text:
Wikisource:WikiProject 1911 Encyclopædia Britannica/Transclusion

If you look at the wikitext in many articles you will not find the actual text of the EB1911 article. Instead, you will find syntax that directs the server to include the appropriate text from page space. This process is called Transclusion. To add a new article, an editor must first correct the text in page space, and then create the article itself in article space using the correct syntax to "transclude" the article text. If you are considering adding the text of a red-linked article, please first verifying and tagging it in page space, and then transcluding it, because that kills two birds with one stone. The project supplies templates to simplify this process.

 * Article space is the location of the articles. For example, 1911 Encyclopædia Britannica/Great Mother of the Gods is an article in article space.
 * Page space contains the scans of pages of the original EB1911 volumes, together with transcriptions. For example, Page:EB1911 - Volume_12.djvu/418 is a page in page space.

Why transclusion?
We believe that our readers will in general want to read articles in article space. The goal of the project is to create these articles. However, the best way to create a word-perfect copy of the original is to perform side-by-side comparisons with the "pictures" of the pages, and this is easily done using the tools and displays provided in page space. By using transclusion, any edit in page space to correct transcription error will immediately be reflected in the article in article space. In addition, anyone reading the article in article space can bring up the page-space version to verify that the transcription is correct.

Markup in page space
An article in the original EB1911 may be completely included on a single page, or it may start on one page and end on the next page, or it may start on a page and continue on one or more complete pages before ending on a final page. From the perspective of page space, each page may contain "sections" of one or more articles.

To perform transclusion, we must identify the article sections on each page. Each section on a page is assigned a tag that is unique on that page. The EB1911 project has elected to use the EB1911 article name as the tag. Thus the tag for all sections of the 1911 Encyclopædia Britannica/Great Mother of the Gods article is "Great Mother of the Gods". These tags are inserted in each page immediately before the text in the section. The first tag on each page is at the top of the page. The section starts immediately after the tag and continues until immediately before the next tag. The last section on a page ends at the end of the page.

The EB1911 project uses a server-side code to implement a simplified tag syntax. To add a tag, start at the beginning of a line. Place two hash-marks, a space, the tag, a space, and two hash-marks on a line. Thus: on a single line will tag the section.
 * 1) Great Mother of the Gods ##

If the article is on multiple pages, then add the same tag ( ## the tag ## ) at the top of each page which contains a continuation of the article. In the example article of "Great Mother of the Gods", The article starts on one page (after the end of another article), and then continues onto the next page and then for 2 paragraphs on a third page, so in total three tags are needed. The initial tag and two more identical ones at the top of the following two pages.

For the text itself, please follow the Style Manual.

Article-space
After you proof and tag the text in page space, you can create articles in article space using transclusion. An article consists of front matter and text. The front matter is implemented using the EB1911 template, and the text is transcluded using the "pages index" construct.

The most efficient way to create a new page is to use EB1911set. Used properly, this generates both the EB1911 and the "pages index" construct. Alternatively, you can simply copy the entire wikitext from an existing article (such as 1911 Encyclopædia Britannica/Great Mother of the Gods ) and modify all the fields of the EB1911 template and the "pages index:" construct.

EB1911set should be used as  : copy the form to fill in from the Template page and paste it into the page you want to create, complete and save. This is certainly the best way to create long articles, since it takes the initial and final page numbers and adds everything in between. As rendered, this template becomes the EB1911 standard template on top of the required transclusion message.

Paragraph breaks at page breaks
Transclusion handles simple page breaks with no intervention when the page ends at the end of the word or sentence. When the page ends at the end of a paragraph, the editor must ensure that the blank line that denotes a paragraph is not elided by the wiki software. The simplest way of doing this is with the nop template.

The paragraph ends at the end of a page if the last line (in the scans) is not right-justified, and the first line of the next page is indented. After the last word on the page (when it is also the last word in a paragraph), add on a line by itself and with no newline afterwards. This will have no visible effect in Page space, but will result in a paragraph space in the transcluded article. See the nop documentation for an explanation.

Fine print
At the end of many EB1911 articles there is a bibliography section which is in fine print. The usual template to use for this is

If the block of text spans the end of one page and the start of the next then place at the start of the block and then on the next page after the block ends  — See also Templates across page breaks

Hyphenated word at end of page
If the final word of the page is hyphenated, as Encyclopædia Britannica style allows, there will be a space after the hyphen before the second half of the word. In this case, we use the hws template (hyphenated word start) at the end of the page and the hwe template at the start of the next page.

Other page-crossing constructs
On occasion, you may encounter other problems at the page boundary, such as phrases in italics or phrases in small caps. if these cannot be broken into two constructs, then we correct this by brute force, using the following construct:

With this construct, the "page text" is a faithful reproduction of the text to place on the page and is sourced completely from the page it is displayed on the transcription of the page in page space. The "article text" is a copy of the text on the page, plus text from the following page. This text is not displayed on the transcription in page space, but it is displayed in the article.

On the next page, the text that is copied into "article text" should be placed before the ##...## tag. This prevents that text from being transcluded into the article.


text: 1911 Encyclopædia Britannica/Liverpool, Earls of

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/


text:
Wikisource talk:Books/Alice's Adventures in Wonderland

It would be neat describe the title of each chapter in the index. What do you guys think? OTAVIO1981 (talk) 18:17, 7 January 2013 (UTC)


text: Dictionary of National Biography, 1885-1900/Lancaster, Joseph


text:
Page:EB1911 - Volume 27.djvu/979

 long remained unpublished, and of the twelve volumes of manuscript seven are lost. The remainder were published in Paris, 1841-45, in an abridged form, and of the five manuscript volumes three are in public hands, and two belong to the families of two famous engineers, Augoyat and Haxo. At the Hague (1737–1742) appeared, dedicated to Frederick of Prussia, De Hondt’s edition of De l’attaque et defense, &c., and of this work an improved edition appeared subsequently. But the first satisfactory editions are those of Augoyat and Valazé mentioned above.

.—Fontenelle, “Éloge de Vauban” (Mem. Acad. Sciences, 1707); D’Arçon, Considérations sur le génie de Vauban (Paris, 1780); Carnot, Éloge de Vauban (Paris, 1784) (followed by a critical Lettre à l’académie, published at La Rochelle, 1785, and Carnot’s rejoinder, Observations sur la lettre, &c., Paris, 1785); Dembarrère, Éloge historique de Vauban (Paris, 1784); D’Autilly, Éloge de Vauban (Paris, 1788); Sauviac, Éloge, &c. (Paris, 1790); Chambray, Notice historique sur Vauban (Paris, 1845); Goulon, Mémoires sur l’attaque et défense d’une place (Paris and Hague, 1740; Amsterdam, 1760; Paris, 1764); works by Abbé du Fay (Paris, 1681) and Chevalier de Cambray (Amsterdam, 1689), from which came various works in English, French, &c. For an account of these works and others which appeared subsequently, see Max Jähns, ''Gesch. der Kriegswissenschaften'', ii. 1442-47. Allent, Histoire du corps de génie (Paris, 1805); Humbert, L’Art du génie (Berlin, 1785); Hoyer, ''Gesch. der Kriegskunst'' (Göttingen, 1797); Ambert, Le Ml. de Vauban (Tours, 1882); Histoire de Vauban (Lille, 1844); Tripier, La Fortification déduite de son histoire (Paris, 1866); Brese-Winiari, Über Entstehen und Wesen der neueren Befestigungsmethode (Berlin, 1844); Augoyat, Aperçu historique sur les fortifications, &c. (Paris, 1860); Abrégé des services du Maréchal Vauban (Paris, 1839), and the works mentioned above. See also, of shorter works, Revue des deux mondes (Aug. 1864 and Oct. 1870); Spectateur militaire (1830); Neues militärisches Journal, x. (1803); Jahrbücher für die deutsche Armée und Marine (1874); Böhms Magazin, xi. (Giessen, 1789); ''Archiv für die Art. und Ingenieur-Offiziere'', xxviii. (Berlin, 1850).

VAUCLUSE, a department of south-eastern France, formed in 1793 out of the countship of Venaissin, the principality of Orange, and a part of Provence, and bounded by Drôme on the N., Basses-Alpes on the E., Bouches-du-Rhône (from which it is separated by the Durance) on the S., and Gard and Ardèche (from which it is separated by the Rhone) on the W. It has also an enclave, the canton of Valreas, in the department of Drôme. Pop. (1906) 239,178. Area, 1381 sq. m. The western third of Vaucluse belongs to the Rhone valley, and consists of the rich and fertile plains of Orange, Carpentras and Cavaillon. To the east, with a general west-south-west direction and parallel to one another, are the steep barren ranges of Ventoux, Vaucluse and Luberon, consisting of limestones and sandstones. The first-mentioned, which is the most northerly, has a maximum elevation of 6273 ft.; the culminating peak, on which is a meteorological observatory, is isolated and majestic. The Vaucluse chain does not rise above 4075 ft. The most southerly range, that of Luberon (3691 ft.), is rich in palaeontological remains of extant mammals (the lion, gazelle, wild boar, &c). The Rhone is joined on the left by the Aygues, the Sorgue (rising in Petrarch’s celebrated fountain of Vaucluse, which has given its name to the department), and the impetuous Durance. The Sorgue has an important tributary in the Ouveze and the Durance in the Coulon (or Calavon). These and other streams feed the numerous irrigation canals (Canal de Pierrelatte, Canal de Carpentras, &c.) to which is largely due the success of the farmers and market-gardeners of the department. The climate is that of the Mediterranean region. The valley of the Rhone suffers from the mistral, a cold and violent wind from N.N.W.; but the other valleys are sheltered by the mountains, and produce the oleander, pomegranate, olive, jujube, fig, and other southern trees and shrubs. The mean annual temperature is 55° F. at Orange and 58° at Avignon; the extremes of temperature are 5° and 105° F. Snow is rare. The south wind, which is frequent in summer, brings rain. The average annual rainfall is 29 in. in the hill region and 22 in the plains.

Wheat, potatoes, and oats are the most important crops; sugar-beet, sorghum, millet, ramie, early vegetables and fruits, among which may be mentioned the melons of Cavaillon, are also cultivated, and to these must be added the vine, olive and mulberry. The truffles of the regions of Apt and Carpentras. and the fragrant herbs of the Ventoux range, are renowned. Sheep are the principal live-stock, and mules are also numerous. Lignite and sulphur are mined; rich deposits of gypsum, fire-clay, ochre, &c, are worked. Montmirail has mineral springs of some repute. The industrial establishments include silk mills, silk-spinning factories, oil mills, flour mills, paper mills, wool-spinning factories, confectionery establishments, manufactories of pottery, earthenware, bricks, mosaics, tinned provisions, chemicals, candles, soap and hats, breweries, puddling works, iron and copper foundries, cabinet workshops, blast furnaces, sawmills, edge-tool workshops and nursery gardens. Coarse cloth, carpets, blankets, and ready-made clothes are also produced. The department is served by the Paris-Lyon-Mediterranee railway, and the Rhone is navigable for 40 m. within it. It is divided into 4 arrondissements (Avignon, Apt, Carpentras and Orange), 22 cantons and 150 communes. Avignon, the capital, is the seat of an arch-bishop. The department belongs to the region of the XV. army corps and to the académie (educational circumscription) of Aix, and has its appeal court at Nimes.

