some interest; and we may, therefore, venture to say a little more about these celebrated songs, concerning which the public in general has always had, and still has, a very erroneous impression.
We commence with an assertion which will startle many—namely, that Dibdin's songs never were, are not, and never can be, popular with sailors. About six years ago—if we recollect rightly as to date—the Lords of the Admiralty, considering that Dibdin's songs had always been 'worth a dozen pressgangs,' as the common saying is, ordered that twenty of the best songs should be printed on strong paper, and presented to every man and boy in the royal navy. This act, however, is not so much to be regarded as a strong evidence of the private opinion of the nautical magnates in question—but the chief of them is invariably a landsman—as of their deference to the force of public estimation on the subject of the songs. Let it not be thought, from the tenor of our subsequent remarks, that we ourselves are at all prejudiced against Dibdin. So far is it the reverse, that we were brought up from childhood 'in belief' of that gifted lyrist: our father repeated to us in early life his finest songs, and we have never ceased to regard him with sincere admiration. He was a man of true genius in his peculiar walk, and it has been well and truly said of him, that, 'had he written merely to amuse, his reputation would have been great; but it stands the higher, because his writings always advocate the cause of virtue: charity, humanity, constancy, love of country, and courage, are the subjects of his song and of his praise.'
Dibdin himself was not a sailor, and his knowledge of sea-life, of seamen, and of sea-slang, is generally attributed to the instructions of his brother, the master of a ship. This brother was subsequently lost at sea, and Dibdin is said to have written Poor Tom Bowling as his elegy. Dibdin's sea-lore was, therefore, altogether second-hand and theoretical; and his songs, on the whole, present an idealised and exaggerated embodiment of the characteristics, life, and habits of seamen; but it is wonderful how accurately and skilfully he introduces allusions to sea-man[oe]uvres, and how very rarely he errs in nautical technicalities. They were written in war-time, when the nation was excited to a pitch of frenzied enthusiasm by a succession of unparalleled naval victories—when a prince of the blood trod the quarter-deck, and Nelson was 'Britannia's god of war.' Their popularity with landsmen was then incredible. Everybody sang Dibdin's sea-songs, deeming them a perfect mirror of sea-life and seamen's character. The truth is, he has exaggerated both the virtues and the follies of sailors to an absurd degree; and his blue-jacketed heroes are no more to be accepted as a fair type of sailors, than are Fenimore Cooper's Chingachgook and Leatherstocking as types of the Red Men and trappers of North America. Herein, we conceive, is the primary cause of Dibdin failing to enlist strongly the sympathies of real blue-water tars; and the very same reason, with some modifications, prevents all prose works, descriptive of sea-life, from being favourably received by practical mariners. We have heard the 'sailoring' portions of the finest works of Cooper and others scoffed at by seamen; and the very best book on sea-life ever written, Dana's Two Years before the Mast, is held in no sort of esteem by the very men for whose benefit the author avows he wrote it, and whose life he has so vividly, and, as we think, faithfully described. Every sailor we have questioned concerning that book—and there are few sailors who have not read it—declared that he 'thought nothing of it;' and that all his messmates laughed at it as much as himself. They say that Dana 'makes too much' of everything, and that he gives false and exaggerated notions of life on shipboard. We personally deny this; but sailors, as a body, are such prosaic people, that they will make no allowance whatever for the least amplification of bald matter of fact. If the author dilates at all on his own feelings and impressions, they chuckle and sneer; and if he errs in the least—or the compositor for him—in his nautical details, they cry out that he is a know-nothing, a marine, a horse-jockey, a humbug. To please seamen, any book about their profession must be written precisely in the lucid and highly-imaginative style of a log-book—their sole standard of literary excellence.
Sailors are shrewd and sensitive, enough in some respects. They do not like to be flattered, and cannot bear to be caricatured; and they feel that Dibdin has—unconsciously—been guilty of both towards them. According to his songs, sailors lead a life of unalloyed fun and frolic. He tells us nothing about their slavery when afloat, nothing about the tyranny they are frequently subjected to; and in his days, a man-o'-war was too often literally a floating pandemonium. He makes landsmen believe that Jack is the happiest, most enviable fellow in the world: storms and battles are mere pastime; lopped limbs and wounds are nothing more than jokes; there is the flowing can to 'sweethearts and wives' every Saturday night; and whenever the ship comes to port, the crew have guineas galore to spend on lasses and fiddles. In fine, both at sea and ashore, according to his theory, jolly Jack has little to do but make love, sing, dance, and drink—grog being 'his sheet-anchor, his compass, his cable, his log;' and in the True British Sailor, we are told that 'Jack is always content.' Now, Jack knows very well this is all 'long-shore palaver, and he gives a shy hail to such palpable lime-twigs. 'Let the land-lubbers sing it!' thinks he; 'I'll none on't!'
Dibdin takes the first sip of his Flowing Can with the ominous line—
'A sailor's life's a life of wo!'
