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where the braiding alternates, first forming a crow's toe and then a simple eye. It is the succession of two different objects or forms recurring regularly in turn. There can be no alternation without repetition, but there can be repetition without alternation. Day and night are admirable illustrations of this principle. Contrast is the highest degree of alternation, it gives character and go to the part it is applied to, and if used aright, strengthens the unity of the subject, by emphasizing its various parts, and bringing much within range that would otherwise have been lost sight of.
Symmetry and Radiation.
Diagrams 132 and 133. Plate 46.
The human body is symmetrical. When we stand face to face with a human being, his body appears to be composed of two halves united in the centre, and these two parts, without being identical, correspond in such a manner that the right side, if folded over on the left, would exactly cover it. This repetition in reverse is what is called symmetry, though the original meaning of the word signified what we now understand by proportion. Diagram 132 is a capital illustration of symmetrical braiding, and is a copy of a military design for a cuff. Radiation is a form of symmetry in which all its parts are alike; that is, suppose a complete circle was formed of designs as illustrated on diagram 133, it could be folded over any way, and would come exactly on the top of a similar design. Doubtless our readers will remember how popular this method of trimming ladies' bodices round the scye was a very short time since.
Progression and Gradation.
Diagram 134. Plate 46.
Perspective is a highly attractive example of progression. Progression is a gradual leading up to a point where a climax is reached, which appears far more beautiful than it would without the preparation of progression. Diagram 134 is an example of progression, and so is diagram 132, the ornament at the base gradually increase till the knot is reached. Progression and gradation are not quite the same. Progression may be irregular, gradation is never so. The numbers 1, 3, 5 7, 9, illustrate progression, but they have no resemblance to 2, 4, 8, 16, 32, the latter is a regular succession of changes, the former a series of shades.
Confusion and Complication.
These are not so often used in tailoring, still we do occasionally see garments braided without any apparent design—a sort of higgledy-piggledy arrangement, but in the midst of this disorder, these must be order introduced, if it is to become ornament: thus the outline of the braiding must be clearly defined, either by a border limiting its outline. In nature we frequently find a fine disorder which produces a beautiful effect, but the charm which nature throws over her works by careless foliage of trees, the dasies in the field, the stars in the heavens, cannot be reproduced in costume. Nature's fields are so wide that we can only take in a portion at one view. Doubtless if we could take in the whole of the universe, it is quite possible we should find some features of balance introducing order in the same way that we do in the minor works of nature.
Much more might be written on this subject, but this must suffice. We have briefly touched on the principal features, and if we have not gone into these matters as fully as some of our readers would desire, we must plead the impossibility of treating every phase of this vast subject of ladies' tailoring within the limits of one volume.
Conclusion.
Ere we lay aside our pen, we will only state by way of conclusion, that we have aimed at the production of a work that should supply the young cutter with all he may require to fit him for the post of a ladies' tailor. Such has been our aim, our readers will judge whether we have succeeded in carrying out that aim to a practical issue. We desire to instruct, to improve, to encourage, and it may be that even in the defects of our work, others may take courage and persevere midst adverse circumstances and innumerable difficulties till a successful issue results. It is in this frame of mind, acknowledging its defects, regretting its imperfections, that we say, as we look upon our finished work, we feel proud of it. We have done our best; neither time nor trouble has been spared: and we have little doubt that the trade will receive it and use it according to its merits, of which others will be the best judge, rather than