Avignon, Apt, Carpentras, Cavaillon, Orange and Vaison, the most noteworthy towns, are treated separately, and the interesting abbey of Senanque, of Romanesque architecture. Other places of interest are Gordes, with a town hall of Renaissance architecture; Pernes, which has a church of the 11th century and medieval fortifications; La Tour d’Aigues, with fine ruins of the Renaissance chateau of the barons of Central Bonnieux, near which there is a bridge of the 2nd or 3rd century over the Calavon; Venasque, of Gallo-Roman or even earlier origin, with a baptistery of the 8th or 9th century; and Le Thor, with a fine church in the Provencal Romanesque style.

VAUD (Ger. Waadt), one of the cantons of south-western Switzerland. Its total area is 1255.2 sq. m. (thus ranking after the Orisons, Bern and the Valais), of which 1056.7 sq. m. are reckoned as “productive” (forests covering 320.1 sq. m. and vineyards 24.9 sq. m., this last region being more extensive than in any other canton). Of the rest, 160 sq. m. are occupied by the portions of various lakes partly in the canton (Geneva, 123 sq. m.; Neuchâtel, 33 sq. m.; and Morat, 35 sq. m.) and 4.3 by glaciers, the loftiest point in the canton being the Diablerets (10,650 ft.). The canton is of very irregular shape, as it owes its artificial existence solely to historical causes. It includes practically the whole northern shore of the Lake of Geneva, while it stretches from the “Alpes Vaudoises” and Bex, on the S.E., to the Jura and the French frontier, on the N.W. A long narrow tongue extending past Payerne (Peterlingen) to the Lake of Neuchâtel is just disconnected with the Avenches region that forms an “enclave” in the canton of Fribourg, while in the canton of Vaud, Fribourg holds the two “enclaves” of Vuissens and Surpierre. A small stretch of the right bank of the Rhone (from Bex to the Lake of Geneva) is within the canton, while various short streams flow down into the Lake of Geneva. But the more northerly portion of the canton, beyond the Jorat range, to the north of Lausanne, and in particular the valley of the Broye, belongs to the Aar, and so to the Rhine basin. The canton is thus hilly rather than mountainous, save at its south-eastern extremity. It is well supplied with railways, including that along the northern shore of the Lake of Geneva, while from Bex through Vallorbes runs the main Simplon line towards Paris. There are also numerous “regional” or small-gauge railways, as well as mountain lines from Montreux past Glion up the Rochers de Naye, and from Vevey up the Mont Pelerin, not to speak of that (“Montreux-Oberland” line) direct to the head of the Sarine valley and so by the Simme valley to the Lake of Thun. In 1900 the population was 281,279, of whom 243,463 were French-speaking, 24,372 German-speaking, and 10,667 Italian-speaking, while 242,811 were Protestants (Calvinists, whether of the larger église nationale or of the smaller église libre, founded in 1847), 36,980 Romanists, and 1076 Jews. Agriculture is the main occupation of the inhabitants: the land is much subdivided and very highly cultivated.

The vineyards give employment to great numbers of people. Much more white wine is produced than red wine. The best white wines of the canton are Yvorne (near Aigle) and La Côte (west of Lausanne), while the vineyard of Lavaux (east of Lausanne) produces both red and white wine. There is not very much industry in the canton, though at Ste Croix in the Jura watches and musical boxes are made, while at Payerne tobacco is grown. Many foreigners reside in the canton, partly for reasons of health, partly on account of the educational advantages that it offers. They chiefly favour Lausanne, Vevey and the collection of hamlets known as

title: Page:EB1911 - Volume 27.djvu/979


text:
Page:EB1911 - Volume 27.djvu/1051

 greatest orations, probably one of the greatest combinations of sound reasoning, sagacity and eloquence which has ever been displayed in the annals of French politics. He pronounced in favour of an appeal to the people. He pictured the consequences of that temper of vengeance which animated the Parisian mob and was fatally controlling the policy of the Convention, and the prostration which would ensue to France after even a successful struggle with a European coalition, which would spring up after the murder of the king. The great effort failed; and four days afterwards something happened which still further endangered Vergniaud and his whole party. This was the discovery of a note signed by him along with Gaudet and Gensonne and presented to the king two or three weeks before the 10th of August. It contained nothing but sound and patriotic suggestions, but it was greedily seized upon by the enemies of the Gironde as evidence of treason. On the 16th of January 1793 the vote began to be taken in the Convention upon the punishment of the king. Vergniaud voted early, and voted for death. The action of the great Girondist was and will always remain inscrutable, but it was followed by a similar verdict from nearly the whole party which he led. On the 17th Vergniaud presided at the Convention, and it fell to him, labouring under the most painful excitement, to announce the fatal result of the voting. Then for many weeks he sank, exhausted, into silence.

When the institution of a revolutionary tribunal was proposed, Vergniaud vehemently opposed the project, denouncing the tribunal as a more awful inquisition than that of Venice, and avowing that his party would all die rather than consent to it. Their death by stratagem had already been planned, and on the 10th of March they had to go into hiding. On the 13th Vergniaud boldly exposed the conspiracy in the Convention. The antagonism caused by such an attitude had reached a significant point when on the 10th of April Robespierre himself laid his accusation before the Convention. He fastened especially upon Vergniaud’s letter to the king and his support of the appeal to the people as a proof that he was a moderate in its then despised sense. Vergniaud made a brilliant extemporaneous reply, and the attack for the moment failed. But now, night after night, Vergniaud and his colleagues found themselves obliged to change their abode, to avoid assassination, a price being even put upon their heads. Still with unfaltering courage they continued their resistance to the dominant faction, till on the 2nd of June 1793 things came to a head. The Convention was surrounded with an armed mob, who clamoured for the “twenty-two.” In the midst of this it was forced to continue its deliberations. The decree of accusation was voted, and the Girondists were proscribed.

Vergniaud was offered a safe retreat. He accepted it only for a day, and then returned to his own dwelling. He was kept under surveillance there for nearly a month, and in the early days of July was imprisoned in La Force. He carried poison with him, but never used it. His tender affection for his relatives abundantly appears from his correspondence, along with his profound attachment to the great ideas of the Revolution and his noble love of country. On one of the walls of the Carmelite convent to which for a short time the prisoners were removed Vergniaud wrote in letters of blood: “Potius mori quam foedari.” Early in October the Convention brought forward its indictment of the twenty-two Girondists. They were sent for trial to the Revolutionary tribunal, before which they appeared on the 27th of October. The procedure was a travesty of justice. Early on the morning of the 31st of October 1793 the Girondists were conveyed to the scaffold, singing on the way the Marseillaise and keeping up the strain till one by one they were guillotined. Vergniaud was executed last. He died unconfessed, a philosopher and a patriot.

VERHAEREN, ÉMILE (1855–), Belgian poet, was born at Saint-Amand, near Antwerp, on the 21st of May 1855. He was sent to school at Ghent, where he formed a friendship with Georges Rodenbach. He studied at the university of Louvain, and there started a journal, La Semaine, which he edited in conjunction with the operatic singer Van Dyck. La Semaine was suppressed by the authorities, as was its successor, Le Type, in which Verhaeren had as fellow-workers Max Waller, Iwan Gilkin and Albert Giraud. In 1881 he was admitted to the bar at Brussels, but he soon devoted his whole energies to literature, and especially to the organs of “young Belgium,” La Jeune Belgique and L’Art moderne, making himself especially the champion of the impressionist painters. Verhaeren learnt his art of poetry from the great Flemish artists, and in his early robust works, Les Flamandes (1883) and Les Moines (1886), he displays similar qualities of strength, sometimes degenerating into violence. A period of physical weakness followed, translated into terms of poetry in three volumes of verse, Les Soirs (1887), Les Débâcles (1888) and Les Flambeaux noirs (1889). Au bord de la route (1890) and Les Apparus dans mes chemins (1891) followed. Verhaeren then passed from applying his pictorial method to psychological studies to the task of individualizing the towns, villages and fields of his native country, the first outcome being his Campagnes hallucinees (1893). In Villages illusoires he describes the tragedy of the fields and farms deserted by the people in their race to the towns, and in Les Villes tentaculaires (1895) the great industrial centres devouring the surrounding country. Later volumes of poems are Les Heures claires (1896), Les Visages de la vie (1899), Les Petites Légendes (1900), Les Forces tumultueuses (1901); Les Tendresses premieres (1904). In 1898 he wrote a lyric drama Les Aubes, in 1900 a four-act piece Le Cloître, represented both in Brussels and Paris, and in 1901 a historical drama Philippe II.

VERKHNE-UDINSK, a town of Asiatic Russia, in East Siberia, province of Transbaikalia, on the right bank of the Uda, at its confluence with the Selenga, 102 m. by rail E. of Lake Baikal, to which steamers ply. Pop. (1883) 4130; (1897) 8002. It was founded as a small fort in 1668, and is a centre for the overland trade in tea with China, and an emporium both for grain and animal products, exported, and for metals, machinery and manufactured goods, imported. Its yearly fair is of great importance.

VERLAINE, PAUL (1844–1896), French lyric poet, was born at Metz on the 30th of March 1844. He was the son of one of Napoleon’s soldiers, who had become a captain of engineers. Paul Verlaine was educated in Paris, and became clerk in an insurance company. He was a member of the Parnassian circle, with Catulle Mendès, Sully Prudhomme, François Coppée and the rest. His first volume of poems, the Poèmes saturniens (1866), was written under Parnassian influences, from which the Fêtes gal antes (1869), as of a Watteau of poetry, began a delicate escape; and in La Bonne Chanson (1870) the defection was still more marked. He married in 1870 Mile. Mautet. During the Commune he was involved with the authorities for having sheltered his friends, and was obliged to leave France. In 1871 the strange young poet Jean Arthur Rimbaud came somewhat troublingly into his life, into which drink had already brought a lasting disturbance. With Rimbaud he wandered over France, Belgium, England, until a pistol-shot, fortunately ill-aimed, against his companion brought upon him two years of imprisonment at Mons. Solitude, confinement and thought converted a pagan into a Catholic, without, however, rooting out what was most human in the pagan; and after many years' silence he published Sagesse (1881), a collection of religious poems, which, for humble and passionate conviction, as well as originality of poetic beauty, must be ranked with the finest religious poems ever written. Romances sans paroles, composed during the intervals of wandering, appeared in 1874, and shows us Verlaine at his most perfect moment of artistic self-possession, before he has quite found what is deepest in himself. He returned to France in 1875. His wife had obtained a divorce from him, and Verlaine made another short stay in England, acting as a

title: Page:EB1911 - Volume 27.djvu/1051


text:
Page:EB1911 - Volume 27.djvu/1027

 wall; the flamboyant balconies of the Palazzo Contarini Fasan; the Palazzo Bernardo on a side canal near S. Polo, a. late central Gothic building (1380-1400) which Ruskin describes as "of the finest kind and superb in its effect of colour when seen from the side. Taken as a whole, after the ducal palace this is the noblest effect of all in Venice."