But what follows?—
'Why, then, he takes it cheerily!'
A pleasant philosophy this; but we happen to know that sailors do not take cheerily to 'a life of wo'—they would be more than men if they did. He talks coolly about times at sea when 'no duty calls the gallant tars.' We should very much like to know on board what 'old barkey,' and in what latitude and longitude, this phenomenon happened, and would have no particular objection to sign articles for a voyage in such a Ph[oe]nix of a ship; for in all the vessels we ever were acquainted with, there was never such a thing heard of, as 'nothing to do.' As to 'Saturday nights' exclusively devoted to pledging 'sweethearts and wives' over a flowing can in the forecastle, we are sorry to say, we regard that as little better than a poetic myth.
Doubtless, at the time Dibdin's songs were written, sailors sang them to a considerable extent, for the public enthusiasm would in a way compel Jack to acquiesce in these eulogies on himself; but the said Jack never took them fairly to heart—how could he, when every voyage he made must have given the lie to many of these glowing pictures of life at sea? And from that time to the present, Dibdin's songs have gradually been forgotten among seamen, till, at this day, we question whether there is a foremast—Jack afloat who can sing half-a-dozen of them; and, probably, not many men aboard merchantmen know more than one or two songs of the hundred in question, although they may recollect fragments of several.
Dibdin's songs might be 'worth a dozen pressgangs' for manning the navy in war-time, and, for aught we can predicate to the contrary, they may be so again; but we reiterate our conviction, that they never caused sailors to ship aboard a man-o'-war. Landsmen might volunteer by scores through the influence of such stirring, patriotic ditties; but seamen, who 'knew the ropes,' would never be induced to ship through their agency.
Dibdin does ample justice to the bravery, the generosity, the good-humour, the kind-heartedness of sailors; and, as a class, they deserve his encomiums. His songs abound with just and noble sentiments, and manly virtues were never more constantly and strikingly enunciated by any author. We dearly love Charles Dibdin for this; and as a writer of popular lyrics, we class him as the very first England has ever produced. In this department of literature, we consider he holds the same place in England as Burns does in Scotland; Béranger, in France; Freiligrath, in Germany; and Hans Christian Andersen, in Denmark.
The reader will now ask: 'What songs do sailors sing?' We answer, that their favourite sea-songs5 are the most dismal, droning doggrel it is possible to conceive; and yet they relish them mightily, because they are stern matter of fact, and in most instances are descriptive of a battle, a chase, a storm, or a shipwreck—subjects appealing powerfully to their sympathies. The following may be taken as a tolerably fair specimen of the style of the genuine 'sailors' songs:'—
'It was the seventeenth day of May, in the year 'ninety-six,
Our taut frigate the Ajax, she from Plymouth did set sail;
Eight days out, com'd a squall from north-east by north,
And then by four bells, morning-watch, it did freshen to a gale.'
Perhaps the most universally popular song among seamen is Rule Britannia; but in general they do little more than sing the chorus, and the way in which a crew of tars, when half-seas-over, will monotonously drawl out 'Britons never, never, never shall be slaves!'—repeating it over and over again, as if they never could have too much of a good thing—is highly amusing. We believe that a decided majority of the songs sang in the forecastle are not sea-songs at all, but purely land-songs; and, strange to say, the most popular of these are sentimental ditties, such as were, a score of years ago, drawing-room favourites! It is very rich to hear 'ancient marineres,' rough as bears, hoarsely quavering, I'd be a butterfly! or, O no! we never mention her; or, The days we went a-gipsying, long time ago! They are also very partial to songs about bandits and robbers.
Well, after all, we have often, when in a tight craft, tossing amid howling billows, complacently repeated—and perchance shall again—the closing lines of The Sailor's Consolation, which, we believe, but are not certain, Dibdin wrote—
'Then, Bill, let us thank Providence
That you and I are sailors!'
'SEWED MUSLINS.'
Under the above technical name is produced in Glasgow a manufacture little known beyond the sphere of those immediately engaged in the business, the importance of which, however, as a means of employment to the poorer Scotch and Irish peasantry, renders it deserving of more attention than it has hitherto received. Sewed muslins include all those articles which are composed of muslin with a pattern embroidered on it by the hand—such as collars, sleeves, chemisettes, &c. together with the long strips of embroidery used, like laces, for trimming dresses, petticoats, &c. and called, technically, trimmings. The manufacture of these articles in the form in which they are now used was for a long period peculiar to France, and that country alone supplied all the rest of the world with the limited quantities which the high cost permitted to be consumed. An embroidered collar, thirty-five years ago, was an article of luxury only attainable by the rich, while the far greater part either dispensed with it altogether, or contented themselves with one of plain muslin or cheap net. Soon after that period, the rudiments of the manufacture began to be established at Glasgow, where for some time it made but moderate progress, and was confined to the production of a very low class of goods, leaving still to the French all the finer and more tasteful departments of the trade. During the last ten years, however, the progress has been very rapid; and now it supplies abundantly, with cheap and good embroidery, the whole British and American demand, to the almost total exclusion of both French and Swiss work.