Early Renaissance.—Towards the close of the 15th century Venetian architecture began to feel the influence of the classical revival; but, lying far from Rome and retaining still her connexion with the East, Venice did not fall under the sway of the classical ideals either so quickly or so completely as most Italian cities. Indeed, in this as in the earlier styles, Venice struck out a line for herself and developed a style of her own, known as Lombardesque, after the family of the Lombardi (Solari) who came from Carona on the Lake of Lugano and may be said to have created it.

The most perfect example of this style in ecclesiastical architecture is the little church of the Miracoli' built by Pietro Lombardo in 1480. The church is without aisles, and has a semicircular roof, and the choir is raised twelve steps above the floor of the nave. The walls, both internally and externally, are encrusted with marbles. The facade has the characteristic circular pediment with a large West window surrounded by three smaller windows separated by two ornamental roundels in coloured marble and of geometric design. Below the pediment comes an arcade, with flat pilasters, which runs all round the exterior of the church. Two of the bays contain round-headed windows; the other three are filled in with white marble adorned by crosses and' roundels in coloured marble. The lower order contains the flat, pilaster ed portal with two panelled spaces on each side.

Early Renaissance palaces occur frequently in Venice and form a pleasing contrast with those in the Gothic style. The Palazzo Dario With its dedication, Urbis genio, the superb Manzoni-Montecuculi-Polignac, with its friezes of spread-eagles in low relief, and the Vendramini-Calergi or Non nobis palace, whose facade is characterized by its round headed windows of grouped twin lights between columns, are among the more important; though beautiful specimens, such as the Palazzo Trevisan on the Rio della Paglia, and the Palazzo Corner Reali at the Fava, are to be found all over the city.

Later Renaissance.-When we come to the fully developed Renaissance, architecture in Venice ceases to possess that peculiarly individual imprint which marks the earlier styles. It is still characterized by great splendour; indeed, the library of San Marco, built by Jacopo Sansovino in 1536, is justly considered the most sumptuous example of Renaissance architecture in the world., It is rich, ornate, yet hardly florid, distinguished by splendid effects of light and shade, obtained by a far bolder use of projections than had hitherto been found in the somewhat flat design of Venetian facades. The columned, round-headed windows are set in deeply between the pillars which carry the massive entablature, and this again is surmounted by a balustrade with obelisks at each angle and figures marking the line of each bay. The Istrian stone of which the edifice is built has taken a fine patina, which makes the whole look like some richly embossed casket in oxidized silver.

The full meaning of the change which had come over Venetian architecture, of the gulf which lies between the early Lombardesque style, so purely characteristic of Venice, and the 'fully developed classical revival, which now assumed undisputed. sway, may best be grasped by comparing the old and the new Procuratie. Not more than eighty years separate these two buildings; the old Procuratie were built by Bartolomeo Buono about 1500, the new by, Scamozzi in 1580, yet it is clear that each belongs to an entirely different world of artistic ideas. The Procuratie Vecchie is perhaps the longest arcaded facade in the world and certainly shows the least amount of wall space; the whole design is simple, the moulding and ornamentation severe. The Procuratie Nuove, which after all is merely Scamozzifs continuation of Sansovino's library, displays all the richness of that ornate building.,

title: Page:EB1911 - Volume 27.djvu/1027


text:
Page:EB1911 - Volume 27.djvu/1003

 assured at Seville. There his wife bore him two daughters—all his family so far as is known. The younger died in infancy, while the elder, Francisca, in due time married Bautista del Mazo. a painter, whose large family is that which is represented in the important picture in Vienna which was at one time called the “Family of Velazquez.” This picture is now by common consent given to Mazo. In the gallery at Madrid there is a portrait of Juana, his wife, holding a drawing-tablet on her knee. There was formerly in the possession of Lord Dudley another portrait of his wife by Velazquez, painted, perhaps, in the first year of their happy marriage. Of this early Seville manner we have an excellent example in “El Aguador” (the Water-Carrier) at Apsley House (London). Firm almost to hardness, it displays close study of nature. One can see in it the youthful struggle to portray the effects of light stealing here and there over the prominent features of the face, groping after the effects which the painter was to master later on. The brushwork is bold and broad, and the outlines firmly marked. As is usual with Velazquez at this time, the harmony of colours is red, brown and yellow, reminding one of Ribera. For sacred subjects we may turn to the “Adoration of the Magi” at Madrid, dated 1619, and the “Christ and the Pilgrims of Emmaus” in the collection of Don Manuel de Soto in Zurich, in both of which we have excellent examples of his realism. In the “St John in the Desert” we again find his peasant boy transformed into the saint.

But Velazquez was now eager to see more of the world. Madrid, with its fine Titians, held out strong inducements. Accordingly, in 1622, fortified with letters of introduction to Fonseca, who held a good position at court, he spent some months there, accompanied only by his servant. Here he painted the portrait of the poet Gongora, a commission from Pacheco, but the picture known by that name in the gallery at Madrid cannot with certainty be identified as Velazquez’s portrait; it is more probably by Zurbaran. The impression which Velazquez made in the capital must have been very strong, for in the following year he was summoned to return by Olivares, the all-powerful minister of Philip IV., fifty ducats being allowed to defray his expenses. On this occasion he was accompanied by his father-in-law. Next year (1624) he received from the king three hundred ducats to pay the cost of the removal of his family to Madrid, which became his home for the remainder of his life. Weak and worthless as a king, Philip had inherited the art-loving propensities of his race, and was proud to be considered a poet and a painter. It is one of the best features of his character that he remained for a period of thirty-six years the faithful and attached friend of Velazquez, whose merit he soon recognized, declaring that no other painter should ever paint his portrait. By his equestrian portrait of the king, painted in 1623, Velazquez secured admission to the royal service with a salary of twenty ducats per month, besides medical attendance, lodgings and payment for the pictures he might paint. The portrait was exhibited on the steps of San Felipe, and was received with enthusiasm, being vaunted by poets, among them Pacheco. It has unfortunately disappeared, having probably perished in one of the numerous fires which occurred in the royal palaces. The Prado, however, has two portraits of the king (Nos. 1070 and io7i)in which the harshness of the Seville period has disappeared and the tones are more delicate. The modelling is firm, recalling that of Antonio Mor, the Dutch portrait painter of Philip II., who exercised a considerable influence on the Spanish school. In the same year the prince of Wales (afterwards Charles I.) arrived at the court of Spain. We are told that he sat to Velazquez, but the picture has disappeared.

In 1628 Rubens' visited Madrid on a diplomatic mission for nine months, and Velazquez was appointed by the king to be his guide among the art treasures of Spain. Rubens was then at the height of his fame, and had undertaken as a commission from Olivares the large pictures which now adorn the great hall in Grosvenor House (London). These months might have been a new turning-point in the career of a weaker man than Velazquez, for Rubens added to his brilliant style as a painter the manner of a fascinating courtier. Rubens had a high opinion of the talent of Velazquez, as is attested by Fuensalida, but he effected no change in the style of the strong Spaniard. He impressed him, however, with the desire to see Italy and the works of her mighty painters. In 1627 the king had given for competition among the painters of Spain the subject of the Expulsion of the Moors. Velazquez bore off the palm; but his picture was destroyed in a fire at the palace in 1734. Palomino, however, describes it. Philip III. points With his baton to a crowd of men and women driven off under charge of soldiers, while Spain, a majestic female, sits looking calmly on. The triumph of Velazquez was rewarded by his being appointed gentleman usher. To this was shortly afterwards added a daily allowance of twelve reals, the same amount as was allowed to the court barbers, and ninety ducats a year for dress, which was also paid to the dwarfs, buffoons and players about the king’s person—truly a curious estimate of talent at the court of Spain. As an extra payment he received (though it was not paid for five years) one hundred ducats for the picture of Bacchus, painted in 1629 (No. 1058 of the Madrid gallery). The spirit and aim of this work are better understood from its Spanish name, “Los Borrachos” or “Los Bebedores” (the Topers), who are paying mock homage to a half-naked ivy-crowned young man seated on a wine barrel. It is like a story by Cervantes, and is brimful of jovial humour. One can easily see in this picture of national manners how Velazquez had reaped the benefit of his close study of peasant life. The painting is firm and solid, and the light and shade are more deftly handled than in former works. Altogether, this production may be taken as the most advanced example of the first style of Velazquez. It is usual to divide his artistic career by his two visits to Italy, his second style following the first visit and his third the second. Roughly speaking, this somewhat arbitrary division may be accepted, though it will not always apply, for, as is usual in the case of many great painters, his styles at times overlap each other. Velazquez rarely signed his pictures, and the royal archives give the dates of only his more important works. Internal evidence and history, as regards his portraits, supply to a certain extent the rest.

In 1629 Philip gave Velazquez permission to carry out his desire of visiting Italy, without loss of salary, making him besides a present of four hundred ducats, to which Olivares added two hundred. He sailed from Barcelona in August in the company of the marquis de Spinola, the conqueror of Breda, then on his way to take command of the Spanish troops at Milan. It was during this voyage that Velazquez must have heard the details of the surrender of Breda from the lips of the victor, and he must have sketched his fine head, known to us also by the portrait by Van Dyck. But the great picture was not painted till many years later, for Spinola had fallen into disfavour at court. In Venice Velazquez made copies of the “Crucifixion” and the “Last Supper” of Tintoretto, which he sent to the king, and in Rome he copied Michelangelo and Raphael, lodging in the Villa Medici till fever compelled him to remove into the city. Here he painted the “Forge of Vulcan” (No. 1059 of the Madrid gallery), in which Apollo narrates to the astonished Vulcan, a village blacksmith, the news of the infidelity of Venus, while four Cyclops listen to the scandal. The mythological treatment is similar to that of the “Bacchus”: it is realistic and Spanish to the last degree, giving a picture of the interior of an Andalusian smithy, with Apollo thrown in to make the story tell. The conception is commonplace, yet the impression it produces is undoubted from the vividness of the representation and the power of expression. The modelling of the half-naked figures is excellent. Altogether this picture is much superior to the other work painted at the same time, “Joseph’s Coat,” which now hangs in the Escorial. Both these works are evidently painted from the same models.

title: Page:EB1911 - Volume 27.djvu/1003


text:
Page:EB1911 - Volume 27.djvu/990

 and his great predecessor La Rochefoucauld is that Vauvenargues, unlike La Rochefoucauld, thinks nobly of man, and is altogether inclined rather to the Stoic than to the Epicurean theory. He has indeed been called a modern Stoic, and, allowing for the vagueness of all such phrases, there is much to be said for the description.

VAUX, CALVERT (1824-1895), American architecture and landscape gardener, was born in London on the 24th of December 1824. He was educated at Merchant Taylors' School and in the office of Lewis N. Cottingham (1787-1847). In 1850 he went to America and became A. J. Downing's architectural partner. In 1856 and 1866 Vaux was associated with F. L. Olmsted in the plans for the improvement of various parks. He designed the Belvidere in Central Park, New York, and built a number of country houses in Newport, besides many town houses and public institutions.

VAUX OF HARROWDEN, THOMAS VAUX, (1510- 1556), English poet, eldest son of Nicholas Vaux, 1st Baron Vaux, was born in 1510. In 1527 he accompanied Cardinal Wolsey on his embassy to France; he attended Henry VIII. to Calais and Boulogne in 1532; in 1531 he took his seat in the House of Lords, and was made Knight of the Bath at the corona- tion of Anne Boleyn. He was captain of the Isle of Jersey until 1536. He married Elizabeth Cheney, and died in October 1556. Sketches of Vaux and his wife by Holbein are at Windsor, and a finished portrait of Lady Vaux is at Hampton Court. Two of his poems were included in the Songes and Sonetles of Surrey (Tottel's Miscellany, 1557). They are " The assault of Cupid upon the fort where the lover's hart lay wounded, and how he was taken," and the "Dittye . . . representinge the Image of Deathe," which the gravedigger in Shakespeare's Hamlet misquotes. Thirteen pieces in the Paradise of Dainty Devices (1576) are signed by him. These are reprinted in Dr A. B. Grosart's Miscellanies of the Fuller Worthies Library (vol. iv., 1872).

VAUXHALL, a district on the south bank of the river Thames, in London, England, included in the metropolitan borough of Lambeth. The manor was held by Falkes de Breauté (whence the name, Falkes Hall) in the time of John and Henry III. About 1661 public gardens were laid out here, known as the New Spring Garden, and later as Spring Gardens, but more familiar under the title of Vauxhall Gardens. They soon became the favourite fashionable resort of the metropolis; but as a place of general entertainment they underwent great development from 1732 under the management of Jonathan Tyers (d. 1767) and his sons Thomas and Jonathan. In 1822, with the approval of George IV., who frequented the gardens before his accession, the epithet Royal was added to their title. By the middle of the 19th century, however, Vauxhall had lost its high reputation; in 1859 the gardens were finally closed, and the site was quickly built over.

VAVASSOR (Med. Lat. valvassor, vasvassor; Fr. vavassour, vavassor, vasseur, &c.), in its most general sense a mediate vassal, i.e. one holding a fief under a vassal. The word was, however, applied at various times to the most diverse ranks in the feudal hierarchy, being used practically as the synonym of vassal. Thus tenants-in-chief of the crown are described by the Emperor Conrad (Lex Lamgob. lib. iii. tit. 8, § 4) as valvassores majores as distinguished from mediate tenants, valvassores minores. Gradually the term without qualification was found convenient for describing sub-vassals, tenants-in-chief being called capitanei or barones (see ); Its implication, however, still varied in different places and times. Bracton (lib. i. cap. 8, § 2) ranks the magnates seu valvassores between barons and knights; for him they are “ men of great dignity,” and in this order they arc found in a charter of Henry II. (1166). But in the regestum of Philip Augustus (fol. 158) we find that five vavassors are reckoned as the, equivalent of one knight. Finally, Du Cange quotes two charters, one of 1187, another of 1349, in which vavassors are clearly distinguished from nobles.

The derivation of the word vavassor is very obscure. The fanciful interpretation of Bracton, vas sortitum ad valetudinem (a vessel chosen to honour), may be at once rejected. Others would derive it from varsi ad valvas (at the folding-doors, valvae), i.e. servants of the royal antechamber. Du Cange, with more justice, regards it merely as an obscure variant of vassus.

 VAYGACH (variously Waigats, Waigatch, &c.), an island off the Arctic coast of Russia, between it and Novaya Zemlya, bounded S. by the narrow Yugor Strait, and N. by that of Kara. It is roughly oblong in form; its length from S.E. to N.W. is 70 m., and its greatest breadth 28. Its greatest elevation scarcely exceeds 300 ft. For the most part it consists of tundra, with frequent marshes and small lakes. Slight rock ridges run generally along its length, and the coast has low cliffs in places. The island consists in the main of limestone, and its elevation above the sea is geologically recent. Raised beaches are frequently to be traced. The rocks are heavily scored by ice, but this was probably marine ice, not that of glaciers. Grasses, mosses and Arctic flowering plants are abundant, but there are no trees excepting occasional dwarf willows. Foxes and lemmings are met with, but whereas animals are few, birds are very numerous; a variety of ducks, waders, &c., frequent the marshes and lakes. The island is visited periodically by a few Samoyeds; they formerly considered it sacred, and some of their sacrificial piles, consisting of drift-wood, deer’s horns and the skulls of bears and deer, have been observed by travellers. In spite of their conversion to Christianity, the Samoyeds still regard these piles with superstition. The origin of the the name Vaygach is as dubious as its orthography; it has been held to be Dutch (waaien, to blow, and gat, a strait, hence ”windy strait”) or Russian, in which case it is probably a surname.

VECTOR ANALYSIS, in mathematics, the calculus of vectors. The position of a point B relative to another point A is specified by means of the straight line drawn from A to B. “It may equally well be specified by any equal and parallel line drawn in the same sense from (say) C to D, since the position of D relative to C is the same as that of B relative to A: A straight line conceived in thisway as having a definite length, direction and sense, but no definite location in space, is called a vector. It may be denoted by AB (or CD), or (when no confusion is likely to arise) simply by'AB. Thus a vector may be used to specify a displacement of translation (without rotation) of a rigid body. Again, a force acting on a particle, the velocity or momentum of a particle, the state of electric or magnetic polarization at a particular point of a medium, are examples of physical entities which are naturally represented by vectors. The quantities, on the other hand, with which we are familiar in ordinary arithrnetical algebra, and which have merely magnitude and sign, without any intrinsic reference to direction, are distinguished as scalars, since they are completely specified by their position on the proper scale of measurement. The mass of a body, the pressure of a gas, the charge of an electrified conductor, are instances of scalar magnitudes. It is convenient to emphasize. this distinction by a difference of notation; thus scalar quantities may be denoted by italic type, vectors (when they are represented by single symbols) by “ black ” or “ Clarendon ” type.,

There are certain combinations of vectors with one another,

title: Page:EB1911 - Volume 27.djvu/990


text:
Page:EB1911 - Volume 27.djvu/996

 The reasons that are advanced for the practice of fruitarianism or vegetarianism are very comprehensive, but the principal ones may be considered to be the following:—

1. Health.—(α) On the ground that animals are affected by diseases which are communicable, and are actually communicated, to man by the ingestion of their flesh, e.g. parasites, tuberculosis; (β) on the ground that the flesh of artificially fed animals is full of excretory substances, and that, therefore, under modern conditions, flesh-eating is injurious, and may be a cause of excretory substance and uric acid deposits or rapid tissue-destroying diseases in man; e.g. gout, cancer.

2. Economy.—On the ground that the assimilable nutriment from a given weight of selected fruit and grain and nut and vegetable foods will cost less than the same nutriment obtained from flesh foods.

3. Social Economy.—On the ground that an acre of cultivable land under fruit and vegetable cultivation will produce from two to twenty times as much food as if the same land were utilized for feeding cattle.

4. Racial Improvement.—On the ground that the aim of every prosperous community should be to have a large proportion of hardy country yeomen, and that horticulture and agriculture demand such a high ratio of labour, as compared with feeding and breeding cattle, that the country population would be greatly increased by the substitution of a fruit and vegetable for an animal dietary.

5. Character Improvement.—On the ground that after the virtues of courage and valour and fearlessness have been taught in the lower stages of evolution, the virtue of gentle humaneness and extended sympathy for all that can suffer should be taught in the higher cycles of the evolutionary spiral. Flesh-eating entailing necessarily an immense volume of pain upon the sentient animal creation should be abstained from by the “higher classes” in the evolutionary scale.

Organizations have been established to advocate this method of living under the name of “Vegetarian Societies” in many countries—chiefly the United Kingdom, America, Germany, France, Austria, Holland and Australia. Propagandism is carried on by lectures, literature, cookery demonstrations and restaurants. In England, the oldest and one of the most important societies is “The Vegetarian Society,” of which the headquarters are at Oxford Street, Manchester. There are also several small London societies, and an active London Association. A few provincial towns, too, have small societies. An attempt has been made to organize the various vegetarian societies of the world under the title of “The Vegetarian Federal Union.” The headquarters of the London societies and of the “Union” are at Memorial Hall, Farringdon Street, E.C.

There are nominally about 35 organized societies in existence, but the extent to which public opinion and practice in the matter of dietary has been affected by vegetarianism is not to be gauged by the membership of such organizations. There are in England a number of vegetarian restaurants and boarding-houses, one hospital and one or two sanatoria. In Germany and America there are many institutions where flesh is only prescribed in special cases. Flesh food is not included in the dietary of the chief hospitals and orphanages of the native states of India, excepting in the wards devoted to Europeans.

The athletic side of the movement has been represented in national and international races by vegetarians winning the Berlin and Dresden walking match (125 m.), the Carwardine Cup (100 m.) and Dibble Shield (6 hours) cycling races (1901 and 1902), the amateur championship of England in racquets and in tennis (held by Mr Eustace Miles for a series of years), the cycling championship of India (3 years), half-mile running championship of Scotland (1896), world's amateur cycle records for all times from 4 hours to 13 hours (1902), 100 miles championship Yorkshire Road Club (1899, 1901).

In the religious world the Seventh-Day Adventists (who are connected with many sanatoria and the manufacture of food specialities) and some Bible Christians, the worshippers of Vishnu and the Swami Narang and Vishnoi sects, amongst others, preach abstinence from flesh food. The Salvation Army, the Tolstoyans and the Doukhobors encourage it. A number of orders in the Roman Catholic church (e.g. the Trappists) and in the Hindu faith (e.g. the Dadupanthi Sadus) are pledged abstainers.