The process by which a perfect piece of embroidery, delicately worked in a graceful pattern, and as white as snow, is produced, is far more complicated than might be imagined. The simple plan by which industrious ladies work a single collar on a traced pattern, with clean hands in a pure atmosphere, will not do when hundreds of thousands of collars are to be made, at the lowest rate, by poor children, in smoky hovels. In order to understand the matter clearly, it may be as well to transport ourselves to one of the large establishments in Glasgow, in whose extensive, well-lighted lofts the whole mechanism of the manufacture may be seen at work.
In the highest room, where the best light is obtained, we find a number of men, seated at small tables at the windows, engaged in drawing patterns. These are the designers, whose business it is to produce a constant and rapid succession of new patterns, either original or adapted from the French designs, which lie scattered on their tables. They are a very intelligent class, possessing considerable originality, and, what is even more important, thoroughly understanding the art of practical adaptation of costly designs to the necessities of the manufacture, without which the ingenious sketches of the French would be valueless. It is proper to add, that their powers of invention are steadily increasing year after year, and that the time is probably not remote when they will be independent of the Parisian designers.
The patterns sketched by them are transferred by the ordinary process to lithographic stones; and on entering the adjoining room, we find a large number of lithographic presses at work, some of great size. The unbleached muslin here receives the impression of the outline pattern, as paper is printed in the ordinary press; and the substitution of stones for the wooden blocks formerly used, has greatly cheapened and facilitated this process. The carved blocks were expensive to cut, and useless when the pattern was finished: the pattern is now put on the stone with great economy, and, the requisite number being struck off, is erased to make room for another.
The printed webs are now carried from the press-room to the floor below, where the green warehouse is situated—the common receptacle of the unbleached muslin going out to the working, and of the sewed goods coming in. The former are now made up into parcels, and sent off to the agents who are employed in the working districts to give out the work to the sewers, from whom they are again returned into the same department when sewed. We see them lying heaped in every direction, so saturated with dirt, that the pattern is hardly distinguishable from the muslin, looking and smelling as if no purative process could ever render them clean and sweet. The interval which elapses between the goods leaving the green warehouse and returning to it varies, with the nature of the goods, from a fortnight to six months; although occasionally pieces remain out much longer, and sometimes drop in after the lapse of years; while a per-centage are never returned at all, a loss which constitutes an item in the cost of the remainder. About three-quarters, at least, of all the embroidery is worked in Ireland; the remaining quarter being sewed in the south-western counties of Scotland. In Ireland, the sewing districts, at first confined to a very limited space in the neighbourhood of Donaghadee, have gradually spread, until the whole north, and even a portion of the western wilds of Connaught, have been covered with the agents of the Scotch and Irish manufacturers. There is every prospect that their extension will not stop here. It is requisite that the work should be performed at a very small cost; and from the position and habits of the Irish, they are able to work cheaper than the Scotch. The nature of the employment is also peculiarly fitted to them. It can be performed in their own cottages at leisure times, or by children, not otherwise useful. No cleanliness is required, as it matters not how dirty the piece is when finished; and the payments are prompt and in ready money. The remuneration is small, especially to children learning, and varies, according to the skill and industry of the worker, from 6d. to 5s. a week; but this is paid in cash immediately on the completion of the piece. It is easy to see what an important addition may thus be made to the means of a poor cotter, by the labour of the young children and girls, who would probably otherwise have no employment whatever.
The goods being fairly back in the green warehouse, the next process is to discharge the load of dirt contracted in the smoky mud-hovel, and restore the original snowy hue of the cotton. For this purpose they are sent out to what is termed a bleachfield, although those who should visit such a place in hopes of seeing a verdant lawn, strewn with the white folds of muslin waving in the summer breeze, would be grievously disappointed. A bleachfield is simply a huge steam wash-house, with red brick walls and a tall chimney vomiting smoke, with not a particle of turf about it. Here, amidst volumes of steam, and the unceasing splash of water, the mirky mass is subjected to repeated agitations in hot and cold solutions, by means of revolving hollow wheels, inside of which the embroidery is tossed and tumbled for many days. A little chlorine is at last used, with much care, to complete the bleaching; and after a term, varying from ten days to three weeks, the goods are once more returned to the manufacturer, of a pure white, starched and dressed as may be required. We shall find them by walking from the green warehouse into the darning and ironing rooms where the final process of examination and finishing goes on, and whence they are turned out in a complete state into the saleroom, on the lowest floor of the establishment, to be disposed on long mahogany polished counters for sale. The extreme economy and method of this long process may be imagined when we are shewn very pretty collars, the entire cost of which—designing, sewing, muslin, bleaching, and profit—only amounts to 3d., yet including a rather elaborate pattern; while a yard of good serviceable edging is produced for 2-1/4d.