The general question of food values is discussed in the article ; see also. But there is no doubt that,

whatever may be the view taken as to the extreme theory of vegetarianism, it has had considerable effect in modifying the excessive meat-consuming régime of previous days, and in introducing new varieties of vegetable cooking into the service of the table.

The literature on the subject is considerable, but the two classics are perhaps The Ethics of Diet, by Howard Williams, and The Perfect Way in Diet, by Dr Anna Kingsford. In former years the “Vegetarian Society” was the most active in producing literature, but since about 1901 the Order of the Golden Age has come to the front with new and up-to-date books, booklets and leaflets, and the Ideal Publishing Union has reprinted much of the earlier literature. The chief periodicals are the Vegetarian (weekly), the Herald of the Golden Age (monthly), the Vegetarian Messenger (monthly), the Vegetarian (American monthly), the Children's Garden (monthly).

(J. O.)

VEGETIUS, a celebrated military writer of the 4th century. Nothing is known of his life, station and military experience, save that in MSS. he is called vir illustris and also comes. His treatise, Epitoma rei mifitaris, sive institutorum rei militaris libri quinque, was dedicated to the reigning emperor (? Theodosius the Great).' His sources, according to his own statement, were Cato, Cornelius Celsus, Frontinus, Paternus and the imperial constitutions of Augustus, Trajan and Hadrian. The book, which is a confused and unscientific compilation, has to be used with great caution, but is none the less invaluable to the student of the ancient art of war.

VEGLIA (Slavonic, Krk), an island in the Adriatic Sea, off the west coast of Croatia, from which it is separated by the Canale della Morlacca. It is situated in the Gulf of Quarnero, and is separated from the island of Cherso, lying on the S.W., by the Canale di Mezzo. Together with Cherso and Lussin, the three principal islands of the Quarnero group, it forms the administrative district of Lussin, belonging to the Austrian crownland of Istria. Veglia is the largest island of the Quarnero group, having an area of 146 sq. It is 24 m. long and about 14 m. across at its widest part. The surface is mostly rugged and mountainous; but the central, southern and western districts are fertile. The principal town is Veglia. (pop. 2074),

title: Page:EB1911 - Volume 27.djvu/996


text:
Page:EB1911 - Volume 27.djvu/992

 In the theory of attractions this expression is interpreted as measuring the degree of attenuation of the quantity at P; if we reverse the sign we get the concentration, −∇2.

Again, if we form the scalar product of the operator V into a vector A we have

∇A＝ -1-j'-gl;-l-ki) =~'?;§ %+5°, ,4'§ +%. . (20)

If A represent the velocity at any point (x, y, z) of a fluid, the latter expression measures the rate at which fluid is flowing away from the neighbourhood of P. By a generalization of this idea, it is called the divergence of A, and we write

The vector product [VA] has also an important significance. We find

vm = [ 0%-I-ji, -I-kg;

6A3 BA;, GA, BA; GA2 BA,

"I ély 02) +-l<6z  dx) +k<6x By) ' (22)

If A represent as before the velocity of a fluid, the vector last written will represent the (doubled) angular velocity of a fluid element. Again if A represent the magnetic force at any point of an electro-magnetic field, the vector [V ] will represent the electric current. In the general case it is called the curl, or the rotation, of A, and we write

vA]=curl A, or rot A. .. . (23)

These definitions enable us to give a compact form to two important theorems of C. F. Gauss and Sir G. G. Stokes. The former of these may be written,

div A. dV=fAndS,. . . (24)

where the integration on the left hand includes all the volume elements dV of a given region, and that on the right includes all the surface-elements dS of the boundary, n denoting a unit vector drawn outwards normal to dS. Again, Stokes's theorem takes the form /'Ads=f curl A ndS,. . . (25)

where the integral on the right extends over any open surface, whilst on the left ds is an element of the boundin curve, treated as a vector. A certain convention is implied as to tliie relation between the positive directions of n and ds.

It is to be observed that the term “vector ” has been used to include two distinct classes of geometrical and physical entities. The first class is typified by a displacement, or a mechanical force. A polar vector, as it is called, is a magnitude associated with a certain linear direction. This may be specified by any one of a whole assemblage of parallel lines, but the two “senses” belonging to any one of the lines are distinguished. The members of the second class, that of axial vectors, are primarily not vectors at all. An axial vector is exemplified by a couple in statics; it is a magnitude associated with a closed contour lying in any one of a system of parallel planes, but the two senses in which the contour may be described are distinguished. It was therefore termed by H. Grassmann a Plangrosse or Ebenengrosse. ]ust as a polar vector may be indicated by a length, regard being paid to its sense, so an axial vector may be denoted by a certain area, regard being paid to direction round the contour. A theory of “ Plangrossen ” might be developed throughout on independent lines; but since the laws of combination prove to be analogous to those of suitable vectors drawn perpendicular to the respective areas, it is convenient for mathematical purposes to include them in the same calculus with polar vectors. In the case of couples this procedure has been familiar since the time of L. Poinsot (1804). In the Cartesian treatment of the subject no distinction between polar and axial vectors is necessary so long as we deal with congruent systems of co-ordinate axes. But when we pass from a right-handed to a left-handed system the formulae of transformation are different in the two cases. A polar vector (e.g. a displacement) is reversed by the process of reflection in a mirror normal to its direction, whilst the corresponding axial vector (e. a couple) is unaltered.

.-The methods of vector analysis are chiefly used as a means of condensed expression of various important relations which are of frequent occurrence in mathematical physics, more especially in electricity. They are freely employed, for example, in many recent German treatises. The historical development of the subject can only be briefiy referred to. The notions of scalar and vector products originated independently with Sir W. R. Hamilton (1843) (see ) and H. Grassmann (1844), but were associated with various other conceptions of which no use is made in the simplified system above sketched. The present currency of this latter Zystem is due mainly to the advocacy of O. Heaviside and ]. W. ibbs, although for the systematic hysical interpretation of the various combinations of symbols which constantly recur in electricity and allied subjects we are indebted primarily to the classical treatise of J. C. Maxwell on Electricity and Magnetism (1873). For further details and applications of the calculus reference may be made to the following: O. Heaviside, Electro-Magnetic Theory (London, 1894); J. W. Gibbs, Vector Analysis (2nd ed., New York, 1907); M. Abraham, Die Maxwellsche Theorie d. Elektrizität (Leipzig, 1904); the articles by H. E. Timerding and M. Abraham in vol. iv. of the ''Encycl. d. Math. Wiss.'' (Leipzig, 1901–2); A. H. Bucherer, Elemente d. Vektor-Analysis (Leipzig, 1905). For an account of other systems of vector analysis see H. Hankel, Theorie d. complex en Zahlensysteme (Leipzig, 1867); and A. N. Whitehead, Universal Algebra, vol. i. (Cambridge, 1898).

VEDDAHS, or (from Sanskrit veddha, “hunter”), a primitive people of Ceylon, probably representing the Yakkos or “demons” of Sanskrit writers, the true aborigines of the island. During the Dutch occupation (1644–1796) they were found as far north as Jaffna, but are now confined to the south-eastern district, about the wooded Bintenna, Badulla and Nilgala hills, and thence to the coast near Batticaloa. They are divided into two classes, the Kele Weddo or jungle Veddahs, and the Gan Weddo, or semi-civilized village Veddahs. The Veddahs exhibit the phenomenon of a race living the wildest of savage lives and yet speaking an Aryan dialect. Craniometrical evidence strongly favours the theory, now generally accepted, that they represent a branch of the pre-Aryan Dravidians of southern India, and that their ancestors probably made a settlement in the island of Ceylon in prehistoric times, detaching themselves from a migrating horde which passed through the island to find at last a permanent home in the continent of Australia. The true jungle veddahs are almost a dwarfish race. They are dark-skinned and flat-nosed, slight of frame and very small of skull, and average no more than 5 ft. Their black hair is shaggy rather than lank. They are a shy, harmless, simple folk, living chiefly by hunting; they lime birds, catch fish by poisoning the water, and are skilled in getting wild honey; they have bows with iron-pointed arrows and breed hunting dogs. They dwell in caves or bark huts. and their word for house is Sinhalese for a hollow tree, rukula. They count on their fingers, and make fire with the simplest form of fire-drill twirled by hand. They are monogamous, and their conjugal fidelity contrasts strongly with the vicious habits of the Sinhalese. Their religion has been described as a kind of demon worship, consisting of rude dances and shouts raised to scare away the evil spirits, whom they confound with their ancestors. The Veddahs are not to be confounded with the Rodiyas of the western uplands, who are a much finer race, tall, wellporportioned, with regular features, and speak a language said to be radically distinct from all the Aryan and Dravidian dialects current in Ceylon. There is, however, in Travancore, on the mainland, a low-caste “ Veda” tribe, nearly black, with wavy or frizzly hair, and now speaking a Malayalim (Dravidian) dialect (jagor), who probably approach nearer than the insular Veddahs to the aboriginal pre-Dravidian “ negrito ” element of southern India and Malaysia.

 VEDDER, ELIHU (1836–), American artist, was born in New York City on the 26th of February 1836. He studied under the genre and historical painter Tompkins H. Matteson (1813-1884), at Sherburne, N.Y., later under Picot, in Paris, and then, in 1857-61, in Italy. After 1867 he lived in Rome, making occasional visits to America. He was elected to full membership in the National Academy of Design, New York, in 1865. He devoted himself to the painting of genre pictures, which, however, attracted only modest attention until the publication, in 1884, of his illustrations to the Rubaiyat of Omar Khayyam; these immediately gave him a high place in the art world. Important decorative work came later, notably the painting symbolizing the art of the city of Rome, in the Walker Art Gallery of Bowdoin College, Maine, and the five lunettes (in the entrance hall) symbolical of government,

title: Page:EB1911 - Volume 27.djvu/992


text:
Page:EB1911 - Volume 27.djvu/993

 and the mosaic “Minerva” in the Congressional Library at Washington. Among his better-known pictures are: “Lair of the Sea Serpent,” in the Boston Museum of Fine Arts; “Young Marsyas,” “Cumaean Sibyl,” “Nausicaa,” in the collection of J. Pierpont Morgan; and “Genii and Fisherman,” in the collection of Martin Brimmer, Boston.  VEDETTE, a French military term (formed from Lat. videre, to see), adopted into English and other languages for a mounted sentry or outpost, whose function it is to bring information, give signals or warnings of danger, etc., to the main body of troops.  VEERE, a town in the province, of Zeeland, Holland, on the island of Walcheren, 4 m. N.N.E. of Middelburg, with which it is connected by canal (1867–72). It contains several interesting architectural remains of the days of its former prosperity, many of its quaintly gabled old houses dating from the 16th century. There is a fine Gothic church dating from 1348, but subsequently in part destroyed and used for secular purposes; the town hall (1475) has a fine gable filled with sculpture, and contains some interesting antiquities.  VEGA, GARCILASO DE LA (1503–1536), Spanish soldier and poet, was born at Toledo on the 6th of February 1503. His father, Garcilaso (Garcias Laso or Garcilasso) de la Vega, was counsellor of state to Ferdinand and Isabella, and, for some time their ambassador at the, court of Rome; by his mother he was descended from the illustrious house of Guzman. At the age of seventeen he was attached to the bodyguard of Charles V., and fought against the insurgent comuneros, being wounded at the battle of Olias near Toledo. He afterwards served in the north of Italy, and gained great distinction by his bravery at the battle of Pavia in 1525. In the following year he married a lady-in-waiting to Queen Eleanor. He took part, in the repulse of the Turks from Vienna in 1529, was present at the coronation of the emperor at Bologna in 1530, and was charged with a secret mission to Paris in the autumn of the same year. In 1531 he accompanied the duke of Alva to Vienna, where, for conniving at the clandestine marriage of his nephew to a maid-of-honour, he was imprisoned on an island in the Danube. During this captivity he composed the fine canciou, “Con un manso ruido de agua corriente y clara.” Released and restored to favour in June, 1532, he went to Naples on the staff of Don Pedro de Toledo, the newly appointed viceroy, by whom he was twice sent on public business of importance to Barcelona, in 1533 and 1534. After having accompanied the emperor on the expedition to Tunis (1535), where he received two, severe wounds, he was employed as a confidential agent at Milan and Genoa in negotiations connected with the proposed invasion of Provence, and joined the expedition when it took the field. Being with Charles in the neighbourhood of Fréjus during the retreat from Marseilles, Garcilaso de la Vega was ordered to storm a fort at Muy, which had checked the advance of the arrny. In the successful discharge of this duty he was mortally wounded and died twenty-one days afterwards, at Nice, (14th of October 1536). His poems were entrusted to his friend Boscan, who was preparing them for publication along with his own when death overtook him in 1540. The volume ultimately appeared at Barcelona in 1543, and has often been reprinted. Garcilaso’s share in it consists principally of three eglogas or pastorals, which the Spaniards regard as among the finest works of the kind in their language, and which for sweetness of versification and delicacy of expression take a high rank in modern European literature. In addition to the pastorals, there are thirty-seven sonnets, five canciones, two elegies and a blank verse epistle, all influenced by Italian models. The poems rapidly gained a wide popularity; and with in a century of their appearance they were edited as classics by Francisco Sanchez (1577), Herrera (1580) and Tamayo de Vargas (1622). An English translation of his works was published by Wiffen in 1823. Garcilaso’s delicate charm has survived all changes of taste, and by universal consent he ranks among the. most accomplished and artistic of Spanish poets.

 VEGA, GARCILASO DE LA, called “Inca” (c. 1535–1616), historian of Peru, was born at Cuzco. His father, Sebastiano Garcilaso (d. 1559), was a cadet of the illustrious family of La Vega, who had gone to Peru in the suite of Pedro de Alvarado, and his mother was of the Peruvian blood-royal, a circumstance of which he was very-proud as giving him a right to the title which he, claimed by invariably subscribing himself “Inca.” About 1560 he removed to Spain, and after serving against the Moors incurred the hatred. of Philip II; and was imprisoned at Valladolid. He died in Spain in 1616. A diligent student of the language and traditions of his maternal ancestors, Garcilaso left a valuable work on Peruvian history; the first part, entitled Comentarios reales que tratan del origen de los Yncas, was first published at Lisbon in 1609, and the second part, Historia general del Peru, in 1617.

 VEGA CARPIO, LOPE FELIX DE (1562–1635), Spanish dramatist and poet, was born on the 25th of November 1562 at Madrid. His father and mother, Felix de Vega Carpio and Francisca Hernandez Flores, originally came from the valley of Carriedo in Asturias, where the hamlet of Vega still exists. Lope began his studies at the Theatine college in Madrid, and according to his admiring biographer, Pérez de Montalbán, his precocity was extraordinary. On leaving college he entered the service of Don Jerónimo Manrique, bishop of Avila, and appears to have then begun the composition of his earlier dramas. He quitted the bishop’s service to enter the university of Alcalá de Henares, where he devoted himself to what was called philosophy. The date of Lope’s matriculation is unknown, as his name does not appear in the university books; but it seems probable that he was in residence between 1576 and 1581. He took part in the expedition to the Azores in 1582, and from 1583 to 1587 was secretary to the marques de las Navas. In February 1588 he was banished for circulating criminal libels against his mistress, Elena Osorio, whom he has celebrated under the name of Filis. He defied the law by returning to Madrid soon afterwards and eloping with Isabel de Urbina, daughter of Philip II.’s herald; he married her by proxy on the 10th of May 1588, and joined the Invincible Armada, losing his brother in one of the encounters in the Channel. He settled for a short while at Valencia, where he made acquaintance with a circle of young poets who were afterwards to be his ardent supporters in founding the new comedy. He joined the household of the duke of Alva, with whom he remained till 1595. Soon afterwards he lost his wife; he was prosecuted for criminal conversation in 1596, became secretary to the marquis de Malpica (afterwards count de Lemos), and in 1598 married a second wife, Juana de Guardo, by whom he had two children (Carlos, who died in 1612, and Feliciana Felix); but she died, shortly after giving birth to the latter, in 1613. During this wife’s lifetime the poet had by a mistress, Micaelade Luxan, two other children—Marcela del Carpio, who became a nun in 1621, and Lope Felix del Carpio y Luxan, who chose the profession of arms and perished at sea about 1634. Widowed a second time in 1613, Lope sought a refuge in the church. After having been for some time affiliated to a tertiary order, he took priest’s orders.

At this juncture, about 1614, he was in the very zenith of his glory. A veritable dictator in the Spanish world of letters, he wielded over all the authors of his nation a power similar to that which was afterwards exercised in France by Voltaire. At this distance of time Lope is to us simply a great dramatic poet, the founder of the Spanish theatre; but to his contemporaries he was

title: Page:EB1911 - Volume 27.djvu/993


text: 1911 Encyclopædia Britannica/Vedder, Elihu


text: Dictionary of National Biography, 1885-1900/Ormerod, Oliver


text: Dictionary of National Biography, 1885-1900/Ormerod, William Piers


text: Dictionary of National Biography, 1885-1900/Ormesby, William de


text: Dictionary of National Biography, 1885-1900/Ornsby, George


text: Dictionary of National Biography, 1885-1900/Ornsby, Robert


text: Dictionary of National Biography, 1885-1900/O'Rourke, Brian-na-Murtha


text: Dictionary of National Biography, 1885-1900/O'Rourke, Tiernan


text: Dictionary of National Biography, 1885-1900/Orr, Hugh


text: Dictionary of National Biography, 1885-1900/Orr, James


text: Dictionary of National Biography, 1885-1900/Orr, John


text: Dictionary of National Biography, 1885-1900/Orr, William


text: Dictionary of National Biography, 1885-1900/Orridge, Benjamin Brogden


text: Dictionary of National Biography, 1885-1900/Ortelius, Abraham


text: Dictionary of National Biography, 1885-1900/Orton, Job


text: Dictionary of National Biography, 1885-1900/Orton, Reginald


text: Dictionary of National Biography, 1885-1900/Orum, John


text: Dictionary of National Biography, 1885-1900/Osbald


text: Dictionary of National Biography, 1885-1900/Osbaldeston, George


text: Dictionary of National Biography, 1885-1900/Osbaldeston, Lambert


text: Dictionary of National Biography, 1885-1900/Osbaldeston, Richard


text: Dictionary of National Biography, 1885-1900/Osberht


text: Dictionary of National Biography, 1885-1900/Osbern (fl.1090)


text: Dictionary of National Biography, 1885-1900/Osbern (d.1103)


text: Dictionary of National Biography, 1885-1900/Osbern, Claudianus


text: Dictionary of National Biography, 1885-1900/Osborn, Elias


text: Dictionary of National Biography, 1885-1900/Osborn, John


text: Dictionary of National Biography, 1885-1900/Osborn, Sherard


text: Dictionary of National Biography, 1885-1900/Ouseley, William Gore


text:
Page:Newdressmakerwit00butt.djvu/141

OR the shirred trimmings given in these chapters the softest materials should be used.

Plaited trimmings may be made of very soft materials or of materials with more body.

Any of the materials may be cut double.

Soft ribbons requiring no finish at the edges may be used effectively for these trimmings.

Most materials for the ruchings and puffings may be cut bias or straight.

Chiffon should always be cut lengthwise or crosswise, never bias.

Silks and satins lie in softer folds if they are cut bias or crosswise.

If the edges are to be frayed, the materials must be cut lengthwise or crosswise. Crosswise is preferable, for the threads are closer and make a thicker fringe.

If net is to be used with raw edges, it should be cut on the line of the straight threads which run lengthwise, or bias. You can easily determine the direction of these threads on the piece you are using by stretching the net a little in different directions. Net is more easily hemmed if cut as above, but for a double ruche it may be cut lengthwise, crosswise or bias.

Different materials require different amounts of fulness for shirred ruches. A soft fabric such as chiffon requires three times the length of the finished ruche. Taffeta, messaline and such materials which have a little more body require only about twice the finished length.

THE WIDTH OF RUCHES—On the single ruches you must allow from one-quarter to one-half inch for each cord, the amount depending on the size of the cord. If the edges are to be hemmed or rolled, sufficient allowance should be made for that finish.

For a double ruche calculate the width of a single ruche and double the amount.

CLEAN EVEN EDGES are important, especially if the ruche is to be frayed. The best way to get a good edge for strips cut crosswise or lengthwise is to pull a thread of the material.

THE EDGES OF SINGLE RUCHES may be finished in different ways, depending on the material. Taffeta may be frayed (Ill. 331), pinked (Ill. 338), picoted (Chapter 25, page 119) or finished with tiny hems.

Messaline and crêpe de Chine can be frayed, picoted or hemmed.

Chiffon may have its edges picoted, or rolled, and whipped tightly with fine stitches in the same or contrasting color (Chapter 25. page 123.)

Net may be picoted, hemmed with a same or contrasting color, or if it is a fine mesh, it can be cut in such a way that the edge needs no finish.

STRIPS should be joined as neatly as possible. Some nets can be seamed with an

title: Page:Newdressmakerwit00butt.djvu/141


text: Dictionary of National Biography, 1885-1900/Outram, James


text: Dictionary of National Biography, 1885-1900/Overbury, Thomas


text:
Page:Newdressmakerwit00butt.djvu/142

138 over-and-over stitch, using No. 150 cotton; the joining can scarcely be detected. If this is not practical for the net you are using, make a plain seam and trim the edges down to within one-eighth of an inch of the stitching. Roll the seam edges down to the stitching and whip them closely.

Non-transparent materials may be joined in a plain seam for a double ruche. For a single ruche they should be joined with a tiny French seam. (Chapter 17, page 86.) This can be trimmed away under a frayed edge so that the frayed edge appears continuous. This work must be done very carefully.

In cutting, plan the strips so that as few joinings as possible are required. (The directions for cutting bias strips are given in Chapter 2, page 15.)

FOR GATHERINGS, make a row of small running stitches. The stitches may be the same length as the spaces, or the spaces may be twice the length of the stitches. Always begin by inserting the needle from the wrong side to conceal the knot. It is better to slip the stitches along on the needle and not remove it from the material.

When the gathering is completed, remove the needle and draw the gatherings up tight. Place a pin vertically, close to the last stitch, and wind the thread several times around the pin in the form of an 8 (Ill. 321.) This holds the gathers firmly together.

IN STROKING OR LAYING GATHERS the work is held between the thumb and fingers of the left hand, with the thumb below the gathering thread. Put the side of the needle well above the gathering thread and press the little plait under the thumb, drawing the needle down. (Ill. 322.)

Do not use the point of the needle, as it scratches and weakens the material. Continue entirely across the gathers, putting the needle under each stitch and holding the plait firmly with the thumb. Stroke the material above the gathering thread as well as below it to make the gathers firm and even.

TWO ROWS OF GATHERS are often used in dressmaking and do not need stroking. A skirt joined to a band, a sleeve set in a cuff or sewed into the armhole,

title: Page:Newdressmakerwit00butt.djvu/142


text:
Page:Tensing Exercises.djvu/49

Rh See Figs. 26 and 27.

Extend the arms horizontally. Tense the arms, close your hands half way (thumb and fingers opposing each other). Pull both hands straight for the shoulders; pull slowly as if resisting an opposing force. Make the muscular contraction very positive at the end of every movement. Relax. Push the hands back to position slowly as if resisting an opposing force. Extend arms to the utmost. Relax.

Do not allow the elbows to lower in either movement.

Seven times.

title: Page:Tensing Exercises.djvu/49


text:
Page:Tensing Exercises.djvu/51

Rh See Figs. 28 and 29.

Extend the arms horizontally. Hands half closed, palms down. Tense the arms. Think of the arms as a strong steel rod. Rotate the arms as far to the right and as far to the left as possible—very slowly, and as if resisting an opposing force.

In order to retain the arms in position, imagine each hand turning, as it were, in a hole in the wall.

Seven times.

title: Page:Tensing Exercises.djvu/51


text:
Page:Tensing Exercises.djvu/53

Rh See Figs. 30 and 31.

Bow the legs. Arms at side, close to the body. Hands half-closed, palms forward. Tense the arms. Lift both hands, slowly, as if lifting a very heavy weight in each hand. Close the arms with a positive muscular contraction. Relax. Tense hands and arms again and lower them, slowly, as if resisting an opposing force.

Seven times.

title: Page:Tensing Exercises.djvu/53


text:
Page:Tensing Exercises.djvu/55

Rh See Fig. 32.

Standing in the correct position—the weight of the hody over the center of the feet—raise the heels as far as possible from the floor and lower them again to position without swaying the body forward and backward. Rise slowly, and settle very lightly on the heels.

As you rise, tense your entire body and imagine a very powerful person holding his hands on your shoulders. This will necessitate very slow movement with great resistance. As you descend, the same force is used to overcome an imaginary resistance—as if powerful hands were placed under your arms.

Seven times.

Fifty times, when taking the movements more rapidly—without the resistance. These, for the sake of suppleness, should follow the resisting exercise. At the same time close and open the hands as in exercises Nos. 10 and 11.

title: Page:Tensing Exercises.djvu/55


text:
Page:Tensing Exercises.djvu/57

Rh See Fig. 33.

The squatting exercise. Settle the body as nearly as possible on the heels as they rise from the floor—the knees well apart. Then rise to position.

Tense your entire body as you slowly descend against an imaginary resisting force. Do the same as you rise. The slower and the greater force exerted the more rapid and complete the development.

Seven times.

Twenty-five times rapidly, without resistance. There is no better exercise to give elasticity to one's step.

title: Page:Tensing Exercises.djvu/57


text:
Page:Tensing Exercises.djvu/59

Rh See Fig. 34.

Resting the left hand, lightly, on back of chair (for balance) and weight of body on left foot, KICK vigorously forward and out with right leg, and recover quickly.

The same with the left leg—the right hand on back of chair and the right leg bearing the weight of the body.

Take this mildly at first so as to avoid any undue strain of tendon or ligament.

Fifty times with each foot.

title: Page:Tensing Exercises.djvu/59


text:
Page:Newdressmakerwit00butt.djvu/143

Rh should be gathered twice so that the gathers will stay in the proper place.

The second row is made with the stitches directly in line with those of the first row and one-quarter or three-eighths of an inch below them. (Ill. 323.) If there is much fulness to be gathered, the spaces between the stitches may be lengthened.

GAGING OR FRENCH GATHERS is a style of shirring generally used where a quantity of material must be adjusted to a comparatively small space. (Ill. 324.) The stitches in this case are made evenly: long ones on the right side and short ones on the under side of the material. Each successive row of gathers has its long and short stitches parallel, respectively, with those of the preceding row. The threads are all drawn up evenly, and fastened at the ends.

SHIRRING is made of successive rows of gatherings. It is used as a trimming. There are several different kinds of shirring, the use of which must be determined somewhat by the character of the material and the style of the garment. Before beginning, it is best to mark the sewing lines with a colored thread to be sure to get the rows even. This thread can be drawn out when the shirring is finished.

A SIMPLE SHIRRING is shown in Illustration 325. The top edge is turned in and the first row shirred in close to the edge. The thread should be amply strong, with a good big knot at the end; for if the thread is weak and breaks, or the knot pulls through, the shirring will progress slowly, and the material will suffer unnecessarily in the working.

Shirring can also be done very successfully on the machine by using the gathering

Ill. 328. Cord Shirring

title: Page:Newdressmakerwit00butt.djvu/143


text:
Page:Tensing Exercises.djvu/61

Rh See Fig. 35.

Resting the weight on the left foot, the left hand on the hip or chair, extend the right arm to its fullest extent, palm of hand toward the floor, the arm on a level with the shoulder (or higher). Kick high enough with the right foot to touch the toes to the palm of the hand—without lowering the hand.

Then, resting the weight on the right foot, repeat the movement with the left foot.

Ten times—each foot.

title: Page:Tensing Exercises.djvu/61


text:
Page:Bobbsey Twins at School.djvu/183

was considerable talk among the boys in Danny's room after Mr. Tetlow departed. And it was noticed that Danny and some of his particular friends looked around with rather frightened faces, over their shoulders, as they talked among themselves. What they said could not be heard, for they spoke in whispers.

"I hope you weren't one of those boys, Bert," said Nan, as she passed her brother on the way home from school that afternoon. "If you were"

"You needn't worry," he said, with a smile. "I'm not ready to smoke yet."

"Nor ever, I hope," said Nan, as she turned up her little nose. "It—it smells so."

Nothing more was heard of the smoking matter for several days, and it was about

title: Page:Bobbsey Twins at School.djvu/183


text:
Page:Tensing Exercises.djvu/63

Rh See Fig. 36.

Lie flat upon the back. Tense the arms alongside the body, but not resting them on the floor. Tense the legs. Lift them and lower them slowly, without bending the knees. Keep the legs together. Do not allow the head to rise from the floor.

Seven times—up and down—without the legs or heels resting upon the floor until the seventh time.

.—Do not hold the breath. Inhale as the legs ascend; exhale as they descend; or, as is my rule in general, let the breathing take care of itself, providing you do not restrict it.

title: Page:Tensing Exercises.djvu/63


text:
Page:Tensing Exercises.djvu/65

Rh See Figs. 37 and 38.

Bow the legs. Extend arms to the side. Tense arms and halfclosed hands. Bring them to the front on a line with the shoulders; then back to position without lowering the arms. This should be done rapidly and very vigorously.

Fifteen times, without stopping.

. — Do not hold the breath.

title: Page:Tensing Exercises.djvu/65


text:
Page:Newdressmakerwit00butt.djvu/144

140 attachment. In that case it is especially necessary to mark the sewing lines before beginning, as the machine does the work so rapidly that one is more apt to get an irregular line.

TUCK SHIRRINGS are prettiest made on the bias of the material. Shirr along the sewing lines of the tucks through both thicknesses of the material and draw up the fulness. (Ill. 326.)

SCALLOPS OR SNAIL SHIRRINGS are meant to be used as a band trimming. Make a narrow fold of the material, and run the shirring thread zigzag across from edge to edge. (Ill. 327.) As the work progresses, draw up the thread when the fold will acquire a scallop edge on both sides. If a wider fold is used, two threads may be run in close together. This will produce a more even trimming and one that will be less perishable.

CORD SHIRRING (Ill. 328) is made much like the tuck shirring. Tiny tucks are sewed in with a cord enclosed from the under side (See Ill. 295, page 130), and when the entire number of threads have been run in, draw up the fulness.

A SIMPLE RUCHE can be made from strips of the material. Cut off the selvedge, for the selvedge is stiff and would prevent the material from making a soft ruche. Join as many strips of material as are necessary to make the ruche the desired length. Turn under one raw edge of the strip and fold the strip so that it will be double, with the seam at the center of the under side. (Ill. 329.) Gather the ruche through the center just inside the fold edge. (Ill. 329.)

A THREE-TUCK RUCHE is used when more fulness is desired than is given by a simple ruche. This is made by cutting the strips about seven inches wide. After joining the strips as before, fold them in thirds, bringing the two raw edges together three-eighths of an inch from the folds. Run a gathering thread through all the layers at one time. (Ill. 330.)

title: Page:Newdressmakerwit00butt.djvu/144


text:
Page:Bobbsey Twins at School.djvu/184

170, when something else came to claim the attention of the Bobbsey twins and their friends.

It was toward the close of school one afternoon, when all the pupils were wishing the hands of the clock would point to letting-out time, that Nan, looking from the window, and away from her arithmetic book, saw a few white flakes of snow sifting lazily down. At once she was all attention, and her lesson was forgotten.

"Oh!" she thought, "it's snowing! And it looks as if it would be a big storm! Oh, I'm so glad!"

Nan did not know all the trouble and misery a big snow storm can cause, so she may be forgiven for wishing for one. She only saw the side of it that meant fun for her and her friends.

The flakes were coming down faster now, and there was about them something which seemed to tell that this storm would be more than a mere flurry or squall, and that it would keep up for some time, making big drifts.

But now a number of other pupils in the

title: Page:Bobbsey Twins at School.djvu/184


text:
Page:Tensing Exercises.djvu/73

Rh See Figs. 44, 45, 46, 47, 48 and 49.

Have the head well poised. Bend it as far forward as possible—chin to chest, and then as far backward. Do not move the body.

Have the head well poised. Endeavor to lay the ear upon the shoulder—first right, then left. Do not move the body from side to side nor allow the shoulders to lift. Keep the eyes toward the ceiling (about 45 degrees) in order to keep the correct position of the head.

Have the head well poised. Turn it to the right and left alternately—without moving the body.

If you desire muscular development of the neck, tense the muscles as if someone was placing the hand against the head to prevent the various movements.

If you desire flexibility take the movements without tensing or resisting.

Fifteen times forward and back.

Ten times side to side.

Five times, turning or twisting right and left.

title: Page:Tensing Exercises.djvu/73


text:
Page:Tensing Exercises.djvu/77

Rh See Figs. 30 and 31.

Lie flat upon the back. Extend the arms full length above the head resting them upon the floor. Tense the arms and legs. Raise them both simultaneously, arms and legs toward each other above the body. The legs kept together and unbent. Do not allow the head to rise from the floor.

Seven times—up and down—without the legs or heels resting upon the floor until the seventh time.

.— Do not hold the breath. Inhale as the legs and arms ascend, and exhale as they descend; or, as is my usual custom, let the breathing take care of itself, providing it is not restricted.

title: Page:Tensing Exercises.djvu/77


text:
Page:Newdressmakerwit00butt.djvu/145

Rh {|align = center
 * }
 * }
 * }

A RUCHE OF FRAYED TAFFETA is shown is Illustration 331. The silk is cut single and there is one cord shirring.

A DOUBLE RUCHE WITH ONE CORDING. The edges of the material are folded over until they just meet at the center of the strip and are basted in place. The strip is then folded lengthwise through the center and a line of fine running stitches forms a tuck. (Ill. 332.) The cord may be inserted while making the tuck. (Ill. 332.)

For two cordings the sewing of each tuck should be about one-eighth of an inch from the center. If larger cords are used, the sewing of the tucks should be a little farther apart so as not to crowd them.

A FLUFFY DOUBLE RUCHE WITH TWO CORD SHIRRINGS is shown in Illustration 333. To make this ruche perky, catch the material to the cord, along the back of the cordings, tacking it to the cordings. The sewing should be made by putting the needle in the material a little to one side of the tuck sewing, catching the cord and bringing it out on the opposite side. Take these stitches from one-quarter to one-half an inch apart. Very soft materials require less tacking than those having more weight and body.

A PUFF RUCHE OF SOFT SATIN RIBBON is shown in Illustration 334. This is an effective ruche and may also be made of soft materials as well as ribbon. Cut the material enough wider than the width desired for the finished ruche so that when the edges are turned over the raw edge will be included in the tuck sewing.

A PUFF TRIMMING (III. 335) is attractive made of any soft material. It may be corded with as many cords as you like.

A VARIATION OF PLAIN PUFFING is shown in Illustration 336. Two sizes of cords and two widths of puffings make a very attractive trimming. In cutting your strips of material for this puffing allow for the cords and for a seam along each edge. The strips

Ill. 336. Variation of Plain Puffing

title: Page:Newdressmakerwit00butt.djvu/145


text:
Page:Tensing Exercises.djvu/79

Rh See Figs. 52 and 53.

Lie flat upon the back. Fold the arms easily across the chest. Rise to a sitting posture without allowing the heels to lift from the floor or the knees to rise. Lower the body as slowly as you rise. Keep the legs flat upon the floor.

If your abdominal muscles are not sufficiently strong, at first, to do this without a jerk or without lifting the legs, place the feet under the dresser, couch or some other object until the muscular contraction is sufficient of itself to raise and lower the body slowly.

As this movement has an interval of rest at the end of the sitting and lying posture, I would suggest that you inhale before each movement and exhale at the close, i.e., inhale before rising, exhale after rising; inhale before returning, exhale after returning.

Seven times, up and down.

title: Page:Tensing Exercises.djvu/79


text:
Page:Tensing Exercises.djvu/81

Rh See Figs. 54, 55 and 56.

(1) Lock the thumbs together. Extend the arms downward close to the body. Pull vigorously and steadily for a moment or two. Then lock the forefingers and do likewise; then the middle fingers; then the third (or ring) fingers; then the little fingers; then grip the ends of all the fingers of one hand with the ends of all the fingers of the other hand.

(2) Repeat the foregoing with the hands higher up—the forearms at right angles with the upper arms.

(3) Repeat the foregoing with the hands higher up—about opposite the neck.

title: Page:Tensing Exercises.djvu/81


text:
Page:Newdressmakerwit00butt.djvu/146

142 of material for the puffing may be cut straight or bias as you prefer. Tack the inner cords along the back to the puffing material. The outer cords will adjust themselves. Different arrangements in the number and spacing of the cordings may be used. Puffings of this kind make most delightful trimmings.

A PUFF RUFFLE is made of strips of chiffon, etc., double the width of the ruffle desired, plus the two inches required for the heading at the top. Fold the chiffon double, bringing the two raw edges together on a line one inch below the edge that will be the upper edge of the ruffle. Turn under the upper raw edge and run in the gathering thread, using small stitches. (Ill. 337.)

A BOX-PLAITED RUCHE is shown in the process of making in Illustration 338. The strips for the ruche may be cut bias or straight and in any width desired. The edges could be picoted or pinked. This ruche requires a little less than three times the finished length.

The plaits should be basted (Ill. 338) and then machine-stitched through the center. (Ill. 338.) They should not be pressed flat but should be left to stand out from the stitching.

A BOX-PLAITED TRIMMING JOINED TO A GARMENT WITH A CORD PIPING is shown in Illustration 339. The strips for the plaiting may be cut bias or straight. The outer edge of the plaiting may be pinked, picoted or finished with a very narrow hem.

The cord piping and the unfinished edge of the plaiting are joined together in a plain seam. (Ill. 339.) The seam is then turned down flatly under the plaits and the plaits are pressed.

A QUILLING OR SIMPLE SIDE-PLAITED TRIMMING is shown in Illustration 340. The strips of material may be cut bias or straight and should be three times as long as the finished trimming. The outer edge of the quilling may be picoted, hemmed or pinked, or the quilling may be made double.

The garment edge which the plaiting is to finish should be turned under the seam width and basted. (Ill. 340.) The plaiting is basted under this edge and sewed in position according to the material and finish of the garment. (Ill. 340.)

title: Page:Newdressmakerwit00butt.djvu/146


text:
Page:Tensing Exercises.djvu/83

Rh See Figs. 57 and 58.

(4) Repeat the exercise on previous page, with the hands back of the head.

(5) Repeat the foregoing by starting at the last position and ending at the first by a steady attempt to pull apart from start to finish. During the entire passage the arms should be fully extended after raising them above the head and moving forward.

Avoid bending backward; rather incline the body forward.

title: Page:Tensing Exercises.djvu/83


text:
Page:Tensing Exercises.djvu/85

Rh See Figs. 59 and 60.

Stand erect, arms outstretched, feet 20 inches apart, abdomen drawn back.

Bend to the left, flexing the left knee, but keeping the right leg straight. Touch the floor with the left hand, by the side of the foot.

Recover, make a momentary pause, and reverse the movement by flexing the right knee, keeping the left leg straight and touching the floor with the right hand, by the side of the foot.

Keep the abdomen well drawn in, especially when returning to position.

Ten times side to side.

title: Page:Tensing Exercises.djvu/85


text:
Page:Tensing Exercises.djvu/87

Rh See Figs. 61 and 62.

Place the hands back of the head. Interlace the fingers. Lean slightly backward and move the body sidewise—right and left—stretching the body to the utmost. Relax the mind as you stretch the body.

This need not be taken at any specified time nor any number of times, but when brain or body needs a recreative exercise.

title: Page:Tensing Exercises.djvu/87


text:
Page:Tensing Exercises.djvu/89

Rh See Figs. 63 and 64.

Sit. Extend the legs straight in front, high enough for the feet to escape the floor. Extend the arms down by your side. Tense the arms and legs. Close and open the hands as in exercises Nos. 10 and 11. As you close the hands with a firm grip, draw the ball of the foot firmly toward your body (heels pressed forward). As you open the hands and extend the fingers, press the ball of the foot firmly forward (the heels toward the body). Do not raise or lower the legs.

Twenty-five times.

title: Page:Tensing Exercises.djvu/89


text:
Page:Newdressmakerwit00butt.djvu/147

EWING ON FLAT OR TUBULAR BRAID—These braids are sewed from right to left. Fasten the braid on the right and hold it down ahead of you on the line where it is to be sewed. Bring the needle up so that it catches the lower edge of the braid close to the edge, insert the needle in the material as close to where you brought it out as possible. Take a slanting stitch about ⅜ of an inch long bringing the needle out through both the material and braid close to the upper edge. Insert the needle in the material close to where you brought it out and take another slanting stitch ⅜ of an inch long, bringing the needle out through both the material and braid close to the lower edge. (Ill. 341.)

A narrow braid is often used near an edge on waists and dresses to hold the hem or facing.

SEWING SOUTACHE BRAID—There are two ways of sewing on soutache braid. The simpler is to hold the braid flat over the line of the transfer and sew through the center of the soutache taking a very short stitch on the right side and quite a long one on the under side. (Ill. 342.)

In using a design with a great many sharp turns it is better to sew the soutache so that it stands upright. (Ill. 343.) Hold the braid ahead of you over the line of the transfer as before but hold the soutache upright instead of flat.

Fasten the braid securely at the right, and bring the needle up through the material just catching the lower edge of the braid. Insert the needle as near as possible to where you brought it out, and take a stitch ¼ of an inch long. Bring the needle out through the material catching the lower edge of the braid. (Ill. 343.)

Braiding makes a very effective trimming and the work goes quickly so that even when deep bandings are in fashion one can have a handsome costume with a comparatively small amount of work and expense. All the newest and smartest transfer designs for braiding will be found in NEEDLE-ART while the DELINEATOR and BUTTERICK FASHIONS show the correct use of braid trimmings whenever they are in style.

title: Page:Newdressmakerwit00butt.djvu/147


text:
Page:Tensing Exercises.djvu/91

Rh See Figs. 65 and 66.

Sit on the fioor, body erect. Hold a rod or stick in the hands; knuckles up.

Work the body right and left, as when paddling a canoe with a single oar. Carry each movement to the extreme turning point, the face following the movements of the hands. Endeavor to look directly to the rear, forcing the leading hand (the lower one) as far as possible. Do not allow the legs to move. This is an excellent exercise for the liver and kidneys.

Twenty-five times.

title: Page:Tensing Exercises.djvu/91